Al Green (born Albert Leornes Greene, April 13, 1946) is an American singer, songwriter and record producer widely regarded as one of the most influential figures in the history of soul and gospel music. Born in Forrest City, Arkansas to the missionaries Willie Mae and Robert G. Greene, his family moved to Grand Rapids, Michigan when he was nine years old. As a child, Green started singing in the church with his siblings, and was encouraged by his father to take piano lessons.

By the time Green was thirteen, he had started his own quartet called The Greene Brothers, which gained popularity around their hometown and eventually landed them two recordings. After high school, Green joined Mitchell’s Starrlighters, which allowed him to gain lots of experience performing in clubs. He would later join Sam and Dave as an accompanist and vocalist on their hit records “I Take What I Want” and “Hold On! I’m A-Comin”. Green’s next move was to establish his own record label, Hi Records. This label arose with the assistance of Green’s friend, Teenie Hodges.

At Hi Records, Green released his first successful album, Green Is Blues, in 1967 which featured the hit single “I Can’t Get Next to You”. His self-titled album, Al Green (1969), would also reach stardom with the help of the hit single “Tired of Being Alone,” which propelled Green into the national spotlight. In the early 1970s, he shifted musical styles from Southern soul to a gospel-influenced version of soul music and recorded major hits, such as “Let’s Stay Together,” “Here I Am (Come and Take Me),” and “Love and Happiness.” In 1971, Green won the Grammy Award for Best Male R&B Vocal Performance.

Throughout the decade, Green recorded and released over fifteen singles and seven albums. He continued to create a massive fan base within the community of soul and gospel music lovers. During this time, he also performed as a member of the Soul Stirrers, a gospel quartet. While still at Hi Records, Green first launched a string of gospel albums beginning with The Lord Will Make a Way, which sold over one million copies.

His success with gospel music earned him a nomination for the Gospel Music Association’s highest accolade, the Lifetime Achievement Award.

Green crossed from the secular to the spiritual world with his to his 1973 Grammy Award-winning album Call Me. He elected to leave secular music and hi Records at the peak of his career and went professional. During his long career he has been honored with six Grammy awards, 24 Grammy nominations, a Soul Train Music Icon Lifetime Achievement Award in 2013, a Voice Legend Award for Contemporary Gospel in 1993 and a Lifetime Achievement Award from the Rhythm and Blues Foundation.

In 2006, Gospel Music Hall of Fame inducted Green, along with 14 other notable gospel artists, for his achievements and influence as a singer, songwriter and producer. Green has been best known within both religious and secular circles for engaging themes of faith and spirit.

Today, Al Green is a well-respected musician whose work continues to influence generations of new musicians. In addition to maintaining a consistent touring schedule, he works as an evangelist, produces his own records, and teaches at the gospel music studio that he established. Through his unique style of music and enduring legacy, Greene has inspired and influenced a vast number of people. For these reasons, he is considered a legendary figure in the entertainment world, and will always be remembered for the timeless art that he has created over the years.

Al Di Meola

Al Di Meola is a celebrated guitarist who has dazzled audiences with his mastery of jazz, rock, and classical music for over four decades. Born on July 22, 1954 in Jersey City, New Jersey, Di Meola grew up in a family of Italian descent. Music was a part of his life from an early age. When he was four years old, Di Meola’s uncle gave him his first instrument, a mandolin. Di Meola’s affinity for music was obvious due to his immediate ability to play the mandolin. By the age of nine, Di Meola had taken up the guitar, taking formal lessons from his family friend and professional guitarist Tom Petty.

Di Meola enrolled in the Berklee College of Music in 1971 at the young age of 17. While he was a student at Berklee Di Meola earned himself a reputation as a prodigy, displaying incredible improvisational skills on the guitar. Di Meola’s teachers, notably teacher Joe Viola, recognized his exceptional ability. From Viola’s teaching Di Meola developed a hybrid picking style, which combined the use of pick and fingers for soloing. After graduating from Berklee in 1974, Di Meola soon joined the group of guitarist John McLaughlin and fellow Berklee classmate, bassist, SteveGadd.

Di Meola gained fame during his early days with McLaughlin’s Mahavishnu Orchestra, touring the United States and Europe from 1973 to 1975. After the Mahavishnu Orchestra eventually disbanded, DiMeola proceeded to embark on a successful solo career. Throughout his long career as a solo artist, Di Meola has explored a wide array of musical styles. His inspired collaborations with jazz artists Jean-Luc Ponty (in Two to Tango and Live at Montreaux) guitarists John McLaughlin and Paco de Lucía, vocalist Wayne Shorter, and bassists Stanley Clarke and Marcus Miller have featured a more meditative, progressive, and funk-infused approach to jazz-rock.

Di Meola has created over 30 albums that span genres ranging from conventional jazz, jazz fusion, Latin jazz, acoustic jazz, flamenco, and even world music. He has achieved critical acclaim throughout his career, winning numerous Grammy Award nominations. Di Meola has also spawned improvisational, modern jazz-rock ensembles reminiscent of the 70s Mahavishnu Orchestra.

Since 2000 Di Meola has been a enthralling performer due to the way he weaves in classical, jazz, funk and world music pieces, as well as original compositions, into improvisational “stretches” – experiments in intensity and energy crescendo proved to excite audiences worldwide. His vibrant stage presence and skillful leads wit captivating improvisations have made him one of the most revered guitarists in jazz.

John McLaughlin

John McLaughlin is a British-born jazz guitarist, composer, and music producer known for his contributions to jazz-rock fusion, progressive rock, and experimental jazz. Born on January 4, 1942 in Doncaster, England, McLaughlin grew up in a musically inclined family, learning to play violin and trumpet as a child. After honing his skills on guitar, McLaughlin received his first major attention as a writer for British music magazines such as Jazz Monthly, Melody Maker, Disc, and Sounds.

In 1964 McLaughlin moved to London in pursuit of an international music career. During this time, McLaughlin struggled financially and was often homeless, sleeping on park benches and playing small local clubs. He played regularly now with jazz greats Danny Thompson and Joe Morello and studied composition with avant-garde pianist/composer Francis monkman at the Royal National college of Music.

In 1967 McLaughlin was recruited to form the band John Mayall and the Bluesbreakers. It was during this time that McLaughlin met future drummer Tony Williams, who would later form the seminal jazz/funk/rock band Lifetime with McLaughlin. McLaughlin and Williams formed Lifetime in 1969 and began to traverse the boundaries between jazz fusion and progressive rock. In 1971 McLaughlin released his first solo album “Extrapolation” and soon formed the landmark progressive jazz-rock fusion band Mahavishnu Orchestra gaining the attention of jazz fans worldwide.

Mahavishnu Orchestra released their second studio album Inner Mounting Flame in 1971 and followed their debut with Birds of Fire (1972), The Lost Trident Sessions (1973), and Visions of the Emerald Beyond (1975). The band’s influence has been felt through subsequent jazz-rock/funk fusion groups such as Weather Report and Frank Zappa’s Mothers of Invention. Following the dissolution of Mahavishnu Orchestra in 1976, McLaughlin released an impressive range of solo albums in both fusion and jazz styles.

In 1988 McLaughlin formed the acoustic group Guitar Trio with flamenco guitar veteran Paco de Lucía and jazz guitar legend Al Di Meola. Each toured separately from 1996 onward and McLaughlin completed a solo acoustic tour with John McLaughlin and the 4th Dimension in 2007. Over the years McLaughlin has worked with a variety of other musicians in folk, flamenco, jazz, world music, and rock genres. He continues to tour with the various line-ups of the John McLaughlin Trio as well.

Paco de Lucía

Paco de Lucía was a Spanish flamenco and classical guitar virtuoso born Francisco Sánchez Gómez on 21 December 1947 in Algeciras, Cádiz, Spain. De Lucía received his first guitar at the age of five from his father. With frequent help from family members, he was able to develop his natural talent into a mastery of flamenco guitar. He cited cante jondo, a style of deep flamenco singing, as one of the major influences on his play.

During the 60s de Lucía had early success playing at local festivals and collaborating with other flamenco stars. He performed in Los Chulos de Jerez and recorded numerous well-received solo albums during this time. He relocated to Madrid in 1967 and released El Duende Flamenco de Paco de Lucía. He deftly combined jazz-rock fusion with flamenco on his subsequent solo albums, earning de Lucía more recognition within the Spanish music industry. In 1973 de Lucía released “Fantasia Flamenca,” a live collaboration with keyboardist Larry Coryell. This album won the artist his first of four Grammy Awards.

De Lucía continued to collaborate with some of the world’s greatest guitarists throughout the 70s. He formed the brilliant guitar trio with jazz guitarist John McLaughlin and classical guitarist Al Di Meola, blinding audiences with the group’s virtuosity. De Lucía had a great solo career in which he pushed flamenco guitar to its limits, creating innovative polyrhythmic pieces. In 1992 de Lucía reached a mainstream Spanish audience as part of the internationally touring collective Projecto Escultura Sonora.

Having played classical guitar for most of his life, de Lucía collaborated with classical composers such as Manuel de Falla and Heitor Villa-Lobos. He archived a successful crossover to the classical realm culminating in his performance at the 2003 International Classical Music Awards. De Lucía also gave masterclasses, educating his fans and aspiring guitarists around the world.

In 2014 De Lucía tour his last concert in Chinchilla, Spain before passing on early the following year. He has been regarded as one of the greatest flamenco guitarists of all time. His contributions to guitar, classical, and flamenco have earned him tributes and recognitions all over the world. Ultimately, Paco de Lucía devoted his life to providing the world with some of the most extraordinary music.

Al Di Meola is an award-winning American jazz and world music composer, producer, and guitarist who has enjoyed a successful music career spanning more than four decades.

A native of Jersey City, New Jersey, Di Meola was born in 1954 and grew up with parents who encouraged him to pursue a musical education in some capacity. By age eight, Di Meola had already taken up the guitar and quickly developed a proficiency for the instrument, writing his own compositions shortly thereafter. In the early seventies Di Meola enrolled in the Berklee College of Music in Boston, where he honed his skills as a major jazz-fusion artist.

What would come to be Di Meola’s first major break came with his involvement with the Tony Williams Lifetime in 1974. Under the direction of Miles Davis, Di Meola had the opportunity to tour and record with the legendary jazz ensemble and for several years prior to becoming a successful solo artist.

Di Meola’s first album, “Land of the Midnight Sun,” was released in 1976, to critical acclaim. Not only was it a major commercial success, but it also gained recognition from the jazz fusion realm as the emergence of his jazz/flamenco blend.—a style that would later come to be coined Di Meola’s “Mediterranean soubriquet”.

In the late seventies and early eighties, Di Meola became one of the pioneering innovators to bring jazz fusion to the forefront of popular music with tracks such as “Race with Devil on Spanish Highway”, “Egyptian Danza”, and “Island Dreamers”. He released several critically acclaimed studio albums during this time, such as “Elegant Gypsy” and “Casino,” and collaborated with several other luminaries in music, from John McLaughin to Jaco Pastorius.

Di Meola would go on to experiment heavily with world music elements during the mid-eighties. While his solo material during this period was not as commercially successful as some of his earlier efforts, it peaked the musical curiosity of many world music fans. Al next teamed up with other guitar legends such as Paco deLucia and John McLaughlin in a collaborative project “Friday Night in San Francisco”, which drew a huge international audience.

In the late nineties, Di Meola began to record and include noticeable examples of Afro-Cuban music in his music. He worked with some of the pillars of contemporary Cuban music, and his albums of this time stand as great examples of Di Meola’s technical prowess and his sensitivity to Latin structured music. His rare mix of interesting sounds, including everything from classical guitar to electric, along with his unique admixture of Latin sounds, made him an iconic figure in the Latin and jazz-fusion genres.

Di Meola has continued to make music throughout the 2000s, having released several acclaimed solo albums. To date, Di Meola has released more than 30 albums, and his influence on musicians—particularly in the jazz, fusion and world music communities is unmeasurable. He has earned many accolades, including several Grammy award nominations and innumerable recordings have been made in honor of his genius.

Since his expansion of fusion forms started, Di Meola has become an icon in the genre. His complex improvisations conjure elements of both classical and popular music, strung together with incredibly intricate composition. He was chosen as the Guitar Player Magazine’s “Guitar Legend” and a Lifetime Achievement Award at the Smithsonian Institute, and his studio and live performances showcase Di Meola at his prime; a master and one-of-a-kind musician.

Air is an influential French electronic music duo formed in 1995 and composed of Nicolas Godin and Jean-Benoît Dunckel. The group has evolved over its 25 years, proving there’s no limit to their skills and interweaving genres.

Godin and Dunckel both grew up in Versailles, a commune in western France, where they crossed paths in their teens. The two quickly realized that they had similar tastes in music, and became lifelong friends. In the early 1990s, both Godin and Dunckel began to pursue their individual music careers. In 1995, the two decided to collaborate to form Air.

The duo’s sound was heavily influenced by vintage analogue synthesizers and theremin. Their debut album, Moon Safari, was released through Virgin Records in 1998 and is considered to be a world classic. Featuring melodic yet dreamy compositions, this album captivated listeners around the globe. It was a major leap for Air, earning them international recognition and airplay on major networks such as BBC Radio 1. The album propelled the duo to fame and spurred the term “French Touch” into existence.

Following the success of their debut album, Air released Talkie Walkie in 2004. An excerpt from Talkie Walkie was famously used in Sofia Coppola’s Oscar-winning movie, Lost in Translation. Popular tracks from this album include “Cherry Blossom Girl”, “Alone in Kyoto”, and “Surfing on a Rocket”. Air saw similar success with their 2006 album Pocket Symphony, which was nominated for a Grammy.

The duo subsequently took the 2010s decade off to pursue individual projects, create soundtracks for various movies, and do remixes for other artists. In 2019, they broke their hiatus and returned with Le voyage Dans la Lune. The album was heralded as one of their most ambitious and innovative projects.

Throughout their entire career, Godin and Dunckel have shown tireless energy in harnessing both their vast talent and unique talents. Notoriously private and protective of their art, the duo has never played live concerts, which makes their albums even more precious.

Without question, Air will go down in history as one of the most influential electronic duo of all time. Their influence can be witnessed in today’s music landscape, ranging from the indie dream-pop genre all the way to hip hop and experimental music. Their loyal fan base speaks volume of their sound and legacy, making them a timeless classic.

Aimee Mann is an accomplished singer-songwriter, musician, and author whose music has been deeply influential. She emerged on the music scene in the 1980s as a member of Boston rock group Til Tuesday, best known for their countless hits like “Voices Carry.” Since then, Mann has released a string of critically acclaimed solo albums including Whatever, I’m With Stupid, Bachelor No. 2, Lost in Space, @#%&*! Smilers, Charmer, Mental Illness and her latest album, Mental Illness. Her most distinct sound features her incorporation of orchestral instruments such as strings, horns, and acoustic guitar, blending melodies with heartfelt yet sardonic lyrical content about relationships and sadness.

Mann was born in 1960 in Richmond, Virginia and moved to Bon Air, Virginia two years later. Her mother was a professional artist and schoolteacher, while her father was the first headmaster of the brand-new Gateway School in Richmond. She is of 2% Palestinian heritage, according to a previous genetic test. Mann began playing classical violin and singing in choirs at a very young age and soon picked up the guitar for more intimate performing. Mixing country and classic rock, Mann quickly crafted her own unique style of music. In 1977 Mann, her brother Michael, and two friends formed The Young Snakes, a punk-rock band that lasted until 1982. This stint sparked Mann’s interest in music and provided invaluable experience inarranging and performing her songs to live audiences.

After her run with The Young Snakes intro, Mann joined the (short-lived) new wave band Simple Ton who aimed to mix country and alternative. It was in this context that Mann first truly found her mus career. Shortly after that stint, she was tapped to be the lead singer for Til Tuesday hand consequently released the 1985 album Voices Carry. The album enjoyed critical success and scored three hit singles, becoming the ninth highest grossing album of that year. The opening single, “Voices Carry” reached No. 8 on the Billboard Hot 100. The song’s success and deeply original sound essentially catapulted Mann to stardom.

In 1993, Mann released her solo debut album, Whatever. Working with producer Jon Brion, she left behind new wave and took a more country/folk-rock sound. Whatever was well-received, praised for its subtle lyrics and intricate structures. Mann wrote and recorded two more albums for Imago Reocdrs, I’m With Stupid in 1995 and the Grammy-nominated Bachelor No. 2 in 1997. Unfortunately, Imago Records went out of business due to financial issues and did not officially release either albums.

Following her Imago years, Mann signed to Geffen Records in 1999, quickly releasing her fourth solo album, Magnolia – a soundtrack to the Gus Van Sant film of the same title and then completing her 1999 Universal contract with two more critically acclaimed albums: Lost in Space in 2002 and The Forgotten Arm in 2005. In 2008 she started her own independent label, SuperEgo Records; through which she produced the largely a capella effort, @#%@&;! Smilers, and the more guitar and synth-driven Charmer In 2012, she released her eighth and ninth s so albums, The Both with her longtime collaborator Ted Leo and the considered-to-be-her-most-vulnerable in many years: Mental Illness.

Since then, Mann has been relatively quiet. In 2015, she formed a new band called The Amateur Arkestra, and began toying with the idea of writing a musical. She announced and touring duo with comedian Fred Armisen and they even released a covers album entitled Fuck That Guy: 20 Funny Feel-Bad Songs. Yet, no official new music from Aimee Mann has arrived, prompting many fans to wonder what Mann has been up to.

Mann is widely respected as one of the best lyricists of her generation, crafting heartrending tales that ruminate on the gnarliness of relationships and emotions, yet often employ shrewd humor. Across six decades she remains an innovative artist with a unique sound and a divinely sharp wit that have earned her a tremendous portion of devoted fans. Regardless of what’s next for the Virginia native, her name will remain on numerous critics’ lists of legendary singer-songwriters.des

Whether penning under-appreciated-but-deserving-of-attention tunes or crafting unique sounds reminiscent of old-school greats – the songs of Aimee Mann are certain to remain staples in the music libraries of countless listeners for years to come.

Ahmad Jamal is an American jazz pianist and composer who has left an indelible mark on the history of jazz and popular music as a whole. He is one of history’s most influential musicians and has been credited with helping to introduce a jazz-flavored style of pianism to a wide audience. Through his exemplary use of space, dynamics, and a light touch, Jamal cleverly skirts instrumentation in order to bring an imaginative voice that’s kept his music fresh.

Jamal was born in Pittsburgh, Pennsylvania in 1930. As his original given name was Fritz Jones, his interest in jazz music initially grew from listening to 78s by Count Basie and Duke Ellington. By age 14, he had tried out for the piano in his school and was quickly accepted as a comfort outlet for expression through music. He went on to begin performing in night clubs such as The Crawford Grill and The Ebony Bar, while he studied piano theory. This eventually led him to perform at larger venues with a variety of rhythm players.

By the 1950s, he had established a highly individualized style of alternating between block chords and thinner textures in an abstract expressionistic piano style. His first trio albums – recorded in 1954 – on Argo Records featured bassist and drummer Vernel Fournier and Walter Perkins, respectively. This would become his trademark ensemble look that is still praised today. His works with this group often pushed boundaries and constantly subverted expectations. This period is typically known as his mastery of stringed piano, and began to capture mainstream attention.

In the late 50s, while continuing to perform in an unheard of style, Ahmad Jamal was already a risk taker in his style and harmonies. He began experimenting with orchestras and percussion instruments to create lush sound palettes. This type of production led him to compose and play some of the most nuanced and intricate music of the period.

In the 1960s, as Jamal’s profile rose due to sold out performances at Tiffany nightclub, he had a brief romance with modal jazz. His particular emphasis on the colors and sounds of electric instruments was a contributor in the formation of fusion jazz and many other offshoots of that time.

Jamal has continued to record and release new albums from the 70’s to more recent works, and still continues to inspire pianists and musicians for his dedication to that ‘less is more’ approach when composing and improvising. He has amassed a great amount of critical praise, and has been awarded numerous accolades including a Grammy Lifetime Achievement Award in 2013.

It’s immediately clear why Ahmad Jamal is universally respected amongst fellow musicians. His career continues to be incredibly productive creatively and he shows no signs of slowing down or retiring. As he puts it, “For me, it’s all about again and again and again.” His music undoubtedly stands the test of time and leaves a valuable legacy and influence for modern jazz.

a-ha was the Norwegian rock band that soared to dizzying heights in the late 80s and early 90s, filling arenas around the world with thousands of screaming teenagers and memorably-costumed fans. Led by the ever-charming and charismatic frontman Morten Harket – with Paul Waaktaar-Savoy and Magne Furuholmen providing the vital guitar and synth elements respectively – a-ha became one of the most recognized pop bands in the world, their pictures gracing millions of teen bedroom walls.

Despite such success, however, a-ha’s tale began in 1982, emerging as a trio from the small town of Kristiansand in the south of Norway. Already interested in the possibilities of synth-pop music, the band quickly began making early demos under the capable hand of producer and mentor John Ratcliff, claiming an opening slot at the legendary Oslo song contest at just fourteen years old. This led to a short-lived recording deal, with the trio making their first single, ‘Take On Me’, in private studios. From there, a-ha were invited to Eastern Europe by Ratcliff, exposing them to the underground and lending a unique flavor to their sound.

It would, however be another two years before ‘Take On Me’ was ready for release as a full-scale single, due to extensive re-recording in London to appeal more strongly to British and American audiences. Packed full of the sonic adventure, emotion, and humor of the trio, it was an instant worldwide smash, impossible to ignore and climbing its way to the top of the Friday night American charts in 1985. The legacy of the video for ‘Take On Me’ was to prove particularly enduring; showcasing the cutting-edge rotoscope animation techniques provided by physical media director Steve Barron, it became an enduring favorite and went on to garner four MTV awards.

The group’s follow-up singles ‘The Sun Always Shines On T.V.’, ‘Train of Thought’ and ‘Hunting High and Low’ propelled them to international fame, and in 1986, a-ha released their renowned debut album Hunting High and Low. It turned out to be a superstar formula, pushing a-ha’s soaring melodies, gentle singing harmonies and poundingly-propulsive Roland synths into the very highest reaches of the charts. Spawning still more hit singles – such as ‘The Living Daylights’ and ‘Cry Wolf’ – the album became their most successful work of the decade and was the launching pad for a global music career.

The years that followed saw a-ha develop a long string of top-selling albums, hits and lives shows, appearing globally from Norway to their US and Europe tours and from Tokyo to Moscow. Developing their musical palette in all directions, they explored everything from country-rock touches to synthesized electronica to indie-pop influences – the videos for ‘Manhattan Skyline’ and ‘Cry Wolf’ continuing to be particular favorites. During this time, a-ha also marched to their own commercial-free beat; refusing to win the favor of any radio stations or large advertising clients, staying remain independently owned and focused solely on their craft.

It was however the lengthy “Lifelines” tour of 2003 that was the group’s true political statement – taking them around the Middle East and South America – before they eventually returned to their home country in 2005 with their now-legendary final show at the historic Oslo Spektrum arena. After seven studio albums, numerous other releases and countless awards to their name, and a-ha’s extensive contributions to the foundations of pop-rock and electronic synth-pop have deservedly provided musical legacy for a generation of young Norwegian pop vocalists since then.

Agnes Obel (born 28 October 1980) is a Danish singer-songwriter and musician who began her musical career in 2005. Her music blends elements from classical, alternative, and modern pop to create atmospheric and intricate sounds. Born to a family of musicians, Obel grew up between Copenhagen and Berlin, and began her professional musical training at the age of six. Obel’s recordings have been acclaimed by both critics and fans for her unique voice, precise production and poignant songwriting.

Obel’s critically acclaimed debut album, Philharmonics, was released in August 2010 to wide critical acclaim. Her work has been compared to artists such as Björk, The National and Bat For Lashes, leading her to become one of the most acclaimed Danish musicians of recent times. Released in 2015, Citizen of Glass was a further success, being awarded 2016’s Danish Music Awards for Best Danish Album and Best Pop Release.

Agnes Caroline Thaarup Obel was born on October 28th, 1980 in Gentofte, Denmark. Her father, Jesper Thaarup Obel, is a professor of architecture at The Royal Danish Academy of Fine Arts while her mother, Anne Gnatz Obel, is a concert singer and piano teacher. From a young age, Obel was surrounded by music as both her parents were classical musicians. Growing up, Obel spent time between Copenhagen and Berlin, starting piano lessons at a young age. By age nine, Agnes had mastered Bach, and was a designated talented student of piano at the Royal Danish Academy of Music. She spent more than a decade at the Academy and received her diploma at age 18.

Obel’s professional musical career began in 2005, when she released her debut EP. This led to a contract with major Danish record label PIAS Recordings, who have released all of her records to date. Obel’s debut album, Philharmonics, was released in 2010 to wide acclaim and featured her single, “Just So,” which was featured on the moviesoundtrack Little Men. The album was later reissued as part of an international version, which featured English versions of her songs. Recurring motifs on the record included references to nature, snow, and fragility.

The follow-up to Philharmonics, Aventine, was released in 2013 to further critical acclaim. The release saw Obel explore more personal themes and the rise of digital aesthetics. One particular highlight of the record was “The Curse”, an electric guitar-inspired single that was described as having a “Beats Antique” feels. Aventine performed better commercially than Philharmonics, reaching the Top 10 in Obel’s native Denmark. This trend of commercial success continued with Obel’s third studio album, Citizen of Glass.

The album was released in the second half of 2016 to widespread critical acclaim. One critic from the Website AllMusic praised the album for being “less of a downcast and upbeat pop album than its predecessor… with Obel adding subtler shades to the ethereal minimalism found elsewhere” while Rolling Stone further acclaimed the album for its “meticulous transparency and warm organic tones”. Citizen of Glass was later recognized as the Best Album at 2016’s Danish Music Awards and was named Best Pop Release at the same ceremony.

Described as “one of the most recognizable alternative voices of her generations,” Obel has toured extensively and collaborated with acclaimed musicians such as the Lucky Chops and Kronos Quartet. Inspired by Claude Debussy and Isao Tomita, Obel’s sound is both atmospheric and sparse, exploring multiple emotions with a delicate and refined touch. Outside of music, Obel has invested in multiple visual art projects, often depicting pure and simple landscapes.

Since her 2005 debut, Agnes Obel has achieved widespread fame, mostly in her homeland Denmark, where she has won numerous awards for her music. Her spiritual, lullabyish sound has drawn in both fans and critics alike to captivate audiences with her emotional and detailed songwriting. As of 2019, Agnes is currently hard at work on her fourth studio album and is scheduled to perform at multiple festivals across Europe.

Agitation Free, an influential psychedelic rock band from Berlin, Germany, was founded in 1967 and is considered one of the original “Krautrock” bands of the 1970s. The band members were Michael “Golem” Gulino, keyboardist Lutz Ulbrich, bassist Hartmut Enke, guitarists Klaus Schulze and Christopher Franke, and later musicians, drummer Burghard Rausch and saxophonist Gunter Wüsthoff. Agitation Free was one of the most lauded of the genre, and their music has gone on to influence generations of musicians in the intervening years.

Agitation Free formed in 1967, when bassist Hartmut Enke, guitarist Klaus Schwulze, and keyboardist Lutz Ulbrich first got together. The band took its name from an AGF ultra low frequency military radio jamming system, usually used by armies to create interference to prevent people from speaking to one another. This feeling of being oppressed and isolated, as well as interpersonal frustration, proved to be a major theme in their music.

Agitation Free released their first album, “Malesch”, in 1972. The record was recorded and mixed by legendary producer Conny Plank and garnered positive reviews. The album has become a classic krautrock album of the 1970s. From there, the band continued to develop their sound, experiment with different styles of music, and create intricate melodies that blended influences from electronic music, prog-rock, and jazz. It was this unique combination that made them stand out from the Krautrock scene.

Agitation Free released two studio albums and one live album during the period of their flowering, 1975’s “2nd” and 1976’s “Fragments”. both featured prolific contributions from forming members Klaus Schulze and Christopher Franke. Both albums drew heavily from free-form improvisation and featured extended dreamlike passages with distinct jazz and ambient influences. The live album “Toys”, released in 1977, was recorded direct to two track, and features a much rockier sound than can be heard on their studio albums.

In 1978, Agitation Free disbanded when Klaus Schulze left to pursue a solo career. Over the decades however, they have continued to be a major influence on many electronic music artists, such as Tangerine Dream, and their music remains as iconic today as it was when they started performing.

As a band, Agitation Free has managed to create a unique and timeless sound. Their exploration of a variety of music styles and experimentation with different forms created “Krautrock” music that still resonates with fans all over the world. Agitation Free may have disbanded in 1978, but as long as their music continues to be appreciated and their solid legacy is able to live on, their influence in music will remain.

Agent Orange was a powerful, highly effective and enduring herbicide that was used by the United States military during the Vietnam War to eliminate the foliage-based cover used by enemy forces and ultimately deny them one of their primary means of sustenance – food produced by their terrain-intensive farming. Even though Agent Orange was authorized and utilized by the U.S. military, it had unintended consequences with long lasting global health and environmental effects that highlight its place in modern history.

Although modern research has retroactively connected the use of Agent Orange to profound as well as long-lasting negative health effects for people and the environment, this environmentally hazardous herbicide was endorsed by much of the world in the mid-twentieth century when manufactured instigated agricultural advances and usage of synthetic, industrial chemicals were a mainstay of technological progress. Manufactured using dioxin – a derivative of coal tar and commonly considered as environmentally and humanly unsafe chemical, Agent Orange instantly became known for its devastating ability to defoliate wide swaths of land and erase natural resources such as food rapidly and effectively. Utilized by developed countries, including the United States, in its geostrategic operations, the use of Agent Orange reached its zenith during the Vietnam war, when it was used extensively in its efforts to destabilize Chinese territories.

At first, the results of the onslaught were seen as largely successful; in its onslaught over enemy targets, the usage of Agent Orange was seen to successfully eliminate numerous sources of vegetation from the landscape rapidly- replacing them while decimating enemy food crops in large estates. Nevertheless, somewhere in search of effective strategy, the U.S. overlooked the fact that a de-vegetated desertified land is arguably much easier to navigate than a functioning, robustly healthy terrain full of vegetation – this made it greatly easier for the people on the ground to maneuver – along with providing enemy forces with many more natural resources with which to construct and sustain their own infrastructure.

Moreover, the effect of Agent Orange on the lives of Vietnamese, planted marked upon its toxic legacy. Being mostly herbivore and carnivorous animals, the sufferers of Agent Orange were by no means limited to individuals. Many livestock as well as wild animals were affected by inflammatory disorders, irregular behaviors, tumors, obstruction in suckling and nurturing growth issues. Such prevalence of unwanted growth in animals has been labeled as Agent Orange Syndrome and shed further light on the sorrowful fate of Vietnam after the Vietnam War, and represents the agonizing reality of those whom namely war and violence affect foremost.

In the years that have passed since the 1970’s when the use of Agent Orange ceased, the severe repercussions of its use have been increasingly recognized far and wide. In the United States alone, tensions over war-based payouts have lurched to the surface on numerous occasions, even as numerous individuals have come forward to request for compensation from the government. Similarly, presently, numerous studies and campaigns are being conducted in other territories to console and topically support victims of Agent Orange, while the Agent Orange Justice Tour – funded by the U.S. government to great long-term evaluation and assessment of herbicide-based contamination levels in Vietnam – provides much needed relief to thousands of individuals every year.

At the close of a prolonged chapter in history, it is essential to reflect on the true costs of Agent Orange and its continuing chemical footprints. Even though its initial intention is seen to have ultimately proven physically unsuccessful, it has left behind an ominous legacy of detrimental health effects for soldiers as well as civilians – which, even in the wake of its termination five decades ago, ought to still be embraced with attention and care. Evidently, Agent Orange serves as a prime example of how a hastily manufactured agricultural solution can come to cite pressing global health concerns which even research and technology cannot unduly undo.