『ヤプーズ計画』はヤプーズ名義で発売された1枚目のオリジナル・アルバム。1987年12月16日にテイチク-BAiDiSレーベルより発売された。

Bass – 佐藤あつし* Design – Jolene Rector Drums – 木原ケンジロ* Guitar – 庭野晴夫* Liner Notes – 谷口マルタ正明* Mastered By – アライコウジ* Vocals, Written-By – 田口トモロヲ* Written-By – 佐藤あつし* (tracks: 2, 3. 5, 6, 8 to 10, 12 to 20), ばちかぶり* (tracks: 1, 13), 庭野晴夫* (tracks: 2 to 5, 7 to 9, 11, 15, 17, 19), 木原ケンジロ* (tracks: 2, 3, 5, 8, 9, 15, 19)

つくば博'85 ダイエー館 テーマソング

Composed By [All compositions by], Strings, Vocoder, Recorded By [Multi-Recording], Design, Electric Piano, Electric Organ – Hiroshi Yoshimura Engineer, Mastered By – Michinori Yamazaki Producer [Produced by] – Satoshi Ashikawa

Although by the end of the '70s the Fania All-Stars weren't the freewheeling collective they'd been ten years earlier, they were still packed with talent, including Johnny Pacheco, Bobby Valentín, Papo Lucca, Roberto Roena, and a bespectacled fellow named Ray Barretto showing mastery over the conga. California Jam may have been released in 1980, but it was actually recorded four years earlier -- in California, natch -- on what had been planned as a date for Columbia (with attendant strings and mainstream arrangements). When producer Gene Page backed out at the last minute, Pacheco and company had the studio to themselves to record whatever they wanted, and the result was a straight-ahead salsa date, closer to Pacheco's roots in charanga (and heavier on his flute playing than most other dates of the late '70s). A torrid salsa jam ensues on the opener, "Vente Conmigo," but Pacheco and Barretto get major solo features on the ensuing two tracks ("Guajira Para los Pollos" and "Taxi to Aguadilla," respectively).

The Tragically Hip, often referred to simply as The Hip, were a Canadian rock band from Kingston, Ontario, consisting of vocalist Gord Downie, guitarist Paul Langlois, guitarist Rob Baker (known as Bobby Baker until 1994), bassist Gord Sinclair, and drummer Johnny Fay.

布魯斯·斯普林斯汀，暱稱 "The Boss"，美國搖滾歌手、歌曲創作者與吉他手。斯普林斯汀經常與E街樂團共同創作與巡迴演出，此外也以個人的身份或是與其它樂手聯袂演出。

滚石评出的最伟大500张专辑之一 1964年，特蕾西·查普曼出生在俄亥俄的克里夫兰的一个工人家庭,Tracy Chapman从小就会弹吉他，并不久开始自己写歌。在高中，她获得“少数族裔安置奖学金”（minority placement scholarship），入读Tufts大学，在那里她从事了人类学和非洲人研究。在 Tufts的时候，她迷上了民谣摇滚，开始在咖啡馆里弹唱自己的作品。她的歌旋律简单，朗朗上口，歌词深刻，发人深省。 这位创作型的女歌手在80年代一经亮相，便成万众瞩目的焦点。特蕾西．查普曼的首张同名专辑于1988年春天出版后受到热烈好评。这张专辑为特蕾西．查普曼赢得了当年的3项格莱美奖，其中包括“年度最佳新人奖。”首张专辑的成功为她后来的事业发展铺平了道路。几个月后，她应邀参加为庆祝南非黑人运动领袖纳尔逊．曼德拉70岁生日而举行的音乐会。特蕾西．查普曼的歌风是70年代城市乡谣的延续，不过她的音乐更富时代气息，对社会问题的揭示也更犀利。在她的音乐中，反对种族歧视、呼吁民权一向占有主导的地位。特蕾西．查普曼的歌中所表达的自由平等的政治主张在美国大学校园中得到强烈回应，她的音乐甚至在某种程度上推动了美国的政治改革进程。

Released in 1984, Sade’s <i>Diamond Life</i> is one of the most fully realized debut albums of the last 40 years—an influential worldwide smash whose influence continues to ripple through popular music today. The album’s nine songs—eight originals, plus a brooding cover of R&B singer Timmy Thomas’ 1973 hit “Why Can’t We Live Together”—seemingly hover in the space they occupy, like light glimmering off of a city street late at night after fresh rain. Arriving smack dab in the middle of the 1980s, <i>Diamond Life</i>’s release came just as “quiet storm” R&B became a dominant force on Black radio stations in the US—and the music of this British quartet, led by Sade Adu, would come to define the genre for a multitude of listeners. But <i>Diamond Life</i> is by no means a record situated in time; the music sounds and feels eternal, far beyond the ways in which its DNA has been incorporated into modern-day neo-soul and R&B. Recorded over the course of six weeks in London’s legendary Power Plant Studios, <i>Diamond Life</i>—and Sade as an entity—was born out of Adu’s previous gig as a backup singer for the band Pride. She formed a songwriting partnership with Stuart Matthewman, the band’s guitarist and saxophonist; the duo would eventually team with Pride members Paul Denman (bass) and Paul Anthony Cooke (drums) to break off and form Sade. The group’s catalog as a whole is often associated with romance and sensuality, but the songs on <i>Diamond Life</i> often bear the mark of hardship and uncertainty: The smoldering “Sally” is a tribute of sorts to the open charity of the Salvation Army, while the bold and cautiously optimistic “When Am I Going to Make a Living” was inspired by Adu not being able to pay a dry-cleaning ticket. But the cool-handed interplay Sade showcases on <i>Diamond Life</i> betrayed its status as a relatively new group, featuring a sound so natural, it feels as though the members had been playing for decades already. The word “timeless” has never felt so deeply earned.

*** TERRITORY RESTRICTION - NO SALES TO JAPAN *** PLEASE NOTE THAT THESE RELEASES DO NOT INCLUDE DIGITAL DOWNLOAD. THANK YOU. Artist: Midori Takada Title: Through The Looking Glass Label: Palto Flats / We Release Whatever The Fuck We Want Records Genre: Ambient, Minimal Tracklisting: 1. Mr. Henri Rousseau's Dream 2. Crossing 3. Trompe-l’œil 4. Catastrophe Σ Info Palto Flats & WRWTFWW Records are ecstatic to announce the highly-anticipated reissue of Japanese percussionist Midori Takada's sought after and timeless ambient / minimal album "Through The Looking Glass", originally released in 1983 by RCA Japan. Considered a Holy Grail of Japanese music by many, "Through The Looking Glass" is Midori Takada’s first solo endeavor, a captivating four-song suite capturing her deep quests into traditional African and Asian percussive language and exploring contemplative ambient sounds with an admirably precise use of marimba. The result is alternatively ethereal and vibrant, always precise and mesmerizing, and makes for an atmospheric masterpiece and an unparalleled sonic and spiritual experience. The fully licensed reissue is available as a single 33rpm LP and a limited 45rpm DLP, both cut directly from the original studio reels (AAA), at Emil Berliner (formerly the in-house recording department of renowned classical record label Deutsche Grammophon) for the 45rpm DLP, and at the equally famous Frankfurter SST Studio for the LP. It is also available in CD format for the first time. All versions come with extensive liner notes. Bio Midori Takada is a composer, multi percussionist, and theater artist renowned in Japanese vanguard circles. She will tour Europe this year. Midori released two solo albums: "Through The Looking Glass" and "Tree Of Life" and wrote music for Tadashi Suzuki's theater plays. Her hypnotic, minimalist music is based in the concept of coherence between sound and the human body. She performs solo on marimba and other percussion instruments. She debuted on the scene of Berlin Philharmonic, performing with the RIAS Symphonie-Orchester Berlin just after graduating from Tokyo University of the Arts in 1974. She continued her career with solo concerts in Japan and abroad. In the 1980s Midori began to explore the traditional music of Asia and Africa. Her fascination resulted in joint projects with Kakraba Lobi from Ghana, Lamine Konte from Senegal, Farafina Band from Burkina Faso, and Korean musicians: zither player Chi Seong-Ja, flute player Won-Il, and saxophone player Kang Tae-Hwan. She also led Mkwaju Ensemble's innovative percussion project and still performs with free-jazz band Ton-Klami with Kang Tae-Hwan and jazz pianist Masahiko Satoh. In the past 20 years, Midori Takada spent more time in theaters than in concert halls – composing and performing live music for theater. She regularly works with Tadashi Suzuki and his Suzuki Company of Toga on their adaptations of "Electra" and "King Lear". Takada's compositions have a remarkable way of affecting the imagination. Her minimalist, contemplative music is filled with the concept of infinity and reminds us of a moon voyage, falling stars, a journey into the ocean, or a walk in the garden. The trans melodies, initially simple, begin to loop and splinter, their rhythm breaking and thickening, slowly drawing the listener into another reality. Every live performance Midori Takada gives is unique and prepared especially for that occasion. released March 20, 2017

Japanese 24-bit K2 remastered reissue of 1981 compilation that's currently unavailable domestically. Packaged in a miniature LP sleeve reproduction of the original artwork.

Texas Flood是SRV在1983年发行的第一张专辑，也是一张有着重大历史意义的唱片。八○年代初期，蓝调的市场不断萎缩，年轻人沈浸在Punk、New Wave和Disco的节奏里，蓝调被视为气数将尽的雕零乐种。然而这位28岁德州青年的处女作改变了一切，Texas Flood大卖数十万张，把蓝调重新送进了无数年轻人的床头音响，也开启了八○年代的蓝调复兴风潮。Stevie的故乡奥斯汀（Austin），也一跃成为新起的蓝调重镇。Stevie并不是石头里蹦出来的天才。在这张专辑出版之前，他已经玩了十几年的团，在老家奥斯汀附近转战无数酒吧与俱乐部，却一直没有被唱片公司发掘。1982年，他参加在瑞士Montreux举办的蓝调音乐节，受到台下的Jackson Browne和David Bowie大力赏识，Bowie邀请他替自己的Let's Dance专辑伴奏，并担任巡回演唱的暖场；Browne则愿意免费提供自己在洛杉矶的录音间给Stevie使用。有了Browne的慷慨相助，Stevie带着团员在巡回演唱的空档赶赴洛杉矶，他们只能在Jackson Browne的录音间停留三天，原本想录几首歌听听看效果如何，完全没有做一张专辑的打算。头两天他们只录了两首歌，到第三天，一切都出奇顺利，他们一口气录了八首歌，整张Texas Flood专辑就这样完成了。这卷母带后来被流行音乐史著名的星探John Hammond Sr.听见（他曾经发掘的艺人包括Billie Holiday，Bob Dylan，和BruceSpringsteen），Stevie才有了和大公司签约的机会。这张专辑在1983年由Columbia的子厂牌Epic发行，一位超级新星就此诞生。这张专辑是一场丰富的听觉飨宴，和Jimi Hendrix一样，Stevie的三件式乐队只有鼓、贝斯和他自己的吉他，并没有节奏吉他的编制。他在每一首歌里都同时弹节奏和主奏吉他，听起来简直像四只手同时在弹。从热火朝天的摇滚曲Love Struck Baby、Pride and Joy，到每个音符都浸满了怨忿情绪的慢板蓝调Texas Flood，乃至于充满爵士风情的抒情演奏曲Lenny，Stevie不仅在传统蓝调的领域里游刃有余，也勇于脱离十二小节蓝调的束缚，尝试各种音乐上的可能性。摇滚史上很少听到这么成熟、这么挥洒自得的处女作。Sony/Legacy重新发行经典艺人的作品，品质早有公论。这批重发SRV的历年作品，不仅音质比旧版精良，更多附了好几首新出土的珍贵录音，内页除了深入的专文介绍，还有许多首度曝光的照片，替这张经典专辑锦上添花。