Ask people what their favorite Pet Shop Boys album is, and their answers will vary--but ask people what the most important Pet Shop Boys album is, and 9 out of 10 West End girls will say Very. The snide ambiguities that churned behind prior PSB posturings were ripped away on this release, with Neil Tennant and Chris Lowe finally pulling more than punches. Self-awareness is one of the major themes on Very, with "Yesterday When I Was Mad," showing the band could send up themselves as well as their friends and lovers; meanwhile, "I Wouldn't Normally Do This Type of Thing" both carries one of the Boys' best melody lines and serves as one of their most literal confessions. There's also a more threatening, foreboding tone to the record as set by the opening "Can You Forgive Her" and the closing Village People cover, "Go West." Originally an anthem leading gay men to San Francisco's promised land, the Pet Shop Boys' version is delivered from the beleaguered trenches in the war against AIDS. The results are as ominous as they are brilliant. --Steve Gdula, Amazon's Editorial Review

1998 album featuring an updated version of his mesmerizing 'Exorcist' theme, 'Tubular Bells'. 11 tracks. Total playing time of 46:38. A WEA International release.

30 years on, a replayed and reproduced version of the groundbreaking classic Tubular Bells by Mike Oldfield with the latest technology. Warner Music. 2003.

New album by dream pop band Blue Hawaii. Very solid album, just listen to it, you will not be disappointed. You like dream music, I know.

Nightclubbing is the fifth studio album by Jamaican singer Grace Jones, released on 11 May 1981 by Island Records. Recorded at Compass Point Studios with producers Alex Sadkin and Island Records' president Chris Blackwell, as well as a team of session musicians rooted by rhythm section Sly & Robbie, the album marked her second foray into a new wave style that blends a variety of genres, including reggae, art pop, dub, synth-pop and funk. The album comprises a mixture of cover versions from artists including Bill Withers, Iggy Pop and Astor Piazzolla, and original songs, three of which were co-written by Jones.
The album received positive reviews upon its release, including being voted best album of the year by writers of the UK music magazine NME, and continues to be praised by critics, with reviewers commending the singer's unique sound and organic fusion of genres. The album entered in the top 10 in five countries, and became Jones' highest-ranking record on the US Billboard mainstream albums and R&B charts. Six singles were released from the album, including the hits "Pull Up to the Bumper" and "I've Seen That Face Before (Libertango)".
Critics and scholars have noted the album's influence on popular music, especially how its unique sound has been emulated by both pop and alternative acts, and how the persona Jones adopted – deeply influenced by art and fashion – has had an enduring influence in modern female pop singers. Around the time of the album's release, she adopted her characteristic androgynous look which would become popular in fashion. Nightclubbing is now widely considered Jones' best studio album[1] and the record that cemented her pop icon status.

2018年にリリースした「Future Pop」以来、約4年ぶりのオリジナルアルバムとなる本作。
“固体・液体・気体に次ぐ物質の第4の状態である”と言われている“PLASMA”（プラズマ）。
第4形態に入ったPerfumeが、次々と形を不思議に変える音楽体験をお届けする本作をどうぞお楽しみに！

Music Produced, Arranged & Composed by Fishdoll
Lyrics by 9m88
Performed by 9m88 and Fishdoll
Mixed & Mastered by Jason Hou
Starring - Fishdoll/9m88
Director -Xiaoyang Jin
Stylist- 9m88
Production Corrdinator -Yuzhe Li
Camera Assistant -Xun He
Gaffer -Hua Bai
VFX -Ao Li
Associate Producer -Zheheng Hong
Special Thanks
EI Studio & Beyond Studio

Yellow Magic Orchestra is the first official studio album by Japanese electronic music band Yellow Magic Orchestra, who were previously known as the Yellow Magic Band. Originally released by Alfa Records in Japan in 1978, the album was released by A&M Records in Europe and the United States and Canada in early 1979, with the US version featuring new cover art but without the closing track of "Acrobat". Both versions would later be re-issued in 2003 as a double-disc format, with the American version as the first disc.

我的＂疫情＂比較長，四年半裡做了三次手術，床、疼痛和無望加上一些瑣碎，基本構築了我的中年危機。

去年完成的這張《十日彈》，就誕生在這樣的一個危機下面。
十首歌，十段跟自己的對話，十次釋放，更是十幕告解。音樂聽起來，你可能查覺不到過多的傷感，因為，當我真的下床彈琴寫作的那刻起，逐漸地擁有了一種抵禦焦躁的能力，找到一些與疼痛共存的方法。

我想，大概這就是音樂的魔力吧。

對我來說，一張唱片就是自己的一段日子，一段苦與樂，過去了，就跟大家分享。

李泉2020年度音樂大碟 ——《十日彈》
十首歌，十段對話，與音樂相關的日子，似乎還不太痛苦。

01.《法斯瑞迪波》
“每一種事物都有它的神奇之處 哪怕是黑暗與靜默 ”

——海倫•凱勒

宇宙盡頭在何方
那裡是否有光亮
奮不顧身，卻怕我迷失航向
止步不前，又怕你回頭張望

02.《絕句》
過去，詩人多用絕句的形式來表達自己的情感，平平仄仄，高低唱和，道不盡的悲歡離合；
現在，李泉借絕句韻腳與現代流行韻律相糅合，輾轉舊箋，此去經年，歎不盡的紙短情長。

03.《餘生》
/很抱歉 不年輕的我還是會做夢/
/別懷疑依然愛著這世界/
/舉起杯 把冬天過成狂熱的季節 餘生不糾結/

往前是解脫 往後是自由，當我以為領悟世界，就捨得放下一切。卻不曾想 夢想依舊——《餘生》,在這個深秋，李泉邀你進入他的歌聲殿堂。

從靈魂深處傳來的神秘暗語，是夢的希冀；星影重疊，是男人的申訴；餘生，是對人生的理解，也是無聲無息的祈望，聽他低聲吟唱，帶你一起感受靈魂深處的呐喊。
《餘生》——那糾結什麼 痛快過就好

04.《一意孤行》
我一意孤行，固執按照自我前行。
我清夜捫心，細數無眠之夜默不作聲。
市井歲月滄桑而過，逃不脫，過去已然過去，苦盡可會甘來？

05.《無人鏡》
2000年的“走鋼索的人”，2020年的“無人鏡”，物是人非，情緒還在。李泉x易家揚，再次合作，聲音跨越二十載，桑蔭不徙，情懷不衰。

06.《彈琴的人》
茂名南路，有疤痕的鋼琴，彈琴的人沒睡。
魔鬼在窺探；陷入幻滅和虛無。
用炙熱細胞牽連神經末梢「彈琴的人」依舊是自由的愛與狂想！

07.《中年》
每個男人都逃不過「四十不惑」
縈繞不去的「中年焦慮」
到了這個年紀，工作的壓力、妻子的矛盾和孩子一起在題海沉淪，雖然有著諸多的無奈但細細品味，生活就是這樣荒誕又可愛。

08.《稻草》
最後壓倒你的那根稻草真的很輕
微風吹拂 就可將你推倒
可你選擇像「稻草」一樣燃燒
焚裂黑暗 全力擁抱破曉

09.《如果我是莫内》
宇宙的畫筆停靠在1875的秋天裡，撥開神秘的年輪，
「有光有風才有蹤影」荒漠變綠洲，煙雨催生驚喜。

“如果你還記得我。”
“像記住大雨裡的好天氣一樣“

10.《無間》
是夜書無字的一頁
黑夜終究要黎明
是可見的「無間」
是永無鄉的 回眸人間