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Insights and Sounds' described Desperado was a gutsy and surprising choice. Both the Eagles and Linda Ronstadt had recorded their own versions, yet Richard's arrangement and Karen's strong delivery on this song created the new standard to beat., [4] Linda Ronstadt on her fourth solo studio album Don't Cry Now (1973). [10]
Desperado is the second studio album by the American rock band the Eagles, released on April 17, 1973, by Asylum Records. The album was produced by Glyn Johns and was recorded at Island Studios in London, England.
Desperado: The Soundtrack is the film score to Robert Rodriguez’s Desperado. It was written and performed by the Los Angeles rock bands Los Lobos and Tito & Tarantula, performing traditional Ranchera and Chicano rock music. Other artists on the soundtrack album include Dire Straits, Link Wray, Latin Playboys, and Carlos Santana.
"Desperado" is a song recorded by Barbadian singer Rihanna for her eighth studio album, Anti (2016). It was written and produced by Mick Schultz with additional writing by Krystin "Rook Monroe" Watkins, Rihanna, Iman Jordan , James Fauntleroy and Derrus Rachel.
Metallica's self-titled album is the highest selling record under Nielsen SoundScan, selling over 17 million copies. This is a list of best-selling albums in the United States of the Nielsen SoundScan era.
The use of found objects in music takes one of two general forms: either objects are deliberately recorded, with their sound used directly or in processed form, or previous recordings are sampled for use as part of a work (the latter often being referred to simply as "found sound" or "sampling").
Robert Anthony Rodriguez (/ r ɒ ˈ d r iː ɡ ɛ z /; born June 20, 1968) [1] [2] is an American filmmaker, composer, and visual effects supervisor. He shoots, edits, produces, and scores many of his films in Mexico and in his home state of Texas.
Post-tonal music theory is the set of theories put forward to describe music written outside of, or 'after', the tonal system of the common practice period.It revolves around the idea of 'emancipating dissonance', that is, freeing the structure of music from the familiar harmonic patterns that are derived from natural overtones.