Re-recorded in meticulous detail, along with a dozen songs cut from the 2012 original, Taylor Swift’s most pivotal album has still more to say about growing up and moving forward.

Taylor Swift’s project to re-record her albums to reclaim legal ownership of the music begins with 2008’s Fearless, an almost identical, polished, and somewhat melancholy version of it.

“Thriller”专辑一共有7首单曲先后进榜，其中最受欢迎的二支单曲分别为“Billie Jean”“Beat It”，前者蝉聊7周单曲冠军，后者则由Van Halen的灵魂人物Eddie Van Halen跨刀演出；“The Girl Is Mine”是他与Paul McCartney首次合作的作品，歌曲中两人争风吃醋的对话，不觉让人莞尔，另外专辑亦收绿Top4“Thriller”、Top5“Wanna Be Startin’ Somethin”和Top7“Human Nature”等曲子，是乐迷不可错过的经典佳作。

NAYEON The 1st Mini Album
"IM NAYEON"
Release on
2022.06.24 FRI 1PM KST/0AM EST

Beginning with the haunting alt-pop smash “Ocean Eyes” in 2016, Billie Eilish made it clear she was a new kind of pop star—an overtly awkward introvert who favors chilling melodies, moody beats, creepy videos, and a teasing crudeness à la Tyler, The Creator. Now 17, the Los Angeles native—who was homeschooled along with her brother and co-writer, Finneas O’Connell—presents her much-anticipated debut album, a melancholy investigation of all the dark and mysterious spaces that linger in the back of our minds. Sinister dance beats unfold into chattering dialogue from The Office on “my strange addiction,” and whispering vocals are laid over deliberately blown-out bass on “xanny.” “There are a lot of firsts,” says Finneas. “Not firsts like ‘Here’s the first song we made with this kind of beat,’ but firsts like Billie saying, ‘I feel in love for the first time.’ You have a million chances to make an album you're proud of, but to write the song about falling in love for the first time? You only get one shot at that.”
Billie, who is both beleaguered and fascinated by night terrors and sleep paralysis, has a complicated relationship with her subconscious. “I’m the monster under the bed, I’m my own worst enemy,” she told Beats 1 host Zane Lowe during an interview in Paris. “It’s not that the whole album is a bad dream, it’s just…surreal.” With an endearingly off-kilter mix of teen angst and experimentalism, Billie Eilish is really the perfect star for 2019—and here is where her and Finneas' heads are at as they prepare for the next phase of her plan for pop domination. “This is my child,” she says, “and you get to hold it while it throws up on you.”
Figuring out her dreams:
Billie: “Every song on the album is something that happens when you’re asleep—sleep paralysis, night terrors, nightmares, lucid dreams. All things that don't have an explanation. Absolutely nobody knows. I've always had really bad night terrors and sleep paralysis, and all my dreams are lucid, so I can control them—I know that I'm dreaming when I'm dreaming. Sometimes the thing from my dream happens the next day and it's so weird. The album isn’t me saying, 'I dreamed that'—it’s the feeling.”
Getting out of her own head:
Billie: “There's a lot of lying on purpose. And it's not like how rappers lie in their music because they think it sounds dope. It's more like making a character out of yourself. I wrote the song '8' from the perspective of somebody who I hurt. When people hear that song, they're like, 'Oh, poor baby Billie, she's so hurt.' But really I was just a dickhead for a minute and the only way I could deal with it was to stop and put myself in that person's place.”
Being a teen nihilist role model:
Billie: “I love meeting these kids, they just don't give a f**k. And they say they don't give a f**k because of me, which is a feeling I can't even describe. But it's not like they don't give a f**k about people or love or taking care of yourself. It's that you don't have to fit into anything, because we all die, eventually. No one's going to remember you one day—it could be hundreds of years or it could be one year, it doesn't matter—but anything you do, and anything anyone does to you, won't matter one day. So it's like, why the f**k try to be something you're not?”
Embracing sadness:
Billie: “Depression has sort of controlled everything in my life. My whole life I’ve always been a melancholy person. That’s my default.”
Finneas: “There are moments of profound joy, and Billie and I share a lot of them, but when our motor’s off, it’s like we’re rolling downhill. But I’m so proud that we haven’t shied away from songs about self-loathing, insecurity, and frustration. Because we feel that way, for sure. When you’ve supplied empathy for people, I think you’ve achieved something in music.”
Staying present:
Billie: “I have to just sit back and actually look at what's going on. Our show in Stockholm was one of the most peak life experiences we've had. I stood onstage and just looked at the crowd—they were just screaming and they didn’t stop—and told them, 'I used to sit in my living room and cry because I wanted to do this.' I never thought in a thousand years this s**t would happen. We’ve really been choking up at every show.”
Finneas: “Every show feels like the final show. They feel like a farewell tour. And in a weird way it kind of is, because, although it's the birth of the album, it’s the end of the episode.”

It is not just the timbre of Norah Jones's voice that is mature beyond her 22 years. Her assured phrasing and precise time are more often found in older singers as well. She is instantly recognizable, blending shades of Billie Holiday and Nina Simone without sounding like anyone but herself. Any way you slice it, she is a singer to be reckoned with. Her readings of the Hank Williams classic "Cold Cold Heart" and Hoagy Carmichael's "The Nearness of You" alone are worth the price of the CD. Jones's own material, while not bad, pales a bit next to such masterpieces. They might have fared better had she and producer Arif Mardin opted for some livelier arrangements, taking better advantage of brilliant sidemen such as Bill Frisell, Kevin Breit, and Brian Blade; or if the tunes had simply been given less laconic performances. Jones has all the tools; what will come with experience and some careful listening to artists like J.J. Cale and Shirley Horn is the knack of remaining low-key without sounding sleepy--sometimes less is not, in fact, more. --Michael Ross

艾薇儿·拉维尼发行自己的第七张全长录音室专辑《Love Sux》。这是她与Travis Barker的DTA Records签约后的首次合作。阔别3年，艾薇儿将重新带我们回到属于她的朋克时代！

过去3个月，艾薇儿先后发行先行曲《Bite Me》和《Love It When You Hate Me (feat. blackbear)》，专辑上线当天，将释出与当红说唱/另类歌手Machine Gun Kelly合作的主打曲《Bois Lie》。

Billie Eilish has announced her highly anticipated sophomore album. The 16-track studio album, titled Happier Than Ever, will be released via Darkroom/Interscope Records on July 30. Continuing the tradition on from her multi-GRAMMY Award, record-breaking debut album WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?, Happier Than Ever features no outside songwriters or producers, and was written by 19-year-old Billie Eilish and her brother FINNEAS who produced the album in Los Angeles. The album includes Top 40 #1 single “Therefore I Am” and “my future.”

Maroon 5’s seventh album sets out to experiment beyond their comfort zone. It sounds like a band trying desperately to appeal to as many markets as possible.

《Midnights》是美国创作歌手泰勒丝的第十张录音室专辑，于2022年10月21日通过Republic唱片发行。泰勒丝在8月28日举行的2022年MTV音乐录影带颁奖晚会上首次公开了这张专辑。

From Trey Parker and Matt Stone, four-time Emmy Award-winning creators of South Park, and Robert Lopez, Tony Award-winning co-creator of Avenue Q, comes a new Broadway musical called “the funniest show I've ever seen, by far” (Entertainment Weekly) and “so good it makes me angry” (Jon Stewart, The Daily Show). The Book of Mormon follows a pair of mismatched Mormon boys sent on a mission to a place that’s about as far from Salt Lake City as you can get. Co-directed by Mr. Parker and three-time Tony nominee Casey Nicholaw and described as “making the audience insane with joy in this way I don't think I've ever seen in a theater” (Ira Glass, This American Life), see it now or find yourself asking, “Dear God, how do I get tickets?” (Village Voice). Contains explicit language.

Self-professed skate punk Avril Lavigne sings that she'd "rather be anything but ordinary" on her debut. While the fact that she had a record deal by the age of 16 separates her from the pack, too often Let Go's lyrical shortcomings drag the teenager's musically impressive recording entrée into the realm of the typical. The catchy choruses of Go are substantial, though, thanks to Lavigne's riff-driven melodies and powerful vocals, which at times adopt the unorthodox intonation quirks of fellow Canadian Alanis Morrissette. The nuanced, dynamic "Losing Grip," "My World" (which perfectly captures the ennui of suburbia), and the buoyant power-pop blast "Sk8er Boi" are the collection's highlights. But Lavigne's honest yet awkward words weigh down the likes of "Mobile," "I'm with You," and "Naked." "Nobody's Fool," which displays her Pink-like take-me-as-I-am credo, hints that someday Lavigne's lyrics will match the strength of her music. --Annie Zaleski

『エヴァンゲリオン』シリーズ25周年アニバーサリー企画第3弾!『新世紀エヴァンゲリオン』および『ヱヴァンゲリヲン新劇場版』にてアニメ映像と共に楽しまれた高橋洋子・林原めぐみらによるヴォーカル楽曲をセレクト収録。

Multi-platinum, award-winning SRP/Def Jam recording artist -and CoverGirl spokesperson - Rihanna has taken over the charts with her # 1 smash single "Umbrella" (featuring JAY-Z) and her chart topping album GOOD GIRL GONE BAD. Rihanna's third album release in less than two years, GOOD GIRL GONE BAD is the follow-up to 2006's platinum A Girl Like Me, with the back-to-back #1 hits, "S.O.S." and "Unfaithful"; and her gold debut from 2005, Music Of the Sun, featuring the worldwide smash, "Pon De Replay." GOOD GIRL GONE BAD boasts the production skills of Timabland, C. "Tricky" Stewart, Stargate, and the team of Evan Rogers and Carl Sturken (responsible for "S.O.S." and "Pon De Replay"), as well as songwriting contributions from Justin Timberlake and Ne-Yo, among others.

Aladdin (Original Motion Picture Soundtrack) is a soundtrack for the film of the same name, released by Walt Disney Records in May 2019.[1] The soundtrack features a cover of "A Whole New World" by Zayn Malik and Zhavia Ward,[2] songs from the original film, a new song written by the original film's composer Alan Menken and Pasek & Paul, and a score composed by Menken.[3][4] The soundtrack was released on May 22, 2019.[5]