The Cranberries were an Irish rock band formed in Limerick, Ireland, in 1989 by lead singer Niall Quinn, guitarist Noel Hogan, bassist Mike Hogan, and drummer Fergal Lawler. Quinn was replaced as lead singer by Dolores O'Riordan in 1990.

Thirty years after forming in Limerick (initially as The Cranberry Saw Us) THE CRANBERRIES are set to release their eighth and final album, "In The End", on April 26. With Stephen Street once again taking producer duties, the 11-track record brings a remarkable career to a fitting and powerful closure. Announcing the album, the band has shared the first single "All Over Now" that blends rock, alternative and catchy almost pop-sounding melodies to deliver a classic CRANBERRIES sound.
THE CRANBERRIES — Dolores O'Riordan, Noel Hogan, Mike Hogan and Fergal Lawler — emerged from the pre-Brit-pop scene of the early '90s, with their trademark indie guitar sound and Dolores's distinctive Celtic-tinged lilting vocal style — described by Melody Maker as "the voice of a saint trapped in a glass harp". Their rise to global fame was nothing short of meteoric; best known for their now classic songs "Linger", "Zombie" and "Dreams", the band have sold more than 40 million albums worldwide.
While it is tinged with sadness following Dolores's unexpected death on January 15, 2018, "In The End" is not a valediction, it is a celebration, one that stands as a powerful testimony to the life and creative work of Dolores and her brothers in music Noel, Mike and Fergal.
The genesis of "In The End" began in May 2017 while the band were on tour. By winter of 2017 Noel and Dolores had written and demoed the eleven songs that would eventually appear on the album. "Dolores was so energized by the prospect of making this record and to getting back out on the road to play the songs live," recalls Noel.
In coming to terms with her tragic passing Noel, Mike and Fergal listened to the songs and, with the support of Dolores's family, wanted to honor their close friend, and collaborator by completing the record.
Speaking about the band's concerns at the time, Noel said: "we knew this had to be one of the, if not the, best CRANBERRIES album that we could possibly do. The worry was that we would destroy the legacy of the band by making an album that wasn't up to standard. Once we had gone through all the demos that Dolores and I had worked on and decided that we had such a strong album, we knew it would be the right thing and the best way that we could honor Dolores."
With the songs at various stages of completion they turned to Stephen Street — who had produced four of their previous albums including "Everybody Else Is Doing It", "So Why Can't We?" and "No Need To Argue" — and spent four weeks in a London studio building the sounds around her vocals from the original demos. "It was a bittersweet time. The joy of recording new tracks is always exciting and one of the best parts of being in a band. At the end of every day when we'd laid down our parts there was a sense of sadness, knowing that Dolores wouldn't be in that evening to work on that day's track," remembers Noel.
The album is a strong goodbye from the band to their fans, a fitting tribute to their bandmate and friend and, most importantly, a collection of powerful songs that can take their rightful place with THE CRANBERRIES' previous six records.
Speaking about the single and the album, Dolores's mother said: "I miss her awfully, specially today, as does the entire family. That said I can't think of a more fitting way to commemorate the first anniversary of her passing and to celebrate her life than to announce to the world the release of her final album with the band. She was very excited about this new album and was really looking forward to its release. I have no doubt that she is happy now and would be delighted with today's announcement."

转型
在近百场充斥失真音色、双踩的狂躁现场之后，永动机完成了策划已久的转型。上一张专辑《天启》中的《北海》、《十年所见》已经开始悄然试探。《皇城饮恨录》算是一个交代。
听中国
这可能是摇滚乐史上掺杂本土音乐元素最为复杂的专辑。十种以上的中国音乐元素糅进融合在摇滚乐构架之中，深入骨髓，沁透血脉。这些声音散布于每一个古城角落，昔日单弦插曲八角鼓的声音从摇滚乐中涅槃重生。终日里绞尽脑汁、拧断铁弦也无从得来的力量，其实就存在于我们的身边，那些被我们淡忘了的古老声音。
遛北京
这可能是摇滚乐史上制作最耗时的专辑内页。正面歌词由一个个书法汉字拼贴而成，背面则是重绘的一幅北京旧城地图，精细到每一条街道，每一条胡同。其中标识着几乎永远无法从旅游手册中得知的京城景致，每一个地方都饱含着人们的深思和情结。这些地方是北京真正的永恒魅力所在，由我们一次次亲自踏足得来。它们身处闹市，却远离喧嚣。地不足倾，却风情万千。我们深信这将是一幅传世的地图，也只有懂的人，才知道它的价值。

成军仅一年的永动机，以"干艮倔藏"的现场风格演绎末世的摇滚乐。在Funky、Indie、Dance之中穿梭游走，无处不树立着强硬态势，《天启》作为叩山之作。无论世态炎凉、人间冷暖，或是感叹名山大川之壮绝，上天启示并非高高在上令人费解，一切都在世间万象之中，虽可意会，却难以言传。闪转腾挪，千姿百态，便是这张专辑的最佳描述。
演唱者简介：
永动机：以old school new-wave为蓝本构建摇滚乐复兴计划，追求永恒律动与强硬音场的一支北京乐队，由各方乐手与独立音乐家组成。人间百态，讲古比今。具有中国文化特色与宗教色彩。纳千年苦痛于一瞬，化万杆兵戈为铁弦。大起大落之中带人上天入地，磕磕绊绊之中让你大口啃泥。
【成员】
主唱吉他：白金
低音吉他：李天洋
打击乐器：李剑玺

摇滚春晚十周年纪念合辑，这是一张迄今为止中国摇滚乐史上参与人数最多的合辑。
摇滚春晚，一个计划外的孩子。只因2009年底一群摇滚壮丁合唱了一首《过年喽》，他便稀里糊涂的来到了这个世界。未曾想，这个孩子一路跌跌撞撞，却没有半途夭折，虽曾头破血流，但也奋力成长，于是，他得到了这份十岁生日礼物——《摇滚这个春晚》

Trinity=三位一体をテーマに掲げたfox capture plan待望の1st Full Album。
前作で衝撃的なインパクトを残した「Capture the intial “F”」の流れを汲む高速変拍子2「衝動の粒子」、""輪廻""を意味する3「Reincarnation」は前作ラスト曲が伏線となり、壮大なスケール感をイメージ。ライヴではマストの人力Drum&Bass4「Exceed The Limit」やアグレッシヴなプレイを展開する7「dark matter」といったテンション高い曲群だけでなく、美しい旋律からの5「trinity」6「White ambience」やoasisのカヴァー8「wonderwall」、至極のバラード9「good night.」といった幅広い演奏スタイルを繰り広げる。ピアノ・トリオの形を取りながらも、変拍子やロック、Drum&Bassの要素を取り入れた新感覚サウンド!!

No Need to Argue is the second studio album by Irish rock band The Cranberries, released in 1994. It was the band's most successful album, and has sold about 17 million copies worldwide. It contains the band's most successful single to date, "Zombie". The album's mood is darker than that on Everybody Else Is Doing It, So Why Can't We?. It shows a more mature performance by lyricist and vocalist Dolores O'Riordan, writing about war, death, love and disappointment. Her voice is clearer, without the previous album's double and triple voice layering. In some of the songs, the band decided to take on a rockier and heavier side, using distortion and increasing the volume. The song "Yeat's Grave" [sic] is about William Butler Yeats, and quotes one of his poems, No Second Troy. The hit song "Zombie", written by lead singer Dolores O'Riordan, is according to her about the IRA bombings in 1993 that resulted in the death of two children.

Japanese exclusive reissue of 1963 album. This Toshiba/EMI pressing features an OBI strip (different from the last Japanese pressings issued in 1990) & 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. 2003.

《窦唯：艳阳天》窦唯的第二张专辑，音乐从以往非现实的基调，意识流的色彩中，更注入了他自身的血液，活生生的随着情绪的张力而波动，伴着心律的起伏而起舞，时而沉淀内敛，时而明明亮旷远。他的第一张专辑"黑梦"，藉着整体音乐的氛围，不难感受到他的世界里浸淫着晦暗而封闭的式的迷幻色彩，就如同在现实生活中，不能自我完成的种种压力，投射在梦境中一般。但是这张作品中，则明确的诠释出他对生命的新体验，像是从封闭的空间里完全解放，歌曲中可以感受出一种自在，如同阴晴圆缺在窗外，心中自有一片艳阳天，延伸并丰富了我们更宽广的听觉空间。



窦唯最新专辑，“艳阳天”带领你的想像飞出窗外 。他的音乐里有一种不可思议的力量，牵引着你的心走进惊奇的想像空间，有一种灵魂深处的冰凉清澈，也有在云端飘荡的和煦阳光。

《艳阳天》专辑表现出的是一种开创性的新音乐概念，藉由这种不用的音乐语言，延伸并丰富了我们更宽广的听觉空间。

01 引子 0:45
02 出发 5:33
03 窗外 4:37
04 春去春来 4:23
05 他 4:40
06 阴 1:00
07 艳阳天 3:56
08 说不出的感觉 4:14
09 晚霞 4:14
10 黄昏 3:52
11 未知 4:25

The soundtrack for a new Amazon Original series seeks to emulate the magic of Fleetwood Mac. More often than not, it ends up sounding like a Broadway tribute.

最狂妄最自大最cliche的搖滾樂，簡直係魯莽一生的寫照。

《G N' R LIES》，又名《Lies》，中文译名《谎言》，是美国著名硬摇滚乐队枪炮与玫瑰于1988年12月6日发行的第二张专辑。 其实这本算是第二版，乐队成名前，1986年曾经发行过，但是歌曲比这本少。而且，这本专集中更多的运用了原声吉他。其中《Mama Kin》是翻唱AeroSmith的作品。《You Are Crazy》则是《Appetite For Destruction》中同名歌曲的原声版本。

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.

Use Your Illusion II is the fourth studio album by the American rock band Guns N' Roses. It was one of two albums released in conjunction with the Use Your Illusion Tour, and as a result the two albums are sometimes considered a double album. Bolstered by lead single "You Could Be Mine", Use Your Illusion II was the slightly more popular of the two albums, selling 770,000 copies its first week and debuting at No. 1 on the U.S. charts, ahead of Use Your Illusion I's first week sales of 685,000.

他们于1993年匆匆的出版了一张 Punk 翻唱专辑《The Spaghetti Incident?》。《The Spaghetti Incident?》是一张以 Hard Rock/Heavy Metal 的手法表现 Punk 的专辑，专辑完成的很顺利，似乎又回到了《Appetite for Destruction》专辑时期痛快的日子，本来是想以 EP 方式发行，但是市场变化使他们还是决定以专辑形式发行，乐队翻唱了 The Stooges, New York Dolls 等 Punk 先锋的歌曲。在辉煌的《Use Your Illusion I》和《Use Your Illusion II》后，Guns N´Roses 想是似乎只是如何支配歌迷而不是在艺术上的进取，这张专集由于是 Guns N´Roses 出品，因此卖的不错，但是不如前两张专集。他们的音乐则具有喧嚣但是出色的旋律，同时拥有旋律非常出色的乐器演奏，他们的音乐涵盖了“HEAVY METAL”和“HARD ROCK”，他们的内核是 PUNK 式的 HARD ROCK。