Títulos em Música

Everyone wanted Madonna’s 1992 album Erotica to be a scandal. In the midst of a culture war, conservatives wanted it to be proof of the decline of family values. The target of conservative loathing, gay men reeling from the AIDS epidemic wanted it to be a celebration of a sexual culture that had rapidly slipped away. And Madonna herself wanted to sell scandal, which is why she released Erotica in the same season as her erotic thriller Body of Evidence and her pornographic coffee-table book simply titled Sex.

Zeth Lundy's book, in keeping with the album's themes, is structured as a life cycle. It's divided into the following sections: Birth; Innocence/Adolescence; Experience/Adulthood; Death; Rebirth. Within this framework, Zeth Lundy covers Stevie Wonder's excessive work habits and recording methodology, his reliance on synthesizers, the album's place in the gospel-inspired progression of 1970s R'n'B, and many other subjects.

In the 36 years since its release, Sell Out, though still not the best selling release in The Who’s catalog, has been embraced by a growing number of fans who regard it as the band’s best work, one of the few recordings of the late 1960s that best represents the ambitious aesthetic possibilities of the concept album without becoming mired in a bog of smug, self-aggrandizing, high art aspirations. Sell Out, powerfully and ecstatically, articulates the nexus of pop music and pop culture.

In Janelle Monáe’s full-length debut, the science fiction concept album The ArchAndroid, the android Cindi Mayweather is on the run from the authorities for the crime of loving a human. Living in 28th century Metropolis, Cindi fights for survival, soon realizing that she is in fact the prophesied ArchAndroid, a robot messiah meant to liberate the masses and lead them toward a wonderland where all can be free.

In the '80s, the Birmingham, England, band Duran Duran became closely associated with new wave, an idiosyncratic genre that dominated the decade's music and culture. No album represented this rip-it-up-and-start-again movement better than the act's breakthrough 1982 LP, Rio. A cohesive album with a retro-futuristic sound—influences include danceable disco, tangy funk, swaggering glam, and Roxy Music's art-rock—the full-length sold millions and spawned smashes such as "Hungry Like the Wolf" and the title track.

When Bruce Springsteen went back on the road in 1984, he opened every show by shouting out, "one, two, one, two, three, four," followed by the droning synth chords of "Born in the U.S.A." Max Weinberg hit his drums with a two-fisted physicality that cut through the swelling chords. With a rolled-up red kerchief around his head and heavy black boots under his faded jeans, Springsteen looked like the character of the song, and from the very first line ("Born down in a dead man's town") he sang with the throat-scraping desperation of a man with his back against the wall.

The recording sessions for Let It Be actually began as rehearsals for a proposed return to live stage work for the Beatles, to be inaugurated in a concert at a Roman amphitheater in Tunisia. In this thoroughly researched book, Steve Matteo delves deep into the complex history of these sessions.

This book celebrates Madvillainy as a representation of two genius musical minds melding to form one revered supervillain. A product of circumstance, the album came together soon after MF DOOM's resurgence and Madlib's reluctant return from avant-garde jazz to hip-hop.

Vs. is the sound of a band on fire. The same confluence of talent, passion, timing, and fate that made “grunge” the world’s soundtrack also lit a short fuse beneath Pearl Jam. The band combusted between late 1992 and mid-1994, the span during which they planned, recorded, and supported their sophomore record. The spotlight, the pressure, the pace—it all nearly turned the thriving act to ash.

Despite its polarizing reception from critics at the time of its release, Sandinista! is often considered one of the greatest albums of all time. Nevertheless, critics and fans have spent over 40 years debating whether the album would be better as a 12-track LP. This book entertains that idea and considers what is lost or gained in the process.

Electric Ladyland is one of the greatest guitar albums ever made. During the recording process, Jimi Hendrix at last had time and creative freedom to pursue the sounds he was looking for. In this remarkable and entertaining book, John Perry gets to the heart of Hendrix's unique talent—guiding the listener through each song on the album, writing vividly about Hendrix's live performances, and talking to several of Hendrix's peers and contemporaries.

By June 1993, when Washington, D.C.'s Fugazi released their third full-length album In on the Kill Taker, the quartet was reaching a thunderous peak in popularity and influence. With two EPs (combined into the classic CD 13 songs) and two albums (1990's genre-defining Repeater and 1991's impressionistic follow-up Steady Diet of Nothing) inside of five years, Fugazi was on creative roll, astounding increasingly large audiences as they toured, blasting fist-pumping anthems and jammy noise-workouts that roared into every open underground heart.

Bowie has long been haunted by the angst-ridden, emotional work of the Die Brucke movement and the Expressionists. Berlin is their spiritual home, and after a chaotic world tour, Bowie adopts this city as his new sanctuary. Immediately he sets to work on Low, his own expressionist mood-piece.

The apex of critical praise and commercial success is a metric achieved by a select few. In 2020, Cardi B became synonymous with “record breaking” as her debut album Invasion of Privacy went five times platinum and became the longest charting record by a female rapper in history. From streaming and charting to views, likes, retweets, and shares, Cardi dominates.

Ser un referente para varias generaciones y mantenerse en la cumbre del mundo de la música desde hace cuarenta años no es una tarea fácil. Y más si eres mujer y si nunca has tenido reparos en tomar las riendas de tu vida y de tu carrera (lidiando con las críticas, el machismo, la censura… y el paso del tiempo).

Like a killer returning to the scene of the crime, Elvis came back home to Memphis, where it had all begun. Eschewing the fancier studios of Nashville and Hollywood, he set up shop at the ramshackle American Sound Studio, run by a maverick named Chips Moman with an in-house backing band now known as "The Memphis Boys,"" and made the music of his life. The resulting work, From Elvis in Memphis, would be the finest studio album of his career, an explosion of mature confidence and fiery inspiration.

Non-fans regard Céline Dion as ersatz and plastic, yet to those who love her, no one could be more real, with her impoverished childhood, her (creepy) manager-husband's struggle with cancer, her knack for howling out raw emotion. There's nothing cool about Céline Dion, and nothing clever. That's part of her appeal as an object of love or hatred — with most critics and committed music fans taking pleasure (or at least geeky solace) in their lofty contempt.

Of all the recordings to emerge from the Athens-via-Denver collective called Elephant 6, Neutral Milk Hotel’s second album is the one that has worked its way under the most skins. Magnet magazine named it the best album of the 1990s, and Creative Loafing recently devoted a cover story to one fan’s quest to understand why band leader Jeff Mangum dropped out of sight soon after Aeroplane’s release.

Britney Spears barely survived 2007. She divorced her husband, lost custody of her kids, went to rehab, shaved her head and assaulted a paparazzo. In the midst of her public breakdown, she managed to record an album, Blackout. Critics thought it spelled the end for Britney Spears’ career.

The question of control for Black women is a costly one. From 1986 onwards, the trajectory of Janet Jackson’s career can be summed up in her desire for control. Control for Janet was never simply just about her desire for economic and creative control over her career but was, rather, an existential question about the desire to control and be in control over her bodily integrity as a Black woman.