Daca ai ajuns aici, inseamna ca facem partea din aceeasi gasca a nostalgicilor ce asculta muzica de pe vinil. Poti alege viitorul tau disc preferat fie din categoria de aici de pe site, sau poti alege sa vizitezi "Raftul virtual de viniluri", unde ai posibilitatea sa lasi intuitia sa aleaga pentru tine.
The Doors is the debut album by the American rock band the Doors, recorded in 1966 at Sunset Sound Recorders, Hollywood, California, it was produced by Paul A. Rothchild and released on January 4, 1967. The album features their breakthrough single "Light My Fire" and the lengthy song "The End" with its Oedipal spoken word section.
When Harry Met Sally... is the soundtrack to the movie When Harry Met Sally... starring Billy Crystal and Meg Ryan. The songs are performed by pianist Harry Connick Jr., who won the Grammy Award for Best Jazz Male Vocal Performance.
Led Zeppelin III is the third studio album by the English rock band Led Zeppelin, released in October 1970. It had a more eclectic style than prior albums, adding folk-style songs to their standard hard rock and blues rock repertoire.
Smash Hits is a compilation album by the Jimi Hendrix Experience. Track Records first issued it on April 12, 1968, in the UK and included all four of the group's singles (eight "sides") released up to that time, plus four additional songs from the UK edition of Are You Experienced.
Revenge is the fifth studio album by British new wave duo Eurythmics. It was released on 30 June 1986 by RCA Records. Following on from their previous album, Be Yourself Tonight, Revenge continued further in this direction as the duo embraced a more "rock band" style.
Barcarolle In F Sharp Major Op.60
Ballade N°1 In G Minor Op.23
Ballade N°2 In F Major Op.38
Ballade N°3 In A Flat Major Op.47
Ballade N°4 In F Minor Op.52
Fantaisie In F Minor Op.49
Rolling Stone : "Despite its occasional lapses. Peter Gabriel is a tremendous record. At the very least, Gabriel has discarded the florid hedging that’s dominated his work since Genesis. He’s not backing off from anything now, including his excesses. He flinches, it’s true, but he never yields. For once, you get an idea of where the artist stands and what he’s afraid of. In such songs as “Intruder” and “Games without Frontiers,” in which the booming, almost disco-style bass drum slows to an ebbing pulse while the guitars and synthesizers jangle like wracked nerves and the vocals crackle with detached doom, Gabriel’s music resembles his cover portrait: features in disintegration, slowly melting away, all distinctions disappearing and not a damn thing anyone can do about it. Peter Gabriel has seen a hellish future, and there’s no exit."
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