Ella Fitzgerald — vocals
Louis Armstrong — vocals; trumpet on "Summertime," "I Got Plenty o' Nuttin'," "It Ain't Necessarily So," "A Woman Is a Sometime Thing," and "There's a Boat Dat's Leavin' Soon for New York"
Russell Garcia – arranger, conductor
Victor Arno, Robert Barene, Jacques Gasselin, Joseph Livoti, Dan Lube, Amerigo Marino, Erno Neufeld, Marshall Sosson, Robert Sushel, Gerald Vinci, Tibor Zelig — violins
Myron Bacon, Abraham Hochstein, Raymond Menhennick, Myron Sandler — violas
Justin Di Tullio, Kurt Reher, William Van Den Burg — cellos
Frank Beach, Buddy Childers, Cappy Lewis — trumpets
Milt Bernhart, Marshall Cram, James Henderson, Lloyd Ulyate — trombones
Vincent DeRosa – French horn
Bill Miller, Paul Smith – piano
Tony Rizzi – guitar
Joe Mondragon – double bass
Alvin Stoller – drums

Japanese Master Sound Jazz Series reissue featuring DSD remastering & the original artwork in a limited edition miniature LP sleeve.

专辑介绍：
在繁忙的工作之余，聆听一把低吟浅唱或是万千深情的发烧女声，实在是抚慰寂寞心灵的最佳良方妙药。虽然今天市面上有很多出色的女声发烧天碟精选，但是当中 粗制滥造、滥竿充数的『烂』碟也为数不少，要选当然要选有代表性和权威性的。若论到权威性，德国名厂牌Premium唱片公司出版的《最佳发烧女声》 (Best Audiophile Voices)系列可说是发烧女声天碟中的表表者。
这个系列出完一张又一张，这张《Best Audiophile Voices V》已经是第五辑了。和一般东并西凑，胡乱结合在一起的精 选专辑不同的是：这个系列选曲非常严谨， 每一张专辑的风格都相当一致，而很多厂牌和歌手都以能入选为荣。有一点更为重要的是：专辑在选取多首乐曲之后，在 后期的混音程序上落足功夫，保证原汁原味之余，更将录音效果再推至完美的境界，有些甚至比原版更为靓声，系列的对上几张专辑都荣登发烧天碟榜多时，也是各 地高级音响展参展商试音的必备之选，在在都证明了这个系列的江湖地位。
这张最新的专辑选取了15首魅力非凡的深情乐曲：包括了Alison Krauss And Natalie MacMaster的 "Get Me Through December"、藤田惠美的"The Rose"、Salena Jones的 "I Don’t Want To Miss A Thing"、Eva Cassidy的 "Bridge Over Troubled Water"和Kimber Manning的 "What A Wonderful World"等；最令我们惊喜的是我们熟悉的发烧天后Jheena Lodwick演绎的名曲 "A Groovy Kind Of Love"也榜上有名，证明了港人制作的发烧天碟绝对有世界级的水平。这张精彩的女声发烧天碟除了动听指数 是靓爆灯之外，也是各位发烧友试测器材的最佳音乐软件。除了爆棚乐段欠奉之外，一切发烧元素都被包含其中。如果你回放本碟出现问题的话，也是你更换器材的 时候了！

發燒聖經七部曲
爵士女伶第7篇
BEST AUDIOPHILEVOICES VI
收錄日本親水性爵士女伶Noon、加拿大年度爵士天后Emilie-Claire Barlow、美國知性才女Keri Noble、發燒金嗓Lydia Gray、美聲甜心Kelly Sweet、木吉他天籟Angela、瑟琳娜瓊斯等15位跨廠牌頂級女伶24bit/192kHz發燒美聲錄音。
「爵士女伶」系列所締造的暢銷紀錄在全球發燒界、音響界、乃至於唱片界絕對可稱之為傳奇！跨廠牌、跨國際的精湛選曲，佐以招牌24bit/192kHz高解析度錄音，活生生地超越CD光碟16bit/44.1kHz2k規格的先天限制，呈現自然細膩的動態、深度及臨場感的人聲錄音，在台灣更吸引無數樂迷挑剔的耳朵，每每深深吸引音響大展現場每個人停下腳步聆聽詢問：『現在放得是誰的？』發燒聖經七部曲網羅亞洲、美洲、歐洲三地當代頂級金嗓，再次以極致美聲帶您聆賞天籟之音。

Pop and Broadway composer Cy Coleman (1929-2004) was a major figure who not only wrote hits like "Witchcraft" for Frank Sinatra, but also the scores for successful stage musicals across five decades, his hit shows including Sweet Charity, I Love My Wife, Barnum, City of Angels, and The Will Rogers Follies. Producer/arranger/pianist Dave Palmer's version of a tribute album does not include "Witchcraft" (or "Big Spender" or "If My Friends Could See Me Now"), so it isn't exactly a Coleman best-of, but it does feature some of his better-known songs, so it isn't quite a "Revisited"-style treatment, either (as in Ben Bagley's series of albums of musical theater writers' obscurities such as Cole Porter Revisited). The closest approximation to Palmer's approach may be the tribute albums Hal Willner produced, such as Lost in the Stars: The Music of Kurt Weill, in which he allowed for radically rearranged renditions of the songs performed by edgy contemporary artists in an attempt to make the songwriters hip again. Palmer is wise to have limited himself to female singers since Coleman, who did not have a single major lyric partner, nevertheless did some of his best work with two female lyricists, Carolyn Leigh and Dorothy Fields, who specialized in writing from the woman's point of view. It takes nothing away from the talented singers, however, to say that Palmer's arrangements dominate the disc. And those arrangements take a decidedly revisionist tack. The composer came out of a jazz background, and Leigh especially had a melancholy side, but Coleman's music tends to be upbeat and empowering -- think of "Hey Look Me Over" and "If My Friends Could See Me Now." Palmer is having none of that. He wants things to be downbeat, low key, and even a little strange. So, for example, "Then Was Then and Now Is Now" (lyrics by Peggy Lee) is positively mournful. "I'm Gonna Laugh You Right Out of My Life" is now a samba, which gives it some verve, but no laughs. Songs like the reflective "Where Am I Going?" and the rueful "The Rules of the Road" are right up Palmer's alley, although Sarabeth Tucek nearly throws the former away with a perfunctory reading and Nikka Costa can't help coming far behind Tony Bennett's definitive recording of the latter (not to mention some awfully good ones by Nat King Cole, Rosemary Clooney, and Lena Horne). No doubt Coleman's publisher is delighted with this album, since it suggests a different way to hear the songs and thus, possibly, to exploit them; probably Coleman himself would have been pleased. But just because interpretations are different doesn't make them better or even valid. Often, this album demonstrates the quality of Coleman's writing not because it finds new ways to hear the music, but because the songs survive the wrongheaded versions so well. (William Ruhlmann, All Music Guide)

这是声名狼藉的金属说唱老大Limp Bizkit乐队三年来的的首张新专辑，他们的销量显然已经不能和过去相提并论。与三年前他们颠峰时的单周销量超过100万相比，本张专辑首周32万5千张的销量以及在Billboard 200排行榜第三名的位置显然不能令人有什么惊喜。火爆的Limp Bizkit乐队和主唱Fred Durst最近几年的埋头苦乾，并没有能够在自己的成就之上取得更大的突破。
自从1999年的音乐节事件之后，Limp Bizkit乐队的事业在辉煌之后出现了一些下滑迹象，吉他手Wes Borland的离开也对乐队造成了严重的影响，此前这名吉他手和他手中的吉他一直是乐队最重要的武器之一，现在这只武器失去之后，替补者Mike Smith显然还没有能够完美的接班，在这张专辑中乐队表现的依然不是非常出色。乐队中也许Fred Durst管的事情太多了一些，他完全决定了整个乐队，这也是Wes Borland离开的主要原因，Wes Borland在队的时候还可以多给乐队一些创意和选择，而现在只剩下了Fred Durst自己，他所带给乐队的只是表面吹捧的强大，而对于乐队的音乐他不能提供任何有价值的帮助。
在Fred Durst的引领下，Limp Bizkit乐队的音乐缺乏创造性，音乐中的riff和旋律都显得非常枯燥，乏力，并不具有吸引力，恐怕只有乐队的铁杆歌迷才会给与他们一定的支持。在许多首歌中，Fred Durst这位没有灵感的歌星甚至直接引用或者模仿了其他歌星的音乐旋律和特点，但是他只是纯粹的模仿，并没有什么独立的改进，与其如此模仿还不如直接翻唱。以前，Fred Durst还可以把他的思想或者愤怒转化成为旋律和歌词来表现出来，而现在他只会乾巴巴的喊出来，几乎没有任何旋律，这位歌星也许已经江郎才尽了。而在这种情况下制作出来的专辑，恐怕只有少数他的铁杆歌迷才会买账，失去了多数歌迷的支持以后，在Fred Durst领导下的Limp Bizkit乐队的音乐也就将要走到尽头，不知道他们还能再喊多久。

2011 release, the sixth studio album by the American Alt-Rock knucklheads led by Fred Durst. Includes guest appearances from Mathematics, Raekwon, Gene Simmons, Paul Wall and Lil Wayne.

1994 EP captures the band in their formative stage, still honing their fairly wide-ranging rap-metal sound, but providing enough moments of raw power to satisfy fans. Unavailable domestically. Rescue Records.

P.O.D.乐队是美国90年代诞生的众多另类金属乐队中成立较早，也是比较有影响力，并且在商业上也一直有着相对不错表现的一支乐队，他们一直坚持硬核，重金属和说唱相结合的音乐风格。P.O.D.最早成立于1992年，P.O.D.的意思就是Payable on Death的简称。吉他手Marcos和鼓手Wuv从小就是邻居，并且一起长大，两人都对音乐有着非常浓厚的爱好，两个人都喜欢爵士乐和雷鬼音乐，并且都是当时风靡的Grunge音乐的疯狂追随者。他们两人就决定组合一支乐队，Marcos招来了他做电台主持的擅长说唱的表兄弟Sonny做主唱，1993年，随着贝司手Traa的加盟，P.O.D.形成了现有的固定阵容，他们最初的音乐只是把这些多种的音乐风格融合在一起。
这支默默无闻的乐队在成立之初为了找地方演出都是非常大的难题，他们只能在一些小地方排练演出，并且只能在他们自己的录音工作是内自行独立录制一些专辑，P.O.D.乐队在自己的所谓Rescue Records唱片公司先后独立录制了《Brown》《Snuff the Punk》和《P.O.D. Live》三张张专辑，并且在P.O.D.乐队成立之初的五年时间里，通过在各个地方的演出和演唱活动，推销自己和自己的唱片，到1998年以前，他们的几张专辑一共卖出去了大概4万多张。
P.O.D.乐队的转折出现自1998年，在乐队录制了一张名为《Warriors》的EP专辑之后，Atlantic Records注意到了他们对于音乐的执著以及他们努力工作的敬业精神，他们很快就和P.O.D.乐队签下了合同，并且在1999年，发行了乐队的第一张正式专辑《The Fundamental Elements of Southtown》，加上专辑中多首非常具有冲击力的单曲，这张P.O.D.乐队的处子作专辑的销量超过了100万张。这样好的表现使这支乐队在当地很快就变得家喻户晓，在当地的音乐圈内也成为了硬摇滚乐的王牌力量。有了非常不错的销售成绩之后，P.O.D.乐队也有机会在一些大型的音乐现场演出中露脸，通过在各大音乐节，和大型的音乐演唱会上的演出，他们的知名度进一步的扩大。随后，P.O.D.乐队渐渐成为了一支在全美国都很知名的硬摇滚乐队，他们也再次通过挤身好莱坞一些大牌影星诸如阿尔·帕西诺(Al Pacino)和亚当·桑德勒(Adam Sandler)的电影原声带而宣传自己的音乐，并进一步扩张自己的领土。在优秀的硬摇滚音乐制作人Howard Benson的打造下，P.O.D.乐队的第二张正式专辑《Satellite》在2001年9月11日这天发行，尽管在这天美国遭受了非常严重的恐怖袭击，但是这并没有太影响P.O.D.乐队专辑的销售，他们的专辑第一次进入了Billboard 200排行榜的前十名，专辑的销量也突破了两百万张而他们的混合硬核朋克，雷鬼和说唱音乐的风格也在Howard Benson的制作之下形成了P.O.D.乐队的特色。
2003年2月份，正在P.O.D.乐队为了电影《黑客帝国2：重装上阵(The Matrix: Reloaded)》制作单曲《Sleeping Awake》的时候，乐队创建人之一的吉他手Marcos却突然宣布离队，取代他的是前Living Sacrifice乐队的吉他手Jason Truby，并且继续完成了Marcos的留下的任务。2003年11月4日，P.O.D.乐队的第三张正式专辑《Payable on Death》正式发行。

MTV Ultimate Mash-Ups is one of the biggest musical events in years, premiering on MTV with a show featuring the multi-platinum Linkin Park, the biggest contemporary rock band in the world, joining forces with the multi-platinum Jay-Z, one of the biggest stars in hip-hop. Mash-Ups brings together artists from different genres to seamlessly blend their songs, creating an exciting and unique musical experience. Offered in both CD-sized Digipak and Amaray package, it features a CD with versions of existing Linkin Park and Jay-Z tracks mixed together in the studio; and a DVD featuring two versions of them performing these Mash-Up tracks for MTV.

Limp Bizkit乐队史上第6张录音室专辑，也是乐队史上时长最短的专辑，全专仅32分不到，不足全盛时期Chocolate Starfish and the Hot Dog Flavored Water专辑时长的一半。专辑历经10年，原班阵容，积累大概35首歌的素材，最终呈现这12首。评论反馈总体比较积极，虽然有指乐队还是有被岁月磨平了棱角的方面，旋律创造优势下降，但Kerrang!杂志给出了更优的评价，言中年软饼干依然青春不改，能量犹存。综感更像首专Three Dollar Bill和Results May Vary的合体。

2Pac was the rap name of Tupac Shakur (born June 16, 1971, East Harlem, New York, USA - died of gunshot wounds, September 13, 1996, Las Vegas, Nevada, USA) an American rapper and actor. He started out as a roadie for the group Digital Underground and was signed by Interscope Records in 1990.

2Pac was the rap name of Tupac Shakur (born June 16, 1971, East Harlem, New York, USA - died of gunshot wounds, September 13, 1996, Las Vegas, Nevada, USA) an American rapper and actor. He started out as a roadie for the group Digital Underground and was signed by Interscope Records in 1990.

Recorded following his near-fatal shooting in New York, and released while he was in prison, Me Against the World is the point where 2Pac really became a legendary figure. Having stared death in the face and survived, he was a changed man on record, displaying a new confessional bent and a consistent emotional depth.
By and large, this isn't the sort of material that made him a gangsta icon; this is 2Pac the soul-baring artist, the foundation of the immense respect he commanded in the hip-hop community.
It's his most thematically consistent, least-self-contradicting work, full of genuine reflection about how he's gotten where he is -- and dread of the consequences. Even the more combative tracks ("Me Against the World," "Fuck the World") acknowledge the high-risk life he's living, and pause to wonder how things ever went this far.
He battles occasional self-loathing, is haunted by the friends he's already lost to violence, and can't escape the desperate paranoia that his own death isn't far in the future.