是一张来自4AD的精彩的独立民谣专辑，它有关于回忆和梦幻的交织。 如今的4AD似乎已名不副实，大量平庸的流行吉他噪音乐队，如Belly,Breeders,Scheer之类，他们破坏了固有4AD美学传统，这一传统原本来自以Modern English为代表的后朋克年代，来自以This Mortal Coil为代表的新古典乐派；它的精髓由Cocteau twins一脉相承，C.T几乎就是一个4AD唯美音乐演进的活化石，它将哥特音乐带入了Dark Wave的仙乐境界，然后将吉他融合噪音的技巧授予Pale Saints,Lush，His Name Is Alive等一众低调英式吉他乐队。随后H.N.I.A和Mojave 3则开始尝试在吉他噪音背景下，人声部分重返民谣吟唱的可能性。 当然，今天这篇文章不是开4AD的声讨会，也不是号召大家从盗版里淘80th的古董，而是想谈一下4AD后期最出色的辑之一——Mojave 3的《Ask Me Tomorrow》。Mojave 3的前身是Shoe-Gazing乐团Slowdive，很难说Slowdive与Mojave 3在音乐风格上有什么太大的区别，甚至在Slowdive以Shoe-Gazing自居的年代里，他们的吉他音色也显得缓慢迟重而近乎凝滞状态，还有同样轻柔平静的人声。1995年，一张过于低迷的专辑Pygmalion葬送了Slowdive在Creation的前程，好在他们转投4AD，改名成为今天的Mojave 3。 《Ask Me Tomorrow》9首歌的旅程开始于某个临睡状态下的梦想，女主音Rachel在幻觉般轻盈虚无的吉他音效中喃自语“Love songs on the radio，Your sweetheart lies in bed，She's dreaming of the things you said…”如此一种耽于梦幻的呓语在缓慢流淌的时间里绵延，它谢绝了表述现实状态的热情，谢绝的现实秩序的可能性，而是半带迷惘的描述梦中可能的情境“She shines tonight her golden light…Lovers all around her，She wears them like her jewels.”歌者是旁观者，是lover,还是She？短短三段歌词，视角发生了跳跃性的变化，因为这是属于梦境的真实。如何解释一个名词"dream-pop"？这首“love songs on the radio”提供了一个源于音乐自身的答案。有人跟我发誓说Rachel唱这首歌的时候，嘴肯定还没张开一小半，不过这并不要紧，张大的嘴可以用来进食，但不一定能发出美妙的声音。 此后Rachel梦呓般的歌声始终处于一种若有若无的漂浮状态中，“TOMORROW'S TAKEN”是在追悼一个去的未来，回忆和想像留在了另一个人的生活里，明天是注定被带走的。Something good is all I need to feel alive，“Good”是一个被人们经常使用却早已遗忘的词语，有时候我们像身陷绝境中一样期待某种简单的美好。低沉绵长的大提琴占据了“TOMORROW'S TAKEN”的后半部分，对明天的祭奠才刚刚开始。 “CANDLE SONG 3”送给所有人作为圣诞的礼物，没有什么发生改变，没有什么值得改变，选一个节日作你点亮蜡烛的理由，或者欢乐的理由，在男主音Neil清亮的歌声后，Rachel如薄纱般的声音更像是一种作为背景的乐器精致动人。“YOU'RE BEAUTIFUL”里，Neil继续用黄昏星辰之类的词汇构筑简单而美丽的童话。“Show your light to the real world”要把自己表达给这个世界吗？但是“They can't see, they can't see”。拒绝外面的世界犹如被世界所拒绝，把最真最美的留给自己，“hold it tight”如果你觉得孤独，对自己笑一笑，宁可让外面的世界破碎，也不让自己心碎。 “PICTURES”“WHERE IS THE LOVE”和“MERCY”是对于“背叛”的三种自述，专辑末尾的Mercy”也是《Ask Me Tomorrow》里旋律最出彩的一首，Neil轻轻唱着“你的生命像一首歌，你却像傻瓜一样生活，而我无法告诉你何去何从” Mojave 3在《Ask Me Tomorrow》里，旋律，歌词，唱腔，一切都把Indie-pop,Dream－pop演绎得清新，简单又动人。有人说Mojave 3像Beatles。我想，英国的吉他乐队很难说有谁没继承Beatles的遗产，但是对于Mojave 3，更重要的却是重新解读伟大的传统：由Bob Dylan，Don Mclean重申的民谣传统，由川端康成发挥到极至的唯美叙事传统。 最后我还是要坦白的对所有期待一张摇滚唱片的朋友说；《Ask Me Tomorrow》只是一张简洁而精美的情歌作品集。桀不逊，自以为是，愤懑或者激情，这些词语早已为《Ask Me Tomorrow》所远离。它比Sparkle Horse更平和，比Mazzy Star更温暖，它也不会像Mercury Rev那样说“all is dream"，因为它本身就是一个梦境，本应属于某个梦幻年代。

Louder Than Bombs is a compilation album by the English rock band The Smiths. It was released as a double album in March 1987 by their American record company, Sire Records. Its highest chart position was number 63. Popular demand prompted their British record company, Rough Trade, to issue the album domestically as well. Upon its release in the UK in May 1987, it reached number 38 on the British charts. In 2003, the album was ranked number 365 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time. The album was certified Gold by the RIAA in 1990.

★美國《搖滾名人殿堂》和英國《音樂名人堂》的至尊榮耀 搖滾傳奇平克佛洛伊德Pink Floyd，1971年第六張錄音室專輯 ★英國流行專輯榜No.3，平克佛洛伊德樂團的首張概念專輯 「平克佛洛伊德Pink Floyd」整合迷幻和太空搖滾，將實驗、敘事性豐富的前衛搖滾，以及運用哲學性的詞藻，摸索出前衛搖滾的未來，進而造就了流行音樂史上最偉大的傳奇，每一個世代的樂迷不斷地從他們的音樂作品中，體驗到跨越時空的聽覺驚喜；每一個世代的樂團持續在他們的音樂作品中，思考著搖滾樂所能創造的想像空間與情感共鳴。自1967年組隊以來至2014年底的最後一張專輯《The Endless River》，47年以來，平克佛洛伊德歷年專輯的全球累積銷售量超過二億張，其中加總停留美國告示牌881週的傳世經典《The Dark Side of the Moon》、史上最偉大的概念專輯《The Wall》，都是影響後輩的膜拜聖碟。分別入籍美國《搖滾名人殿堂》和英國《音樂名人堂》的至尊榮耀、滾石雜誌和VH1頻道的《史上百組經典藝人》、Q雜誌《史上最偉大的樂團》名單，留給後世無數搖滾樂迷，一篇跨越半世紀，定義完美經典的搖滾史記。 1971年10月發行的《Meddle》是平克佛洛伊德樂團的首張概念專輯，專輯製作期間，鍵盤手Richard Wright運用聲波頻率原理組裝，可以發出特殊聲音效果的Leslie Speaker放大器，來製作了一個近似潛水艇的聲納裝置，再利用此裝置所發出的聲波寫出一段旋律，這段旋律隨後在經過其他團員加進不同的樂器的即興彈奏，最終蛻變成《Meddle》專輯中，深獲矚目的23分鐘實驗搖滾大作〈Echoes〉。專輯中也有在歌曲末段融入利物浦足球隊，球迷現場加油團演唱，沿用自音樂劇【旋轉木馬】的隊歌〈You`ll Never Walk Alone〉的現場錄音之慢板搖滾曲〈Fearless〉，更有樂團少見的搖滾情歌小品〈A Pillow of Winds〉。

Shoegazing（自赏摇滚）的奠基者The Jesus and Mary Chain的首张专辑，一般也认为是首张Shoegazing专辑，他们在其中演练了各种吉他噪音和梦幻般的和声，"Just Like Honey," "My Little Underground" 和 "Never Understand"都被认为是另类摇滚的经典。

滚石音乐(Rolling Stone Magazine )史上最佳Top 500 Albums之010#

这早已是一张公认的经典之作，如果说《the queen is dead》是有史以来最伟大的摇滚专辑还略微有点勉强的话，那它也一定是上世纪80年代最出色的音乐专辑。第一首专辑同名歌曲结尾的近三分钟的吉他独奏，紧张快速却又极富旋律感，Johnny Marr的吉他天赋在这展现的淋漓尽致。第二首《Frankly, Mr. Shankly》虽然旋律简单，却百听不厌，Morrissey的嗓音温暖亲切，似乎是一位大哥在向你绘声绘色的讲他的经历。《There is a light that never goes out》无疑是乐队最有名的单曲，歌曲的亮点依然是结尾那略带欢快的节奏旋律和悲伤的唱调，似乎史密斯早已看透了世俗，一番无奈的感慨和宣泄。 这张专辑在滚石杂志选出的500张历代最强专辑中排名第216位

据说这张专辑的名字取材于一伙苏格兰人的涂鸦之作。在录制这张专辑的时候，乐队所有的成员都为自己订造了一个新的身份，Stuart变成“等离子发生器”，Dominic称自己为“恶魔”，John变为“肉上尉”，Brendan则更名为“遗迹”，而且每人都冠以Young Team的头衔，并且在录音前必须刮脸（除“遗迹”以外）净面，仿佛必须凭借如此的神秘仪式才能做出令他们满意的音乐。当然，结果也并没有让他们失望，这张1997年10月发行的唱片，仅在英国本土就已有了35000张的销量，直到现在依然从头至尾散发着炫目的光彩，并且被公认为是90年代最具影响力的作品之一。各种乐器的音效盘根节错，交相辉映，微波荡漾的声响闪烁于噪音喧腾的碎片之中，Mogwai用音符将日常瞬间流转的光影刹那间凝固成跌宕的声波，在经历阵阵惊天动的撞击后，悄然融化于我们的内心。10首歌曲听起来仿佛彼此没有开始也没有结束，因为在地铁呼啸而过震耳欲聋的巨响背后，我只有等待内心喘息不安的悸动姗姗而来。 开场的“Yes！ I Am A Long Way From Home”，从喃喃的记录片式的人声起步，慢慢地搅拌起低沉的Riff和清丽的弦音，然后在反复跌宕中，弦音的主旋律开始退居幕后，Mogwai敏锐地捕捉到声音和情绪达到高潮的交点，就在3：41秒的黄金分割点，狂沙漫卷的失真噪音拔地而起，前台的Solo扶摇而上，后台的和弦则开始反复推进，直到所有的音域重新恢复平静，直到心中的情绪慢慢尘埃落定。接踵而来的“Like Herod”，依旧如法炮制，先是两分半钟轻描淡写的弦音流动，而后，在经过短暂的类似终止性的间歇之后，噪音出其不意地扑向耳鼓，每次到这里我不禁心惊胆战，不知道那些心律衰竭的听众们该如何消化，更何况在这首将近12分钟的作品中，这样的安排还重复了一次，套用老崔的一句话，这声音真“像一把刀子”，近似于毫无节制的疯狂。“Katrien”紧凑的节奏下，终于有人声出场了，按照Mogwai的一贯风格，他永远都是躲在背景后面模模糊糊地哼唱，我无法听出来他在说写什么，因为那时候吉他的旋律和轰鸣完全占据了所有的空间和心智。而后登场的“Radar Maker”沉静了许多，键盘营造出的空旷声音，配合着偶尔能够察觉到的电子声响，彼此缓慢流动至尾，最后以略显嘈杂的自然声音结尾。第五首“Tracy”可能是这张专辑里最动听的歌曲之一，轻盈的吉他、不缓不急的鼓点和摇摆不定的电子轰鸣浑然一体，制造出遥远而空灵的未来感。而后的“Summer”是他们早先发表过的同名单曲的最初版本，依然传承了Mogwai静噪结合的特点，从静如止水到铺天盖地，怦然心动的声响滚滚而出源源不绝。“With Portofolio”可以说是Mogwai对声音大胆的试验，先是键盘制造的轻柔慢缓的清脆声，背景起伏不定的噪音若隐若现，等到键盘消失不见，背景的噪音暴风骤雨般从左耳轰炸到右耳，仿佛要用巨大的能量把大脑的所有神经彻底蹂躏一番。Arab Strap的Aidan Moffat的声音出现在“R U Still In 2 It”中，在软绵绵的吉他声中，喃喃自语的Aidan冷静地哼唱着被恋人抛弃的无奈和痛楚。紧随其后的“A Cheery Wave From Stranded Youngsters”在钢琴和鼓充满立体感的氛围中继续释放着人类内心空旷的情感，随意的蒙太奇式的剪接编排，各种乐器层叠的呤呤细语被放大成遥远而苍凉的回响。最后的“Mogwai Fears Satan”好像Sonic Youth1988年《Daydream Nation》的延续，悠远的笛声和凝重的鼓音飞翔在海潮般时起时落的噪音流中，而我们只有继续扭曲着，痛苦着，缠绵着……Mogwai用《Young Team》特有的声音，把隐藏在尘世中无奈的情感全部压成齑粉，而后再轻飘飘地撒向空中，让脆弱的灵魂随风而去。

George Harrison's first-ever career-spanning greatest hits collection

Rank 'em how you like, Rubber Soul is an undeniable pivot point in the Fab Four's varied discography no matter where, or how, you first heard it. The album was softened up in its original 12-song American edition to jibe with the Dylan/Byrds folk-rock sound, as well as squeeze money from the Parlophone catalog. The 14-song U.K. edition--the version now available on compact disc--is a different, more dynamic, and ultimately more accomplished achievement. So many classics: "Drive My Car" and "Nowhere Man" (both omitted from the U.S. edition) merge the early combustible Beatifics to a burgeoning studio consciousness; "The Word" can be read as a pre-psych warning shot; the sitar-laden "Norwegian Wood" and the evocative "Girl" (the latter written on the last night of the sessions) stand as turning points in John Lennon's oeuvre. George finally emerges too, with the McGuinn-ish "If I Needed Someone." EMI. 2005.

First CD reissue of the album. Sgt. Pepper's Lonely Hearts Club Band (often referred to simply as Sgt. Pepper) is the eighth studio album by the English rock band the Beatles. Released on 26 May 1967, Sgt. Pepper is regarded by musicologists as an early concept album that advanced the roles of sound composition, extended form, psychedelic imagery, record sleeves, and the producer in popular music. The album had an immediate cross-generational impact and was associated with numerous touchstones of the era's youth culture, such as fashion, drugs, mysticism, and a sense of optimism and empowerment. Critics lauded the album for its innovations in songwriting, production and graphic design, for bridging a cultural divide between popular music and high art, and for reflecting the interests of contemporary youth and the counterculture. «Before Sgt. Pepper, no one seriously thought of rock music as actual art. That all changed in 1967, though, when John, Paul, George and Ringo (with "A Little Help" from their friend, producer George Martin) created an undeniable work of art which remains, after 30-plus years, one of the most influential albums of all time. From Lennon's evocative word/sound pictures (the trippy "Lucy in the Sky With Diamonds," the carnival-like "Being for the Benefit of Mr. Kite") and McCartney's music hall-styled "When I'm 64," to Harrison's Eastern-leaning "Within You Without You," and the avant-garde mini-suite, "A Day in the Life," Sgt. Pepper was a milestone for both '60s music and popular culture. --Billy Altman» Credits: Phonographic Copyright ℗ – EMI Records Ltd. Copyright © – EMI Records Ltd. Artwork [Cover Staged By] – Jann Haworth, Peter Blake (4) Artwork [Cover] – M C Productions, The Apple Artwork [Wax Figures] – Madame Tussauds Design – Paul Wilkinson (3) Design Concept [Cd Packaging Design Idea] – Kathryn Varley Engineer [Recording] – Geoff Emerick Engineer [Second] – Richard Lush (tracks: 1 to 8, 10 to 13) Liner Notes – Peter Blake (4) Liner Notes [Quote] – George Martin Liner Notes [Words] – Mark Lewisohn Photography By [Cover] – Michael Cooper (8) Producer – George Martin Written-By – Lennon/McCartney* (tracks: 1 to 7, 9 to 13) ℗ 1967 Original Sound Recordings made by EMI Records Ltd. © 1967 EMI Records Ltd. © 1987 EMI Records Ltd. Made in the U.K. (on back cover). Made in Italy (on CD). Comes in a jewel case enclosed in a cardboard box with a 28 page booklet including Sgt. Pepper's cut-outs. Track 1 recording started in studio 2 at Abbey Road on February 1, 1967. Album version mixed from take 10. Track 2 recording started in studio 2 at Abbey Road on March 29, 1967. Album version mixed from take 11. Track 3 recording started in studio 2 at Abbey Road on March 1, 1967. Album version mixed from take 8. Track 4 recording started in studio 2 at abbey Road on March 9, 1967. Album version mixed from take 15. Track 5 recording started at Regent Sound Studio, Tottemham Court Road, London on February 21, 1967 and later completed at Abbey Road. Album version mixed from take 3. Track 6 recording started in studio 2 at Abbey Road on March 17, 1967. Album version mixed from take 9. Track 7 recording started in studio 2 at Abbey Road on February 17, 1967. Album version mixed from take 9. Track 8 recording started in studio 2 at Abbey Road on March 22, 1967. Album version mixed from take 2. Track 9 recording started in studio 2 at Abbey Road on December 6, 1966. Album version mixed from take 4. Track 10 recording started in studio 2 at Abbey road on February 23, 1967. Album version mixed from take 11. Track 11 recording started in studio 2 at Abbey Road on February 8, 1967. Album version mixed from take 11. Track 12 recording started in studio 1 at Abbey Road on April 1, 1967. Album version mixed from take 9. Track 13 recording started in studio 2 at Abbey Road on January 19, 1967. Album version mixed from takes 6 & 7. Black and white photograph courtesy of the Michael Cooper Collection. The rear of the booklet states all tracks except 8 are by Lennon/McCartney, but the liner notes are more specific.

《Family Tree》是由Nick Drake母亲与妹妹整理出来的作品集，录音时间甚至早于他的首张专辑《Five Leaves Left》（1969），大部分是他翻唱的一些民谣歌曲，包括传统民谣、Bob Dylan、Blind Boy Fuller与Jackson C. Frank等人的作品，以及2首创作歌曲的的早期版本。 这张唱片最吸引的地方是那种未经制作修饰的DEMO式质感，尽管歌曲都很短，但不时也录下了当时一些“多余”的声音，如老式录音机的杂音、歌唱之外的呢喃、玻璃器皿翻倒的声音、远处莫名的环境声以及破钢琴声里家人的笑声等。在一些蓝调（Blues）歌曲中，可以听到Nick Drake难得的轻松腔调，有种可爱的少年老成式的油腔滑调。 听Nick Drake的歌，会觉得尽管民谣是种容易讨好又容易腻味的音乐，但只要将活生生的口气、舌苔、唇线、鼻息和体味都投入其中，就能在简单的循环反复中制造出活生生的迷幻来。也许，所有的音乐都是并都该如此。

民谣天才Nick Drake是一生不得志，死后才风光的典型，几乎所有人都用“孤独”来形容他的音乐，他的演唱总让人有种遥远疏离的感觉，彷佛他只是在唱给自己听，而听众是刚巧经过而已。尽管风格如此孤独，但追求完美的他总是要把歌曲加上精心编排后才发表，而不是许多民谣歌手那样，一把木吉他走天下。尽管在乐评人中一直都有很好的评价，但对于追求简单的听众来说，他的音乐过于丰富，而对于追求新奇的听众来说，他的音乐过于单纯，在70年代初，他的音乐就是这样两头不讨好，所以市场反响总是平平。Nick Drake发现自己不论如何努力总是不能得到大众认同，心情抑郁，并在26岁时英年早逝。讽刺的是，他死后，似乎忽然就变成巨星了。无数后来的民谣艺人都说，Nick Drake是影响他们最深的前辈。 这是Nick的第二张专辑，孤独而精美，爵士元素的加入，为歌曲又添上了几分迷离的色彩。我们现在来听，会和Nick一样不敢相信它竟然会不流行，然而事实就是如此，让人叹息。

Lennon Legend: The Very Best of John Lennon is the third official compilation album of John Lennon's solo career, coming after 1975's Shaved Fish and 1982's The John Lennon Collection. Because neither collection spanned Lennon's releases up to and including 1984's Milk and Honey, Lennon Legend: The Very Best of John Lennon - considered the definitive Lennon retrospective - was compiled to rectify the situation. It was released in the UK in 1997

Libertines and Babyshambles leader, Spin cover boy, frequent gossip magazine and TV show paparazzi target. Peter Doherty fi nds himself constantly at the center of a hurricane of media attention, a windstorm of publicity that constantly keeps him in the public consciousness. Grace/Wastland is a brave exploration into the eye of the hurricane. A stunning new album that goes beyond the news stories and photos that lays bare a man's soul, an excavation of a heart left desolate. Recorded over a month of sessions in autumn 2008 at London's legendary Olympic Studios with producer Stephen Street (The Smiths, Blur, Cranberries, Kaiser Chiefs), Peter Doherty brings to life a collection of songs many which have existed since the heady days with The Libertines. Without the guise of The Libertines and Babyshambles to hide behind, never before have we seen Doherty so personal, raw, and vulnerable in his songwriting. Ripe with lyrical insights, Doherty's main themes are present and truthful - his troubles with youth, music, love and addiction are all revealed. Adding color to Doherty's compositions is Blur guitarist Graham Coxon, appearing on nearly every track, instilling in the music his pedigree and refi ned studio nous. Scottish singer Dot Allison (One Dove) and poet Peter "Wolfman" Wolfe also make contributions to the record. So, having laid himself bare, Peter Doherty has left himself open for critical analysis. Take this album for what it is and judge it on its merits, rather than the distortions of truth we and Peter are forced to endure. Think you know Peter Doherty? Listen carefully: this album is Peter Doherty.

Artist：Muse Album ：The Resistance Date ：2009.09.14 Label ：Warner Bros Style ：Alternative Rock、Progressive Myspace： Mojo杂志：Goldfrapp穿上重型摇滚的外套。 NME杂志：Marilyn Manson式的华丽摇滚唱腔。 《The Resistance》录制于意大利的科莫湖和米兰市。作为Muse乐队第五张正式录音棚专辑，它距离乐队上一张专辑《Black Holes And Revelations》的发行已经时隔三年之久。在这次备受期待的新专辑里，乐队主唱Matt Bellamy(马特-贝拉米)为了强调作品的概念，他还亲自编写了一部分为三段的交响乐《Exogenesis》。由于他并非弦乐编写专业出身，此次交响乐的编写花费了它大量的时间和精力。

A broad range of influences shine through on this album, from the Kinks, through to punk, Stone Roses, a touch of Soul 2 Soul, 80s' indie, Madness, Blondie, Motown, Britpop and even one inspired by their UK number four hit single 'Fuck Forever'. Lyrically, the album captures the many facets of Peter's character: storyteller, lyricist, street poet, hopeless romantic and chronicler of British life. From capturing the feeling at sunrise after a night on the tiles, to delving into a self-destructive 20 year marriage ('Baddie's Boogie') this is an album of rare emotional breadth. The album even manages to immortalise Peter's doodle invention (and 'Down In Albion' cover star) French Dog in one of the album's highlights 'French Dog Blues' All songs are written by Peter Doherty, with contributions from Mick, Adam and the band. On 'Unbilotitled', Peter's old mucker Wolfman wrote some of the lyrics (the pair penned a top ten single in 2004 with 'For Lovers'). EMI. 2007.

Graham Coxon has remained one of the most influential and inspiring guitar players and songwriters of the last quarter-century, whether through his immensely eclectic and challenging solo material or role within Blur. 'The Spinning Top', Coxon's seventh studio LP to date, is also his finest yet whether the folky blues shuffle of 'Sorrow's Army', menacing thrashes of 'Dead Bees', or eight-minute daydream opus, and perhaps album centrepiece, 'In The Morning'. Comprising 15 original new songs, the album was produced by Stephen Street and featuring collaborators such as Danny Thompson and Robyn Hitchcock. Graham's most intimate and beguiling work to date, 'The Spinning Top' ploughs depths, textures and lyrical furrows that few of his contemporaries are still able to muster, especially this far down the line. Conversely, this is the sound of a man rejuvenated and refocused, ready for yet another flourish in an-already compulsive and vital career

Tricky makes his long, long overdue return in July, with a new home (Domino Records) and a new album 'Knowle West Boy'. The title of 'Knowle West Boy' relates to the area of Bristol where Tricky grew up and his first release in five years (after 2003's 'Vulnerable') will be preceded by lead single 'Council Estate' on June 30th, with the full-length record following on Monday the 7th of July 2008.