山崎ハコ第一张大碟。开首的《望郷》一下就可以把人带进一片绝望的旷野，无论简短前奏还是主调的旋律，都像极了森田童子。不过随着音乐的继续，情绪也逐渐放开。《サヨナラの鐘》里，慵懒的吉他让人内心平静。到了《気分を変えて》甚至激烈的摇滚起来。音乐行进至温暖的标题曲《飞びます》时，一切仿佛已经浴火重生。

山崎ハコ デビュー35周年記念アルバム!全曲新録。山崎ハコの“今”がここに!
シングル「BEETLE」でスマッシュヒットを飛ばし、現在も精力的な活動を続けている山崎ハコ。デビューから35年を経た山崎ハコの“今”をリアルに表現したアルバムです。
「織江の歌」「飛びます」などの代表曲をギターで弾き語りしたセルフカバーを中心に、ゲストにcharを迎えた「横浜ホンキートングブルース」や「ヨコハマ」などライブや舞台で好評の楽曲を収録。

'76年に発表したセカンド・アルバム。ボーナストラック1曲を収録。（昭和49年の弾き語り曲）

大阪府出身のシンガーソングライター、Miyuuのインディーズ作品をリリース! (C)RS

德国乐队 Sophia 2004 年底限量三千张发行的合辑，主要收录了乐队00-04年间的一些作品。
这张合辑几乎可以说是一张纯器乐的作品，罕有人声。木吉他、钢琴加弦乐的组合令这张合辑中的音乐非常的安静与优美。主唱的嗓音听起来有点悲伤，令他们的音乐透出一股冷感，总之一切都恰到好处。
合辑中附带了名为 Absolute Giganten 的音乐短片，纯器乐且无情节，感觉非常棒。

《戏班》
什么是中国的民间音乐？不同于如今久居大雅之堂的民族音乐，中国民间音乐自产生以来就一直是人味儿十足的，新鲜的、野性的、漂泊的，风趣的，直接的，从来不曾富贵却也从未失其尊严和自由。
中国各个不同的戏曲种类源于各个不同的时代、地方，却无一例外地生于民间，养于民间，经历过欢喜与厌倦的起伏交错，热闹与冷清的世态炎凉，沉淀下来的除了那份倔强与骄傲之外，那所谓弦外之音的传奇身世之外，更有那真正的骨子里的千种韵味、万种风情。
不同的时代，风景在变，速度在变，声响在变，精神在变，感觉在变，当所有的变化都成立，塑造了一个崭新的身体之时，有一种顽固的不变的远古流传的记忆却借着这个身体还了魂，借着这个身体来了劲儿。中国的民间音乐从来都无法拘泥于固有的传统形式，这是首先在生存法则下的艺术创新，是一种被逼于绝境的凤凰涅槃。这就是《戏班》这个民间乐团产生的缘由，也是这个乐团全部的生存之道。
《戏班》的音乐以汉民族的词曲结构为根，建立在秦腔，京韵大鼓，绛州鼓乐，黄河号子的传统艺术基础上，融合了西藏长调，澳洲土著音乐，印度音乐，以及现代的minimal，Dub等电子音乐的元素，完全自成一派的新音乐类型。其音乐既具备中国传统音乐骨子里的人文精神，又不乏西方流行音乐特有的节奏律动，值得一提的是，《戏班》的音乐完全抓住的是潜在的节奏律动，并非生搬硬套的拼接节奏，所以，《戏班》的音乐将两者结合的不露丝毫痕迹，听上去浑然天成。
乐团人员组成：中国、法国、波兰。
乐团使用乐器：人声、绛州鼓、三弦、锣、铃、口弦、手鼓、乌嘟、箫、笛、吉他、水桶、木块、澳洲土著乐器didgeridoo、印度风琴等等。。。。。。
乐团音乐风格：原创。混合：山东琴书、京韵大鼓、秦腔琴韵、云南长调
乐团成员名单：人声／三弦／吉他／竹马
didgeridoo／口弦／箫／笛／雷诺
手鼓／印度风琴／亚瑟
锣／木鱼／低音打击乐／钟逊
人声／和声／拉姆
打击乐／袁朝桢

In the second half of 1967 and through to early 1968, when still part of Pink Floyd, Barrett's behaviour became increasingly erratic and unpredictable. Many report having seen him on stage with the group during this period, strumming on one chord through an entire concert or not playing at all. In August 1967, Pink Floyd were forced to cancel their appearance at the prestigious National Jazz and Blues Festival, informing the music press that Barrett was suffering from nervous exhaustion. Band manager Peter Jenner and bassist Roger Waters arranged for Barrett to see a psychiatrist (an appointment he failed to attend), while a stay on the Spanish island of Formentera with Sam Hutt, a doctor well established in the underground music scene, led to no visible improvement in Barrett's behaviour. A few dates in September were followed by the band's first tour of the United States.[6] At this point, Barrett's condition grew steadily worse. At a show at The Fillmore in San Francisco, during a performance of "Interstellar Overdrive", Barrett slowly detuned his guitar; the audience seemed to enjoy such antics, unaware of the rest of the band's consternation. Sometime in October, Jenner transferred tapes of "In the Beechwoods", two takes of "Vegetable Man", and a 5-minute backing track called "No Title", which Jenner hoped Barrett would finish eventually.
Around Christmas 1967, guitarist David Gilmour, an old friend of Barrett's from Cambridge, was asked by the other members of Pink Floyd to join as a second guitarist,[9] initially not to replace Barrett, but cover for him, because his unpredictable behaviour prevented him from performing. For several shows Gilmour sang and played guitar while Barrett wandered around on stage, every now and then deciding to join in playing guitar and singing. Waters and fellow band members keyboardist Richard Wright and drummer Nick Mason soon grew weary of Barrett's on-stage antics and, on 26 January 1968, when Waters was driving his bandmates from London to a show at Southampton University, they all agreed to go without Barrett: according to Gilmour's recollection, one person asked, "Shall we pick Syd up?" and another said, "Let's not bother." Since Barrett had written or co-written 10 of the 11 songs on their debut album, The Piper at the Gates of Dawn, as well as the band's three singles up to this point, the original plan was to keep him in the group as a non-touring member − in a similar arrangement to what The Beach Boys had done with Brian Wilson − but this soon proved to be unworkable. At his last rehearsal with the band, he presented a new song entitled "Have You Got It Yet?", which proved to be deliberately unplayable as the others attempted to join in, until they realised the joke of the title. On 6 April, the group officially announced that Barrett was no longer a member of Pink Floyd. Upon leaving the band, Barrett said to Melody Maker: "I suppose it was really just a matter of being a little offhand about things".

马木尔1970年生于新疆。哈萨克族。自幼学习哈萨克族民歌和冬不拉，后自学吉他、曼陀林、口弦等多种乐器。马木尔从小在新疆奇台县的东风牧场长大，就是游牧的哈萨克家庭，那里是一个辽阔的草原，他的爷爷、父亲以及哥哥都会弹冬不拉，也会做这个乐器，马木尔四五岁的时候就开始弹冬不拉了，在他们的牧场里，有很多唱民歌的阿肯和老艺人，他们的歌就是他们的生活。“小的时候，就是从广播里听老艺人的弹唱，都是传统的民歌，后来有电视就不好了，那些歌不好听了，都是导演的安排，他们把好听的音乐给变掉了。只有老的音乐是最纯的，我尊重我们民族的音乐。”马木尔说。他作为冬不拉高手、吉他高手，已经被看作哈萨克年轻一代的人才。在北疆，哈萨克人的生活中，马木尔是一位家喻户晓的名人，是哈萨克的东不拉英雄。
2002年马木尔来到北京，与他的伙伴组建了IZ乐队，并开始在北京各演出场地表演。IZ乐队立足于哈萨克民间音乐的传统，同时又努力创造着属于自己的音乐语言。他们演奏冬不拉、库布孜等哈萨克传统乐器，同时也使用吉他、箫、笛等来自其他文化背景的乐器，但乐队始终坚持用哈萨克语演唱。IZ乐队的曲目中一部分由古老的哈萨克民歌改编，另一些为自己的创作。创作歌曲常常以寓言、谚语式的歌词表达哲理性的内涵，如“不要见了面就握手寒暄/而实际上什么都不干/不要在大街上只会炫耀自己/要知道你出自毡房/那才是你的根源。2004年，IZ乐队在上海、青岛举行了专场演出，04,05年并应邀赴法国参加了“中国音乐实验室”（CHINA MUSIC LAB TOUR）的巡演活动。哈萨克斯坦总统纳扎尔巴耶夫2004年5月访华时特别在北京约见了马木尔。2004年5月17日的《人民日报》采访了唱新疆民间歌曲的哈萨克族青年马木尔，那天哈萨克斯坦总统访华要亲自接见我们的民族歌手马木尔，马木尔以为是为总统的宴会去唱歌，拒绝了，《人民日报》的记者赶紧又找到他，最后，总统与他亲切交谈，说的是哈萨克的音乐，是一次很好的沟通。
任何录音都无法代替现场演出所能带来的那种震撼力。所有看过IZ或是马尔木现场演出的人，都无法忘怀他们的音乐的魅力。腼腆的马尔木不爱说话，而当他歌唱的时候，和着他的冬不拉，人们总能被他歌声背后深沉的情感所打动。无论是他改编的古老的哈萨克民歌，还是他自己谱写的歌曲，都能让人在喧嚣中沉静下来，他的歌中有无言的悲凉和忧伤，更有金戈铁马的激昂！
能让我们感动的音乐必须是真实自然的，因为真正的音乐没有界限。哈萨克人说：一切皆有生命和死亡。他们唱到：当水结冰的时候它死亡了，春天冰雪融化它的生命，开始流动；大地被白雪覆盖时它死亡了，雪融后的万物复苏使大地重获生命；当天空被乌云遮挡时它死亡了，乌云散去又是亮丽的色彩……
Real World Records是英国著名音乐人Peter Gabriel创立的专注于推广世界音乐的音乐厂牌，先后推出过Nusrat Fateh Ali Khan，Sheila Chandra，Geoffrey Oryema，Youssou N'dour，Tama，央金拉姆等五大洲各国音乐家的作品，即将于五月份发行马木尔专辑EAGLE（雄鹰）。
配合新专辑的发行，REAL WORLD RECORDS将同时安排马木尔欧洲巡演。

Everyone who hears this CD at our house or while we are traveling, just raves about it. There is not a single "bad" song on it - they are all absolute keepers. Laura Love's voice and style are unique and her guitar playing is terrific. Her vocal range is wide and singing style eclectic. All the other vocals melded wonderfully on each song. My granddaughter loves the CD and would play it constantly if I'd let her! I'm looking forward to hearing Laura's other CDs.
(Pass on to Laura if cant' put in review.) Laura if you're checking these reviews - thanks for being so kind to the "daughter of my heart" after one of your gigs with WVPR's Mountain Stage. You may recall she was severely burned. She didn't take the CD you signed for her back to Bolivia because no one she knows has a CD player, but we got her a tape and she says everyone there really likes it even if they can't understand the words! She made me take a picture of her with the CD so she would always remember you. She said that you treated her just like a regular kid and looked at her like she was pretty. It may seem like a little thing, but it was so important to her.

《Family Tree》是由Nick Drake母亲与妹妹整理出来的作品集，录音时间甚至早于他的首张专辑《Five Leaves Left》（1969），大部分是他翻唱的一些民谣歌曲，包括传统民谣、Bob Dylan、Blind Boy Fuller与Jackson C. Frank等人的作品，以及2首创作歌曲的的早期版本。
这张唱片最吸引的地方是那种未经制作修饰的DEMO式质感，尽管歌曲都很短，但不时也录下了当时一些“多余”的声音，如老式录音机的杂音、歌唱之外的呢喃、玻璃器皿翻倒的声音、远处莫名的环境声以及破钢琴声里家人的笑声等。在一些蓝调（Blues）歌曲中，可以听到Nick Drake难得的轻松腔调，有种可爱的少年老成式的油腔滑调。
听Nick Drake的歌，会觉得尽管民谣是种容易讨好又容易腻味的音乐，但只要将活生生的口气、舌苔、唇线、鼻息和体味都投入其中，就能在简单的循环反复中制造出活生生的迷幻来。也许，所有的音乐都是并都该如此。

Cacho Tirao - Roberto Todd - Horacio Corral - Domingo Cura

另一张Anneke Konings的专辑，1975年的LP，以荷兰语演唱，无论是从旋律还是编排都要比英语演唱那张Feelings要好很多。另外封面就是我觉得哪有点像Nico。
Anneke Konings: zang, gitaar en percussie
Ryszard Godyn: mondharmonica en gitaar
Theo de Jong: basgitaar
Eef Albers: elektrische gitaar
Jasper van 't Hof: klavierinstrumenten
Job Zomer: klarinet
Henk Zomer: slagwerk

Blood Money is up there with Waits's best albums from the mid-'80s, veering as it does from sexy insomniac circus music to gorgeously heart-tugging lullabies to woozy zigzag bluesy romps to what can only be described as Oscar the Grouch singing out of tune on top of the soundtrack to an old French film. Blood Money's 13 songs were cowritten by Tom Waits and longtime collaborator and wife Kathleen Brennan for a Robert Wilson production of Georg Büchner's unfinished, protomodernist 1837 play, Woyzeck, about a Kafkaesque German soldier who goes crazy after doing medical experiments for money and kills his girlfriend after witnessing a perceived infidelity. The album's worldview is, necessarily, bleak. The lyrics are hilariously misanthropic, occasionally hallucinatory, and ring with the truth of Tin Pan Alley clichés turned inside out. "Coney Island Baby," in particular, is a grand statement, with Waits delicately croaking the lines "She's a rose, she's the pearl / She's the spin on my world / All the stars make their wishes on her eyes." The album's manifesto, however, is to be found in the title tune, as Waits spits out the words "If there's one thing you can say about mankind / There's nothing kind about man / You can drive out nature with a pitch fork / But it always comes roaring back again." Released at the same time as the lyrical, lovely Alice, the ragged and rhythmic Blood Money marks the return of one of our most gifted meta-singer-songwriters to the top of his game. --Mike McGonigal