大和丝竹乐团，是室内乐形式的日本传统音乐乐团。 主要演奏筝，尺八和三味线的合奏，间或伴随人声吟唱。 大和丝竹特别引人注目的一点， 是由于成员之一，尺八演奏家是一位西洋人士，叫做理查德·斯坦格。 他具有超过20年的尺八学习和表演经验， 最早自学，后因机缘巧合，拜于尺八大师岩本由和的麾下，终成大器。 大和丝竹乐团的音乐清新、明朗， 其曲目既有古典日本音乐的传统，也演奏当代作曲家的民族音乐作品。 在国际上获得诸多好评。

For many pop-music cynics, excess can be neatly summed up in three things: live albums, double-CD's, and Tori Amos records. Damned if To Venus and Back doesn't hit the trifecta. But perhaps Amos is just trying to prove what we've always suspected: that her muse possesses a sly, ironic wit and has been frantically trying to give us a wink while Tori whipped up her heady cocktail of quiet Sturm, desperate Drang, and angst in the panties. There's teasing moments on this double-dose of Tori's love affair with her own melodic and mystical dramaturgy to support that notion, even in the disc of powerful new studio recordings that inaugurates this set. Dubbing a song "Glory of the 80's" is burlesque enough, but yearning to have oneself cloned as Kim Carnes at its climax is simply inspired. Amos is to Kate Bush's distaff mysticism what Mark McGwire was to Roger Maris; she hasn't so much broken the mold as willfully hammered it into her own image. After Bush hit the snooze-bar on her career in the late `80s, Amos boldly stepped into the fray, building a body of work that demanded to be taken seriously, even while the thrift-store chic set were laughing up their tattered sleeves at her ambitious chutzpah. They're not laughing now; in fact, many may find Venus to be a deliciously guilty pleasure. Amos supporters have long maintained that the key to understanding her intrigue lies in her live performances. Disc two boldly states their case as Amos coos, whoops, and warbles through a hit-sprinkled set, her shrewd, sorely undervalued band hanging with every nuance and turn of phrase. Cynics are from Mars; Tori is from Venus--that's just the way her galaxy crumbles. Jerry McCulley

Diva is the debut solo album by the Scottish singer-songwriter Dr Annie Lennox OBE, released in 1992. The album entered the UK album chart at number 1 and has since sold over 1.2 million copies in the UK alone, being certified quadruple platinum.

Boys for Pele, the title of Tori Amos's epic third album, is as awkward and confusing as the music inside. Though it sounds like a recruitment slogan for Little League soccer, the name actually refers to the lost temples of feminine divinity. Pele, you see, is the Hawaiian volcano goddess; the boys, well, they're the sacrifices that quell the rumbling lady's rage. Attempting to regain fires stolen long ago, Pele rewrites the crucifixion to star a girl Jesus and in doing so conjures a forgotten matriarchal mythology. While Amos's characters--Jupiter, Muhammad, Lucifer--are male by name, the aural landscape into which they're thrown is as symbolically and expressionistically female as Georgia O'Keeffe's skull-and-roses paintings. Pele is a complex and formless--and often impenetrable--work of gothic-pop chamber music, both beautiful and ghostly in its nearly complete reliance on Amos's rolling Bosendorfer grand piano, chilling harpsichord (which she bangs like a courtly punk rocker), and acrobatic voice (as earthy as Joni Mitchell's and as otherworldly as Bjork's). Unfortunately, she takes us only halfway: her songs engage and challenge us to understand, but the imagery offers few clues to help us crack their frustrating opacity. Pele ends up as much a pretentious and self-indulgent trip as it is a synthesis of talent, imagination, and skewed vision. Still, there's reason to celebrate that an album as formalistically and thematically alien to pop audiences as Pele would win such quick success upon its original release. --Roni Sarig

Cassandra Wilson is an American jazz musician, vocalist, songwriter, and producer from Jackson, Mississippi. Described by critic Gary Giddins as "a singer blessed with an unmistakable timbre and attack [who has] expanded the playing field" by incorporating blues, country, and folk music into her work.

Cassandra Wilson is an American jazz musician, vocalist, songwriter, and producer from Jackson, Mississippi. Described by critic Gary Giddins as "a singer blessed with an unmistakable timbre and attack [who has] expanded the playing field" by incorporating blues, country, and folk music into her work.

From the Choirgirl Hotel (stylized in lowercase) is the fourth studio album by American singer and songwriter Tori Amos, released on May 5, 1998.

The group's seminal debut album is aptly titled: The melodies shimmer and drone and hum like otherworldly pop tunes, and Radley and Pierce's vocals hover gently in the mix. One of the premier dream pop albums, Lazer Guided Melodies is both beautiful and innovative.

Remastered version of their 1995 album. Sleeve notes by Melody Makers Ian Watson. This was the band's final album resulting in a more spacey ambient feel. Castle. 2005.

by Tori Amos Atlantic / Wea Sales Rank: 3457 - Avg. Rating: 4.5 (out of 5) Released: 01 February, 1994 - UPC: 075678256721 Audio CD

Formed in 1989 by Oyamada Keigo and Ozawa Kenji out of the remains of their previous group Lollypop Sonic, Tokyo indie pop duo Flipper's Guitar were largely responsible for instigating the magpie-like trend of influence-hunting that came to characterize so much Japanese indie music of the '90s. Wearing the influence of '80s British guitar pop on their sleeves with such song titles as "Haircut 100" and "Goodbye, Our Pastels Badges," Flipper's Guitar also acknowledged the influence of Brian Wilson and the Beach Boys, as well as borrowing from retro lounge music, jazz, and the indie/dance fusion at that time making waves in the U.K. The band's 1989 debut, Three Cheers for Our Side!, was at heart a comparatively straightforward guitar pop album, albeit a musically literate one, but the following year's Camera Talk found them expanding their musical palette, and demonstrated the duo's rapidly improving skills as producers. 1991's Doctor's Head's World Tower was another leap forward, with an increased use of sampling and the obvious influence of groups like Primal Scream and the Happy Mondays giving the album a tripped-out dance groove. Nevertheless, Flipper's Guitar weren't interested in the drug-fueled hedonism of their U.K. contemporaries, and the single "Dolphin Song," with its cut-and-paste construction and marriage of samples from the Beach Boys' "God Only Knows" to Eyeless in Gaza's "Changing Stations," indicated that the group's musical future lay elsewhere. Flipper's Guitar was to end soon after, with the group's disbandment in 1993, and no further albums of new material released. Their influence didn't stop there, though, with Ozawa enjoying immediate success as a solo musician, and Oyamada going on to become one of Japan's hippest cultural exports with his work under the pseudonym Cornelius. Flipper's Guitar's legacy also continued to influence Japanese music, inspiring a generation of musicians with similarly eclectic tastes, which would eventually be called the "Shibuya-kei" or "Shibuya style" movement, with Oyamada's Trattoria label a key gathering place for these bands. In 2004, a second generation of musicians produced a document of their admiration for the duo in a two-volume tribute album on indie label Softly! Records, featuring such "Neo-Shibuya-kei" musicians as the Aprils, Eel, and Hazel Nuts Chocolate.

托丽．阿莫斯迄今为止最好的专集，她在著名的＂ＭＥ ＡＮＤ Ａ ＧＵＮ＂（我和枪）里把自己亲身遭遇的强奸事件无比哀怨地道来，内心承受的纠缠，悲伤和凄楚让听者无不动容．

两位其貌不扬的女子羽鸟美保(Miho Hatori)和本田优佳(Yuka Honda)先后由日本移居至纽约，机缘巧合下二人组成了今天的Cibo Matto。可不要太低估了她们，由最初活跃于纽约当地的地下音乐圈，到获得主流唱片公司垂青而被招揽旗下，Cibo Matto实现了众多立志要在西方乐坛闯一闯的日本女孩子的梦想。Cibo Matto即意大利语中的“食物狂”之意，而自言什么也爱吃的她们，其音乐世界也是糅合着多种不同的素材而来。无论是96年初发表的处女专集《Viva! La Woman》还是98年发表的《Stereotype A》，都叫人听得惊为天人。里边无论是不可思议、光怪陆离的混种Hip Hop音乐取向，还是丰富的音乐伴奏编排，都呈现出一种属于Cibo Matto的Self-Style风格，证明了Miho Hatori和Yuka Honda二人是那么殊不简单。 这张作品是2001年WARNER公司发行的CIBO MATTO的SINGLES COLLECTION，我想这种FAST FUSION的音乐应该会受到爵士乐和摇滚乐迷们的一致欣赏吧，这种风格的乐队并不多见，再加上非凡的实力，自然可想而知其为何如此成功和深受瞩目……

Viva! La Woman is an album by Cibo Matto released in 1996 by Warner Bros. Records. The genre has been described as "urban trip-hop". The album received mostly favorable reviews.[citation needed] Some reviewers dismissed the album as "kitschy", a fact that disappointed the band. Warner Bros. signed Cibo Matto after their self-titled EP caught the label's attention. The tracks reflected the band's live performances, with pre-recorded samples and loops. Yuka Honda has expressed regret that she did not stand up for herself when others discouraged her from replacing the samples and loops with new recordings. The album's songs all include food in some way, sometimes as a metaphor.[citation needed] Yuka Honda explains: "Food is something you can't escape. It's there every day." The band would frequently go to restaurants after rehearsal, and "Cibo Matto grew out of those restaurant times." "Apple" (Cibo Matto) – 4:01 "Beef Jerky" (Cibo Matto) – 2:28 "Sugar Water" (Cibo Matto, Ennio Morricone) – 4:29 "White Pepper Ice Cream" (Cibo Matto) – 5:10 "Birthday Cake" (Cibo Matto) – 3:15 "Know Your Chicken" (Cibo Matto) – 4:21 "Theme" (Cibo Matto) – 10:49 "The Candy Man" (Leslie Bricusse, Anthony Newley) – 3:11 "Le Pain Perdu" (Cibo Matto) – 3:29 "Artichoke" (Cibo Matto, Kudsi Erguner) – 6:41 "Jive" (Cibo Matto) – 0:18

Tuesday Night Music Club is the debut solo album from American singer/songwriter Sheryl Crow, released on August 3, 1993. The lead single "Run Baby Run" was not particularly successful.