1978年出生的过亚弥乃，在大学期间就开始发表歌曲。
并以一曲单纯清新的《幸运草》开始引起注意。
她早年的音乐多为民谣式的小品，配以小巧的夏威夷四弦琴，
一派置身田园海滩的风情。
从2000年开始，以每年一张的速度推出专辑，始终获得极高评价。
尤其是当她的《幻化成凤》被选为吉卜力动画《猫的报恩》主题曲之后，
她的歌声也逐渐为我们所熟悉。
清新、自然、充满邻家女孩气质的音乐，
在浮华嘈烦的流行乐坛，显得如此的清浊不染、至纯至真。
我最讶异于这样一个事实：
每次下班回家，一旦放起她的音乐，
总能让我绷紧了一天的神经立刻松弛。
有些评论所谓的“烦恼抛于脑后”，“抚慰失落的心境”，“重燃生活的热情”，
我个人觉得是感同身受、毫不夸张。
真是无愧于疗伤系女歌手的美名。

而说到她的名字，其实只是由“つじあやの”这五个假名组成，
一般都根据读音写成“Tsuji Ayano”，
曾有过好几个版本的汉化翻译，
2003年国内引进她的《恋恋风歌》专辑时，
使用了“过亚弥乃”这个写法，算是官方翻译了。: )

总是在每年春季按时发片的过亚弥乃，
总是有如同春风一般化腐朽为神奇的魅力。
这次她别出心裁的出了一张全部是翻唱作品的大碟，
而且还分作了两碟，分别冠以：
Tokyo Side——在东京，
Kyoto Side——在京都，
大概对于京都出生的她，这是一种有趣的调侃。
再看她的Cover songs，
14首曲目中包含了歌谣，演歌，影视歌曲，甚至Jackson 5这样风格迥异的作品。
最佳无疑是与日本老牌创作型男歌手兼金牌制作人奥田民生合唱的第三曲《sha la la》
据说这是桑田佳佑80年代的名作~~不好意思，还真的不知道~~
不过过亚弥乃和奥田民生懒洋洋的演唱实在是太舒服了
真想一遍又一遍的听下去~~~
另一首大家比较熟悉的就是彦井俊二的电影《燕尾蝶》的主题曲
小林武史的作品，最早由chara唱红，akko也曾翻唱
这次我们的Ayano，用她拿手的夏威夷四弦琴伴奏，纯朴自然的又演绎了一遍。
通览整张专辑,《Cover Girl》延续了《恋恋风歌》的多元化倾向。
过亚弥乃试图在民谣、'70~'80年代音乐、怀旧浪潮等自己所喜爱的元素中，找到与现代流行音乐相结合的地方。
这种尝试初见成效，她已经创造了一种崭新的、不落潮流、也不落俗套的现代民谣。
这种民谣之奇特在于：既是一个都市新人类又像一个乡野闲客，是一股自然的春风吹拂下的大都会即景。
对Tsuji Ayano充满期待！

漫步在清晨的鄉間小道，暖暖的陽光灑落，來自樹林的風迎面徐徐吹來
身旁有你，旅程不再孤寂
仔細聆聽他們的音樂，彷彿觀賞一幕幕的美麗的風景畫
-- 獻給都會旅人的十二篇樂章
★ 遠赴德國，力邀國際知名發燒大廠老虎魚母帶後製
★ 最純淨的民謠、最直接的悸動

如同品嚐一道美食，Tiny Harvest樂團用音符刺激著人們對音符的味覺。這是一個由妮娜及彼得所組成的雙人民謠團體，兩人皆來自一個相當崇尚自然、和平、宛如童話故事般美麗的瑞典，正因為在這樣的環境下成長，讓他們能創作出最純淨無瑕的音樂。
主唱妮娜天生就擁有一副好歌喉，年僅七歲的她便加入教堂的詩歌班擔任合音長達六年，更讓她的歌聲彷彿就像天使的呢喃。妮娜與樂團吉他手彼得結識於1995年，同樣熱愛音樂的他們，正因為擁有一般人無法擁有的完美默契，決定組成樂團，並以「將最幸福的聲音帶給全世界」做為他們共同的目標。
專輯中每首曲子都能帶給你不一樣的悸動。Beautiful day描述著情人之間的甜蜜畫面；One step closer及Time for departure即妮娜為了音樂創作理想在各地奔波的思鄉離情與悲傷，妮娜以悅耳的嗓音詮釋著那股渴望見到情人的愛戀與愁悵。彼得將妮娜生活上的點滴轉化為文字，細細品味彼得筆下的妮娜就像閱讀一本優雅的散文集，也是生活最直率的寫照。揉合彼得優雅、帶點感性的吉他合奏，傾聽Tiny Harvest，就像一場生活與夢想的完美邂逅。
一個對生活的憧憬、對愛情、對世事的生活詩篇，處處充滿著撫藉心靈的感動，讓心情沉澱在最平靜澄徹的時空裡。
對極光而言，沒有什為比追求最完美的音質呈現來得重要。我們不惜成本，遠赴邀德國力邀知名發燒大廠Stockfish老虎魚為本專輯進行後製，這樣的體貼和用心，只為了要寵壞您的耳朵，將完美的聲音獻給您。

資料來源:極光唱片

Japanese pressing includes a bonus track & comes packaged in a miniture LP sleeve. Produced in 1970 by the legendary Joe Boyd, Just Another Diamond Day has long been considered a holy grail for Brit-folk record collectors, with original copies of the album fetching over $1,000 at auction. It shouldn't take many listens to realize why it's so highly regarded; Just Another Diamond Day is, in its own humble way, nearly a thing of perfection. Ind. 2006.

2013 release, the Country/Folk duo's highly anticipated sophomore album. This self-titled full-length is the follow up to the three-time Grammy Award-winning duo's acclaimed debut, Barton Hollow. The Civil Wars was recorded in Nashville between August 2012 and January 2013. Charlie Peacock was once again at the helm as producer for the album. Additionally, Rick Rubin produced the duo's performance for the track "I Had Me a Girl" in August of 2011. Peacock later completed the track by producing the instrumentation and mix. The album was recorded amidst a grueling touring schedule, exhausting workload and a growing disconnect from their families.
The Civil Wars’ sophomore self-titled album is the follow up to the three-time Grammy Award-winning duo’s acclaimed debut, Barton Hollow, which is now certified RIAA Gold in the U.S.. The Civil Wars was recorded in Nashville between August 2012 and January 2013 with Charlie Peacock once again at the helm as producer for the album. Additionally, Rick Rubin produced the duo’s performance for the track “I Had Me a Girl” in August of 2011. Peacock later completed the track by producing the instrumentation and mix.

布蘭迪·M·卡莉是一位美國另類鄉村和民謠搖滾創作歌手。她已發行多張唱片，包括《The Story》，《Give Up the Ghost》和《Live at Benaroya Hall with the Seattle Symphony》。專輯曾經達到「Top Rock Albums」排行榜第14名。

英意混血诗人吉他手Jack Savoretti三专

60年代就已红便英国民谣乐坛的Allan Taylor,以吉他和民谣风征服了英国及爱尔兰，他的乐风影响了Dire Straitv、Fairport Convention、Steeleye Span等民谣摇滚巨将，他在乐坛的地位是无庸置疑的。
神似Mark Knofler的低沉醇厚的嗓音、深受Jack Kerouac影响充满Beat Generation风格的诗意歌词、耐听优美的曲调，与稳健幽雅的吉他演奏，这些特色造就了Allan Taylor独特的魅力。

哪位音乐人忍心让歌迷们为一张专辑苦苦等候9年？ 出版了唱片《The Future》之后，沉迷于东方玄学的Cohen，在自己61岁的时候剃度出家，和音乐完全断绝了关系。《Ten New Songs》，正是他结束僧侣生活、修成正果之后，音乐和精神的回归。和早期那些唱片一样，它有一个简单而又纯粹的名字：《Ten New Songs》。这是一张弥漫着告别气息的歌曲集，充满了个人自白，挽歌式的感叹，一些轻微的抗议声，和禅意。它，看上去就像是个句号。
第一次接触这位老男人的音乐，是在电影《天生杀人狂》片头里的一段插曲《Waiting For The Miracle》。如今，这部电影已经不在，但是里面的歌还会经常响起。不再年轻的Cohen，被上帝赐予了一种极富吸引力、攻无不克战无不胜的声线。我曾经一直以为Cohen只是一位歌手，看过他的传记后才知道，他在诗歌和文学上的成就，丝毫不逊于他的音乐才华。
这张让歌迷们望眼欲穿的专辑，延续着Cohen特有的低沉、忧伤。他和齐豫不同的是，听齐豫的歌会让你陷入沉思，而Cohen能让你的思绪在音乐响起的一瞬凝滞，心如止水。
这是一粒止痛片，是一剂安神药，献给现代人游离躁动的灵魂。

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.

After winning the Norwegian Idol with the most votes in Idol-history, selling 40.000 records, 50.000 singles, a number one single, and playing in front of 25.000 people, KJARTANs record-label said, "no, we don't want you to do YOUR music". Now, that flat out sucks!
But instead of feeling sorry for himself or dance with the stars, KJARTAN did what every artist should do: write some great songs! Now in 2007, KJARTAN is doing it his own way, and wants to share
After spending $99 on a guitar and amp at Walmart, he collaborated with songwriters Boots Ottestad (Robbie Williams, Tim McGraw) Edie Kuhnle (Thomas Dybdahl) and Nate Campany (The Click Five).
In Virginia, and later in New York, they created magic in the form of simple chords, meaningful lyrics and a tape recorder.
After recording the album in Brooklyn, Stavanger and Oslo, KJARTAN is back to tell his story. So lend your ear to these great songs, 'cause you've definately never heard this story before!

美丽的心碎，晶莹剔透的忧伤，带来神奇的愈疗能量；麦斯米兰歌曲里的美丽与哀愁，舒缓了生命中所有紧张与不安。张悬、苏打绿、杨乃文竭力推荐！
2007年即将登陆内地陪你一起感动落泪。
聆听伤心的声音，男人也可以如此深情忧伤而美丽——来自德国的麦斯米兰，用气若游丝、伤感迷离的嗓音，和之以深沉唯美的古典钢琴、悠扬的电子乐、清新的木吉他和偶尔肆虐的失真音效，打造出忧郁绝望的唯美情歌。这张精选集由麦斯米兰亲自选曲。从过去四张专辑挑出14首最动人的经典作品。在这些作品里，你可以感爱到麦斯米兰充满了对温暖怀抱的渴求；在高潮起伏的澎湃情感里，他轻声勾勒的吉他、朦胧的梦幻音效，织成一张仿佛梦境中才得见的美丽锦缎。他的情歌既围绕着爱与幸福的感觉，也包含着麻木、死亡、寂寥、失落的阴沉情绪。在夜阑人静时聆听，他宛如在你耳边低语，感觉是多么的亲昵；曾经受伤的人，会在他的声音中，印证心中曾有过的隐约哀痛；未曾受伤的人，聆听着麦斯米兰，也必然会对人世间复杂的情感，有了超验的感悟。

All songs written by Maximilian Hecker. All songs performed and produced by Maximilian Hecker. Mastered by Darius van Helfteren at Amsterdam Mastering, Amsterdam.
Maximilian Hecker about the album:
»In 2008, I reached a point at which I was no longer able to find any satisfaction in my career. I felt that, since the decision I had taken seven years earlier to make music my profession, I had seldom been successful in expressing genuine emotion in concerts or studio recordings. I felt myself to be constricted in a corset of perfectionism and conventions – partly self-inflicted, partly dictated by outsiders. Retrospectively, I realized that a large part of what I had achieved on stage and in the studio had been only a rudimentary excerpt of my feelings, that the channel to my soul felt as if it had been obstructed in such recordings and live performances. It was a series of cathartic and at the same time traumatic experiences – including my encounter with a Japanese woman called Nana in Tokyo in November 2008 – that heralded for me what I call the »decomposing mode«: in order to »survive«, I started to destroy all the suffocating elements in my environment – I liberated myself from narcissistic demands, stopped shaving, wore jogging pants as everyday clothing, distanced myself from women, even from the idea of finding true love one day. I began to make street music again, or rather, to »meditate publicly«, up to six hours at a time, just singing if no one was specifically listening to me – for this was the only way to keep open the path to my soul. And eventually, I began to record my new songs at home, shortly after composing them, using the simplest equipment (often only one room microphone). Exposed to all the street noise and »dirt«. Holding on to the moment of inspiration. My soul, my pure emotions immortalised on tape. All rational processes that before had deadened and delayed my feeling – such as arranging, determining the instrumentation, writing succinct lyrics (the lyrics on the album derive largely from a stream of consciousness emanating directly from my heart, improvised at the moment of recording) and finally the professional recording – these were eliminated. Just the essence remains: the pure emotion, the pure, artistic innocence.«
在 2008年, 我感到自己无法在事业上找到满足感。我觉得自七年前我决定以音乐作为事业之后, 则无法再于演唱会或录音室中表达到真正的情感。我似被困于完美主义及传统的紧身衣之中 --- 部份出于自己, 部份来自其它人。回顾以往, 我发现我在台上及录音室中所做到的, 只是我情感不完整的引用, 我的灵魂就好像受这些录音及演唱阻挡着。那是一连串净化同时亦伤痛的经历 --- 包括在2008年十一月于东京与一个名叫Nana的日本女人之相遇 --- 传达了一个我称之为的「分解模式」的讯息给我, 为了「生存」, 我开始消除我环境中所有使我窒息的元素 --- 我把自己从自我陶醉的需要中解放出来, 停止刮胡子, 每天穿着运动裤, 远离女人, 或有天会找到真爱的想法。我开始再制作街头音乐, 或者应该是进行「公开冥想」, 每天6个小时, 就好像无人在听地唱 --- 这是唯一可以打通到我灵魂深处之路的方法。后来, 我开始在家录制我的新歌, 就是作曲之后, 随即用最简单的器材录制 (很多时就只是一支咪)。曝露于街头音乐及「尘土」之中。抓住有灵感的时刻。我的灵魂, 我纯真的情感在录音带上变成不朽。所有以前握杀及阻碍我情感的理性程序 – 如乐器选用, 编排, 撰写精炼歌词 (唱片内的歌词大部份都是在录音时, 我内心深处触发出来的感觉) 以及最后的专业录制 --- 都一一省掉。剩下的只有精髓: 纯正的情感, 艺术的纯净。