Takemitsu, who died in 1996, wrote everything from movie music to Beatles arrangements to avant-garde chamber music. In his best works, he draws simultaneously on the traditional idiom of Japan and the most advanced contemporary techniques. All this music was written (or, in one case, arranged) for flute solo, and Patrick Gallois proves a most satisfying interpreter, getting into the composer's skin and playing with a most convincing sense of inner quiet. One misconceived idea mars the disc, though. Takemitsu had good reasons for producing three versions of Toward the Sea, a lovely and imaginative piece. But even when separated by other pieces, they don't make for satisfying listening on one program. (Given the choice, I would have picked the orchestral version for its added color.) Still, with such fine performances and sound, there's enough music on the disc to make it worth picking up if the idiom appeals to you. --Leslie Gerber

Never for Ever is the third album by the British singer Kate Bush. Released in 1980, it was Bush's first no.1 album and was also the first ever album by a British female solo artist to top the UK album chart as well as being the first album by any female solo artist to enter the chart at no.1. It has since been certified Gold by the BPI. Bush co-produced the album with Jon Kelly.

Out of print in the U.S., this is the acclaimed British pop vocalist's fourth album. Contains all 10 of the tracks from when she first released it in 1982, including 'Houdini' and the singles 'The Dreaming' and 'Sat In Your Lap'. Also contains the original cover art. An EMI release.

专辑类型：College Rock / Prog-Rock / Art Rock / Alternative Pop 专辑介绍： Kate Bush评价最高的专辑，再版增加6首Bonus曲目。 Kate Bush的演唱完全无法区分风格，三个八度自由跳跃的嗓音，使得她的歌曲充满了自己的特点，无人可以模仿她，她当然也没有兴趣将别人的歌曲原版翻唱。她无疑是女性另类音乐的划时代的开拓者，受到她的音乐和演唱风格影响的人更是无数，包括Sarah McLachlan、Cocteau Twins、Tori Amos、Bjork。Kate Bush出身古典音乐世家。 从11岁就开始作曲，她带着自己的作品找到Pink Floyd的当家吉他手David Gilmour。从此两人开始长久的合作关系。David 协助制作的两首曲子“The Man With the Child in His Eyes","The Saxphone Song"，而这两首曲子为Kate Bush赢得了第一张唱片合约。相信喜欢Cocteau Twins、Tori Amos、Bjork音乐的朋友，一定会深爱上Kate Bush无可匹敌的狂野天籁之音的。 --- from

蘇珊娜·薇佳是美國的歌曲創作家和歌手。她的歌曲以高度的文學化的歌詞和民謠曲風著稱。來自她的第二盤專輯《孤獨矗立》的兩首歌Luka和Tom's Diner曾進入許多國家的排行榜前十。

蘇珊娜·薇佳是美國的歌曲創作家和歌手。她的歌曲以高度的文學化的歌詞和民謠曲風著稱。來自她的第二盤專輯《孤獨矗立》的兩首歌Luka和Tom's Diner曾進入許多國家的排行榜前十。

专辑介绍： 96年Romo运动的爆发，各支乐队不约而同的，以浓装冶艳的形象作为外化的旗帜，带来的竟是八十年代未来派电子音乐和新浪漫音乐的再生。其实早在七十年代末的新浪潮运动风潮中，我们就已认识了JAPAN--一群并非来自日本的知性派美男子。 中性艳丽的打扮，极富时代气息而又具有高度内省性的音乐风格，JAPAN对于新浪漫音乐、环境音乐、世界音乐，以至于前几年的Romo浪潮的主导性，就有如Sonic Youth对日后的Grunge摇滚的影响力。同样的，JAPAN不是这些音乐风格的创造者，也不是这些浪潮的直接发源地，但乐队却是这些音乐普及化的关键性桥梁。 78年乐队发表了他们的头两张专辑:<Adolescent Sex>及<Obscure Alternative>，当时乐队尚保持五人阵容:主唱David Sylvian，贝司手Mick Karn，敲击乐手Steve Jansen，键盘及合成器乐手Richard Barbieri和吉它手Rob Dean。他们那浓装艳抹的女性化打扮，和叛逆颓废的音乐风格，是对整个社会的大众价值观及音乐潮流的反动。置身于当时的朋克运动及新浪潮运动音乐气候，乐队那已带上电子色彩的美式黑人华丽摇滚风格，无疑是一种异端。再加上乐队唱片公司只懂吹嘘乐队形象的宣传手法，Japan一出道便成为传媒及整个音乐圈子攻击及排挤的对象。于外界眼中，他们只不过是哗众取宠的New York Dolls翻版。除了少数乐评人外，几乎没有人察觉到乐队的真正潜质。David Sylvian亦承认，若非在日本受到热烈欢迎，乐队一早便因经济问题而解散。 在恶劣的环境底下，再加上与唱片监制的冲突，Japan的两张早期作品，虽已呈现强烈的独特个性，但整体而言，仍是一个乱打乱撞的摸索期。乐队各成员甚至不约而同地表示极之讨厌这两张作品。Japan音乐的真正成形，还是当他们遇到Roxy Music的唱片监制John Punter以后的事。<Quiet Life>不只是一张脱胎换骨之作，亦是一个罕见的蜕变。Punter的Roxy Music式艺术摇滚处理手法，为Japan提供了足以展示其音乐意念的空间。Sylvian独有的孤独感以及混合着的Bryan Ferry与David Bowie的唱腔、Roxy Music的音乐模式、Brian Eno与法国作曲家Erick Satie的环境音乐气氛，再翻唱一首Velvet Underground的"All Tomorrow Patties"，<Quiet Life>中Japan创造出一种经典的唯美艺术摇滚声音。 跟着的<Gentlemen Take Polaroids>是<Quiet Life>的进一步延伸。其中Sylvian与日本首席Techno-pop组合Y.M.O.的坂本龙一首次合作了一曲"Taking Isl and In Africa"。自此以后，两人由"Bamboo Music"、Merry Christmas Mr.Lawrance的主题曲“Forbidden Colors"到Sylvian于Japan以后的个人作品，都一直保持着紧密的合作关系。日本新音乐不单因而引进欧美，此合作关系，亦间接地成为坂本龙一于国外发展的踏脚石。与此同时，Japan的各成员亦开始与Y.M.O.的鼓手兼主音歌手高桥幸宏，及另外一些日本乐手和组合如Ippu-Do(一风堂)、Sandii And The Sunsetz、矢野显子等有甚密的音乐交往。于Japan解散前的Sons Of Pioneers巡回演出中，Ippu-Do的土屋昌巳更应邀为Japan的客席吉它手。 未来派及新浪漫音乐的兴起，使Japan变得时尚起来。1981年的<Tin Drum>在没有凭任何卖钱的单曲推动下成为金唱片，而稍后，"Ghost"更出人意表地打进英国单曲榜的前五名位置。 自<Quiet Life>开始，Japan的歌曲均有着极为突出的节奏部分。Steve Jansen近似东方敲击的Burundi式鼓法，加上Mick Karn一手抢耳而声音奇怪的Fretless Bass，构成了几乎是Japan专利的节奏部分。自吉它手Rob Dean离队后，此紧密的节奏部分，于<Tin Drum>中更提升至最前线的位置。 此外，Japan亦是将环境音乐普及化的先驱之一。先前的"The Tenant" / "Despair" / "Nightporter"这Satie式钢琴三部曲，又或者"The Experience Of Swimming"及灵感源自于哥普拉的著名影片"现代启示录"的"Burning Bridge"，都有极重的环境音乐味道。在<Tin Drum>之前的两张专辑中，Richard Barbieri那深受Eno感染的键琴弹奏手法，为Japan的音乐抹上一层虽淡却深的氛围色彩。而在<Tin Drum>中的"Ghost"及"Sons Of Pioneers"，进一步散发着这种旋律化的环境音乐气味。Japan以后的Sylvian，亦继续向着这环境音乐世界探索。Sylvian个人作品的乐手名单中，如Holger Czukay、Jon Hassell、Mark Isham及Robert Fripp等，均为环境音乐圈子里举足轻重的名字。Sylvian感性的笔触，描写的是一内在的心象风景。Japan的环境音乐气氛，所描绘的，是现代社会生活的点滴，反映内向自我的封闭的孤独空间。"Ghost"这首Sylvian自认为Japan时期最满意的作品，所表现出的自省及矛盾的内在世界，是Japan这种内向艺术的最完美表现。（转）

1981年，Japan乐队发表他们最重要的作品Tin Drum的时候，恐怕未曾想到他们封面上的那幅毛泽东的肖像，是当时尚未解禁的台湾政府，几张首要禁止入关的有声出版物之一。 作为乐队的最后一张专辑，Tin Drum是乐迷心目中Japan一张无懈可击之作，显示了他们脱离新浪漫的层面后所建立的独特乐风。唱片里泛着David Sylvian等人对中国文化/音乐的兴趣，同时亦把Mick Karn一手Fretless Bass与Steve Jasen富有东方色彩的鼓击推至一个高度层次，为作品构成了奇特的节奏部分，并引发Japan走向多面化的音乐视野。

Landing on Water is the fifteenth studio album by Canadian musician Neil Young. The album was released on July 28, 1986, by Geffen Records. Several of the songs on the album were resurrected from Neil Young and Crazy Horse's failed 1984 sessions - a set of sessions where, according to longtime producer David Briggs, the musicians "played like monkeys".

In the fall of 1978, Neil Young undertook a North American tour with Crazy Horse, then added overdubs to new songs recorded on the tour for one of his best albums, Rust Never Sleeps. In the fall 1986, he did the same thing, but Life, Young's first album with Crazy Horse since 1981's Re-ac-tor, was not one of his best albums. It was, however, better than most of the other albums he had made in the 1980s, and it was the first really interesting album he'd made in a long time. Despite the return to Crazy Horse, Young continued to use some of the production techniques from Landing on Water, especially the loud drums and the synthesizers. But he mixed things up, including acoustic-based songs such as "Long Walk Home" (which recalled "After the Gold Rush") and "Inca Queen" (the third in his series of long, atmospheric songs about the Incas) and rockers like "Prisoners of Rock 'n' Roll." The last, with its attacks on "record company clowns" and chorus "that's why we don't want to be good," seemed intended as the theme song for the Rusted-Out Garage Tour on which it was performed and served as a reminder that Young was still at odds with Geffen Records, which he left after releasing this album. Despite the criticism he had endured for his support of President Reagan's military buildup, Young had foreign policy on his mind in the action-movie-in-song "Mideast Vacation" and in "Long Walk Home," which addressed military misadventures from Vietnam to Beirut. It could be argued that Young was repeating himself on much of this material and that the album was typically uneven. But Life was an encouraging step back to the tried and true for an exploratory artist who finally seemed to have realized that he had experimented too much for his own good.

This Note's for You is the seventeenth studio album by Canadian musician Neil Young, released on April 11, 1988 on Reprise. It was originally credited to Young and the Bluenotes. Most of the album's concept centered on the commercialism of rock and roll, and tours in particular (the title track is a social commentary on concert sponsorship). The music is marked by the use of a horn section. It also marked Young's return to the recently re-activated Reprise Records after a rocky tenure with Geffen Records.

Hawks & Doves is the tenth studio album by Canadian musician Neil Young. Its two sides were recorded in different circumstances, side one being culled from sessions dating from approximately 1974 through 1977, and side two from sessions specifically for the album in early 1980. The record peaked at #30 on the Billboard Top Pop Albums chart in December 1980 in the US. It is also one of Young's shortest albums, its running time just under half an hour.

U2's most successful album (their first No. 1 album and the 1987 Grammy award-winner for Album of the Year) is also their most dour. From the stark, black and white cover photography, with U2 looking like missionaries (or at least M*A*S*H extras), to the existential angst at the heart of each track, The Joshua Tree is one long, atmospheric wail at the abyss. Producers Brian Eno and Daniel Lanois turn in an austere production that heightens the drama substantially.

Limited Edition Japanese "Mini Vinyl" CD, faithfully reproduced using original LP artwork including the inner sleeve. Features most recently mastered audio including bonus tracks where applicable.

Avalon is the RIAA Platinum-certified eighth and final studio album by the English rock band Roxy Music. Released in May 1982, it was recorded in 1981–82 at Compass Point Studios in Nassau, Bahamas, and is generally regarded as the culmination of the smoother, more adult-oriented sound of the band's later work. It was the band's most successful studio album, reaching No. 1 in the UK (for 3 weeks) and staying on the album charts for over a year. Although it only climbed as high as No. 53, Avalon is notable for being the band's only million-selling record in the United States. A single, "More Than This", preceded the album and was a Top 10 hit in Britain, Australia, and several European countries. The title track was released as the album's second single and also became a UK Top 20 hit. A third extract, "Take a Chance With Me", with a remixed version of album track "The Main Thing" on the b-side, reached the UK Top 30 and was Roxy Music's last UK hit single to date.

“Thriller”专辑一共有7首单曲先后进榜，其中最受欢迎的二支单曲分别为“Billie Jean”“Beat It”，前者蝉聊7周单曲冠军，后者则由Van Halen的灵魂人物Eddie Van Halen跨刀演出；“The Girl Is Mine”是他与Paul McCartney首次合作的作品，歌曲中两人争风吃醋的对话，不觉让人莞尔，另外专辑亦收绿Top4“Thriller”、Top5“Wanna Be Startin’ Somethin”和Top7“Human Nature”等曲子，是乐迷不可错过的经典佳作。