| Lee's profile多声道：Lizphair的莲花与白沫PhotosBlogLists |  Tools  Help |
|
|
11/25/2008 Songs 歌们 (意料之中，开心网不让引用链接了，于是以下地址除非针对我的好友，失效了~~~ 03/021/2009)
The Ting Tings - Traffic Light.mp3
Peter Bjorn & John - Yong Folks.mp3 The Weepies - Orbiting.mp3 Morcheeba - Antidote.mp3 Strengemusikken - Love Hurts.MP3 Super Furry Animals - Juxtaposed With U.mp3 Oppressed by The Line - Condensation.mp3 Oppressed by The Line - Don't Bestow The Lesser Things.mp3 Ambulance Ltd - Country Gentleman.mp3 Ambulance Ltd - New English.mp3 Camera Obscura - Suspended from Class.mp3 李欣芸 - Drive.mp3 David Pajo - High Lonesome Moan.mp3 Death Cab For Cutie - Marching Bands Of Manhattan.mp3 Death Cab For Cutie - Your Heart Is An Empty Room.mp3 Denison Witmer - Little Flowers.mp3 Denison Witmer - Are You A Dreamer.mp3 Chairlift - Bruises.mp3 Ryan Farish - Joy.mp3 Ryan Farish - Shine.mp3 Ryan Farish - Home Again.mp3 Room Eleven - Hey Hey Hey.mp3 Room Eleven - Lovely Morning.mp3 Room Eleven - Always.mp3 Eagles Of Death Metal - I Like To Move In The Night.mp3 Eagles Of Death Metal - Solid Gold.mp3 Echo & the Bunnymen - Stormy Weather.mp3 Echo & the Bunnymen - What If We Are .mp3 Etta James - I'd Rather Go Blind.mp3 Etta James - My Dearest Darling.mp3 Etta James - Pushover.mp3 1/22/2008 5 Songs Recommended Previously[1] The Clientele — <I Hope I Know You> From album <God Save The Clientele> 2007 (Style: Indie Pop) >>>Download   [2] St. Thomas — <The Cool Song> From album <I'm Coming Home> 2002 (Style: Indie Rock/Alternative Country-Rock/Alternative Country) >>>Download   [3] Trembling Blue Stars — <Idyllwild> From album <The Last Holy Writer> 2007 (Style: Indie Pop/Indie Electronic) >>>Download   [4] Page France — <The Ruby Ring Man> From album <Page France And the Family Telephone> 2007 (Style: Indie Pop) >>>Download   [5] The Sunny Street — <Blackberries> From album <They Hurt You Everyday> 2007 (Style: Indie Pop/French Pop) >>>Download   1/19/2008 3 Songs[1] Róisín Murphy — <Through Time> From album <Ruby Blue> 2005 (Style: Indie Electronic) >>>Download   [2] Relient K — <Up and Up> From album <Five Score and Seven Years Ago> 2007 (Style: Christian Punk/Punk-Pop) >>>Download   [3] Trills — <Thanksgiving Eve> From album <Citrus Drop> 2007 (Style: Electronic) >>>Download   1/17/2008 5 Songs Recommended in New Year[01] Flunk — <Sit Down> From album <Personal Stereo> 2007 (Style: Downbeat/Electronica) My favorite indie band~~~   [02] Neil Halstead — <See You on Rooftops> From album <Sleeping on Roads> 2002 (Style: Indie Pop/Alternative/Country-Rock) >>>Download Don't focus attention on the album cover~~~ -_-|||   [03] Feist — <One Two Three Four> From album <Reminder> 2007 (Style: Indie Rock/Indie Pop/Alternative Pop/Rock) >>>Download The theme song of Apple iPod Nano ad~~~   [04] Leon Somov — <Without You> From album <Offline EP> 2007 (Style: Electronic/Experimental/Downtempo) >>>Download   [05] Sleepy Town Manufacture — <Komnata> From album <Inspired by You> 2006 (Style: IDM/Easy Listening) >>>Download   Enjoy~~~ ^_^ 9/3/2007 Windmill — <Tokyo Moon>来首比较带劲儿的。化名为Windmill的英国青年Matthew Thomas Dillon一开始就用他独特（或是变态）的嗓音撕开你的耳膜，并顺势而进，伴随着钢琴的低吟和递渐丰厚的背景打击乐，声音愈发张力十足，行进到高潮部分鼓点强劲，竟发觉歌者的声线无比和谐；中段稍作休整，镂空出钢琴与人声过后，蓄势再来......有种雨中前行的快感~~~
 Download
  p.s. 个人觉得声音跟形象比较配~~~ 5/18/2007 The Weepies — <Gotta Have You>一首《Gotta Have You》，或许不少人听过了。The Weepies，一男一女的组合，一把淡定的嗓音在简单却不乏细腻的吉他背景之上一路婉转，带出一片云淡风轻的景象。Folk的简练结合Pop的旋律，舒服。
多听几遍吉他扫过，烦恼也随之远去~~~  Gotta Have You
The Weepies Gray, quiet and tired and mean
Picking at a worried seam I try to make you mad at me over the phone. Red eyes and fire and signs I'm taken by a nursery rhyme I want to make a ray of sunshine and never leave home No amount of coffee, no amount of crying
No amount of whiskey, no amount of wine No, nothing else will do I've gotta have you, I've gotta have you. The road gets cold, there's no spring in the middle this year
I'm the new chicken clucking open hearts and ears Oh, such a prima donna, sorry for myself But green, it is also summer And I won't be warm till I'm lying in your arms I see it all through a telescope: guitar, suitcase, and a warm coat
Lying in the back of the blue boat, humming a tune...  4/15/2007 Darkel — <At The End Of The Sky>Air的两位成员之一JB Dunckel去年用化名Darkel自己出的一张专辑。好些曲目值得反复聆听、多次玩味，当然从中觅到Air的曲风也并非怪事。这首风格清新的民谣虽不复杂，却一听入耳。听惯了Air作品的人，试着听听这张也是不错的选择~~~
 At The End Of The Sky
Darkel Oh Darling I found a way across the sky
Found a way that I could fly To the origin of time I rewound to a place I don't recall When my mother gave me life I don't remeber that at all As it's so far and the memory is gone And my reverie is worn I told you of my dreams On a dark loveless night You told me my name I forgot it again At the end of the sky I go and sit upon a rainbow Shining like a spider web Flashing blue and flashing red Oh Darling it's flashing blue and flashing red It will open up your eyes That's the end of the sky I'm sliding down, I'm going down from so far away I'm sliding down, I'm going down The rainbow is bright, at the end of the sky My prayers, all my prayers are waiting there I am caught upon a thread Dying in a spider web And my love, all my love is shining there I just want to know you care, was it something that I said? I'm dying in a spider web Downlod
4/11/2007 Autumn's Grey Solace — <Treasure Box>是美国甜美二人组Autumn's Grey Solace在2006年的新专辑的开篇曲，一如既往的Ethereal/Dream pop风格。开头听上去流畅入耳，一路下去旋律渐偏，然后重复——如同预示整张专辑，继承与创新交替。 新专辑是有很大比例的新的音乐尝试的，但开头的一首和点题曲还是曲风依旧，摆明了改革的胆子和步子不够大嘛!看来害怕拥趸们不捧场，也只能玩玩儿保守了~~~
Download
3/26/2007 Five For Fighting — <World>Five For Fighting是John Ondrasik一个人的乐队。几乎所有的媒体都冠以他多重身份：歌手、钢琴家、吉他手、针砭时弊的评论家......他的歌里，有爱有生命，有社会有国家，有东西方融合的人生理念！
聆听选自06年新专辑《Two Lights》里的这首《World》，细细体味每一句歌词，深受启迪的同时，让我们大家都来为自己思考：What kind of world do you want？
  World
Five For Fighting
Got a package full of wishes A time machine, a magic wand A globe made out of gold No instructions or commandments, Laws of gravity or indecisions to uphold Printed on the box I see ‘Acme’s Build a World to Be’ Take a chance, grab a piece Help me to believe it What kind of world do you want Think anything Let’s start at the start Build a masterpiece Be careful what you wish for History starts now Should there be people or peoples Money, funny pedestals For fools who never pay Raise your army, choose your steeple Don’t be shy, the satellites can look the other way Lose the earthquakes, keep the faults Fill the oceans without the salt But every man, on his own Hey, can you dig it baby? What kind of world do you want Think anything Let’s start at the start Build a masterpiece Be careful what you wish for History starts now Sunlight’s on the bridge Sunlight’s on the way Tomorrow’s calling There’s more to this than love What kind of world do you want Think anything Let's start at the start Build a masterpiece History starts now Starts now Be careful what you wish for Start now Now...  12/21/2006 杨乃文 —《女爵》
女爵 (以下转载) 专辑名称：女爵  12/9/2006 新裤子 —《龙虎人丹》当年听过新裤子的第一张同名专辑。这张新专辑听过蛮好玩的。年底了，大家都有压力，好玩很重要~~~
 Bye Bye Disco
新裤子 Time after time she is waiting in dance floor
She is smooth she's so lonely Time pass time the DJ is late She has to say good bye You and me just need a little patient
Let's go to the final party Dancing all night long the music is going on
She is different from all the people Dancing all night long her body is moving on She is different from all the people D-I-S-C-O bye bye
D-I-S-C-O bye bye disco 专辑下载：
新裤子《龙虎人丹》转换新风格 上瘾但却不过瘾 (Zt) 在如今以时尚作为最高品位标准的音乐市场当中，真正做到时尚的并没有几个，基本上都是在直接地模仿西方过时产物，具体的说，就是把欧美流行音乐当中不属于R&B的流行歌曲拆开了揉碎了，然后再按照新的排列组合方式打一个包，制作出一些节奏明快，风格上偏向流行朋克的作品。在这些芸芸众生的时尚角色当中，“新裤子”绝对是个例外。 如果说他们98年的首张同名专辑只是迎合了当时的潮流所向，那之后的《Disco Girl》和《我们都是自动的》就是在原有朋克潮流基础上的迈进和对内地New Wave复古风潮的引领。而在这张《龙虎人丹》当中，他们已然抛弃从前纯粹的朋克创作。用于向三和弦朋克先锋Ramones致敬的《你就是我的明星》和专辑末尾的失恋赞歌《我想她》虽然都是在三和弦基础上创作的，但听上去已经和第一张同名专辑时的《每一天》和《我们的时代》有着大相径庭的区别，吉他的失真音色有了很大程度上的收缩，取而代之的是合成器带来的80年代音色，这样一来，朋克也就演变成了电音朋克。这也许对那些忠诚于70年代荷尔蒙的歌迷来说，不是个好消息。但就商业的角度来讲，则给他们带来了更多流俗的机会。然而最具流俗潜质的不是他们俩，而是与我们崇尚的感情专一没有一点儿关系的《两个男朋友》。 如今这张《龙虎人丹》单从时尚潮流角度来讲，绝对是可以称得上是一种潮流的创造，而从他们个人的立场出发，则是对自己的一次突破。其中最为典型的例子就是《神秘的香波》，这首旋律与歌词之间几乎不存在任何押韵关系的作品是对国产土鳖气质的采纳，同时又用80年代的New Wave和Disco Punk给原有的土鳖插上了翅膀。 其实Disco一直是他们很久之前就想去尝试的风格。记得我三年前和庞宽聊天的时候，他就打算出一张个人专辑，里面全是充满复古情怀的Disco和在当时颇为流行的Down Tempo(基本上只在欧洲流行)，如今这张专辑里有很多歌曲都是根据他当时作品加工完成的，只不过我们现在听到的版本不是Disco(唯一偏向Disco的只有刘葆演唱的《龙虎人丹》)，也不是Down Tempo，而是Down Tempo版的Disco，最典型的例子就是《Bye Bye Disco》，非典型的例子还有《爱带我回家》。 一直以来，有很多人都觉得“新裤子”最不得要领的地方就是歌词，但他们往往能创造一些言语精辟的短剧，但是《龙虎人丹》当中，他们没有运用从前的小聪明，而是让歌词当中蕴含了许多文化暗示。之所以称之为暗示，原因是你必须了解80年代的音乐文化，否则无法直接体会到其中乐趣与亲切。从《Bye Bye Disco》当中对昔日舞厅时光的怀念，到讽刺伪文化标签的《需要爱》(原来叫《文化俱乐部》)对New Wave大牌Culture Club的致敬，都是在提醒听众，他们如今的变化不是偶然或偶尔的空穴来风，而是多年生活经验和兴趣爱好最终走向成熟的必然表现。 唯一让人不太满意的就是专辑收录的歌曲太少。过去我们不觉得“新裤子“有多过瘾的的时候，他们所收录曲目都在13首以上，如今的《龙虎人丹》终于让我们过瘾了，但十首歌的数量又让我们的过瘾显得不太过瘾。
9/27/2006 蔡国权 —《不装饰你的梦》第一次听到蔡国权的声音，是来自大学时下铺的广东室友的盒带。 不装饰你的梦 愿意心痛苦不装饰你的梦 别再伤我心它伤的那么重 谁愿意一颗心永落空 让每声叹息消失于你的梦 蔡国权 —《不装饰你的梦》 8/23/2006 Kasabian — <Processed Beats>英伦乐队Kasabian。同名专辑混合了很多音乐元素，也能听到不少其他乐队的影子。这首<Processed Beats>带有强烈的Funk节拍，一听即入耳，带劲！貌似不相干的背景缓和音线也挺有意思的。
一开头怒像标志206的广告~~~   Kasabian — <Processed Beats>
Processed Beats
Kasabian I ran from the tide
Won't let you hide Won't let you hide I drop beats from this processed meat
For a conversation, a meditation and I cut waves like some unborn sage Just like terrorists on a day of rest singing I ran from the tide
Won't let you hide Won't let you hide I break bones stealing mobile phones
And I'm cuttin deals for these homeless meals Making idle threats using chinese burns As you load my head with the Grateful Dead singing I ran from the tide
Won't let you hide Won't let you hide I ran from the tide Won't let you hide Won't let you hide I ran from the tide
Won't let you hide Won't let you hide I ran from the tide Won't let you hide Won't let you hide  Band Biography
Finding the pop music around them dull and mannered, Kasabian mixed a bit of the Stones, Happy Mondays, and Primal Scream with DJ Shadow-influenced electronics to take the British press by storm. Named after Linda Kasabian, Charles Manson's getaway driver turned state witness, Leicester's Kasabian stole a page from Sun Ra and the Band, as the group's members moved into a remote old farmhouse to brew their music. Communal life and shelf after shelf filled with albums by their favorites (Neu!, the Beatles, DJ Shadow, Primal Scream, Blackalicious) produced a rocking sound that wasn't afraid of electronics and harked back to days of baggy pants and druggy dancing. With acerbic answers during interviews, swaggering lead singer Tom Meighan quickly became a darling of the press, and the band's revolutionary logos and sleeve art added to the excitement. Fold-out poster sleeves, 10" versions, and hand-stenciled covers accompanied 2004 singles like "Club Foot," "L.S.F," and "Processed Beats." It all added up to Kasabian's self-titled debut going Top Five on the U.K's album chart in October of 2004. Two years later, while readying the release of their second album, Empire, founding guitarist Chris Karloff quit Kasabian due to creative differences.  Album Review
Pre-release hubbub might have you thinking Kasabian's debut is the Stone Roses' firstborn all over again, or that it's a Screamadelica for its generation. Almost, but these lads could use one more spin around the U.K.'s hippest clubs to really polish their craft to Madchester-in-its-prime level. What their debut succeeds in providing is out-of-the-gate excitement, a trippy sack of playful ideas, and a keen understanding of what makes hips sway and heads bob. If hearing Stereolab backing Ian Brown is your dream, "Reason Is Treason" should be your indie rock seducer. If you always wished prog rock danced in baggy jeans, "Test Transmission" should do it. A couple tracks that are show-ers more than grow-ers keep the album from being perfect, but when a Disneyland/Perrey-Kingsley-style keyboard riff plays over a dubby landscape and then gives way to an earnest, catchy hippie chorus, you can't help but fall in love with this ambitious, smart band. You can fill the ashtray with roaches during the cinematic "Butcher Blues" and make your Tangerine Dream-loving friend happy with the space rock meets angst rock of "U Boat." Lead singer Tom Meighan is one part Jagger and one part Richards, with a Beatles haircut and quote-generating, rebellious-interview mouth. They all live together commune style and their sleeves and badges use near-Rage Against the Machine imagery. Heavy, but their debut is a shaggy kind of charming that would work better if you tripped over it instead of having the hype trying to squeeze the word "revolutionary" out of your throat. Painting them as rock's saviors just makes the overly ambitious moments of the album look all that much bigger. Some serious heartbreak, or life for a little while outside of the commune, should broaden these songwriters' abilities to the level promised, but for now they're just exciting, groovy, and proud fathers of a dazzling debut.  8/9/2006 Soul Asylum — <Runaway Train>推荐Soul Asylum的<Runaway Train>无疑是保险的。在他们时隔8年后推出新专辑<The Silver Lining>之际，再来重温当年这首获得Grammy奖的成名之作；<Sun Maid>则是专辑内首尾的一首和缓而温暖的作品。
Soul Asylum成立于1983年，最初的风格是朋克和硬摇滚，不过在当时美国众多的此类型乐队中难以引起注意。乐队几张不痛不痒的专辑过后，1992年，他们推出了<Grave Dancers Union>，这张有激情有柔情的原声专辑叫好又叫座，取得了无以伦比的成功。尝到甜头之后，Soul Asylum随后的作品便坚持了此类乐风......看来啊，一条道走到黑是行不通的，多次尝试后改变方向，找到最适合自己的路子，才是正道哇~~~  (Zt)“......这是首描写失踪儿童问题的作品，在清脆干净的吉他、不动声色的鼓点伴奏下，主唱皮尔纳沧桑沙哑的嗓音从喉底或者说从心底吟出最深沉的悲愤与控诉，悲伤和愤怒的极至通常不是血泪泣诉或狂吼一气，而是近乎平和的，淡淡的陈述，而这却更容易渗入听者的心底。心随着略含悲意的音乐起伏，似乎看到了失去亲生儿女的母亲那无助、失神的目光。”
 Soul Asylum — <Runaway Train>
Soul Asylum — <Sun Maid>
Runaway Train
Soul Asylum Call you up in the middle of the night
Like a firefly without a light You were there like a blowtorch burning I was a key that could use a little turning So tired that I couldn't even sleep
So many secrets I couldn't keep I promised myself I wouldn't weep One more promise I couldn't keep It seems no one can help me now,
I'm in too deep; there's no way out This time I have really led myself astray Runaway train, never going back
Wrong way on a one-way track Seems like I should be getting somewhere Somehow I'm neither here nor there Can you help me remember how to smile?
Make it somehow all seem worthwhile How on earth did I get so jaded? Life's mystery seems so faded I can go where no one else can go
I know what no one else knows Here I am just a-drownin' in the rain With a ticket for a runaway train And everything seems cut and dried,
Day and night, earth and sky, Somehow I just don't believe it Runaway train, never going back
Wrong way on a one-way track Seems like I should be getting somewhere Somehow I'm neither here nor there Bought a ticket for a runaway train
Like a madman laughing at the rain A little out of touch, a little insane It's just easier than dealing with the pain Runaway train, never going back
Wrong way on a one-way track Seems like I should be getting somewhere Somehow I'm neither here nor there Runaway train, never coming back
Runaway train, tearing up the track Runaway train, burning in my veins I run away but it always seems the same  Band Biography
Soul Asylum are the quintessential little band that could; it only took ten years to turn them from a teenage garage band into multi-platinum-selling rock stars. Guitarist Dan Murphy, bassist Karl Mueller, and drummer Dave Pirner formed in 1981 as Loud Fast Rules in Minneapolis, MN. When the shambolic, no-longer-teenage band burst onto the scene in 1984, Soul Asylum had added Grant Young on drums and switched Pirner to rhythm guitar and vocals for the loud and fast Twin Tone album Say What You Will, Clarence...Karl Sold the Truck. However, the record was overshadowed by the current releases by fellow Twin Cities denizens the Replacements and Hüsker Dü; Soul Asylum have gone on record stating they were dubbed "the B-teamers" by the Replacements, which created bad feelings between the bands for years. Still, Soul Asylum forged their way on college radio and countless U.S. club tours, which gained them a devoted following. The "hell-on" rock band, in guitarist Murphy's words, released Made to Be Broken and the similar While You Were Out in 1986, but Pirner's songwriting always far outshone the form. The band signed to A&M Records in 1989 as part of a distribution pact between Twin Tone and A&M for the harder rocking Hang Time, produced by Lenny Kaye. The record garnered some college radio attention, but by 1990's And the Horse They Rode in On, Soul Asylum had fallen out of favor with the indie rock set and were left languishing in limbo, having almost entirely forsaken their post-punk indie roots.
 Pirner and Murphy spent the time regrouping, working out songs as the acoustic duo Murphy & Pirfinkle, and touring the Midwest. The songs found their way to Columbia Records and onto Grave Dancers Union in 1992, which ultimately earned Soul Asylum a multi-platinum record after a slow start. The magical third single, "Runaway Train," propelled by a public service announcement-style video for missing children, helped push the single to number five and the album to number 11, and turned the band into a household name. They performed at the Clinton Inauguration in 1992. Shortly after the release of Grave Dancers, drummer Young left the band and was replaced by Sterling Campbell for the recording of Let Your Dim Light Shine in 1995. Though it charted at number six and a single, "Misery," hit the Top 20, Soul Asylum never reached the dizzying heights nor masses they touched with "Runaway Train."
Murphy also records and tours with the Minneapolis "supergroup" Golden Smog, while Pirner contributed vocals to their 1996 recording, On Golden Smog. Pirner's well-publicized romance with actress Winona Ryder beginning in 1994 left skeptics predicting that Soul Asylum would break up, but they returned in 1998 with Candy from a Stranger. Sadly, bassist and founding member Karl Mueller died of esophageal cancer on June 17, 2005, at the age of 41. The band reunited in 2006 for Silver Lining, their ninth full-length recording. Needless to say, the little band's fame ultimately eclipsed those other guys from Minneapolis.
 Album Review
Soul Asylum's breakthrough, million-selling Grave Dancer's Union yielded the mega-hit "Runaway Train" and put the band in a whole new league; longtime fans were predictably disappointed with the slick results. This is a solid alternative rock record with singer/songwriter/vocalist Dave Pirner upfront, a role he was built for but always seemed to resist until this clear do-or-die moment for the band. Soul Asylum did; however, they never matched the success or consistency of this album. Tracks like "Homesick" and "New World" bear the roots of the country-rock revival later forged by Son Volt and Wilco, while the angst-ridden "Somebody to Shove" is pure joy Soul Asylum-style.  7/25/2006 Télépopmusik — <Don't Look Back>Télépopmusik是由三个法国人组成的一支电子乐坛新军，也是新贵。02年的首张专辑大获好评，<Breathe>成为了Mitsubishi Outlander SUV和PEUGEOT 307的广告歌。
05.06.21发行了<Angel Milk>，Angela Mccluskey清冽的嗓音却又感性无比，间或透出的爵士气息也是迷人~~~
 Don't Look Back
Télépopmusik (featuring Angela Mccluskey) Sit Still, and close your eyes
What’s behind the other door No more silence, don’t kill this thing we got called love Just searching for the perfect drug When Love comes calling
Don’t look back When love comes calling Don’t look away And I’m standing over here
Watching you over there Smiling, happy, unaware Oh, life is spinning round You’re going underground, forgetting who we were Let’s try and keep it just one more day You take your love
And throw it all around Like it’s nothing special Just a sound Let me say one more thing I don’t think you realize That a day is like a year sometime Télépopmusik — <Don't Look Back>
Télépopmusik — <Breathe>
 Biography
The electronic outfit Télépopmusik followed in the footsteps of Air, Les Rythmes Digitales, and Dimitri From Paris and established their own musical stylings in the arena of French dance music. The core trio of Fabrice Dumont, Stephan Haeri, and Christophe Hetier formed in 1997 after burning out from playing with other bands. Dumont founded the dream pop group Autour de Lucie, whereas Hetier used to be the popular DJ Anti-Pop and Haetri played with Planet Zen. As Télépopmusik, the group contributed their newly fresh electronic sound on "Sonic 75" to a SourceLab compilation in the same year. Their acid house electronic jive was far more impressive on Genetic World, which appeared on Capitol in April 2002. Debut single "Breathe" was popular among the club circuit for several months, but by early 2003 the song became a mainstream smash thanks to its inclusion in television ads for the Mitsubishi Outlander SUV. In February, the group embarked on their first ever American tour. Angel Milk appeared two years later.  Album Review
Télépopmusik's sophomore effort is filled with beautiful backing tracks. Pillows of soft synth slowly emerge while pianos, harps, brass instruments, electronic ticks, and glitches stroll in and out of the picture as they please. This subdued electronica landscape is something to get lost in, and while it's nothing you haven't heard before, it's exactly what headphones crave on rainy days and almost enough to excuse the hackneyed lyrics and overindulgence. Almost. "Last Train to Wherever"'s "did you get the letter?/the one I never sent ya" is just one of the cringe-worthy couplets Angel Milk is stuffed with. Mau, a vocalist who apes the styles of Tricky and Massive Attack's 3D — as opposed to Deborah Anderson, who apes Björk, and Angela McCluskey, who apes Billie Holiday — delivers the couplet so heavy-handedly it's impossible to ignore no matter how hard you try. Hanging all this derivative quirk and cleverness on the thin melodies is bad enough, but the album really stumbles when a couple ambitious tricks grind things to a halt. When Anderson asks the synthesized orchestra to stop and "pick it up a little" it's effective if you're one of the few who hasn't heard Björk's version of "It's Oh So Quiet." Then there's the 15 minutes of silence with a little surprise somewhere in there at the end of the album, the final "aren't we cunning" straw. Télépopmusik know their way around a studio and can deliver a velvety soundscape that other trip-hoppers would die for, but trite lyrics and so many precious attempts at impressing make Angel Milk ponderous.  6/29/2006 郑钧 —《私奔》郑钧的最新单曲。歌词早在其小说《菜刀温暖》里就公开了~~~
私奔
郑钧 把青春献给身后那座 辉煌的都市
为了这个美梦 我们付出着代价 把爱情留给我身边最真心的姑娘 你陪我歌唱 你陪我流浪 陪我两败俱伤 一直到现在 才突然明白 我梦寐以求 是真爱和自由 想带上你私奔 奔向最遥远城镇 想带上你私奔 去做最幸福的人 在熟悉的异乡 我将自己一年年流放
穿过鲜花 走过荆棘 只为自由之地 在欲望的城市 你就是我最后的信仰 洁白如一道喜乐的光芒将我心照亮 不要再悲伤 我看到了希望 你是否还有勇气 随着我离去
想带上你私奔 奔向最遥远城镇 想带上你私奔 去做最幸福的人 不要再悲伤 我看到了希望
你是否还有勇气 随着我离去 想带上你私奔 奔向最遥远城镇 想带上你私奔 去做最幸福的人 郑钧 —《私奔》
 6/20/2006 Kasey Chambers — <Bluebird>澳大利亚乡村女歌手，个人感觉是快乐版的Jewel。
04年的这张<Wayward Angel>不错听~~~
 Kasey Chambers — <Bluebird>
Kasey Chambers — <Wayward Angel>
Bluebird
Kasey Chambers If I fall like rain
Will you still feel the same Will you hold me and call out my name If I'm lost in the crowd Will you shout out loud Will you take me to the other side of town When that sun beats down
Will you stay Will you turn around And fly away Like a bluebird tail wing It sounds just like the angel singing Am I ever gonna see you again Bluebird with a brand new wing If my heart turns blue
Will it still belong to you Will you keep it just like him If I lose my wing Will I hear you sing You will make my tears go away When that sun beats down
Will you stay Will you turn around And fly away Like a bluebird tail wing It sounds just like the angel singing Am I ever gonna see you again Bluebird with a brand new wing When that sun beats down
Will you stay Will you turn around And fly away Like a bluebird tail wing It sounds just like the angel singing Am I ever gonna see you again Bluebird with a brand new wing Like a bluebird tail wing It sounds just like the angel singing Am I ever gonna see you again Bluebird with a brand new wing Bluebird with a brand new wing Bluebird with a brand new wing  Biography
In 2000, Kasey Chambers emerged as Australia's first successful country-to-rock crossover female singer. It was just the latest chapter in a unique 25-year life journey. In 1976, hoping to earn a living hunting foxes, Bill and Diane Chambers took their two-year-old son Nash and newborn daughter Kasey into the 100,000 square mile (260,000 square km) sparsely vegetated and generally flat plateau called the Nullarbor Plain. The family would spend seven or eight months of the year on the Nullarbor, resupplying themselves from the world's longest stretch of straight railroad track, 330 miles (530 km), running through the Nullarbor. The rest of the year, the hot months, the family spent at a small South Australian fishing village. Each night out on the Nullarbor, after a day's hunting, the family would camp in a different spot on that vast Australian landmark and, grabbing his guitar, Bill Chambers and his wife Diane passed on their love of country music, by the glow of the campfire, under the stars. This is how Kasey Chambers spent the first nine years of her life.
In 1986, the family returned to "civilization" so that Bill and Diane could pick up interrupted music careers. First, Kasey joined them as lead singer, then brother Nash, and they became known as the Dead Ringer Band. By 1992, the family had become full-time musicians, playing to city audiences as well as heading back out into the countryside, pulling a small trailer behind their Toyota Land Cruiser.
During the '90s, the Dead Ringer Band members, known as performers of quality country music, released seven CDs and collectively earned two ARIA's (Australian Grammys) and seven Gold Guitars at the annual Australian Country Music awards in Tamworth. Kasey was the face of the new generation in Australian country. She appeared at Tamworth dressed as a spice girl, wearing a nose ring, and posed nude for a country music magazine (walking down the streets of a deserted country town with brother Nash).
In 1998, Chamber's world was turned upside down with the separation of her parents, with mother Diane choosing to go and live in distant Norfolk Island, two-and-a-half hours by plane off the Australian coast. Chambers started putting her feelings into songs, and over a few weeks during July and August 1998, Kasey Chambers recorded her solo album The Captain on Norfolk Island. With brother Nash Chambers acting as producer, Kasey and her musicians set up in an old homestead on the island and practically recorded the album live. Father Bill was on hand to play guitar. Country legends Buddy and Julie Miller added their voices and guitar to four tracks afterwards in Nashville.
Released in May 1999, the album The Captain initially won Kasey the 1999 ARIA award for Best Country album and at the 2000 awards named her Best Female Artist. With double-platinum sales at home in Australia, Kasey spent the latter part of 2000 following up enthusiastic reviews for her album internationally. She also spent time touring the U.S. with Lucinda Williams and playing gigs in her native land with Emmylou Harris. She was in the studio as well; with her brother Nash at the production board, Kasey Chambers delivered another sonic beauty with 2002's Barricades and Brick Walls. The album was a multi-platinum success in Australia and significantly raised her profile in the United States, earning her enthusiastic reviews and much better sales than The Captain. After a two-year layoff, during which Chambers and her husband had a baby, she released her third solo disc, Wayward Angel, in the fall of 2004.
 Album Review
When Kasey Chambers sings, she manages the not-unremarkable accomplishment of splitting the difference between Emmylou Harris's crystalline purity and Lucinda Williams's rough-hewn emotional honesty, and the most startling thing is you sense she sounded like this before she ever heard of either artist. Chambers' songwriting is no less remarkable, and connects in much the same way, chronicling matters of the heart and soul in a manner that achieves a genuine and unaffected beauty with just a dash of the truthful messiness that comes with being human. Chambers's third solo album, Wayward Angel, is perhaps a bit less striking than her first two sets, The Captain and Barricades & Brickwalls, if only because she staked out her style on those sessions, and here she's harvesting from the ground she broke earlier on. But this also sounds like her most accomplished effort to date. Whether she sings from the perspective of a precocious child ("Pony"), a woman with a serious case of lust ("Guilty as Sin"), or an elderly man ("Paper Aeroplane"), Chambers never fails to hit the right note as a lyricist, or make a false step as a vocalist, and Wayward Angel is informed by a confidence that never sinks into arrogance. Chambers is also lucky to have her brother Nash Chambers on hand as producer, who has paired Kasey with a team of gifted pickers who add color to the songs without cluttering the landscape, and captured the results in an admirably straightforward manner. Wayward Angel is the work of a strikingly talented singer and songwriter, and it's simply a pleasure to hear Kasey Chambers work — anyone who doubts that this woman is a major artist needs to hear this album as soon as possible.  6/16/2006 Joe Satriani — <Surfing With The Alien>重金属吉他巫师Joe Satriani代表作品，1987年发行的<Surfing With The Alien>。
推荐两首作品，一快一慢~~~
“做为Kirk Hammett和Steve Vai的师傅，Joe Satriani的名声远没有他的徒弟显赫。但是他的众多吉他独奏专辑仍应验了一句古语：姜还是老的辣。与他的两名徒弟相比，Joe Satriani的演奏风格快速但不激烈，在慢板作品的处理上别具匠心。Joe Satriani的音乐中宗教痕迹较重，<Big Bad Moon>中阴柔的吉他演奏配以他低沉的嗓音，营造出诡异的气氛，“吉他巫师”之称名副其实。”
 Joe Satriani — <Surfing With The Alien>
Joe Satriani — <Always With Me, Always With You>
Biography
Along with teaching some of the top rock guitar players of the '80s and '90s, Joe Satriani is one of the most technically accomplished and widely respected guitarists to emerge in recent times. Born on July 15, 1956, in Westbury, NY, and raised in the nearby town of Carle Place, Satriani — inspired by guitar legend Jimi Hendrix — picked up the guitar at the age of 14 (although he was initially more interested in the drums). Quickly learning the instrument, Satriani began teaching guitar to others and found a kindred spirit in one of his students, Steve Vai. By the late '70s, however, Satriani had relocated to Berkeley, CA. With his sights set on his own musical career, "Satch" kept teaching others, including such future rock notables as Kirk Hammett (Metallica), Larry LaLonde (Primus), David Bryson (Counting Crows), and jazz fusion player Charlie Hunter. In the early '80s, Satriani got a gig playing guitar with power popster Greg Kihn, doing some session work and touring with the group (an archival release recorded around this time, King Biscuit Flower Hour, was later issued in 1996), and issuing his own solo self-titled EP in 1984, financing and releasing the project entirely on his own. But when Vai hit the big time as the guitarist of David Lee Roth's solo band in 1986, he offered praise for his good friend and former teacher in several major guitar publications, leading to widespread interest in Satriani's playing. The timing couldn't have been more perfect for Satch, as he'd just issued his first full-length solo album, Not of this Earth, which automatically made ripples in the rock guitar community.
But the best was still to come, in the form of his sophomore release, 1987's Surfing With the Alien. Almost overnight, Satriani was widely regarded as one of rock's top guitarists, as the album earned gold certification and the guitarist would finish at the top of guitar magazine polls for years afterwards. He was even handpicked by Mick Jagger to accompany the famous singer on a tour of Australia and Japan around this time. A stopgap EP, Dreaming #11, combed both studio and live tracks and was issued a year later, and in 1989, Satriani issued his third solo full-length, Flying in a Blue Dream. Another sizeable hit, the album also marked Satch's debut as a vocalist on several tracks. His career received another big push the same year when his song, "One Big Rush," was included on the soundtrack to Cameron Crowe's hit movie, Say Anything.
The '90s began with Satriani creating his own line of guitars for the Ibanez company (the JS Joe Satriani model), but it wasn't until 1992 that he would issue his next solo release, The Extremist. The double-disc set Time Machine followed a year later (a combination of new tracks, live material, and the long out-of-print Joe Satriani EP from 1984), and in 1994, Satch filled in on tour for the departed Ritchie Blackmore for heavy metal pioneers Deep Purple. Although he was asked to become a full-time member, Satriani turned down the offer to return to his solo career.
Satriani issued two more solo albums during the '90s — 1995's self-titled release and 1998's Crystal Planet, and also started the G3 guitar showcase tour with Steve Vai in 1996, becoming an annual event and issuing a live document of the tour's initial run, G3: Live in Concert, a year later. 2000 saw Satriani issue his most musically daring release yet, the electronic-based Engines of Creation, and a year later, the live disc Live in San Francisco. Engines... was nominated for a Grammy the next year, and after a successful tour he stepped back into the studio. The results, Strange Beautiful Music, were released in 2002. In addition to his own albums, Satriani has guested on several other artists' albums over the years, including Blue Oyster Cult's Imaginos, Alice Cooper's Hey Stoopid, Stuart Hamm's Radio Free Albemuth, Pat Martino's All Sides Now, and Spinal Tap's Break Like the Wind.
 Album Review
Not content to sit on his laurels, Joe Satriani released the groundbreaking instrumental album Surfing with the Alien in 1987, leaving guitarists and musicians everywhere stunned and amazed by the playing and musicianship displayed. Satriani defined his sound more sharply to further develop his distinct musical tone, and his playing continued to evolve to higher levels with each new panorama of notes he blazed out. Whether it was the twisted, horizon-pushing "Ice 9," the fiery, churning "Surfing with the Alien," the bluesy rock shuffle of "Crushing Day," the straight-ahead, slamming "Satch Boogie," or the more subdued, soulful "Always with Me, Always with You," Satriani's style and songwriting were uniquely his own. Taking guitar playing and song composition to new levels, this is a remarkable recording.  6/10/2006 Jheena Lodwick — <It's Now Or Never>出自菲律宾女歌手Jheena Lodwick在2004的专辑<All My Loving>。听过这首猫王的<It's Now Or Never>的无数个版本后，Jheena Lodwick再为我们娓娓道来，绝对值得一听！
Jheena Lodwick — <It's Now Or Never>
It's Now Or Never
Jheena Lodwick
When I first saw you
with your smile so tender My heart was captured, my soul surrendered I'd spend a lifetime waiting for the right time Now that your near the time is here at last. It's now or never,
come hold me tight Kiss me my darling, be mine tonight Tomorrow will be too late, it's now or never My love won't wait. Just like a willow,
we would cry an ocean If we lost true love and sweet devotion Your lips excite me, let your arms invite me For who knows when we'll meet again this way It's now or never, come hold me tight Kiss me my darling, be mine tonight Tomorrow will be too late, it's now or never My love won't wait. 6/6/2006 Ryan Farish — <From The Sky>昨晚比较得闲，听了两个钟头的音乐。
挑出这张Ryan Farish的新专辑<From The Sky>和大家分享。听这样的音乐，能感受到生活的美好~~~
感谢wintermaple将这张专辑推荐给我！
  Ryan Farish — <The Promise>
播放ingRyan Farish — <Joy>
Ryan Farish — <Shine>
Ryan Farish — <From The Sky>
生活中Ryan Farish是个热情乐观的人，他的这张已经在6月份发行的新专辑同样是热情的颂歌和优雅的音乐。Ryan深入研究各种各样的世界民族音乐/newage/和灵魂的声音，用悦耳的琴调与极富抽象的音符表达出来。Ryan Farish向我们展示了一派热情乐观的迷幻般的神秘景象。
<The Promise>以悦耳悠扬的钢琴为主线，穿插着土著人声的吟唱，旋律包含中东音乐元素；<Joy>欢快动人的节奏旋律；<Pacific Wind>中加入了隆重的弦乐，随着弦乐减弱梦幻般引入女声吟唱，欢快的加勒比节奏，呼应童声唱颂的诗歌，编织出一幅优美祥和的画面；<From the Sky>象是沐浴在光辉里，更预示着Ryan Farish更辉煌的将来。他的音乐能带给我们欢欣，我们仿佛能感受到天空总是蓝的，草总是绿的... Ryan音乐风格没有具体的派别，可以说是新世纪乐、冥想乐及电子乐的综合，看到这张专辑的厂牌是neurodisc，我会想到Amethystium乐队，都是同一个厂牌了。他们的音乐都富有迷幻神秘的色彩，只是Amethystium比较忧郁，而Ryan Farish 则充满阳光气质。Ryan 在04年出过一张"Beautiful"并取得非常好的成绩，关于他的介绍大家可以参考他的个人网站，http://www.ryanfarish.com/about.htm，这位刚过30岁的年轻人，受过13年钢琴/小提琴/鼓等专门的音乐训练，音乐基础很好，更在不断创新，他的音乐一直与电子乐分不开，在mp3.com曾经是最受欢迎的音乐人之一。希望我们有机会听到更多他的音乐！ —— From http://falook.m4mu.com  Album Review
Composer Ryan Farish is heard most widely by those who consult The Weather Channel on a regular basis; his talents have also been utilized for in-house purposes by such major corporations as IBM and Sun Microsystems. These two facts may lead you to expect numbingly pleasant, utterly boring music with a professional sheen and a saccharin-sweet favor. You'd be only about one-third right. It's true that Farish's music is about as intellectually challenging as People magazine. But that's not to say that it's either boring or syrupy. Remember the Ramones: intellectually speaking, their music wasn't even up to People standards (it was more like The Weekly World News), but that doesn't mean their songs weren't spectacular. While Farish is no Joey Ramone, his ability to mix luscious, piano-driven chord progressions with funky breakbeats and faux-ethnic vocals (a vaguely African-sounding children's choir here, a vaguely Celtic-sounding female singer there) makes his most simplistic compositions both genuinely listenable and even, at times, downright fascinating. Not all of them, mind you — "Legacy" is pretty embarrassing — but many of them. Note the artfully wielded vocal samples on "Miles Away," for example, and the subtle trip-hop intimations in the gently swinging title track. Recommended to those who are embarrassed to admit that they like new age music.  Ryan Farish is featured as part of the "Living Room" Concert series on the NPR show "Echoes" November 2005/January 2006. Ryan along with his band played three songs, and did an interview for "Echoes", which aired to over 130 FM radio stations in the US, as well as XM! Many thanks to John (photo left) and Jeff from Echoes. |
|
|
