Skeeter Davis was an American country music singer who sang crossover pop music songs including 1962's "The End of the World". She started out as part of the Davis Sisters as a teenager in the late 1940s, eventually landing on RCA Victor. In the late 1950s, she became a solo star.

70年代日本民谣女歌手。森田童子的作品并不多，只有7张专辑。然而她的全国音乐巡回演唱会精彩，她的歌声具有独特的个性。从1978年到1983年是森田童子音乐活动的高峰期。之后森田童子的歌声逐渐在歌坛消失，只是开些小型音乐会而已，结婚后处于半休业状态。1993年，十分欣赏森田童子才华的野岛伸司请出了森田童子在三部曲的《高校教师》中演唱主题曲及插曲。

70年代日本民谣女歌手。森田童子的作品并不多，只有7张专辑。然而她的全国音乐巡回演唱会精彩，她的歌声具有独特的个性。从1978年到1983年是森田童子音乐活动的高峰期。之后森田童子的歌声逐渐在歌坛消失，只是开些小型音乐会而已，结婚后处于半休业状态。1993年，十分欣赏森田童子才华的野岛伸司请出了森田童子在三部曲的《高校教师》中演唱主题曲及插曲。

2010年12月8日是巴西作曲大師Antônio Carlos Jobim去世16周年紀念日。在忙碌著製作自己新專輯的時候，Jason經歷了作為一名音樂工作者的種種不易，由此萌生了重新製作一至兩首Antônio Carlos Jobim名作的想法，以此向這位未曾謀面的音 樂啓蒙老師致敬。Antônio Carlos Jobim又稱Tom Jobim，是Bossa Nova這種至今仍受全世界聽眾歡迎的音樂風格的創始人，他創作了無數Bossa Nova名曲，這些作品又被無數人演繹，就連目前炙手可熱的Bossa Nova女王小野麗莎也不例外，不僅唱了無數出自這位名師的作品，還專門和這位名師合作過。除此之外，Jobim本人還是一位出色的歌者兼鋼琴手、吉他手，他的音樂貢獻對整個世界的影響力不言而喻。
不管是Água de Beber還是Garota De Ipanema，都有葡語和英文兩種版本，然而Jason這次選擇全部用原汁原味的葡語演繹，因為巴西作為Bossa Nova的發源地，葡語搭配Bossa Nova的感覺才夠味，絕對會比英文好很多倍。Água de Beber（愛的灌溉），也有譯成“失戀時喝水”，歌詞大意是，一個人的愛如同水，心如同鮮花，花開需要水的灌溉，否則就會枯萎。目前現存的人聲版本基本為兩段式歌詞，而Jason這個版本是三段式歌詞的完全版，因此在速度提高的基礎上，比原曲整整多了一分鐘，並且突出了打擊樂部份，桑巴感覺更重，明顯帶有Jason獨特的編曲風格。Garota De Ipanema （伊帕內瑪姑娘）這首歌的傳唱度極高，甚至連著名香港音樂人林一峰和台灣歌手范怡文都曾拿來重新演繹過，國外的版本更是不勝枚舉。這張單曲實際上是新專輯的序曲，Água de Beber這首會收錄在新專輯中。
爲什麽叫做Bossa Mutation（芭莎突變）呢？作為一張致敬翻唱單曲碟，Jason一定不會滿足於原班copy原曲，一定會在重新編曲的時候，在音樂元素中做些低調而悶騷的實驗。Água de Beber（愛的灌溉）加重了打擊樂部份，桑巴節奏配合Jazz味道的鋼琴和薩克斯風，掃去了原本的淡淡哀傷，變得歡快而輕鬆。Garota De Ipanema （伊帕內瑪姑娘）則完全改變了Bossa Nova的本來面貌，將Lounge、Jazz和IDM（Intelligent Dance Music）風格揉在一起，成為一種電子小品式的Fusion作品。

听听Dylan如何操上电琴，对抗咒骂的固执听众

Get thee behind me, Satan!, November 23, 2002
Reviewer: John (Cleveland, OH) - See all my reviews
1966, Royal Albert Hall Manchester, England. Bob Dylan straps on an electric guitar to the chagrin of all his fans. Yes, it's the infamous Judas concert. This also is the best-recorded Dylan concert you could hope to find. The quality, both technical and musical, is superb. This may be billed as a "bootleg" but the sound is nearly that of a studio album.
The first CD of course is Dylan's acoustic set. For seven songs, it is just Dylan, an acoustic, and a harmonica and it is nothing short of amazing. Dylan does not make one false step in the entire set, perhaps wanting to give the old folk days a good send off before ripping into R 'n R. He seems to be playing with a new sense of vigor, although it may be just excitement at not knowing how the crowd will respond to the coming electricity (he had had bad experiences when first plugging in at the Newport Festival - he had to come back and do some acoustic numbers to calm the crowd down). Even the song Mr. Tambourine Man, which I never liked that much, has new life breathed into it

The second CD is Dylan's electric set, backed by a full band. When I first listened to this, I expected to hear loud booing right away but I was surprised that the audience not only claps loudly for Dylan, but actually laughs when he jokes at the beginning of I Don't Believe You ("This is `I Don't Believe You', it used to be like that (referring to acoustic) now it goes like this") before ripping into the song. I was expecting an immediate outcry and I admit I was slightly disappointed that the much-hyped Judas concert was turning out to be nothing like I thought. Then at the end of Tom Thumb's Blues the crowd really starts to lay into Dylan, interrupting him when he talks by clapping loudly as well as heckling him (I could barely make out someone yelling "Sell out!!"). It really gets bad before Like a Rolling Stone though. After the clapping for the previous song dies down there is a moment of nearly complete silence and someone yells clearly "Judas!" and is met with rousing applause from the rest of the crowd. When that dies down you can hear someone once again yelling about how Dylan has "sold out". "I don't believe you" Dylan replies, then right before the song he says "You're a liar!" The crowd is so loud at this point that Dylan turns to the band and yells "Play f**king loud!" And they certainly do! The version of Like a Rolling Stone that follows is something to behold. Dylan's singing is fueled by the crowd's boos and insults and is without a doubt his best performance of the song to date.

Ignoring the historic significance of the concert, the music itself on the electric half is Dylan's best. Every song is infused with new energy, and puts the original versions to shame. Perhaps it is because of the crowds boos, the novelty of performing with electrics for the first time, but whatever it is you can't deny it is something special. If I had to pick favorites, I would pick everything from Leopard-Skin Pill-box Hat through Rolling Stone. The whole thing is great, but the band seems to get more energized and louder as the evening goes on (again, probably propelled by the reaction from the crowd). This is nothing short of essential listening for any fan of good music.

Whether you buy it to hear the rock and roll history, the great music, or just because you are a Dylan completist, the reason does not matter. What matters is that you buy this. It is an experience that you won't soon forget.

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。

約翰·丹佛，原名小亨利·約翰·多伊奇岑多夫，是一名美國鄉村音樂作曲家以及音樂人，曾經在70年代以許多膾炙人口的歌曲紅極一時的歌手，他錄製以及發行的歌曲超過300首，約有一半的歌是由他作曲，1977年，被稱為「科羅拉多的桂冠詩人」。 1979年中國大陸改革開放後，鄧小平訪美時在華盛頓甘迺迪表演藝術中心戴著牛仔帽的表演。

約翰·丹佛，原名小亨利·約翰·多伊奇岑多夫，是一名美國鄉村音樂作曲家以及音樂人，曾經在70年代以許多膾炙人口的歌曲紅極一時的歌手，他錄製以及發行的歌曲超過300首，約有一半的歌是由他作曲，1977年，被稱為「科羅拉多的桂冠詩人」。 1979年中國大陸改革開放後，鄧小平訪美時在華盛頓甘迺迪表演藝術中心戴著牛仔帽的表演。

1997 Japanese reissue on RCA of the late singer/songwriter's 1970 album for the label, featuring 20 bit K2Mastering & Laser Cutting. 11 tracks, including 'Take Me ToTomorrow' and 'Isabel'.