Wong Say Lou Lou

After the debut album Places in 2012 (platinum double-disc - Victoire de la Musique Female Artist) entrusted to the care of Etienne Daho, then Lay Low (gold record), produced by the Canadian Taylor Kirk (Timbre Stamp), Lou Doillon returns with a third studio album. A turn for the artist who abandons guitar follk for the electric, and builds the songs on beats mixing organic sounds. Sensual, hot, bewitching, intense but also dance orientated. With Benjamin Lebeau, half of The Shoes, she works on four songs including the fantastic first single Burn which growls with post-punk guitars and industrial friction behind the voice of Lou. Lou Doillon also entrusted another part of the production to Dan Levy (The D) for 3 tracks, and teamed up with Nicolas Subrchicot, for the rest of the album. A soliloquy gives a voice to inner thoughts. With her new album, Lou Doillon reveals more of herself than ever.

After the debut album Places in 2012 (platinum double-disc - Victoire de la Musique Female Artist) entrusted to the care of Etienne Daho, then Lay Low (gold record), produced by the Canadian Taylor Kirk (Timbre Stamp), Lou Doillon returns with a third studio album. A turn for the artist who abandons guitar follk for the electric, and builds the songs on beats mixing organic sounds. Sensual, hot, bewitching, intense but also dance orientated. With Benjamin Lebeau, half of The Shoes, she works on four songs including the fantastic first single Burn which growls with post-punk guitars and industrial friction behind the voice of Lou. Lou Doillon also entrusted another part of the production to Dan Levy (The D) for 3 tracks, and teamed up with Nicolas Subrchicot, for the rest of the album. A soliloquy gives a voice to inner thoughts. With her new album, Lou Doillon reveals more of herself than ever.

Pianist/composer and 2021 Guggenheim Fellow Helen Sung celebrates the work of influential women composers on her latest album Quartet+, crafting new arrangements of tunes by Geri Allen, Carla Bley, Mary Lou Williams, Marian McPartland and Toshiko Akiyoshi while carrying the tradition forward with her own stunning new works. Co-produced by violin master Regina Carter, the album pairs Sung’s quartet with the strings of the GRAMMY® Award-winning Harlem Quartet in an inventive meld of jazz and classical influences.

Pianist/composer and 2021 Guggenheim Fellow Helen Sung celebrates the work of influential women composers on her latest album Quartet+, crafting new arrangements of tunes by Geri Allen, Carla Bley, Mary Lou Williams, Marian McPartland and Toshiko Akiyoshi while carrying the tradition forward with her own stunning new works. Co-produced by violin master Regina Carter, the album pairs Sung’s quartet with the strings of the GRAMMY® Award-winning Harlem Quartet in an inventive meld of jazz and classical influences.

Named after the Japanese word for chameleon, Susan Wong’s twelfth album Kamereon highlights the Hong Kong-born singer’s unerring ability to bring a fresh, new complexion to a wide range of songs taken from different musical genres. Aided by her producer, the Osaka-born saxophonist Hisatsugu Suzuki, and his band, Wong has created a stylish jazz album brimming with her trademark soulful vocals drizzled over syncopated grooves.

In October 1990, Lou Reed interviewed Vaclav Havel, playwright, poet, president of the newly emancipated Czechoslovakia, and – surprisingly? – a Velvet Underground fan. During the course of their conversation, Havel handed Reed a book. "These are your lyrics, hand-printed and translated into Czechoslovakian. There were only 200 of them. They were very dangerous to have. People went to jail." Nobody will go to jail for owning Between Thought and Expression, but Reed's lyrics remain dangerous – not, as in Communist Czechoslovakia, for what they are, but for what they say…

Walk on the Wild Side: The Best of Lou Reed was the standard record company "hits" compilation surveying Reed's five-year, eight-album sojourn at RCA from 1972 to 1976. Its 11 songs included two from Lou Reed, three from Transformer (among them, of course, this album's title track, Reed's sole chart hit), one from Berlin, two from Rock N Roll Animal (one of which is "Sweet Jane" minus the introductory fanfare), and the title tracks from Sally Can't Dance and Coney Island Baby, plus the previously non-LP B-side "Nowhere at All." It was a bulletproof selection, as unimaginative as it was dependable, which oddly was why it worked so well.