引起轰动的1971年David的第三张专辑《The Man Who Sold The World》，封面上David梳着长长的卷发，黑色长靴，丝缎长裙，胸口低开，只用两枚褡扣系住。这个美丽而在当时看来惊世骇俗的造型开创了真正的 Glam摇滚的时代，David一共用了三种形象出现，一种是封面长发长裙的，一种是早期《Space Oddity》卷发形象，另一种是贝蕾帽，金发温柔地垂下，灰蓝色紧身呢子外套。 这是David短暂而迷妙的时期，犹如他专辑的音乐风格。一个花花公子的浅吟低唱，带着点玩世不恭，一点物质，一点讽刺，一点慵懒与诱惑，模糊了性别的。音乐相对那个时代是复杂的，正处在音乐从早期披头士似的情歌中变质，并开始热中于各种音响实验的阶段，那些歌曲中经常充斥着一些不和谐与突兀。 但总的来说，《The Man Who Sold The World》专辑自身的风格是比较统一的，David有些妩媚的嗓音和邪气的歌曲加上晦涩又有些放纵古怪的歌词融合成一种美妙的风格，独特的，只属于David自己的音乐。

你仔細看看 這是1970年的5首歌版本 封面也不一樣的 沒有1 只是寫著Kraftwerk 你discogs上仔細查查！好不容易添加個東西 你以為我沒搜過看過麼

Reissue of original 1970 album by this Kraut rock group featuring Ralf Hutter & Florian Schneider-Esleben who broke away to form Kraftwerk. Includes one bonus track, 'Vor Dem Blauen Bock'. Crown. 1996.

1 Atom Heart Mother: Father's Shout/Breast Milky/Mother Fore/Funky Dung Geesin, Gilmour, Mason, Waters ... 23:44 Composed by: Geesin, Gilmour, Mason, Waters, Wright 2 If Waters 4:30 3 Summer '68 Wright 5:29 4 Fat Old Sun Gilmour 5:22 5 Alan's Psychedelic Breakfast: Rise and Shine/Sunny Side Up/Morning ... Gilmour, Mason, Waters, Wright 13:00

弗蘭克·文森特·扎帕，美國作曲家、創作歌手、電吉他手、唱片製作人、電影導演。 在他超過30年的職業生涯中，他的音樂作品涵蓋了搖滾、爵士、電子、管弦樂和具體音樂等風格。同時弗蘭克·扎帕還參與導演長片電影和音樂影片，設計專輯封面等事業。

Japanese limited edition reissue of 1969 album, packaged in a miniature gatefold LP sleeve.

While Nico was the member of the Velvet Underground who had had the least experience in music prior to joining the group (while she had recorded a pop single in England, she'd never been a member of a working band before Andy Warhol introduced her to the Velvets), she was also the one who strayed farthest from traditional rock & roll after her brief tenure with the band, and by the time she recorded Desertshore, her work had little (if anything) to do with traditional Western pop. John Cale, who produced and arranged Desertshore, once described the music as having more to do with 20th century classical music than anything else, and while that may be going a bit far to make a point, even compared to the avant-rock frenzy of the Velvet Underground's early material, Desertshore is challenging stuff. Nico's dour Teutonic monotone is a compelling but hardly welcoming vocal presence, and the songs, centered around the steady drone of her harmonium, are often grim meditations on fate that are crafted and performed with inarguable skill and intelligence, but are also a bit samey, and the album's downbeat tone gets to be rough sledding by the end of side two. Cale's arrangements are superb throughout, and "My Only Child," "Afraid," and "The Falconer" are quite beautiful in their own ascetic way, but like the bulk of Nico's repertoire, Desertshore is an album practically designed to polarize its listeners; you'll either embrace it's darkness or give up on it before the end of side one. Then again, given the thoroughly uncompromising nature of her career as a musician, that's probably just what Nico had in mind.

Can was a German experimental rock band formed in Cologne in 1968 by the core quartet of Holger Czukay, Irmin Schmidt, Michael Karoli, and Jaki Liebezeit.

Lizard: Prince Rupert Awakes/Bolero - The Peacock's Tale/The Battle of Glass Tears/Big Top

In the Wake of Poseidon is the second studio album by English progressive rock group King Crimson, released in May 1970 by Island Records in Europe, Atlantic Records in the United States, Philips Records in Australia, and Vertigo Records in New Zealand. To date the album is their highest-charting in the UK, reaching number 4. The album was recorded during a period of instability within the band owing to a fluctuating lineup. It follows a musical style and track sequence very similar to their first album, In the Court of the Crimson King. The album was well-received by contemporary critics, who commended the overall execution and production quality as an improvement over that of the band's debut, although later assessments have faulted its heavy reliance on the template established by its predecessor.