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伍佰 & China Blue 全新台語創作專輯 「釘子花 」 伍佰 & China Blue全新台語創作專輯【釘子花】 可以隨著音樂起舞，也可以隨著歌詞沈澱 11朵紅花，11枝釘子，直接衝擊你心中的軟弱！ 這是伍佰的第三張全台語創作專輯，繼1998年的【樹枝孤鳥】（台語搖滾）和 2005的【雙面人】（台語舞曲搖滾）之後，這張專輯是台語歌再一次的進化。伍佰說這張專輯是“釘子花”的故事，小時候他聽著台語“釘子花”腦海中浮現這三個字，一直到幾年前他才發現應該是（燈仔花）的意思，也就是燈籠花，學名朱槿，從這個美麗的誤解他開始發想，“釘子花”是一個被誤解的人，專輯裡的11首歌就是以“釘子花”為第一人稱去唱的歌， 人生總是五味雜陳，誤解總是不請自來，“釘子花”的人生從被誤解開始，卻展現了無比強大的韌性，我行我素，最終，不管你怎麼解怎麼看，它依舊是爬滿牆圍的耀眼紅光。就像是即使作為一個家喻戶曉的人物，伍佰並沒有因此忘記面對真實世界該有的態度，他努力過著絕對真實的生活，就像釘子花一樣，不管外在怎麼變化，不管別人怎麼想，依舊是最初的自己。此外，專輯中很多歌曲有著台語老歌的氣氛，伍佰認為台語老歌被時代排擠在主流之外，所以想用這張概念專輯做為整個文化的反擊。 編曲方面伍佰用了大量 Afrobeat （非洲舞蹈旋律的音樂）元素，11首歌有 6首，特別去美國找管樂手（兩隻小喇叭，一隻Tenor/Alto 薩克斯風，一隻Bariton薩克斯風）以及打擊樂手，加入伍佰 & China Blue原本的演奏。混音師是已和伍佰合作八張專輯的葛萊美大師Bill Schnee (從1996年【愛情的盡頭】開始)，母帶後期製作Mastering engineer 是Stephen Marcussen，有35年以上經驗的他曾做過多張“滾石合唱團”的專輯，也是伍佰 1998年【樹枝孤鳥】專輯的Mastering engineer。不論是美國的樂手還是錄音師，在聽到這張專輯多元和豐富的音樂之後，儘管聽不懂歌詞，都給予高度的評價，在【樹枝孤鳥】、【雙面人】兩張經典台語專輯之後，伍佰硬是又走出了一條新的路，讓台語歌的進化沒有止盡。在【釘子花】專輯裡，你可以隨著音樂起舞，也可以隨著歌詞沈澱，在不同的時刻聽見，同一首歌竟都能展現出不同的樣貌，直接衝擊著你心中的軟弱。 伍佰說： 這是我對我自己生命歷程的挖掘與重新再面對 再一次擁抱我自己的 我放浪吟唱的 新台語歌謠 一直到今天，遇見我的人看到的我，多是他們自己心裡所建構的。我是誰，用母語來尋找，就好像用釘子，直接而深刻。 一直在創造之後又再破壞的伍佰，根一直都在。 伍佰在哪裡，台灣歌就在那裡。 專輯發行日期：2016年12月28日 近期演出：“今夜伍佰8”全台Live House 巡迴共8場 2017.3月登場 伍佰 & China Blue《釘子花》樂評 「伍佰」這個名字足以憑「搖滾名人堂」姿態在華語流行音樂史上留下無可取代的印記早已無庸置疑，他的作品之於時代變遷的關聯性與重要性早有無數文本可參考在此也不再贅述。但除了眾多獲譽為改變台灣搖滾樂樣貌的經典專輯與歌曲之外，對我個人而言更為趨之若鶩的是，當年可以邀來我熱愛的英國Nu-Breaks天王DJ/製作人Adam Freeland為〈厲害〉炮製Remix，還有昔日為The Party製作〈MONKEY在我背〉以及蛋堡單曲〈史詩〉取樣〈白鴿〉而跟Hip Hop間產生的連結。 提到〈白鴿〉，多年前因為《白鴿》專輯的發行而有機會與伍佰老師進行訪問，當中他曾比喻自己的音樂歷史都在飛翔，我也以「自由飛翔的音樂哲學意識」做為那篇訪問文章的標題。的確，一路以來從吳俊霖到伍佰&China Blue所有作品所勾勒的音樂軌跡，彷彿正是帶給聽者一趟自由多元的音樂飛翔體驗。而這次暌違了三年，飛行旅程再次啟動，《釘子花》竟是令人驚艷地再次飛向全台語創作的音樂空間。 1990年《完全走調》裡〈小人國〉曾在跡近Talking Heads那樣New Wave曲式中唱出對阿Q精神的批判，而《釘子花》開場一連兩首蟄伏著Afrobeat式Polyrhythm肌理所祭出的〈釘子花〉與〈磞孔〉，則讓我驚艷地聯想起昔日Brian Eno幫Talking Heads製作的那張我自己相當鍾愛的《Remain In Light》專輯！然而《釘子花》意圖將Afrobeat元素融入台語搖滾中的嘗試，並不是一種純粹表象的形式套用，而是內化後與台語歌曲美感共冶一爐的完美展現。 是次伍佰透過自己對「釘子花」的美麗誤解、再以「釘子花」做為第一人稱進行演繹而衍生出來的這張概念專輯，作品中那些渾圓飽滿的節奏聲響與台語詞曲韻味絲絲入扣而來的呈現手法，就是那樣地獨樹一幟且散發著伍佰詮釋台語歌曲的專屬美學，更遑論兩首三拍子慢板作品〈東石〉與〈我心內〉、讓人聽著就不自覺跟隨恰恰節奏擺動身體的〈愛妳無目地〉、再到滿佈靜謐Down-To-Earth氛圍的〈仝款的月娘〉，都在在展現伍佰是如何讓文字與旋律緊密融合去散發出台語歌曲的情感與香味，同時完美共融了老歌韻味與現代曲式，我想這或許就是一種讓人望塵莫及的創作本能。 (文: DJ Mykal a.k.a.林哲儀)

一場奇幻與真實、搖滾與詩的精采演出。反映了時代的真實，也給了這個時代勇氣和力量。 《夢的河流》是一位搖滾詩人的夢，然而它也像一位搖滾詩人的圖畫。 不論是歌詞中的強烈畫面意象、或是音樂的空間，『夢的河流』像是十幾幅風格各異的畫組合而成的，達利超現實般的想像、克林姆的冶艷、中國潑墨的禪意；也像章節不斷地擴張的短篇小說，各自獨立，卻又能還原成一個主體。 《夢的河流》是伍佰心境上最來去自如、技巧上也最成熟的作品。他先以多重層次的優美旋律先引人入境，但很快你就會發現旋律只是用來勾人的手段，包藏的是對存在意義的嚴肅探討…詩句般的歌詞底層，包含的未必是優美、而是對世界的悲傷；聽似隨意的唱腔，是對這個生病社會的幽默體檢。儘管披上魔法、詩人、悲傷的外衣，也無法掩藏專輯內在強烈的真實與人文感。 整張專輯所涵蓋的主題包羅萬象，情歌同時還隱藏著對社會的關注(暴雨、翅膀)、由迷離的異國曲風展開對歷史的探討(蛇)、以舒懶的bassa nova來處理偷窺的私密(妳愛我)、一把荒腔走板的小喇叭吹出人性黑暗面(一點點)、自我在真實與夢境的對話(沙漠裡的黑洞、夢的河流)、人生競技場的激越(路、九重天)。 不僅如此，還有以囂張的搖滾來夾帶電子loop樂風(斷了)、為需要勇氣的人們所譜寫(小帆船)，還有附耳呢喃、以獨白演出的新式伍佰情歌(流星)。 在《夢的河流》，伍佰從個人的內在呈現、一路洋洋灑灑到對社會、對世界的直言，他以更成熟、收放自如的方法，交出了一張令人驚呼的作品。 關於專輯錄音這是一間專為band sound而設計的錄音室，也是伍佰最引以為傲的地方。然而錄音過程的災難成河，半年才匯流成《夢的河流》。

Moses Sumney evades definition as an act of duty: technicolour videos and monochrome clothes; Art Rock and Black Classical; blowing into Fashion Week from a small town in North Carolina; seemingly infinite collaborators, but only one staggering voice. A young life spent betwixt Southern California and Accra, Ghana — not so much rootless as an epyphite, an air plant. The scale is cinematic but the moves are precise deeds of art and stewardship. Sumney’s new, generous album, græ, is an assertion that the undefinable still exists and dwelling in it is an act of resistance. The songs on græ may be divergent, like the visceral, Smashing Pumpkins drama of Virile and the intoxicated, outro jazz of Gagarin. There’s the kinky, ambiguous bop of Cut Me countered with the sweeping, amphitheater-ready Bless Me. But there’s that voice, always unknowable and penetrating, threading these pieces together: a heavenly rasp, a whale call, Miles' horn, a soulful snarl. It all works to create a paradox, ke

莫文蔚全身投入的最新粤语大碟 蔚成风气 一并收藏

狂 • 16岁出道狂扫告示牌葛莱美各大奖项，20岁全新大碟改变全世界 想 • 亲自担纲专辑发想监制，并力邀王牌制作人Jack Antonoff联手打造 曲 • 收录Spotify点播破亿单曲"Green Light"及最新冠军主打" Perfect Places" 「首张专辑【Pure Heroine】纪录了我青少年的辉煌时刻，而接下来，我要用这张专辑，带给大家前所未见的新世界。」- 萝儿 Lorde 16岁出道，就以首张大碟【天生英雌Pure Heroine】狂扫告示牌、葛莱美奖等各大奖项，20岁推出的这张全新大碟，Lorde说她想要改变全世界！年仅20岁却拥有轻柔灵幻的嗓音，同时带有稚嫩与成熟的双重灵魂，她的歌词意境深远，但又贴近新世代自处的矛盾与挣扎；Lorde的创作，总让人从中感受到最真切的情感，也使听众彷彿在诗篇的文字与音乐美学里，亲耳见识了她独一无二的音乐风格，一听就深深为她着迷。 本名Ella Marija Lani Yelich-O`Connor的Lorde，13岁就以惊人天份被环球音乐挖掘并签下一纸合约正式出道，17岁时以一曲"Royals"轰动全球，不仅摘下英美两地冠军，更在全球卖出千万张销量，最后夺下荣获葛莱美「年度歌曲」与「最佳流行歌手」两项大奖；2013年首张专辑【天生英雌】，一发行便空降了纽澳冠军，全美累积三白金认证，一连串令人仰望的排行纪录，接连获颁时代杂志册封「最具影响力青少年」、富比士杂志「30岁以下未来之星」头衔。挥别了青少年时期的萝儿，准备踏入人生另一阶段的她，不仅在心境上因为恋情告终而有所转变，音乐上更是出现了巨大提升；Lorde说：「新专辑在探讨当代的人们-该如何品尝孤独?这不是一张描写心碎或失恋的作品，是试图去解构这些情绪背后所带来的效应，并学会如何与"他们"相处，无论好还是坏，我们都要学着去体会」；同时，萝儿还将所谓的色彩联觉(Chromesthesia)带入到专辑中，让所有聆听者可以透过听觉上的接收，在脑海中产生出相应的颜色视觉画面。经历超过500个日子倾力打造之后，终于交出了备受注目的第二张专辑【狂想曲Melodrama】。 【狂想曲】除了由Lorde自己担任制作外，更请来了拥有三座葛莱美奖的Jack Antonoff(泰勒丝、赞恩)，以及加拿大DJ Frank Dukes(蕾哈娜、德瑞克)等共同打造；开场曲同时也是首支主打"Green Light"，描写过去经历的疯狂人生与心得，而「Green Light」意象，代表着人生能够有往前迈进的动力，兼容了ElectroPop与Dance-Pop的脉动，快速在Spotify突破1亿次点播及告示牌热门榜Top 20；受到蕾哈娜的"Higher"启发而写出"Liability"，展现了曲风上的多元，以柔软舒适又带点阴郁气息的钢琴声，铺陈了整首歌曲，娓娓诉说心中的寂寞；"Writer in the Dark"则是面对孤独的最佳写照，毫无保留地在世人面前摊开来呈现。 【天生英雌】塑造了一个全新的天才少女，而【狂想曲】的出现，将会把萝儿推向下一位乐坛巨星之路。

什麼是「交工」？ 農忙時節，田地裡的工作又粗重又煩瑣，需要大量人力勞動，非單一家庭所能負擔。農民們於是互助組成「交工班」合力採收田裡的收成，今天做我家的工、明天做你家的工、後天換他家的、、、，直到農事結束。這種互助共濟的制度普遍存在於台灣的農村，充滿了濃濃的人情味。不似都市中全以金錢交易買賣勞動 力， 「交工」制度是造成農村地區的人際關係網絡如此緊密的重要因素，也是值得現代都市社會學習的極富效率的進步制度。 為何取名 「交工樂隊」？ 西元1999年年初，交工樂隊的成員們回到美濃的菸樓錄音室，開始錄製「反美濃水庫專輯」。美濃鄉親們把這專輯的錄製當作自己家的大事，本著「交工班」的精神，出錢出力，為這張「我等就來唱山歌」專輯提供了最佳的製作條件。專輯完成後，大家決定要更努力向鄉親學習「交工」的進步精神，因此將樂隊定名為「交工樂隊」。 交工樂隊簡介 交工樂隊以在地傳統音樂為基礎，使用鑼、鼓、嗩吶、月琴…等傳統樂器，結合現代音樂手法創造呼應現實社會的客家新民謠。在九○年代台灣民眾音樂的發展史上，交工樂隊在文化界裡不僅被譽為跨越廿世紀到廿一世紀最重要的樂團，也是許多樂評認為標的台灣新音樂創作時代里程碑的音樂隊伍。

i,i is Bon Iver s most expansive, joyful and generous album to date. If 'For Emma, Forever Ago was the crisp, heart-strung isolation of a northern Winter; Bon Iver the rise and whirr of burgeoning Spring; and '22, A Million', a blistering, crazy energy Summer record, i,i completes the cycle: a fall record; Autumn-colored, ruminative, steeped. The autumn of Bon Iver is a celebration of self acceptance and gratitude, bolstered by community and delivering the bounty of an infinite American music. The sales and accolades are well-known multiple Gold albums, multiple Grammys, chart-topping collaborations and festival headlines. But even more significantly, with each release Bon Iver quietly shifts the state of modern music. From the boundaries of folk, to the rules of autotune, to production work for others, Bon Iver s fingerprint finds its way across the mainstream every time. Vernon has always been a master collaborator, and on i,i that desire becomes maximal, with guests ranging from Moses Sumney and Bruce Hornsby to Wye Oak s Jenn Wasner and the Brooklyn Youth Chorus. Here, the music and band, and themes, and creative space are bigger than ever.

Big Thief had only just finished work on their 3rd album, U.F.O.F. – “the celestial twin” – days before in a cabin studio in the woods of Washington State. Now it was time to birth U.F.O.F.’s sister album – “the earth twin” – Two Hands. 30 miles west of El Paso, surrounded by 3,000 acres of pecan orchards and only a stone’s throw from the Mexican border, Big Thief (a.k.a. Adrianne Lenker, Buck Meek, Max Oleartchik, and James Krivchenia) set up their instruments as close together as possible to capture their most important collection of songs yet. Where U.F.O.F. layered mysterious sounds and effects for levitation, Two Hands grounds itself on dried-out, cracked desert dirt.

Composed and assembled over the course of several years, Jaime is a highly personal album release combining Brittany’s unmistakable voice with peerless, visionary and fearless songwriting. Brittany has constructed an assemblage of songs which bend the framework of what we know from her previous work with Alabama Shakes and endeavors with Thunderbitch and Bermuda Triangle, music which wholly sits in a new terrain of sound bolstered by an incredible band of musicians including Zac Cockrell of the Shakes, drummer Nate Smith and the one and only Robert Glasper.

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.

Simbi Ajikawo, crowned Little Simz, let's her work do the talking - and her prolific releases and boundary-breaking achievements clearly tell a story of a pioneering Hip Hop artist who leads the way on her own terms. Giving lauded, energetic performances, critically acclaimed albums, sold-out headline shows around the world, and international tours with the likes of Gorillaz, Anderson.Paak and Ab-Soul, this visionary 24 year old woman from North London is living out her childhood dreams to heights of excellence - and inspiring her generation to do the same.

“CALIGULA”, the new album from LINGUA IGNOTA set for release on July 19th on CD/2xLP/Digital through Profound Lore Records, takes the vision of Kristin Hayter’s vessel to a new level of grandeur, her purging and vengeful audial vision going beyond anything preceding it and reaching a new unparalleled sonic plane within her oeuvre. Succeeding her self-released 2017 “All Bitches Die” opus (re-released by Profound Lore Records in 2018), “CALIGULA” sees Hayter design her most ambitious work to date, displaying the full force of her talent as a vocalist, composer, and storyteller. Vast in scope and multivalent in its influences, with delivery nothing short of demonic, “CALIGULA” is an outsider’s opera; magnificent, hideous, and raw. Eschewing and disavowing genre altogether, Hayter builds her own world. Here she fully embodies the moniker Lingua Ignota, from the German mystic Hildegard of Bingen, meaning “unknown language” — this music has no home, any precedent or comparison could only be uneasily given, and there is nothing else like it in our contemporary realm. LINGUA IGNOTA has always taken a radical, unflinching approach to themes of violence and vengeance, and “CALIGULA” builds on the transformation of the survivor at the core of this narrative. “CALIGULA” embraces the darkness that closes in, sharpens itself with the cruelty it has been subjected to, betrays as it has been betrayed. It is wrath unleashed, scathing, a caustic blood-letting: “Let them hate me so long as they fear me,” Hayter snarls in a voice that ricochets from chilling raw power to agonizing vulnerability. Whilst “CALIGULA” is unapologetically personal and critically self-aware, there are broader themes explored; the decadence, corruption, depravity and senseless violence of emperor Caligula is well documented and yet still permeates today. Brimming with references and sly jabs, Hayter’s sardonic commentary on abuse of power and invalidation is deftly woven. Working closely with Seth Manchester at Machines With Magnets studio in Pawtucket, Rhode Island, Hayter strips away much of the industrial and electronic elements of her previous work, approaching instead the corporeal intensity and intimate menace of her notorious live performances, achieved with unconventional recording techniques and sound sources, as well as a full arsenal of live instrumentation and collaborators including harsh noise master Sam McKinlay (THE RITA), visceral drummer Lee Buford (The Body) and frenetic percussionist Ted Byrnes (Cackle Car, Wood & Metal), with guest vocals from Dylan Walker (Full of Hell), Mike Berdan (Uniform), and Noraa Kaplan (Visibilities). “CALIGULA” is a massive work, a multi-layered epic that gives voice and space to that which has been silenced and cut out.

Matana Roberts returns with the fourth chapter of her extraordinary Coin Coin series - a project that has deservedly garnered the highest praise and widespread critical acclaim for it's fierce aesthetic originality and unflinching narrative power. The first three Coin Coin albums, issued from 2011-2015, charted diverse pathways of modern/avant composition - Roberts calls it "panoramic sound quilting" - and ranged sequentially from large band to sextet to solo, unified by Roberts' archival and often deeply personal research into legacies of the American slave trade and ancestries of American identity/experience. Roberts also emphasizes non-male subjects and thematises these other-gendered stories with a range of vocal and verbal techniques: singspeak, submerged glossolalic recitation, guttural cathartic howl, operatic voice, gentle lullaby, group chant, and the recuperation of various American folk traditionals and spirituals, whether surfacing in fragmentary fashion or as unabridged set-pieces. The root of this vocality comes from her dedication to the legacy of her main chosen instrument, the alto saxophone. On Coin Coin Chapter Four: Memphis, Roberts convened a new band, with New Yorkers Hannah Marcus (guitars, fiddle, accordion) and percussionist Ryan Sawyer (Thurston Moore, Nate Wooley, Cass McCombs) joined by Montréal bassist Nicolas Caloia (Ratchet Orchestra) and Montréal-Cairo composer/improviser Sam Shalabi (Land Of Kush, Dwarfs Of East Agouza) on guitar and oud, along with prolific trombonist Steve Swell and vibraphonist Ryan White as special guests. Memphis unspools as a continuous work of 21st century liberation music, oscillating between meditative incantatory explorations, raucous melodic themes, and unbridled free-improv suites, quoting archly and ecstatically from various folk traditions along the way. Led by Roberts' conduction and unique graphic score practice, her consummate saxophone and clarinet playing, and punctuated by her singing and speaking various texts generated from her own historical research and diaristic writings, Coin Coin Chapter Four is a glorious and spellbinding new installment in this projected twelve-part Gesamtkunstwerk. Says Roberts: "As an arts adventurer dealing w/ the medium of sound and it's many contradictions I am most interested in endurance, perseverance, migration, liberation, libation, improvisation and the many layers of cognitive dissonance therein as it relates to my birth country's history. I speak memory, I sing an American survival through horn, song, sadness, a sometimes gladness. I stand on the backs of many people, from so many different walks of life and difference, that never had a chance to express themselves as expressively as I have been given the privilege. In these sonic renderings, I celebrate the me, I celebrate the we, in all that it is now, and all that is yet to come or will be... Thanks for listening."

My new album Song For Our Daughter is coming out this week, ahead of our planned schedule. In light of the change to all our circumstances, I saw no reason to hold back on something that, at the very least, might entertain, and at its best, provide some sense of union. It’s strange to watch the facade of our daily lives dissolve away, leaving only the essentials; those we love and our worry for them. An album, stripped of everything that modernity and ownership does to it, is essentially a piece of me, and I’d like for you to have it. I’d like for you, perhaps, to hear a strange story about the fragmentary, nonsensical experience of trauma and an enduring quest to understand what it is to be a woman in this society. When I listen back to it now, it makes more sense to me then when I wrote it. My writing, as ever, was months, years, in front of my conscious mind. It was there all along, guiding me gently through the chaos of living. And that, in itself, describes the sentiment of the album — how would I guide my daughter, arm her and prepare her for life and all of its nuance? I’m older now, old enough to have a daughter of my own, and I feel acutely the responsibility to defend The Girl. The Girl that might be lost, torn from innocence prematurely or unwittingly fragmented by forces that dominate society. I want to stand behind her and whisper in her ear all the confidences and affirmations I had found so difficult to provide myself. This album is that strange whisper; a little distorted, a little out of sequence, such is life. I want you to have it. --Laura Marling

20分钟的歌曲再加上 "Shine On You Crazy Diamond" 所组成的这部专辑依旧是根系于他们早期的 "Atom Heart Mother Suite" 和 "Echoes" 等这些作品，但我们宁愿看到另一种 Pink Floyd 的音乐风格。"Shine On You Crazy Diamond" 的歌词完全是在赞美与称颂 Barrett 的聪明以及作为对其后来的隐退发出的一曲挽歌。整首歌曲由9段组成，而专辑选用了前面的5首片段作为整部专辑的开篇。对于该曲你往往最先可能被 Gilmour 忧伤的吉他主奏所打动，不过贯穿全曲的确是 Wright 有史以来最出色的键盘演奏，当然萨克斯演奏家 Dick Parry 如同在 Dark Side 中一样做了精彩的表演；而后面的4首片段则作为专辑的结束曲，伴随着风声以及David Gilmour 吉他的咆哮声和他的呐喊声中开始，并最终在波涛汹涌般的键盘声中逐渐结束整部专辑。本来该曲是作为一个整体演出的，但在1975年却被一分为二了。毫无疑问的是，这首歌曲就是针对并间接地回顾了 Pink Floyd 音乐历程上的第一个变故 —— 乐团创史人 Syd Barrett 中途离开乐队。1975年7月5日，当乐队录制完毕而进行混音制作阶段工作的时候，有一个陌生人来到录音室外面默默地看着里面工作的乐队成员，他就是 Syd Barrett。可惜当时他并不知道这部专辑就是题献给他的，在匆忙一瞥后，人们从此再也没在公共场合见到他。 在 VSC3 合成器极富规律的伴奏下，伴随着重复回声的组合引出了 "Welcome To The Machine" 开头的那部分音节，由此开始了一个针对当时音乐圈中广泛存在的“对金钱的追逐超过了对音乐制作创新的追求”现象的辛辣的讽刺，而将歌手 Roy Harper 引入并演唱 "Have A Cigar" 则似乎是 Waters 的耻辱，但当时在录制此曲的时候，本应担任主唱的 Waters 嗓子出了问题而无法正常演唱，刚巧他的朋友 Roy Harper 也同期在同一录音室录制别的作品，于是 Waters 便请他的朋友演唱了这首对唱片录音工业辛辣讽刺的歌曲，不过后来 Waters 对这个决定也无不抱怨说“not because he did it badly...it just isn't us anymore”。歌曲里面有一句歌词“Which one's Pink?”其实来自于一位对他们一无所知的美国唱片公司董事询问乐队时愚蠢的提问，后来在演唱会上，Waters 将这句话印到自己的T恤上。 唱片的标题曲 WISH YOU WERE HERE 同样也是针对 Syd Barrett，但也是 Roger Waters 对于徘徊在乐队成功的四周围的贪婪所进行的斗争中所感受到的紧张感，而根植于贯穿 Wish You Were Here 专辑中所体现出来的那种觉醒的主题不断的滋生发展并最终在后来的 The Wall 中萌发壮大。古典/爵士小提琴手 Stephane Grapelli 参加了该曲的录制，也就是全曲结束时那几个小节的风声的合成音响效果的录音。而歌曲的管弦乐片段其实是截取于 Tchaikovsky 的第四交响曲的录音。本曲以后成为乐队巡回演唱会上的保留曲目，即使是 Waters 离开乐队后，无论乐团还是他依旧喜欢在各自的演出中演唱它。 WISH YOU WERE HERE 专辑于75年9月27日进入美国排行榜并名列12位，并于10月4日升至榜首。而在英国，发行后第一周便荣登榜首，不过这要感谢提前预售的25万张唱片的功劳。Wish 专辑也是在他们离开了与之合作多年的 Capitol 唱片公司，并自组 Pink Floyd Music 公司后制作的第一部作品，另外他们将其作品改委由 Columbia 唱片公司发行而不是老东家EMI公司了。或许是因为上一张作品反映太好，它多少显得这张专辑有些失色，乐评家的评论甚至也仅以“了无长进”一笔带过。现在回过头来看这张唱片，虽然具有一定程度的商业化倾向的表现，但在音乐创作的本质上，它仍然够资格称得上是一张质量均佳的好作品。 这张专辑在滚石杂志选出的500张历代最强专辑中排名第209位。

Born This Way is the second studio album and third major release by American recording artist Lady Gaga. It was released on May 23, 2011 by Interscope Records as a follow up to her internationally successful, The Fame (2008) and the extended play The Fame Monster (2009). Born This Way is notably different from The Fame and The Fame Monster as it incorporates a broader range of elements of several musical genres such as opera, heavy metal, disco, and rock and roll, and fuses those elements with sounds of electropop and dance. The album also is heavily inspired by synthpop and electronic music from the 1980s and 90s. In the album, the central themes include those of religion, sexuality, and feminism. On the record, Gaga worked with several producers, including RedOne, the only hold over for her previous work. With Born This Way, Gaga took more control of her musical direction and the album composition. Production first took place in early 2010, with recording sessions for the album took place at various recording studios around the world. The title was revealed in September at the 2010 MTV Video Music Awards after Gaga's win of the Video of the Year Award for "Bad Romance". Just a week before the album's scheduled release, the contents were leaked online, but were shortly removed due to copyright violations. Three singles and one promotional single were released for the album. "Born This Way", the lead single, topped the charts in over eighteen countries including the Billboard Hot 100 in the United States. It would become the fastest selling single in iTunes history, having sold over 1 million copies within its first five days. "Judas" was the second single for Born This Way. The song peaked on the top ten in nineteen countries. "The Edge of Glory", originally released as one of two proposed promotional singles, was shortly made as the third single of the album. The song debuted at number three on the Billboard Hot 100, and topped the charts in Brazil and South Korea. The promotional single for the album, "Hair", peaked at number twelve on the Billboard Hot 100 and chart on the musical charts in sixteen different countries. The album has been met with generally positive reception from contemporary critics, who complimented Gaga's vocals and the album's varying musical styles. However, the repetitive use of the word "Jesus", in addition to the employment of church bells and monk voices in many of the album's tracks including "Marry the Night," "Bloody Mary" and "Electric Chapel" have all resulted in negative reactions from some Christian societies, including those in Lebanon, where Born This Way was temporarily banned. Despite such strife, Born This Way topped the charts in twenty-three countries. It debuted atop the US Billboard 200 chart with first-week sales of 1.11 million copies. Over 430,000 of these sales were at a special price of US$ 0.99, which Amazon.com offered for two days during the album's first week of release.