还原〝刘若英〞追寻2年纯新国语大碟 就是刘若英让我重新相信纯情 若非刘若英我怎么敢说《很爱很爱你》 TVBS-G 『真情』片尾主题曲，最高询问度指定收录＜很爱很爱你＞ 好久好久没有这么好听的取暖对唱了，光良作曲制作对唱＜好久好久＞ 特别收录舞台剧『花季未了』主题曲＜花季未了＞ 《PLUS》RENE写真卡片组+ 刘若英纯净文字歌词本

戏能迷人　歌能入味 刘若英最受瞩目放声歌坛首张专辑 为自己的爱情勇敢的做些决定 事实上，流行歌曲以一种很特殊的方式烙印在刘若英的生活中，宛如一扇记忆的门窗，功能就像一本书后面的索引，或是一篇文章里面的小标题一样。在新乐园工作室跟了陈升三年，终于让她等到出片的机会。奶茶的第一张专辑，过程很辛酸，回忆却很甜美。 ◎　游子 这首歌和「国界」是陈升为电影『无言的山丘』作的，因为唱的是电影里面的一个日本女孩子，需要一个比较无邪、单纯的女声来唱。我就先进去唱DEMO，结果陈升觉得不错，就真的唱了。在唱的时候我完全是直觉的，听到那音乐，我就决定要用那种唱法了。 ◎　决定 「决定」是『少女小渔』的主题曲，我们设定这是比较老式的歌，听起来要朗朗上口。但是因为原来它只是合乎电影，不太像一般主打歌的形态，所以就重编一个唱片版。我本来唱歌的时候，心里只想着音符。一直到我拍电影以后，才知道眼睛闭起来可以想很多事情，唱歌时才把情绪拿出来。 ◎　为爱痴狂 我想这是最能代表我的歌。　很多人听到都说，这是陈升为我量身订作的歌曲。我本来觉得我很会唱歌，我学声乐的，我怎么可能不会唱歌？不，在陈升面前你就是不会唱歌，因为他要的不是你的技巧，而是你的感情

A few months after the release of Guns N’ Roses’ debut album, 1987’s <i>Appetite for Destruction</i>, went platinum, Axl Rose gave an interview in which he described a piano ballad he’d been working on called “November Rain.” By that point, the band knew it well: They’d recorded a demo of it nearly a year before starting <i>Appetite</i>, and their guitarist, Slash, remembers an even earlier version that had expanded to 18 minutes. The song seemed to torture Rose—or, at least, represented an ideal he was obsessed with bringing to life. If he didn’t get it right, he told the interviewer, he’d quit music.<br /> The best comparison for 1991’s <i>Use Your Illusion I</i> and its fraternal twin, <i>Use Your Illusion II</i>, isn’t music, but film. The budget, the combined two-hour runtime, the scale, the fact that the band was almost never in the same room at the same time: This isn’t music captured, but music built—piece by audacious piece. Riki Rachtman, a former MTV personality and friend of the band, joked that the moment he knew they’d changed for good was during the last sequence of the video for “Estranged,” in which Axl not only jumps off an aircraft carrier into the ocean, but follows it with a sequence of him swimming with dolphins.<br /> This, though, is where Rose’s head was at, and what <i>Use Your Illusion</i> represents: not the spontaneity of bar bands, but the methodical grandeur of blockbusters. The climactic held vocal note of “Don’t Cry”—nearly 30 seconds, twisting in the spotlight—confirms what some listeners probably already figured out: Rose dreamed of opera. He later said he didn’t just want to outdo their debut, but bury it. And in a way, <i>Use Your Illusion</i> is an even scarier effort: tender one minute (“November Rain,” “Dead Horse”) and cruel the next (“Back Off Bitch,” “Bad Obsession”), an exercise in emotional whiplash that verges on the psychopathic.<br /> But even by the band’s own standards, it was vicious: Where <i>Appetite</i> talks about addiction with a sense of swagger or double entendre (“Nightrain,” “Mr. Brownstone”), <i>Use Your Illusion</i> offers a 10-minute death fantasy called “Coma”; where <i>Appetite</i> is “feel my serpentine” (“Welcome to the Jungle”), <i>Use Your Illusion</i> is “suck my fucking dick” (“Get in the Ring”). Of the two volumes, the second is weirder and more adventurous. Slash once compared the entire project to The Beatles’ White Album (only not as good, he genuflected), but the experience is more like The Rolling Stones’ <i>Exile on Main St.</i>: sprawling, dislocated, less about any single song than the rollercoaster-like effect of the larger picture. And as massive as its impact was on the shape of ’90s rock, there are elements of the albums—and <i>II</i>, especially—that resonate even more closely with gangsta rap: the cinematic scope (“Civil War”), the mix of nostalgia and sentimentality (“Knockin’ on Heaven’s Door”) with almost paranoiac meanness (“You Could Be Mine”).<br /> Both of its volumes seeing release on the same day, <i>Use Your Illusion</i> came out at a time when a wave of underground bands was redefining mainstream rock by trading grandiosity for modesty. But 1991 also marked the death of Freddie Mercury and, by extension, the end of Queen as we often remember them. The coincidence is poetic: As Nirvana and their peers largely eschewed rock’s taste for spectacle, G N' R embodied it. Like a fading starlet leaning into a nervous breakdown, Axl preens for the camera, knowing it won’t look away.