#epic-records — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #epic-records, aggregated by home.social.
-
"Here We Are" is a song by Cuban-American singer-songwriter #GloriaEstefan. It was released on December 5, 1989, as the third single taken from her debut solo studio album #CutsBothWays (1989) by #EpicRecords. It was solely written by Estefan while production was provided by husband #EmilioEstefanJr, Jorge Casas, and Clay Ostwald. Receiving a positive reception among critics, "Here We Are" became another success for the singer. It reached the top ten in Canada.
https://www.youtube.com/watch?v=zL6c_tIg1gM -
"Foreplay"/"Long Time" is a #suite by the American #rock band #Boston, written by #TomScholz. It appears on their 1976 debut album Boston, and "Long Time" is their second #single for #EpicRecords. The song combines an #instrumental introduction, "Foreplay", with the main song "Long Time", generally played as one on the radio and listed as one track on the album. "Long Time" peaked at No. 22 on the US #Billboard Hot 100 the week ending March 5, 1977.
https://www.youtube.com/watch?v=TnwqUEelQjE -
"Always Tomorrow" is a song by Cuban American singer and songwriter #GloriaEstefan, released worldwide on October 12, 1992 by #EpicRecords as the first single from her compilation album, #GreatestHits (1992). The song is written by Estefan and produced by her husband #EmilioEstefanJr, Jorge Casas and Clay Ostwald. It is a guitar-driven acoustic #ballad about starting over in the wake of #tragedy or #disaster. While on tour.
https://www.youtube.com/watch?v=MeRT6_h6q3w -
"I See Your Smile" is a single by Cuban American singer and songwriter #GloriaEstefan. It was released on February 8, 1993 by #EpicRecords in Europe, the UK and the US as the third single worldwide, and second in America, from her first compilation album, #GreatestHits (1992). The song was written by #JonSecada and Miguel A. Morejon and produced by #EmilioEstefanJr, Jorge Casas and Clay Ostwald.
https://www.youtube.com/watch?v=euCMGFenImY -
"Go Away" is a song by #Cuban American singer and songwriter #GloriaEstefan. It was one of four new songs to be included on her 1992 #GreatestHits album, and was remixed and released as a single in March 1993 by #EpicRecords. An uptempo latin-style #dance track, the song was written by Estefan with #LawrenceDermer and is much in the style of Estefan's earlier songs with the #MiamiSoundMachine. It was a club hit throughout Europe and America.
https://www.youtube.com/watch?v=qTrm7Y-nKS8 -
"Foreplay"/"Long Time" is a #suite by the American #rock band #Boston, written by #TomScholz. It appears on their 1976 debut album Boston, and "Long Time" is their second #single for #EpicRecords. The song combines an #instrumental introduction, "Foreplay", with the main song "Long Time", generally played as one on the radio and listed as one track on the album. "Long Time" peaked at No. 22 on the US #Billboard Hot 100 the week ending March 5, 1977.
https://www.youtube.com/watch?v=WY2p1gSOk3c -
38 years ago today, April 23, 1988, Libby Hurley debuted at #86 on Billboard’s Hot Country Singles chart with “Don’t Talk to Me”. It went on to peak at #59 and spent a total of 8 weeks on the chart.
I don't believe we even added this song to our music rotation. I remember that we played her previous single, “You Just Watch Me” quite a bit on AM 650 KYAK even after it peaked at a not very successful #43.
#vinylcommunity #music #vocalist #epicrecords #45RPM #song #vinylcollection #musicislife
-
"No Ordinary Love" is a song by English band Sade, released in September 1992 by #EpicRecords as the lead single from their fourth studio album, #LoveDeluxe (1992), on which the song appears as the opening track. It was written by lead singer #SadeAdu and #StuartMatthewman. In the United Kingdom, the single was originally issued in September 1992, then was re-issued in May 1993 following its appearance in the #erotic #dramaFilm #IndecentProposal.
https://www.youtube.com/watch?v=_WcWHZc8s2I -
"Live for Loving You" is a song by Cuban–American singer-songwriter #GloriaEstefan. It was released on September 30, 1991 by #EpicRecords worldwide as the fifth and final single from her second solo album, #IntoTheLight (1991). The song was written by Estefan, her husband #EmilioEstefanJr and #DianeWarren, and produced by Estefan, Jr., Jorge Casas and Clay Ostwald. Estefan dedicated the song to her husband, like she did with "#ComingOutOfTheDark".
https://www.youtube.com/watch?v=FXZoBvygp4U -
Ezekiel Lewis Named Epic Records Chairman-CEO
#Variety #News #EpicRecords #EzekielLewis #SonyMusichttps://variety.com/2026/music/news/epic-records-zeke-lewis-chairman-ceo-1236702542/
-
Ezekiel Lewis Named Chairman/CEO of Epic Records
https://fed.brid.gy/r/https://www.billboard.com/pro/ezekiel-lewis-chairman-ceo-epic-records/
-
Ezekiel Lewis Promoted to CEO at Epic Records
#Music #MusicIndustryNews #EpicRecords #SonyMusicGroup -
"Lovin' You" is a song recorded by American singer-songwriter #MinnieRiperton from her second studio album, #PerfectAngel (1974). It was written by Riperton and her husband, #RichardRudolph, produced by Rudolph and #StevieWonder, and released as the album's third single on November 29, 1974 by #EpicRecords. The song peaked at number one on the US #Billboard #Hot100 on April 5, 1975. Additionally, it reached number two on the #UKSinglesChart.
https://www.youtube.com/watch?v=9I3UTG1dSTc -
"Like I'm Gonna Lose You" is a song by the American singer-songwriter #MeghanTrainor from her debut major-label studio album #Title (2015), featuring guest vocals from #JohnLegend. Trainor wrote the song with Justin Weaver and #CaitlynSmith, and produced it with #ChrisGelbuda. #EpicRecords released it as the album's fourth single on June 23, 2015. A #soul love #ballad, "Like I'm Gonna Lose You" is about savoring moments spent with loved ones.
https://www.youtube.com/watch?v=2-MBfn8XjIU -
"Foreplay"/"Long Time" is a #suite by the American #rock band #Boston, written by #TomScholz. It appears on their 1976 debut album Boston, and "Long Time" is their second #single for #EpicRecords. The song combines an #instrumental introduction, "Foreplay", with the main song "Long Time", generally played as one on the radio and listed as one track on the album. "Long Time" peaked at No. 22 on the US #Billboard Hot 100 the week ending March 5, 1977.
https://www.youtube.com/watch?v=TnwqUEelQjE -
Lamb of God – Into Oblivion Review By TymeMy appreciation for Lamb of God didn’t really take off until a very close friend of mine had me watch Killadelphia for the first time.1 Having survived more than a few metal battlefields of my own, I found the “Black Label” wall of death footage brutally fun.2 Additionally, watching LoG perform those songs live, I found the music clicked with me in a way it hadn’t before, which led me to return to those first three studio albums with renewed vigor and salivating over the upcoming release of Sacrament. Well, twenty years have passed since then,3 a span marked by no small amount of turbulence for the band, both inside and outside the recording studio, my own attention and interest in their work wavering as well. And since Saunders has so graciously ceded his seniority this Tyme around, you’re getting not just my crappy pun, but my two cents on Lamb of God’s tenth outing, Into Oblivion.
It’s not often that commercially thriving bands return from flights of progressive exploration to successfully tap back into their foundational roots. Yet, since the inconsistent VII: Sturm und Drang, Lamb of God seem focused on recapturing some of that lightning in the bottle from their earliest efforts—every step from 2020’s hopeful Lamb of God to 2022’s crunchy and visceral Omens,4 has led the Richmond ragers here, Into Oblivion. Operating musically in a space free from the confines of agendas or trends, LoG are writing songs for no one but themselves. Though lyrically no less acerbic, Into Oblivion serves as Blythe’s commentary on the continued erosion of the social contract here in the States. Mark Morton’s and Willie Adler’s signature guitar sound greets us at the door, the mix of chugs, spindly leads, and technical riffs of the opening title track a good launch point for the rest of the album. Which immediately transitions to “Parasocial Christ,” a thrashy barn burner that is one of the best songs Lamb of God have written in a decade and features one of Blythe’s most visceral performances, who recorded all his vocals at the legendary Total Access studio in Redondo Beach.5
It became increasingly evident that Lamb of God wrote Into Oblivion for the stage. While listening, I could vividly see the impending whiplash under seizure-inducing strobes that blister fests like “Parasocial Christ” and “St. Catherine’s Wheel” will cause just as clearly as I envisioned the swarms of boot-stomping brutality in pits across the country incited by the chugging, bruising grooves of “The Killing Floor” and “Blunt Force Blues.” Much of Into Oblivion should sate long-time fans yearning for days of yore, and settle the argument that the rhythm section anchored by Art Cruz would suffer from Chris Adler’s departure. Lamb of God has also found a way to inject a satisfying amount of experimentation into the strict confines of the album that works without turning things into an overwrought bloat-fest.
With a FAFO runtime of just over 39 minutes, Into Oblivion is the leanest a Lamb of God album has been since 2003’s As the Palaces Burn. Still, LoG managed to color some moments outside the lines. With an opening John Campbell bass line unexpectedly soaked in reverb, “Sepsis” is a monstrous sludgefest that trudges through verses where Blythe falls into a spoken but mostly shouted hybrid tone—an improvement over his mostly cringey straight spoken word—before dipping into a crushing riff that supports the chorus’s screams. This newfound bass-forward sludginess manifests again on “A Thousand Years,” before giving way to a sexy riff full of slithery Southern swagger. Here, Blythe layers some grungy cleans over spoken croaks that work within the song’s style. “El Vacìo” represents the largest departure, reaching near-ballad status as Blythe croons much-improved cleans over Morton and Adler’s moody guitar lines, then crawls into a dramatically tense chorus that gives me goosebumps every time I hear it.
Not everything about Into Oblivion works—for starters, the generic cover and new logo aren’t really hitting, and, while not terrible, I could live with or without the four-plus-minute “Bully.” Still, I wasn’t expecting to like Into Oblivion as much as I do. When I first popped its top, I joked in the AMG lunch room that it might threaten the safety counter. To which Steel immediately replied, ‘wut!’ While the safety counter is fine, Into Oblivion earned its score and might be the best thing Lamb of God has done since Wrath.
Rating: 3.5/5.0
#2026 #35 #AmericanMetal #EpicRecords #GrooveMetal #IntoOblivion #LambOfGod #Mar26 #Review #Reviews #ThrashMetal
DR: n/a | Format Reviewed: Farging Stream
Label: Epic Records
Websites: LambofGod.com | Bandcamp | Facebook
Releases Worldwide: March 13th, 2026 -
Gordon Anderson, Promotion Executive Who Helped Power CBS Records’ Golden Run, Dies at 79
-
"Lovin' You" is a song recorded by American singer-songwriter #MinnieRiperton from her second studio album, #PerfectAngel (1974). It was written by Riperton and her husband, #RichardRudolph, produced by Rudolph and #StevieWonder, and released as the album's third single on November 29, 1974 by #EpicRecords. The song peaked at number one on the US #Billboard #Hot100 on April 5, 1975. Additionally, it reached number two on the #UKSinglesChart.
https://www.youtube.com/watch?v=K7MqTrXwojk -
38 years ago today, February 20, 1988, Exile debuted at #67 on Billboard’s Hot Country Singles chart with “Feel Like Foolin’ Around”. It went on to peak at only seven notches higher at #60 and spent a total of 4 weeks on the chart.
If I remember correctly, we played this song for only about a week, then it was dropped from the rotation at KYAK, the station I used to work for.
#vinylcommunity #music #epicrecords #1980s #vinyl #45rpm #countrymusic #exile #singing #recording #musicislife
-
"Black or White" is a song by American singer and songwriter #MichaelJackson, released by #EpicRecords on November 4, 1991, as the first single from Jackson's eighth album, #Dangerous (1991). Jackson wrote, composed, and produced the track with record producer #BillBottrell, who provides an uncredited #rap performance. Epic Records described it as "a rock 'n' roll #dance song about racial harmony".
https://www.youtube.com/watch?v=F2AitTPI5U0 -
"The Way You Make Me Feel" is a song by the American singer #MichaelJackson. It was released by #EpicRecords on November 9, 1987, as the third single from his seventh studio album, #Bad. It was written and composed by Jackson and produced by #QuincyJones and Jackson. The song received positive reviews from contemporary critics. "The Way You Make Me Feel" became Bad's third consecutive single to peak at number one on the #Billboard Hot 100.
https://www.youtube.com/watch?v=uzbnrfd9vLQ -
"Here We Are" is a song by Cuban-American singer-songwriter #GloriaEstefan. It was released on December 5, 1989, as the third single taken from her debut solo studio album #CutsBothWays (1989) by #EpicRecords. It was solely written by Estefan while production was provided by husband #EmilioEstefanJr, Jorge Casas, and Clay Ostwald. Receiving a positive reception among critics, "Here We Are" became another success for the singer. It reached the top ten in Canada.
https://www.youtube.com/watch?v=Wf9DYeePLJY -
Record Label Market Share Year-End 2025: Taylor Swift Powers REPUBLIC to New High; Interscope & Atlantic Finish Strong
-
"Made You Look" is a song by the American singer-songwriter #MeghanTrainor from her fifth major-label studio album, #TakinItBack (2022). Trainor wrote it with songwriter #SeanDouglas and its producer, #FedericoVindver. #EpicRecords released it as the album's second single on October 31, 2022. A #doowop song, it was inspired by Trainor's insecurities about body image and encourages listeners to embrace their natural beauty and confidence.
https://www.youtube.com/watch?v=xHTRpQi1GSc -
"Praying for Time" is a song written, produced, and performed by English singer and songwriter #GeorgeMichael, released on #EpicRecords in the United Kingdom and #ColumbiaRecords in the United States in 1990. It was the first single from his second studio album, #ListenWithoutPrejudiceVol1 (1990), spending one week at number one on the US #Billboard Hot 100, making it Michael's seventh number one in the US and his last solo single to top the chart.
https://www.youtube.com/watch?v=goroyZbVdlo -
"I Just Can't Stop Loving You" is a 1987 duet #ballad by American singer #MichaelJackson featuring singer and songwriter #SiedahGarrett, and was released as the first single on July 20, 1987, by #EpicRecords from his seventh album, #Bad. The song was written by Jackson, and co-produced by Jackson and #QuincyJones. The presence of Garrett on the track was a last-minute decision by Jackson and Jones.
https://www.youtube.com/watch?v=PHZ1Bii7Uwk -
"Carrie Anne" is a song written by #AllanClarke, #GrahamNash, and #TonyHicks and released by British #popRock group #theHollies. It was recorded on 1 May 1967 and was released as a single in the same month by #ParlophoneRecords in the United Kingdom and #EpicRecords in the United States. It became a hit in 1967, reaching No.3 on the #UKSinglesChart. It was also a hit in the US and Canada, peaking at No.9 on both pop charts. It also reached No.4 in the Irish charts.
https://www.youtube.com/watch?v=eYH1fmK66jg -
"I'm Alive" is a song by Canadian singer #CelineDion from her seventh English-language album, #ANewDayHasCome (2002). It was written by #KristianLundin and #AndreasCarlsson, and produced by Lundin with additional production by #RicWake and Richie Jones. "I'm Alive" was released as the album's second single on 5 August 2002 by #ColumbiaRecords and #EpicRecords. It was also featured in the film #StuartLittle2.
https://www.youtube.com/watch?v=6SGx4acj4O4 -
"Get on Your Feet" is a song by the Cuban-American singer-songwriter #GloriaEstefan, taken from her solo debut studio album, #CutsBothWays (1989). Written by John DeFaria, Jorge Casas, and Clay Ostwald, and produced by the later two along with #EmilioEstefanJr, it was released on September 19, 1989, as the second single taken from the record by #EpicRecords. A song of encouragement, the #dancepop.
https://www.youtube.com/watch?v=lwmKrXZN6WM