…If indie rock were played primarily on mandolin, cello, banjo, and octave violin, it might sound something like this. That’s not to say that the songs are experimental or bizarre—guitar and vocals remain the focus of these songs, it’s just that the arrangements and instrumentation lend something refreshing to many of them. The fiddle on “Barefoot Friend” brings an alt-country vibe, while “Break in the Clouds” is reminiscent of a waltz. Most of all, what makes this record so successful—and it is very successful indeed—are the songs, which are solidly constructed and performed with conviction.
”Elephant” is the fourth album by the American alternative rock band The White Stripes. The album debuted at number one in the United Kingdom and reached number six on the Billboard 200 in the US. The album won Grammys for Best Alternative Album and Best Rock Song ("Seven Nation Army"). In 2003, the album was ranked number 390 on Rolling Stone magazine's list of the 500 greatest albums of all time. Recently, Rolling Stone called Elephant the 5th best album of the decade, and Seven Nation Army the 6th best song of the decade.
The Elephant in the Room is the eighth studio album by American rapper Fat Joe. The album was released on March 11, 2008, by Terror Squad, Virgin Records and Imperial Records. Production for the album was done by Scott Storch, Cool and Dre, Danja, DJ Khaled, DJ Premier, Swizz Beatz, The Alchemist, Streetrunner & The Hitmen, and guest contributions came from artists like Beatz, Plies, Lil Wayne, J. Holiday and KRS-One.
The gripping and emotionally-charged story of Tyke, a circus elephant who went on a rampage in Honolulu, Hawaii, in 1994, killed her trainer in front of thousands of spectators and died in a hail of gunfire.
Drummer Jack DeJohnette, now four releases down the road with his Golden Beams label, turns to the archives for this historic live set with Bill Frisell. The guitarist first heard DeJohnette's music as a teenager in the '60s, though it took some time before they would first perform together on Don Byron's Romance with the Unseen (Blue Note, 1999). They embrace a shared musical vision with one ear to the ground, digging the groove, and the other wide open to the possibilities of spontaneous invention in the moment.