On 2016's Goodbye to Language, veteran producer Daniel Lanois and frequent collaborator Rocco DeLuca team up for an album of shifting experimental soundscapes created with lapsteel guitars. The album is far closer to Lanois' pioneering ambient works with Brian Eno, Harold Budd, and Michael Brook from the 1980s than his subsequent, more rootsy singer/songwriter albums. As the album's title suggests, there are no lyrics here, and the feelings evoked by this music can't accurately be expressed by words anyway. As simple as the idea of an ambient steel guitar album sounds, there's a lot going on here, and it never feels like mere background music.
Goodbye Yellow Brick Road is the seventh studio album by Elton John, released in 1973. It is regarded as one of his best and most popular, in addition to being his first double album. It was recorded at the Château d'Hérouville after problems recording at the intended location of Jamaica. Among the 17 tracks, the album contains the hits "Candle in the Wind", "Bennie and the Jets", "Goodbye Yellow Brick Road" and "Saturday Night's Alright for Fighting" plus "Funeral for a Friend" and "Harmony". In 2003, the album was inducted into the Grammy Hall of Fame. The album was ranked number 91 on Rolling Stone magazine's list of the 500 greatest albums of all time, and number 59 in Channel 4's 2009 list of 100 Greatest Albums.
Although 1979's "I Will Survive" is Gloria Gaynor's most famous recording, it was hardly her first. In 1975, the singer established herself as one of disco's early divas with her debut album Never Can Say Goodbye, which dance club DJs went wild over. With side one of this LP, Gaynor helped to popularize the art of the nonstop dance mix, a concept that was still alive and well when the 21st century arrived 25 years later. There are no breaks between songs on side one; the intoxicating opener "Honey Bee" segues into Gaynor's hit remake of "Never Can Say Goodbye" and that Clifton Davis gem (which had been recorded by the Jackson 5 and Isaac Hayes in the early '70s) segues into a stunning interpretation of the Four Tops' "Reach Out, I'll Be There." Put those three gems together and you have a nonstop 19-minute dance mix that thrilled the club DJs of 1975 to no end. Meanwhile, side two isn't as club-driven; all of the songs are under four minutes, and there are breaks between them. In other words, side two is more typical of R&B LPs from the mid-'70s.