Japanese exclusive reissue of 1964 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. Gatefold sleeve. 2003.

滚石音乐(Rolling Stone Magazine )史上最佳Top 500 Albums之003#

Digitally remastered digipak edition of this classic 1965 album from The Beatles featuring 'Ticket To Ride', 'Help!', 'You've Got To Hide Your Love Away', 'I've Just Seen A Face', 'Yesterday' and many more. The album has been remastered at Abbey Road Studios in London utilizing state of the art recording technology alongside vintage studio equipment, carefully maintaining the authenticity and integrity of the original analogue recordings. Within the CD's new packaging, the booklet includes detailed historical notes along with informative recording notes. A newly produced mini-documentary on the making of the album is included as a QuickTime file on each album. The documentary contains archival footage, rare photographs and never-before-heard studio chat from The Beatles, offering a unique and very personal insight into the studio atmosphere. Capitol.

Digitally remastered digipak edition of this classic 1970 album from The Beatles featuring 'The Long And Winding Road', 'Across The Universe', 'Let It Be', 'Get Back' and many more. The album has been remastered at Abbey Road Studios in London utilizing state of the art recording technology alongside vintage studio equipment, carefully maintaining the authenticity and integrity of the original analogue recordings. Within the CD's new packaging, the booklet includes detailed historical notes along with informative recording notes. A newly produced mini-documentary on the making of the album is included as a QuickTime file on each album. The documentary contains archival footage, rare photographs and never-before-heard studio chat from The Beatles, offering a unique and very personal insight into the studio atmosphere. Capitol. NOTE: Let It Be was never released in mono and is not available in The Beatles In Mono boxset.

Rank 'em how you like, Rubber Soul is an undeniable pivot point in the Fab Four's varied discography no matter where, or how, you first heard it. The album was softened up in its original 12-song American edition to jibe with the Dylan/Byrds folk-rock sound, as well as squeeze money from the Parlophone catalog. The 14-song U.K. edition--the version now available on compact disc--is a different, more dynamic, and ultimately more accomplished achievement. So many classics: "Drive My Car" and "Nowhere Man" (both omitted from the U.S. edition) merge the early combustible Beatifics to a burgeoning studio consciousness; "The Word" can be read as a pre-psych warning shot; the sitar-laden "Norwegian Wood" and the evocative "Girl" (the latter written on the last night of the sessions) stand as turning points in John Lennon's oeuvre. George finally emerges too, with the McGuinn-ish "If I Needed Someone." EMI. 2005.

AMG review:
A Hard Day's Night not only was the de facto soundtrack for their movie, not only was it filled with nothing but Lennon-McCartney originals, but it found the Beatles truly coming into their own as a band. All of the disparate influences on their first two albums had coalesced into a bright, joyous, original sound, filled with ringing guitars and irresistible melodies. A Hard Day's Night is where the Beatles became mythical, but this is the sound of Beatlemania in all of its giddy glory. Decades after its original release, its punchy blend of propulsive rhythms, jangly guitars, and infectious, singalong melodies is remarkably fresh. There's something intrinsically exciting in the sound of the album itself, something to keep the record vital years after it was recorded. Even more impressive are the songs themselves. Not only are the melodies forceful and memorable, but Lennon and McCartney have found a number of variations to their basic Merseybeat style, from the brash "Can't Buy Me Love" and "Any Time at All" through the gentle "If I Fell" to the tough folk-rock of "I'll Cry Instead." It's possible to hear both songwriters develop their own distinctive voices on the album, but, overall, A Hard Day's Night stands as a testament to their collaborative powers — never again did they write together so well or so easily, choosing to pursue their own routes. John and Paul must have known how strong the material is — they threw the pleasant trifle "I'm Happy Just to Dance with You" to George and didn't give anything to Ringo to sing. That may have been a little selfish, but it hardly hurts the album, since everything on the record is performed with genuine glee and excitement. It's the pinnacle of their early years. — Stephen Thomas Erlewine

滚石音乐(Rolling Stone Magazine )史上最佳Top 500 Albums之010#

Audio CD (April 11, 2000)
Original Release Date: 1971
One of the best all-time rock albums by any measure, Imagine is nearing its 30th birthday-and here's a marvelous tribute. You can get the original LP on CD or cassette with remixed, remastered sound and a 16-page booklet with lyrics and rare pix. Or go behind the scenes of a masterpiece-the documentary Gimme Some Truth-The Making of Imagine , featuring an unfinished film by John and Yoko, is available on VHS or DVD (DVD has surround sound, an eight-page booklet and discography). A treasured moment in rock history.

Adam Green (born May 28, 1981) is an American singer-songwriter, artist and filmmaker. Green is well known for his involvement in the Anti-folk music movement and as one half of the band The Moldy Peaches.

Adam Green is an American singer-songwriter, artist and filmmaker. Green is well known for his involvement in the Anti-folk music movement and as one half of the band The Moldy Peaches.

世界改变了你我，他却卓傲依然
——木玛首张个人专辑《丝绒公路》跳起不一样的舞
曾经的木马乐队，以其低调唯美的气质，感动了一双双敏感的耳朵。在仅仅发行过的两张专辑和一张EP里，那些被翻来覆去播放的歌曲植根于许多摇滚青年的少年梦里。
人们开始把目光聚焦在那个有着独特嗓音的主唱身上——长发的木玛在舞台上歌唱时，完全沉浸在自己的情绪里。出生在夏天的木玛具备狮子座典型的好强热烈和冷静优雅的双重性格，无法忽略的领导气质、随时可以爆发的情绪化，还有一股迷人的异类气息。
尽管木马乐队宣告暂时停止，木玛的脚步却一刻也不曾停下。发行一张个人唱片是木玛03年就开始计划的，而这个夏天，重新归来的木玛，愿望成真，向所有热爱木玛或是怀疑木玛的人呈上一张40分钟的全长唱片。
为了这张唱片，木玛在去年创建了3rd Party乐队，一切从零开始，花费了整整一年时间和乐队的三个小伙子沟通、磨合。在经历了长达10个月的创作和制作期以后，新唱片带着10首风格迥异的作品终于成形。
新唱片依然由木玛作曲填词并与吉他手关伟共同制作。汉亚文化还特别邀请了日本金牌混音师家守久雄先生来到北京为专辑进行后期制作。在对人声的处理中，家守先生与木玛心意相通的保留了粗糙的颗粒感，没有刻意修饰人声，连之前木马专辑中大量使用的人声混响也舍弃了。吉他声音也大多由简单的音箱失真发出，很少使用效果器，保持了摇滚乐的原始质感。
新唱片带有木玛一贯的根植于post-punk和classic-rock的独特气息，讲究情绪和氛围感。歌曲旋律流畅，显得大气而宽广。部分曲目中合成器的引入及和声的加入，使得音乐元素更加丰富。新的音乐不光延续了木玛以前表达出的绝望和抑郁，还注入了新的情绪，让忧伤不仅仅有一种表达方式——苍茫、华丽，甚至是戏谑。
在谈到这张个人专辑时，木玛表示，这张专辑里收录的歌曲都在展现一种生活和创作状态的真实写照，大多描写一些私人的时光和记忆。对于木玛来说，新唱片是一次全新的尝试，体现着他更进一步的态度，这就是自始至终贯穿的骄傲感。这种骄傲感使得整张唱片变成了一个新鲜而有趣的开端，一次奇特而漫长的音乐旅行。

It's been over six years since Schnauss introduced the world to his wonderful blend of electronic textures and shoe-gazer aesthetics featured on his debut, "Far Away Trains Passing By". It's also been four years since "A Strangely Isolated Place" hit shelves in his native Germany and cemented his place among the elite electronic artists. That album combined the early 90's Creation Records' sound of pioneering acts like Slowdive and My Bloody Valentine with modern electronic tapestries. "Quicksand Memory" brings Ulrich's musical drought to an end, featuring two new tracks and Robin Guthrie's re-workings of two of Ulrich's most celebrated songs, "Gone Forever" and "On My Own". Look for the upcoming full-length, "Goodbye", in June.

唱片的录音棚就是排练室，更早以前它是董亚千家里的老宅，闷在年代久远的四层红砖楼房里，周围住的多数是老人。乐队在这一片早起早睡的潮水里干活，扯淡，吃喝拉撒，无论昼夜，不知大中华盛世将至。
那些80年代的红砖还能叫红色吗，大概只能算煤球渣子的近亲。正如唱歌的最终会沉默，昨日奔跑着的青年和鸵鸟，一转眼就是今天的腐肉，秃鹫。不过，音乐不是为如此这般的现实伴奏的，它一直在它该在的地方，需要一路撕扯着过去的，只是我们。
这么多年，这么一帮人，前前后后兜圈子，现在终于出首张唱片。到了这一步，快和慢是另一个世界的话题。让企业家和文人继续开辩论会吧。专辑在手，大梦初醒，专属于个人的节奏，早就战胜了环境施加的心理暗示。药方就是我们自己，像羽毛，突然的，一下一下的飘落而至。
必须承认首张唱片是土法炼钢，各种自学试验，呼哧呼哧的吹风点火，完全没有大跃进的豪爽速度，反倒前后拖了快两年。修改打磨，福祸焉知。硬伤是免不了的。有时候像拳头打进了棉花，那种落空和被瞬间软化的悲哀，简直让人恨不得放弃所有的努力。相信许多中国乐队也都经历过。不多说。Leonard Cohen 的名言最适合用来安慰：一半怪自己，一半怪环境。
设备东拼西凑，制作也七嘴八舌，反正各种借，骗，着急和糊涂，旧交新朋全部派上了用场。万能青年旅店，名字叫的清楚响亮，自己没开张的时候先轮番被大家招待，欠下的人情堆到天边。这就是生命里的各种麻烦吗。现在描述起来，却又像一幅理想世界的蓝图：众人拾柴浇油，吵吵嚷嚷间，一团火焰轰地着了。
90年代美式另类摇滚很深的影响过这个乐队，现在成员们的喜好包括老摇滚，民谣，爵士乐，迷幻噪音，酒后流行歌，草地唱诗等等，至于作品是什么，光自己说不算。
录音室的窗外，短暂出现过一大片空地。那是开发商圈出的牧场，即将到来的肥肉和鲜血，即将到来的千万人厕身其间刨食的日子。但它曾经是空旷的，好几个足球场那么大的空旷，尤其到了晚上，像真理似的空虚，神秘，给目光以憧憬的机会，让风进来，吹得更猛烈。
唱片完成之时，空地已经被耸立的高楼填满。我们渴望这张塞了很多东西的唱片还能留下空地的丝缕感觉，这样的话，所有听到的人，就有可能并肩站在一起。
谢谢大家。

Angles is the fourth studio album by American rock band The Strokes. It was released on March 18, 2011, through RCA Records. It was the group's first album in over five years, following First Impressions of Earth (2005).

Nick McCarthy, Bavarian brains of Franz, last dipped into side-project Box Codax five years ago, and in that time, the contents have got a whole lot more exciting. Less rigid and robotic, much cleaner than ‘Only An Orchard Away’, ‘Hellabuster’ moves on from post-punk weirdo pop to a glammier, proggier form of ELO-ish studio oddness.
It’s part-produced by Joe Mount of Metronomy, whose sonic fingerprints are audible on the brilliantly freaky disco of ‘Seven Silvers’ and the likes of ‘My Room’. If ‘Choco Pudding’ dips its spoon too far into the bowl marked ‘wacky’, the whole is an eccentric gem that pulls you back again and again.
NME Review

今年的确是英伦音乐丰收的一年，我们看到了许多老将的复出，当然也有许多崭露头角的新人，而最轰动的莫过于这对临时组合，之前我已经大幅报道了这次合作，而且也让大家提前欣赏了他们的Ep作品，The Rascals也许对大家来说还相对陌生，我本人非常喜欢，只是现在越来越觉得他们的音乐有浓重的猴子味了，激进复古的朋克口味，突出的吉他Riff无论从演艺技巧上来说甚至都可以说是在模仿，那其实并不是我想要的。不知道Alex给他们灌输了多少理念，这次倒好，乾脆直接把领头的Kane拉过来合作，难道真的有点相见恨晚的感觉？前几天已经听过了专辑中的大部分歌曲，不过知道今天才收齐，按照Alex自己所说的，这会是张偏流行的作品， Bacharach-style pop？不清楚是啥风格，又或是创造他们自己所独特的风格来膜拜那些他们所欣赏的乐队，听来比较夸大，傲慢，甚至被外界评论为愚蠢的想法，但你还是不得不佩服他们的无畏。其实仔细看看Alex所写的歌词，简简单单大多透露出这次合作的愉快和舒心之旅，能找到Kane这种知音似乎比得大奖还要过瘾。而 Alex，Kane的和声真的可以说配合的相当不错，说不上唯美动听，但至少难以释怀，蠢蠢欲动的情感迸发，随着飞驰的鼓声和吉他的拨弄让整个境界得以升华，对我来说，没有辜负自己的好奇心，也没有辜负这次看热闹的人。

Written by The Kooks, produced by Tony Hoffer (Beck, Air, Belle & Sebastian), and recorded in The Sound Factory (Los Angeles) and Sarm Studios (London), the band's third album sees them consolidating their position as a bona fide album band with trademark breeziness and catchy hooks. Kicking off with a dramatic breakbeat, the opening track builds across acoustic guitar and warm washes of synth before collapsing into a chorus you'll be singing for days. It shows, that despite the change in their influences, the band still have a firm grasp on how to write killer hooks and pop songs without compare. "It's upbeat; an album to play in the sun" explains frontman Luke Pritchard of the forthcoming 12 song collection, "What we really wanted to do was build a proper, full album. Something you can listen to from front to back. We're an album band and this is a journey you come on with us."

Souvlaki is the second studio album by the English rock band Slowdive. Recorded in 1992, it was released in the UK on 17 May 1993 by record label Creation, then on 8 February 1994 in the US.