1993年 very大碟中第2首发行的单曲

fun is Nate Ruess, Andrew Dost and Jack Antonoff. Formed during the winter of 2008, the band recorded their debut album with producer Steven McDonald, arranger Roger Joseph Manning Jr and a cast of characters. They will release their debut album in 2009.

Limited UK pressing. Sophomore album from the singer, songwriter and modern troubadour who Rolling Stone called 'this generation's Bob Dylan'. Simple Times takes the simplicity of his debut album and adds more depth and layers to the production, bringing Radin forward while also making sure he has at least one foot firmly in the past. A natural step forward, to put it simply.

“I Put A Spell On You (Fifty Shades of Grey)” – Annie Lennox “Undiscovered” – Laura Welsh “Earned It (Fifty Shades Of Grey)” – The Weeknd “Meet Me In The Middle” – Jessie Ware “Love Me Like You Do” – Ellie Goulding “Haunted (Michael Diamond Remix)” – Beyoncé “Salted Wound” – Sia “Beast Of Burden” – The Rolling Stones “I’m On Fire” – AWOLNATION “Crazy In Love (2014 Remix)” – Beyoncé “Witchcraft” – Frank Sinatra “One Last Night” – Vaults “Where You Belong” – The Weeknd “I Know You” – Skylar Grey “Ana And Christian” – Danny Elfman “Did That Hurt?” – Danny Elfman

Can was a German experimental rock band formed in Cologne, West Germany in 1968 by the core quartet of Holger Czukay (bass), Irmin Schmidt (keyboards), Michael Karoli (guitar), and Jaki Liebezeit (drums). The group cycled through several vocalists, including Malcolm Mooney ('68ñ70) and Damo Suzuki ('70ñ73), as well as various temporary members. Drawing from backgrounds in the avant-garde and jazz, Can incorporated minimalist, electronic, and world music elements into their often psychedelic and funk-inflected music. They have been widely hailed as pioneers of the German krautrock scene. The band used the names "Inner Space" and "The Can" before finally settling on "CAN". Liebezeit subsequently suggested the backronym "Communism, Anarchism, Nihilism" for the band's name. In mid-1968, the band enlisted the creative, highly rhythmic, but unstable and often confrontational American vocalist Malcolm Mooney, a New York-based sculptor, with whom they recorded the material for an album,Prepared to Meet Thy Pnoom. The next few years saw Can release their most acclaimed works. While their earlier recordings tended to be at least loosely based on traditional song structures, on their mid-career albums the band reverted to an extremely fluid improvisational style. The double album Tago Mago (1971) is often seen as a groundbreaking, influential and deeply unconventional record, based on intensely rhythmic jazz-inspired drumming, improvised guitar and keyboard soloing (frequently intertwining each other), tape edits as composition, and Suzuki's idiosyncratic vocalisms. Czukay: "(Tago Mago) was an attempt in achieving a mystery musical world from light to darkness and return." The later albums Landed (1975) and Flow Motion (1976) saw Can moving towards a somewhat more conventional style as their recording technology improved. Accordingly, the disco single "I Want More" from Flow Motion became their only hit record outside Germany. Co-written by their live sound mixer Peter Gilmour, it reached No 26 in the UK charts in October 1976, which prompted an appearance on Top of the Pops, where Czukay performed with a double bass. In 1977 Can were joined by former Traffic bassist Rosko Gee and percussionist Rebop Kwaku Baah, both of whom provided vocals to Can's music, appearing on the albums Saw Delight (1977), Out of Reach (1978) and Can (1979). During this period Holger Czukay was pushed to the fringes of the group's activity; in fact he just made sounds using shortwave radios, Morse code keys, tape recorders and other sundry objects. He left Can in late 1977 and did not appear on the albums Out of Reach or Can, although he was involved with production work for the latter album. The band seemed to be in a hiatus shortly afterwards, but reunions have taken place on several occasions since. Tago Mago is the third album by the German krautrock band Can, originally released as a double LP in 1971. It was the band's second studio album and the first to feature Damo Suzuki after their previous vocalist, Malcolm Mooney, quit the band in 1970 to return to the United States. Tago Mago has been described as Can's best and most extreme record in sound and structure. The album has received much critical acclaim since its release and has been cited as an influence by various artists. With the band in full artistic flower and Damo Suzuki's sometimes moody, sometimes frenetic speak/sing/shrieking in full effect, Can released not merely one of the best Krautrock albums of all time, but one of the best albums ever, period. Tago Mago is that rarity of the early '70s, a double album without a wasted note, ranging from sweetly gentle float to full-on monster grooves. "Paperhouse" starts things brilliantly, beginning with a low-key chime and beat, before amping up into a rumbling roll in the midsection, then calming down again before one last blast. Both "Mushroom" and "Oh Yeah," the latter with Schmidt filling out the quicker pace with nicely spooky keyboards, continue the fine vibe. After that, though, come the huge highlights three long examples of Can at its absolute best. "Halleluwah" featuring the Liebezeit/Czukay rhythm section pounding out a monster trance/funk beat; Karoli's and Schmidt's always impressive fills and leads; and Suzuki's slow-building ranting above everything is 19 minutes of pure genius. Members Damo Suzuki ñ vocals Holger Czukay ñ bass, engineering, editing Michael Karoli ñ guitar, violin Jaki Liebezeit ñ drums, double bass, piano Irmin Schmidt ñ keyboards, vocals on "Aumgn"

吉姆·豪爾是一名美國爵士吉他手，作曲家和編曲家。《Premier Guitar》雜誌中曾寫道：「或許可以這樣講，爵士吉他的大樹植根於這四個名字：強戈·賴因哈特、查理·克里斯蒂安、韋斯·蒙哥馬利和吉姆·豪爾。」

Del Rey first released an album titled "Lana Del Ray" in January 2010. It was the singer's first professionally produced album, released under Lizzy Grant on an independent label with producer David Kahne.

Can在1969年带着他们制作粗糙却令人鼓舞的专辑《Monster Movie》初次登场，这也是唯一一张由来自美国本土的歌手Malcolm Mooney主唱所有歌曲的专辑。 Can's debut is the only full-length, proper release to feature original vocalist Malcolm Mooney

Duet albums were rare in 1962 and encounters of this quality are still rare. Bill Evans and Jim Hall, two modern jazz giants, were in peak creative form at the time, Evans leading his own trio and Hall working with Sonny Rollins's quartet at the time. These two masters challenge and complement each other brilliantly on a series of standards and jazz originals. Newly remixed and remastered in 24 bit, this new edition of Undercurrent, which contains two more tunes (tracks 7 & 8) and two alternate takes (tracks 9 & 10) added to the original United Artists album, sound exceptional.

Four Seasons of Love is the fourth studio album by American singer-songwriter Donna Summer. Released on October 11, 1976, this concept album became her third consecutive successful album to be certified gold in the US. It peaked at #29 on the Billboard 200.

This is a live double CD recorded during a series of concerts in 1975. In the words of Harold Leventhal (Sometime manager of Pete, Arlo and Woody), "It took only two phone calls to get Pete Seeger and Arlo Guthrie to agree to perform together in concert. I rang Pete. "Listen, how about you and Arlo doing some concerts together?" Pete didn’t hesitate, "Sure," he quickly replied. I then dialed Arlo. "Say, Arlo, how about you and Pete doing some concerts together?" His reply was as prompt as Pete’s. So concerts were lined up for New York, Chicago, Montreal, Boston, Denver and Tanglewood. "Now the big problem was to get Pete and Arlo to meet, to decide on a program and to rehearse. Arlo hates to travel beyond the border of Berkshire County in Massachusetts and Pete is traveling all over the country doing benefits. Luckily, just one week before the first concert in Carnegie Hall, Arlo escaped from his farm and found his way to Pete’s place in Beacon, New York. They spent a couple of hours together, decided on a program, ran through a couple of songs…and they were ready. "Pete Seeger had been singing with a Guthrie for some 35 years. Back in 1940, Woody Guthrie and Pete traveled cross country singing their way from state to state, and until the early 1950s Woody and Pete often shared singing in a union hall or at a political rally. In the mid-1960s, as Arlo became a "professional" singer, he was also beginning to share the same platform or concert hall with Pete, as they both participated at peace demonstrations or sang for the Farm Workers Union. The Seeger-Guthrie Union keeps going. "There is no gap in the two generations of singers heard on this record. Rather, the music and songs express a continuity of understanding and a reflection of the world as it is and has been. The audience at these concerts- those who were lucky enough to get tickets- spanned several generations: grandfathers and grandmothers with their grandchildren, workers and students, young and old. A New York reviewer perhaps best summed up when he wrote,"It is another time, but the need for the Seegers and Guthries of whatever generation remains."