Nowhere seems to hold consensus as the second-best record of the shoegaze era, and with very good reason. All of the common words, phrases, and adjectives commonly used with the short-lived subgenre fit properly here, and they're all positive, every one of them. Whir, whoosh, haze, swirl, ad nauseum -- this record holds all of these elements at their most exciting and mastered. But in the end, great pop records necessitate quality songs, which Nowhere delivers throughout. Undeniably, it's Ride's zenith -- dense, tight, hypnotic. "Seagull" serves as a dynamic opener; after a couple seconds of light feedback, bassist Steve Queralt kicks in with a rubbery, elliptical line (reminiscent of a certain Beatles song), which is soon followed by Andy Bell and Mark Gardener's guitar twists and Loz Colbert's alternately gentle and punishing drumming. After the upbeat "Kaleidoscope," the record falls into a tempo lull that initially seems impenetrable and meandering. However, patience reveals a five-song suite of sorts, full of lovely instrumental passages that are punctuated with violent jabs of manic guitars. The endlessly escalating "Polar Bear" is a high point, featuring expertly placed tom rolls from Colbert. The tempo picks up for the closing "Vapour Trail," a wistful pop song with chiming background guitars galore and mournful strings to close it out. The U.S. version was bolstered significantly with the remainder of the Fall EP ("Dreams Burn Down" having reappeared earlier in the record). "Taste" is one of their finest pure pop numbers; the moody/driving "Here and Now" rates well, and the five-minute "Nowhere" is a nasty distorto-freakout. [Nowhere was remastered and reissued by Ignition U.K. in 2001. Added to the 11 tracks featured on Sire's U.S. edition are the four selections from the equally wondrous Today Forever.]

Supertramp were an English rock band formed in London in 1970. Marked by the individual songwriting of founders Roger Hodgson and Rick Davies, they are distinguished for blending progressive rock and pop styles, and for a sound that relied heavily on Wurlitzer electric piano.

Liner Notes [対訳] – 山本安見* Producer – John & Yoko*, Phil Spector Written-By – Lennon* Notes Picture sleeve with lyric insert, ¥500 price on front of sleeve. ℗ 1970 EMI Records Limited Mfd. by Toshiba EMI Ltd. Japan An Apple Record An EMI Recording

This is an amazing album containing 15 outtakes from the famous sessions for the Antonioni cult classic. After recording for several days, only three songs ended up on the official soundtrack. Over the years several outtakes appeared on dubious and soundwise poor bootlegs. In 1997 a revised edition of Zabriskie Point was released, including four previously unreleased Floyd takes. But there was more, much more as this release proves. No less than fifteen outtakes you never heard before in this quality or in any quality!

Supertramp were an English rock band formed in London in 1970. Marked by the individual songwriting of founders Roger Hodgson and Rick Davies, they are distinguished for blending progressive rock and pop styles, and for a sound that relied heavily on Wurlitzer electric piano.

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.

Music Has the Right to Children is the debut studio album by Scottish electronic music duo Boards of Canada, released on 20 April 1998 in the United Kingdom by Warp and Skam Records and in the United States by Matador. The album was produced at Hexagon Sun, the duo's personal recording studio in Pentland Hills, and continued their distinctive style of electronica, featuring vintage synthesisers, degraded analogue production, found sounds and samples, and hip-hop-inspired rhythms that had been featured on their first two EPs Twoism (1995) and Hi Scores (1996). The album received widespread acclaim upon its release, and has since been acknowledged as a landmark work in electronic music, going on to inspire a variety of subsequent artists. It has been included on various best-ever lists by publications such as Pitchfork and Mojo.

Japanese exclusive reissue of 2003 album. This Toshiba/EMI pressing features an insert with Japanese text & lyrics in Japanese & English. Manufactured & pressed in Japan. This album has been direct metal mastered from a digitally remastered original tape to give the best possible sound quality. Includes a bonus seven inch single featuring a unique insight into the Beatles at work in rehearsal & in the studio during January 1969. Gatefold sleeve. 2003.

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.

Florence + The Machine连手出击首张专辑「Lungs」，一口气动员Paul Epworth（Bloc Party.、New Order）、James Ford（Mystery Jets、Arctic Monkeys）、Steve Mackie（Deana Carter、Aberfeldy）等三位横跨不同领域的大师齐力拱盘，以锐不可挡的气势直接空降英国金榜亚军。 　　先前曝光的开场曲「Dog Days Are Over」，徘徊在Folk与Pop的边缘，加上Florence韧性十足的演绎功力，很难不让人深深着迷。 　　首周拿下英国单曲榜Top12好成绩的「Rabbit Heart（Raise It Up）」，充满魅惑的层次感声音表情，电子键盘的轻巧覆盖，加强不断外扩延展的想象空间。 　　温热弦乐和冰冷琴音对撞的「Howl」，其中极具感染力的澎湃激昂嗓音再度加深歌曲记忆点。 　　挑衅味浓烈同时冲出十足霸气的「Kiss With A Fist」，让这位强悍女人一鸣惊人，过瘾的庞克节拍点燃难以制伏的气焰，因其朗朗上口的旋律而被《詹妮弗的肉体》《新乌龙女校2》等电影引为插曲。 　　如精灵般跳跃着欢愉频率的「Between Two Lungs」和「Hurricane Drunk」，流露出独一无二的奇幻美感，并在感性细腻中听见流淌心灵间的酣畅音符。

Once known as hard-core blues/R&B traditionalists, the Stones plunged deeper into the waters of original songwriting on BETWEEN THE BUTTONS, leading to a golden age of classic albums including LET IT BLEED, BEGGAR'S BANQUET and EXILE ON MAIN STREET. BUTTONS was also the last album produced by then-manager/svengali Andrew Loog Oldham. More importantly, the obscure songs on this tight package show the Stones coming into their own as composers. Between the melodic balladry of "Back Street Girl" and Mick Jagger's Dylanesque inflections on "She Smiled Sweetly," BUTTONS found the Stones in a strata far beyond covering Chuck Berry and Buddy Holly. Although none of these developments ranks with the Beatles' contemporaneous sonic experiments, the Fabs' bad-boy counterparts showed differing degrees of whimsy and sass, i.e. Ian Stewart's barrelhouse piano and Brian Jones' kazoo playing on "Cool, Calm & Collected" or the Dixieland-flavored "Something Happened To Me Yesterday."

Remastered reissue of 1970 album (in concert), suitable for standard & 'Super Audio' CD players. Digipak.

This is an exclusive release from the V&A "David Bowie Is" exhibition in Japan. As with the album the single is taken from, the track is generally referred to as "Blackstar" but printed on release as ★ Japan Exclusive Hype Sticker 12" x 12" Insert with Lyrics and Credits in English and Japanese Poster White Die Cut Cover Sleeve with Shape of the Star