由新加坡知名的天王级制作人许环良担任整张专辑的音乐统筹，许环良认为阿杜的声音相当具有张力，阿杜的嗓音嘶哑却不矫情，反而在歌唱的时候流露出一种真诚以及同理心，能让听的人对号入座，特别是男性听众；因此在专辑收歌的时候，特别着重于男人的感情世界这一部分。男人的外表看似坚强，但是在面对感情问题的时候，仍然会受伤会疼痛，属于这一类型的歌曲由阿杜独特的声音诠释起来，特别能够引发男人共鸣、女人关心。
在专辑的企划方面，唱片公司请来圈内知名的造型师陈孙华为阿杜做整体造型及视觉统筹，为了创造阿杜新时代真男人的形象，陈孙华特别带他远赴日本进行服装采买，今年下半年开始即将在日本及亚洲全面流行的工人服装，带点性格与颓废，刚好与专辑诉求阿杜真男人的形象相符合，预计阿杜的出现将掀起一股新型态男人风。

Groupies：【名词】
1.狂热分子 ,泛指跟着摇滚乐团到处巡回，疯狂追逐偶像的小歌迷；
2. 陈绮贞为第三张专辑《吉他手》取的英文名字。

在台下听的吉他手陈绮贞 vs Groupies

学生时代的陈绮贞，经常翘课去听演唱会。这样的习惯一直维持到现在，去年杨乃文演唱会、今年伍佰与China Blue演唱会，陈绮贞都到场，在演唱会中变回小歌迷。她不只看台上的演出，也观察台下的歌迷，以新歌《吉他手》写出小歌迷想要引起偶像注意，在短短一秒的视线交错中投注了所有期待的心情。那种Groupies式冲锋陷阵，义无反顾的热情，也是最狂热的爱情形式——爱情是一场演唱会，每个人都是里面的疯狂小歌迷。

在台上唱的吉他手陈绮贞 vs Groupies

在台上演出时，陈绮贞也有属于她的Groupies。许多陈绮贞的歌迷几乎出席她每一次现场表演。陈绮贞在现场演唱的新歌，往往正式发片前就已经有歌迷在网络上讨论。去年她出了第一本由摄影与诗构成的创作书后，也有歌迷在网上号召摄影展。陈绮贞的歌迷也许不疯狂追星，却以别有个性的方式支持着他们的偶像。

比起其它非发片期销声匿迹的歌手，陈绮贞从出道前开始，一直保持定期举行小型现场演唱。对她而言，现场表演形式有不可取代的魅力。最早是学生时代到垦丁边玩边唱，唱完了搬出一箱自己压的CD来卖。出道前第一次在女巫店表演，听众还坐不满三桌。短短几年内，陈绮贞累积了相当多死忠歌迷。每次演唱总让女巫店人气爆满。两年前第一场个人演唱会（2000年“温室花朵”演唱会），门票短短一周内销售一空。

对坚持现场表演的陈绮贞而言，演唱不只发生在电视上，音乐也不只存在于宣传期。即使唱片销售很好，她还是那个在垦丁海边,拿着一把吉他自弹自唱自卖CD，直接面对听众的陈绮贞。她的音乐更接近面对面的沟通。专辑《吉他手》取英文名为“Groupies”，也可以说是向陪她一路走来的歌迷们最直接的感谢吧。

George Harrison MBE was an English musician, singer, songwriter, and music and film producer who achieved international fame as the lead guitarist of the Beatles.

Coldplay的首张专辑《Parachutes》是一张集直率、深刻、动人旋律的大作，以回归到音乐源头的作法，来表现其歌曲中内敛但原始的情绪，证明了并非靠着嘶声呐喊才能在乐坛上一鸣惊人。此辑全球销量直逼500万张、获得NME及Q杂志高度评价、2座2001全英音乐奖及2002葛莱美最佳另类专辑。一夜之间，Coldplay从小酒吧到苏格兰格拉斯哥公园、澳洲的Big Day Out活动，甚至屡登头条的美国巡回演唱。
2002年Coldplay推出第二张专辑《A Rush of Blood To The Head》，他们再次起用Parachutes专辑原班人马－混音及制作拍文件Ken Nelson、电脑工程师Mark Phythain。专辑从2001年10月开始筹备，虽然还是一贯Coldplay的酷劲，比起前一张却更加丰富，有更多的快节奏及电子元素蕴含其中，而专辑的走向，基本上还是以个人情绪出发。

Recorded by none other than the legendary Mick Jones of the Clash, The Libertines debut record has been hailed as a genius debut. The even better news is this little wonder comes with two bonus tracks, 'What A Waster' & 'Mayday'. Rough Trade. 2002.

It is not just the timbre of Norah Jones's voice that is mature beyond her 22 years. Her assured phrasing and precise time are more often found in older singers as well. She is instantly recognizable, blending shades of Billie Holiday and Nina Simone without sounding like anyone but herself. Any way you slice it, she is a singer to be reckoned with. Her readings of the Hank Williams classic "Cold Cold Heart" and Hoagy Carmichael's "The Nearness of You" alone are worth the price of the CD. Jones's own material, while not bad, pales a bit next to such masterpieces. They might have fared better had she and producer Arif Mardin opted for some livelier arrangements, taking better advantage of brilliant sidemen such as Bill Frisell, Kevin Breit, and Brian Blade; or if the tunes had simply been given less laconic performances. Jones has all the tools; what will come with experience and some careful listening to artists like J.J. Cale and Shirley Horn is the knack of remaining low-key without sounding sleepy--sometimes less is not, in fact, more. --Michael Ross

When Bernard Butler left the band all those many years ago, few would have guessed that with him left the dangerous, romantic noir vibe that fueled Suede's first two albums. After all, Brett Anderson was supposed to be the Byronic prince of darkness, and without Butler around, it only made sense that he would indulge his taste for the theatrical. It didn't turn out that way, of course. The band hired young Richard Oakes and refashioned themselves as a glammy, fizzy guitar pop band whose elegantly wasted ballads were tales of love found, not love lost. Suede's fifth album, A New Morning, confirms that this band isn't about to release another Dog Man Star anytime soon, or even turn out a "Whipsnade," since they're now all about "Positivity," as the opening track and lead single crisply announces. Once that disappointment fades -- Suede did tragic romantic better than anybody, and it's hard not to wish they still did it -- it's easy to appreciate A New Morning as another solid, succinct collection of tuneful, stylish modern-day glam pop, nearly the equal of Coming Up, whose blueprint this follows to a tee. Song for song, it's better and more consistent than Head Music -- whose dabbling in vague electronic now seems mildly dated and whose songwriting seems slight -- thanks partially to Stephen Street's focused, flattering production, but also due to a sharp set of songs, highlighted not just by "Positivity," "Lost in TV," "When the Rain Falls" (where the piano sounds lifted from a Vince Guaraldi Peanuts special), and "Lonely Girls," but a triptych of songs that inexplicably borrow their titles from classic rock songs ("Beautiful Loser," "Street Life," "One Hit to the Body"). Plus, there's no denying that Suede does this music better than anybody else (and they sound both loose and muscular here), and that Anderson's voice is aging marvelously, sounding quite fetching with a slight hint of booze and tobacco wear. So, A New Morning isn't a new beginning, nor does it take many risks, but it does find Suede in top form with good songs and an appealing record. You might wish that it was a little more than that, but you'll be satisfied by what it is.