Strangeways, Here We Come is the fourth and final studio album by English rock band the Smiths. It was released on 28 September 1987 by Rough Trade Records, several months after the group had disbanded. All of the songs were composed by Johnny Marr, with lyrics written and sung by Morrissey. Rolling Stone said the record "stands as one of their best and most varied". Slant Magazine listed the album at No. 69 on its list of "Best Albums of the 1980s", writing that "Whether or not Strangeways, Here We Come ended the Smiths' brief career with their best album has been the subject of considerable debate for nearly a quarter century, but it definitively stands as the band's most lush, richest work." The album reached number two on the UK Albums Chart, staying in the chart for 17 weeks. The album also became an international success, peaking at number 16 in the European Albums Chart; from sales covering the 18 major European countries, staying in that chart for nine weeks. The album was certified gold by the British Phonographic Industry on 1 October 1987 and also by the Recording Industry Association of America on 19 September 1990. The Smiths recorded what was to be their final studio album at The Wool Hall studios in Beckington, Somerset, England (established and then-owned by the band Tears for Fears). Between the album's recording in March and its release in September 1987, Johnny Marr left the group, ending the band. Strangeways is the only Smiths album to feature Morrissey playing a musical instrument: piano, on the song "Death of a Disco Dancer". Marr felt the band was ready to enter a new musical phase, and was determined to avoid a formula and move away from their previous "jingle jangle" sound. He started to look for different influences, finding an interest in The Beatles' The Beatles (album). Marr further stated that he intended Strangeways as an homage to early records by The Walker Brothers. The band's instrumentation branched out as well, including synthesised saxophone, string arrangements on keyboards, and drum machine additions. Recording in The Wool Hall made the sessions more relaxed, as the wine cellar was fully stocked and producer Stephen Street came slowly to understand the idea that the writing partners Morrissey and Marr were trying to put forth. Street (who engineered previous Smiths efforts) later said that after the recording days there would always be late-night drinking. "That was always after Morrissey had gone to bed ... it wasn't really his bag. We'd carry on finishing overdubs and then the records would come out. We'd be partying all hours". Ed Power wrote in The Independent that "Everyone else was more than willing to join [Marr] in this new love affair. Parties at Wool House became a nightly event. With Morrissey tucked up in bed with his favourite Sylvia Plath anthology, the musicians would cover their favourite Spinal Tap songs into the wee hours". Morrissey and Marr feel the album is the band's best, with Morrissey asserting that, "We say it quite often. At the same time. In our sleep. But in different beds". Drummer Mike Joyce also named the album as the band's best.

Street Survivors is the fifth studio album by the Southern rock band Lynyrd Skynyrd, released on October 17, 1977. The LP is the last Skynyrd album recorded by original members Ronnie Van Zant and Allen Collins, and is the sole Skynyrd studio recording by guitarist Steve Gaines. Three days after the album's release, the band's chartered airplane crashed en route to Baton Rouge, Louisiana, killing the pilot, co-pilot, the group's assistant road-manager and three band members (Van Zant, Gaines, and Gaines' older sister, backup singer Cassie Gaines), and severely injuring most who survived the crash. The album was an instant success, achieving gold certification just 10 days after its release. It would later go double platinum. The album was recorded twice, once with Tom Dowd at the helm at Criteria Studios in Miami, Florida, and then at Studio One in Doraville, Georgia, five months later with uncredited co-producers Kevin Elson and Rodney Mills. The Doraville recording was used for the initial release of the album. In March 2008, the album was re-issued with these alternate versions of most of the songs. Differences are minor on some songs, with the major difference being a much slower and extended earlier version of "That Smell." Also included are two songs recorded for, but not included on the original album, "Georgia Peaches" and "Sweet Little Missy," with the latter being included twice, in demo and final form. Also included is a version of "Honky Tonk Night Time Man," with Ronnie's alternate autobiographical vocal take, entitled "Jacksonville Kid," which is believed to be the last vocal take he ever recorded in a studio. The song "One More Time" was added to the album, presumably after it was decided to drop one of the two tracks above. However, this song is the original recording from their 1971 Muscle Shoals demo; it was not re-recorded for this album. Hence it features Greg Walker and Rickey Medlocke in place of Leon Wilkeson and Artimus Pyle. Street Survivors was a showcase for guitarist/vocalist Steve Gaines, who had joined the band just a year earlier on the recommendation of his sister Cassie. Publicly and privately, Ronnie Van Zant marveled at the multiple talents of Skynyrd's newest member, claiming that the band would "all be in his shadow one day." Gaines' contributions included his co-lead vocal with Van Zant on the co-written "You Got That Right" and the guitar boogie "I Know A Little," which Gaines had written before he joined Skynyrd. So confident was Skynyrd's leader of Gaines' abilities, that the album (and some concerts) featured Gaines delivering his self-penned blues "Ain't No Good Life" - one of the few songs in the first incarnation Skynyrd catalog to feature a lead vocalist other than Van Zant. The album also included the hit singles "What's Your Name" and the ominous "That Smell" - a cautionary tale about drug abuse that seemed to be aimed at fellow band members (both Collins and Gary Rossington had serious car accidents which slowed the recording of the album). On October 20, 1977, only three days after the release of Street Survivors, and five shows into their most successful headlining tour to date, Lynyrd Skynyrd's chartered Convair CV-300 ran out of fuel near the end of their flight from Greenville, South Carolina, where they had just performed at the Greenville Memorial Auditorium, to LSU in Baton Rouge, Louisiana. Though the pilots attempted an emergency landing on a small airstrip, the plane crashed in a forest five miles (8 km) northeast of Gillsburg, Mississippi. Ronnie Van Zant, Steve Gaines, Cassie Gaines, assistant road manager Dean Kilpatrick, pilot Walter McCreary, and co-pilot William Gray, were killed on impact. The other band members (Collins, Rossington, Wilkeson, Powell, Pyle, and Hawkins), tour manager Ron Eckerman, and road crew survived, but suffered serious injuries. Following the crash and the ensuing press, Street Survivors became the band's second platinum album and reached No. 5 on the U.S. album chart. The single "What's Your Name?" reached No. 13 on the single airplay charts in January 1978. The original cover sleeve for Street Survivors had featured a photograph of the band standing on a city street with all its buildings engulfed in flames, some near the center nearly obscuring Steve Gaines's face. After the plane crash, this cover became highly controversial. Out of respect for the deceased (and at the request of Teresa Gaines, Steve's widow), MCA Records withdrew the original cover and replaced it with a similar image of the band against a simple black background, which was on the back cover of the original sleeve. Conspiracy theorists have long claimed that only those band members touched by flame in the photograph were killed in the crash, but this is not true (flame appears to touch nearly all band members). Thirty years later, for the deluxe CD version of Street Survivors, the original "flames" cover was restored.

Crosby, Stills & Nash is the debut studio album by Crosby, Stills & Nash (CSN), released in 1969 on the Atlantic Records label. It spawned two Top 40 hit singles, "Marrakesh Express" and "Suite: Judy Blue Eyes", which peaked respectively at No. 28 the week of August 23, 1969, and at No. 21 the week of December 6, 1969, on the Billboard Hot 100 singles chart. The album itself peaked at No. 6 on the Billboard Top Pop Albums chart. It has been certified four times platinum by the RIAA for sales of 4,000,000. The album was a very strong debut for the band, instantly lifting them to stardom. Along with the Byrds' Sweetheart of the Rodeo and the Band's Music from Big Pink of the previous year, it helped initiate a sea change in popular music away from the ruling late-1960s aesthetic of bands playing blues-based rock music on loud guitars. Crosby, Stills & Nash presented a new wrinkle in building upon rock's roots, using folk, blues, and even jazz without specifically sounding like mere duplication. Not only blending voices, the three meshed their differing strengths, David Crosby for social commentary and atmospheric mood pieces, Stephen Stills for his diverse musical skills and for folding folk and country elements subtly into complex rock structures, and Graham Nash for his radio-friendly pop melodies, to create an amalgam of broad appeal. The album features some of their best known songs, incluring "Helplessly Hoping", "Long Time Gone", "Suite: Judy Blue Eyes", and "Wooden Ships", a collaboration between Crosby and Stills as well as Paul Kantner of Jefferson Airplane. Stills dominated the recording of the album. Crosby and Nash played guitar on their own songs respectively, while drummer Dallas Taylor played on most tracks except for drummer Jim Gordon on one. Stills played all the bass, organ, and lead guitar parts, as well as acoustic guitar on his own songs. "The other guys won't be offended when I say that one was my baby, and I kind of had the tracks in my head", Stills said. Even with this dominance, Stills does not appear on the tracks "Guinnevere" and "Lady of the Island", both featuring Crosby and Nash only and an inadvertent precursor to their partnership on record and stage during the 1970s. David Crosby bristled over the plan for "Long Time Gone" as he thought he should at least play rhythm guitar on his own song. Stills convinced him to go home for a while and when he returned Crosby was won over by the music track that Stills and Taylor had recorded. In a more recent interview, Crosby contradicted his earlier statement, stating that he had played guitar on the track. He is so credited in the liner notes to the 1991 box set. The group performed songs from the album at the Woodstock festival in August 1969. In late 1969 the group appeared with Neil Young on the Tom Jones' TV show and performed "Long Time Gone" with Tom Jones sharing vocals. The album proved very influential on many levels to the dominant popular music scene in America for much of the 1970s. The success of the album generated respect for the group within the industry and galvanized interest in signing similar acts, many of whom came under management and representation by the CSN team of Elliot Roberts and David Geffen. Strong sales, combined with the group's emphasis on personal confession in its writing, paved the way for the success of the singer-songwriter movement of the early 1970s. Their use of personal events in their material without resorting to subterfuge, their talents in vocal harmony, their cultivation of painstaking studio craft, as well as the Laurel Canyon ethos that surrounded the group and their associates, established an aesthetic for a number of acts that came to define the "California sound" of the ensuing decade, including the Eagles, Jackson Browne, post-1974 Fleetwood Mac, and others. The album has been issued on compact disc three times: mastered by Barry Diament at Atlantic Studios in the mid-1980s; remastered by Joe Gastwirt at Ocean View Digital and reissued on August 16, 1994; reissued again by Rhino Records as an expanded edition using the HDCD process on January 24, 2006. On December 6, 2011, a Gold Compact Disc edition of the album was released on the Audio Fidelity label.

The String Sextet in D minor "Souvenir de Florence", Op. 70, is a string sextet scored for 2 violins, 2 violas, and 2 cellos composed in the summer of 1890 by Pyotr Ilyich Tchaikovsky. Tchaikovsky dedicated the work to the St. Petersburg Chamber Music Society in response to his becoming an Honorary Member. The work, in the traditional four-movement form, was titled "Souvenir de Florence" because the composer sketched one of the work's principal themes while visiting Florence, Italy, where he composed The Queen of Spades. The work was revised between December 1891 and January 1892, before being premiered in 1892. It is the only string sextet by the composer. The first movement is in sonata form and, without introduction, presents a rather violent yet melodic first theme in D minor. The second theme, in the dominant major key of A major, is much calmer; it flows from the first theme almost effortlessly and then proceeds into the development and recapitulation, which concludes with a quick coda. The slow movement, in D major, has a very innocent, romantic theme initially stated by the first violin with pizzicato accompaniment before being taken up by the cello. Following interruption by an interlude for all of the instruments, the theme returns for a repeat of the first section. The last two movements, with their distinctly Russian and folk-like melodies and rhythms, greatly contrast with the previous ones. This work has also been arranged for string orchestra, including one by Yuli Turovsky. Excerpts from the score were used in the 2005 ballet Anna Karenina, choreographed by Boris Eifman. Pyotr Ilyich Tchaikovsky (7 May 1840 – 6 November 1893) was a Russian composer of the Romantic period. He was the first Russian composer whose music would make a lasting impression internationally. He wrote some of the most popular concert and theatrical music in the current classical repertoire, including the ballets Swan Lake and The Nutcracker, the 1812 Overture, his First Piano Concerto, Violin Concerto, the Romeo and Juliet Overture-Fantasy, several symphonies, and the opera Eugene Onegin. Although musically precocious, Tchaikovsky was educated for a career as a civil servant as there was little opportunity for a musical career in Russia at the time and no system of public music education. When an opportunity for such an education arose, he entered the nascent Saint Petersburg Conservatory, from which he graduated in 1865. The formal Western-oriented teaching that he received there set him apart from composers of the contemporary nationalist movement embodied by the Russian composers of The Five with whom his professional relationship was mixed. Tchaikovsky's training set him on a path to reconcile what he had learned with the native musical practices to which he had been exposed from childhood. From that reconciliation, he forged a personal but unmistakably Russian style. The principles that governed melody, harmony and other fundamentals of Russian music ran completely counter to those that governed Western European music, which seemed to defeat the potential for using Russian music in large-scale Western composition or for forming a composite style, and it caused personal antipathies that dented Tchaikovsky's self-confidence. Russian culture exhibited a split personality, with its native and adopted elements having drifted apart increasingly since the time of Peter the Great. That resulted in uncertainty among the intelligentsia about the country's national identity, an ambiguity mirrored in Tchaikovsky's career. Despite his many popular successes, Tchaikovsky's life was punctuated by personal crises and depression. Contributory factors included his early separation from his mother for boarding school followed by his mother's early death; the death of his close friend and colleague Nikolai Rubinstein; and the collapse of the one enduring relationship of his adult life, his 13-year association with the wealthy widow Nadezhda von Meck, who was his patron even though they never met. His homosexuality, which he kept private, has traditionally also been considered a major factor though some musicologists now downplay its importance. Tchaikovsky's sudden death at the age of 53 is generally ascribed to cholera, but there is an ongoing debate as to whether cholera was indeed the cause, and also whether the death was accidental or intentional.