辑介绍： 香港MCB杂志评出的100张欧美最具革命性专辑之一，评语为：“美国后摇滚体系的先锋乐团，一张影响着整个后摇运动发展的导航唱片。” 存在于1987-1991年间的美国post-rock乐队，这是他们的第二张，也是最后一张完整的录音室专辑，专辑发行不久乐队即告解散。他们在音乐中大量使用吉他噪音和怪异的和弦来营造旋律和氛围，人声退居到很不显眼的位置。这张专辑被许多人认为是第一张后摇滚专辑，影响十分深远。专辑发行的时候，封套上留了个地址，希望有兴趣参与的女音乐人和他们联系。PJ Harvey曾经给这个地址去过信，但那时乐队已经不存在了。 关于Slint： （引自jickbin朋友在 的介绍） 肯塔基州路易维尔的 Slint 成军于 1987 年，在出版两张叫好不叫座的专辑《Tweez》(1989) 和《Spiderland》(1991) 后便宣告解散﹝1994 年出版的迷你辑《Slint》录制于 1990 年左右﹞，但影响力却随着团员四散新组的乐团，和无数受 Slint 启蒙而纷纷仿效的后进，而与日俱增。被众多媒体包括 Alternative Press、 Pitchfork 等选为90 年代百大专辑，NME、Melody Maker 等选为乐史百大专辑，由 Steve Albini 制作的 《Spiderland》是乐史第一张可以称作后摇滚的唱片。这个堂皇的冠冕虽然成就了后来 Slint 无与伦比的传奇名声，但实际上听过 Slint 音乐的人，其实少得可怜，不少人可能只听过 1995 年发的《Kids》原声带里收录的结束曲〈Good Morning Captain〉。但无庸置疑的，从 Polvo、June of 44、Dirty Three 到 Mogwai、Godspeed You Black Emporer!、Sigur Ros，Slint 的影响至今持续发酵。 ---

One from the Heart was a soundtrack album of Tom Waits compositions for the Francis Ford Coppola film of the same name. It was recorded from October 1980 to September 1981, and released in 1982. It was during this period that Waits met his wife Kathleen Brennan, an employee at the studio where it was recorded. Crystal Gayle features prominently on the record, performing either solo or in duets with Waits. The soundtrack was nominated for an Academy Award for Original Music Score. The movie was re-released on DVD on January 27, 2004, and the DVD contains remixed and remastered Dolby Digital 5.1 Surround Sound of the soundtrack from Waits' original studio sessions, a documentary on the making of the soundtrack, as well as previously unreleased demo recordings and alternate takes.

Sonic Youth（音速青年）乐队1992年经典专辑《Dirty》！

The Velvet Underground — which at that time consisted of Doug Yule (vocals/guitar), Willie Alexander (keyboards/vocals), Walter Powers (bass guitar) and Maureen Tucker (drums) — had toured the United Kingdom and The Netherlands in October and November of 1971 to support its latest album, Loaded, which had seen a European release in March of that year. The plan was to record a second and final album for their record company, Atlantic Records, afterwards, [1] but Atlantic had lost faith and decided to issue an archive recording from 1970 featuring Lou Reed, Live at Max's Kansas City, instead. [2] After the tour, band manager Steve Sesnick managed to get a recording deal with Polydor UK to record a final Velvet Underground album. Alexander, Powers and Tucker were sent back to the United States by Sesnick, however, presumably to retain maximum control over the finished product. [3] Thus, Yule was the only Velvet to actually perform on the album. Although Squeeze was released nominally as a Velvet Underground album, it could justifiably be regarded as a Doug Yule solo album in all but name. The eleven songs that make up Squeeze were written by Yule and recorded with the help of Deep Purple drummer Ian Paice, with additional occasional saxophone and backing singer assistance. They range from Beatles-like whimsy ("Crash") via pop to typical 70s rock ("Mean Old Man"). Squeeze was recorded in the autumn of 1972 and released in the United Kingdom, France, Germany (all 1973) and Spain (1974)[4]. No singles were taken off it and the album did not chart. Yule assembled a backing band consisting of Rob Norris (guitar), George Kay (bass guitar) and Mark Nauseef (drums) to tour the United Kingdom in November and December 1972 to promote the upcoming album; a live recording from this tour is included on the 2001 live box set Final V.U. 1971-1973. After the tour, during which they were deserted by Sesnick, Yule also called it quits, bringing the Velvet Underground to an end[5]. Squeeze saw a number of re-issues in France during the 1970s and early 1980s. It has been out of print since, and has not been issued on compact disc. The status of Squeeze in the Velvet Underground's canon is generally regarded as dubious; the 1995 Velvets boxed set Peel Slowly and See includes the four studio albums from the Lou Reed era of the band, but excludes Squeeze. In the Peel Slowly and See liner notes, David Fricke dismisses Squeeze as "an embarrassment to the Velvets' discography." 这张地下丝绒的专辑其实已经不算是真正的VU专辑了，最多也就是挂着丝绒名的Doug Yule 的个人专辑,历来评价不高,不过VU的铁粉还是可以听听试试 下面提供试听地址(注:可能要注册帐户)

Long overdue release of this classic Soul album originally released on Maple Records featuring 14 additional tracks! Lee Moses may not be a familiar name to most, but to fans of '60s and '70s Soul music, this album has built up a cult following since it's release over 30 years ago. 23 tracks total including 'Got The Will', 'Every Boy And Girl', 'Free At Last', 'Hey Joe' and the title track. Castle. 2006.

Either/Or is the third studio album by American singer-songwriter Elliott Smith. Recorded in several locations mostly in Portland, Oregon while Smith was still in Heatmiser and produced by Smith, Tom Rothrock and Rob Schnapf, Either/Or was released on February 25, 1997 through record label Kill Rock Stars following the demise of Heatmiser. Book-ended by the two singles "Speed Trials" and "Ballad of Big Nothing", Either/Or did not chart in the US but was acclaimed by critics. Following the album's release, Smith would be struck to the forefront of popular culture after performing the song "Miss Misery" at the 1998 Academy Awards, which appeared in the film Good Will Hunting.

Roy Kelton Orbison was an American singer, songwriter, and musician known for his impassioned singing style, complex song structures, and dark, emotional ballads. His music was described by critics as operatic, earning him the nicknames "The Caruso of Rock" and "The Big O."

Galaxie 500 was an American alternative rock band that formed in 1987 and split up in 1991 after releasing three albums.

Sonic Youth's sixth album.

2004年新版本，Satellite Of Love、Walk On The Wild Side、Perfect Day为Original版本，增加Hangin' 'Round、Perfect Day两首原声吉他版demo。

Norman Fucking Rockwell is the sixth studio album and fifth major-label record by American singer Lana Del Rey, set to be released in early 2019.[1][2] The lead single, titled "Mariners Apartment Complex", was released worldwide on September 12, 2018, and the album title was announced on September 18, 2018.

Lover is the upcoming seventh studio album and major-label debut by American singer-songwriter Taylor Swift. It was released on released on August 23, 2019. The album is Swift's first release under Republic Records and Taylor Swift Productions. The lead single "Me!" featuring Brendon Urie of Panic! at the Disco was released on April 26, 2019. The second single "You Need to Calm Down" was released on June 13, 2019. The title track was released as the third single on August 16, 2019. Aside from Urie, Lover also features a collaboration with the Dixie Chicks.

The Beach Boys are an American rock band that formed in Hawthorne, California, in 1961. The group's original lineup consisted of brothers Brian, Dennis, and Carl Wilson, their cousin Mike Love, and friend Al Jardine.

朋克的摧毁在作用于外部世的同时，同样也在心灵深处进着，Stooges和Iggy Pop开拓了形式后的朋克精神，这是一支相当心灵化的朋克乐队。 当你面对一个颤抖着的、具强大震撼力的灵魂时，你能做些么呢? ——跟随着它一起颤抖吧，是最好的感受方式了。Stooges的音乐中弥散着一种摄人心魄的失重的坠落感(尤其体现在伟大的杰作《Fun House》中)，你所需要做的就闭上眼睛，任凭心灵被lggy Pop发自灵魂深处的声音牵引着一起下坠。 一座铁索桥架在两壁悬崖间，他跪在桥上，一块块地用双拆着木板，脸上是神经质般纯洁笑客——这是Iggy Pop给予人的那令人恐惧、指向地狱的坠落感。 然而，在享受Stooges的恐惧、堕落的同时，我们所感受到的不只是自虐、受虐的痛苦，痛苦的背面是压抑后被释放的自由的快感，这正是Stooges的伟大之处——在压抑中发泄，在绝望中获得解放，在痛苦感受快乐，这些矛盾的揉合体形成Stooges音乐复杂、丰富的个性，并展现了一个勇敢面对矛盾冲突，进入其中以求得到解答(甚至不惜以牺牲自己为代价)的灵魂，这是Iggy Pop无畏的伟大，是沼泽中求生存，悬崖边求学援，压抑中求释放的勇敢——人一旦屈服于命运便失去了真正造就人的东西，也不能再称为"人"，因为人不能没有精神。 在感受Stooges的音乐时，我们总是无法摆脱一种窒息与释放相交错而成的炽烈、强大的生命力，强大得令人畏惧，这种危机与生命的复合形成了Stooges音乐中无休止的挣扎--如果不想被流沙淹没，只能不停地奔跑，摇滚／生命一刻也未停止过这种挣扎，这种挣扎是痛苦的，但却能给人快感和幸福。 如果生命是为了屈服，不如从死亡中解放；如果生存是为了斗争／革命，那么当你投身其中时，便已经理解生存的含义，并与使命融为一体了。 生存便是为了摧毁，而摧毁就是解放，但或许真正的解放只有在来生中才能找到——人若想要不妥协，恐怕只有放弃肉体，才能保全精神。 Stooges的音乐是极其震撼力的，那种痛苦地受虐／自虐性的快感使人不由自主地把自己整个地交给颤栗。乐队1969年的专辑《Fun House》绝对是一部伟大的作品，其中最突出的是大量的萨克斯风，以连续跳跃，不断变化的表达方式体现了摇摇欲坠的危险感——痛苦、恐惧，却很快乐。Iggy Pop像个站在悬崖边上向激流里的岩石张望的舞蹈者，在快感进发的吼叫声中，Iggy Pop将自己奉献给痛苦和死亡，在这死神的舞蹈中，Iggy Pop竟用充满自虐感的声音喊出了“I feel alright，I feel alright，Feel alright……”，这是精神的一种伟大的挣扎。 Stooges音乐中的跳跃感像是一团火，Iggy Pop似乎在烈焰中舞蹈，撕扯看自己，带着纯洁、撕裂、快慰的微笑——这是临近死亡的体验，是享受痛苦的欢乐。在《Fun House》结尾，你可以听到Iggy Pop绝对自虐性的，带看微笑的呻吟，就如神经质一般的纯洁、真实。 感受Stooges的音乐与Iggy Pop的体验是十分痛苦的——如果你真正理解它，而非头脑简单地把它仅仅当作重金属，或无聊的渲泄，或是站在旁边去做什么"欣赏者"的话，溶入Iggy Pop式的生命释放，你将对灵魂的涵义有一次更为彻底的理解和再创造，这种心灵的再生是极为可贵的，人的一生之中又能有几次这样的再生? 在Iggy Pop充满自我折磨的快感的吼声中，我们找到了弥散着摧毁欲的朋克源头。