Sensuality China

Razormaid Records was formed in the mid-80s by Joseph Watt and Art Maharg in San Francisco, California as a music service for club DJs. Their goal was to offer something other than just the regular versions of the pieces of music that everyone had. They created their own special versions of songs, editing and occasionally remixing the hottest club tunes being played (or about to be played) around the world.

Razormaid Records was formed in the mid-80s by Joseph Watt and Art Maharg in San Francisco, California as a music service for club DJs. Their goal was to offer something other than just the regular versions of the pieces of music that everyone had. They created their own special versions of songs, editing and occasionally remixing the hottest club tunes being played (or about to be played) around the world.

Razormaid Records was established in the mid-80s and Joseph Watt Art Maharg in San Francisco, California as a music service club DJs. Their goal was to offer something more than just the regular version of the musical compositions, all of which were at home. They created their own special version of the song, editing and sometimes making a remix of the hottest club tunes played (or was going to play) throughout the world.

Back in 2002, producer David Foster oversaw the debut disc of a young jazz/pop singer named Michael Bublé. With his handsome looks and Sinatra-like voice, Bublé quickly saw his star begin to rise and the success of his disc kicked off a mini-revival of old standards and big band singers. Striking while the iron was hot, Foster fed the flame by introducing an even younger female counterpart to Bublé.

Carol Welsman sings an easy, airy, romantic set with hints of passion and sensuality immersed in a savory palate of impressive nuance on The Language of Love. With three Juno Award nominations as well as the 2002 Vocalist of the Year award, the internationally acclaimed vocalist and pianist is appreciated more than ever. Welsman immaculately captures the unique expressions of love with elongated phrasings, lite scats, and endearing vocal techniques delectably mirrored in her bluesy rendition of Gershwin's "The Man I Love" and through the gentle swing of the French version of "Chanson de Maxence."