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The Black Parade——My Chemical RomanceAt the heart of My Chemical Romance lore is the story of lead singer/songwriter/mouthpiece Gerard Way, an animator who decided to abandon illustrations and do "something with his life" in the wake of 9/11. Needless to say, that "important" thing was My Chemical Romance, which quickly rose to prominence among the emo and neo-punk bands that cluttered the rock landscape of the 2000s thanks in large part to "I'm Not OK (I Promise)," a surging piece of emo pop with a hook as ridiculously catchy as its title was ridiculous. It deservedly became a hit on both sides of the Atlantic in 2005, dragging its accompanying album -- 2004's Three Cheers for Sweet Revenge, the group's second -- along for the ride, turning MCR into stars, at least in modern rock circles, but anybody who didn't follow the fashions of emo and punk closely might have ignored the group's tragic, romantic neo-goth image and merely assumed that MCR was another good poppy punk one-hit wonder, not far removed from, say, Fall Out Boy. My Chemical Romance intended to dispel all such misconceptions with their third album, The Black Parade, an unabashed, old-fashioned concept album, complete with characters wandering through a vague narrative that concerns very big themes like death. Actually, death is the only big theme on The Black Parade, which shouldn't come as a big surprise for a band that named their stopgap live album Life on the Murder Scene, nor should the record's theatricality come as much as a shock, either -- tragedy and melodrama are hardwired in the group's DNA, as illustrated by the often-told tale of Way's inspiration to form the band. Also, it's not as if The Black Parade is MCR's first concept album, either. Their 2002 debut, I Brought You My Bullets, and its follow-up, Three Cheers, told the interlocking story of doomed lovers on the run from vengeful vampires or some such nonsense, but only the hardcore who were willing to analyze endlessly on the Internet were aware of this; based on pure sound, MCR was an emo-punk band through and through, screaming out their feelings as if they were revelations, so it was easy to assume that their music was merely autobiographical. My Chemical Romance took great pains to have The Black Parade seem like its own theatrical work, launching a whole Web-based campaign, filled with videos and interviews explaining how the album tells the tale of "the Patient," a young man dying of cancer in a hospital bed who flashes back on his undistinguished life upon the moment of his death, and how the band got so into this project they considered themselves not My Chemical Romance, but a band called the Black Parade -- shades of the Beatles and Sgt. Pepper! Naturally, those allusions are quite deliberate, and one that MCR played up in that pre-release campaign, dropping liberal reference to Queen (particularly A Night at the Opera) and Pink Floyd's The Wall as well. It was all quite reminiscent of how the Killers set up Sam's Town with endless name-dropping of Bruce Springsteen and U2, but where the Las Vegas quartet wound up with an unholy fusion of these two extremes, MCR never synthesizes; they openly steal from their holy trinity, then graft it upon the sound they've patented. Often, it seems as if they copied The Wall onto tracing paper and placed it upon Three Cheers. The story of The Black Parade is nearly identical to The Wall -- Pink and the Patient run through a litany of childhood and adulthood traumas; absent fathers loom large; many of the main character's flaws are cruelly deemed the fault of the mother -- and there are plenty of flourishes lifted from Roger Waters' magnum opus: the opening fanfare "The End" is a re-creation of "In the Flesh," right down to the churning heavy guitars that come crashing in halfway through, while "Mama" -- shades of "Mother"! -- sounds like Green Day performing "The Trial," as Way affects Billie Joe's affected mock-English accent as he comes tantalizingly close to following "You should have raised a baby girl/I should have been a better son" with "The way you made them suffer/Your exquisite wife and mother/Fills me with the urge to defecate." These are not the only allusions to classic concept albums, either -- as promised, guitarists Ray Toro and Frank Iero conjure Brian May's spirit, "Cancer" recalls Sgt. Pepper as filtered through Oasis -- but The Black Parade doesn't feel like a revival of '70s prog as much as it hearkens back to the twin towers of mid-'90s concept alt-rock: the Smashing Pumpkins' Mellon Collie and the Infinite Sadness and Marilyn Manson's Antichrist Superstar. Manson's enduring fascination with the grotesque echoes throughout the album, from the artwork through Way's overcooked, bluntly ugly lyrics (highlighted by "soggy from the chemo"), but its heart lies with the Pumpkins, and not just because after his Parade makeover Way strongly resembles Billy Corgan. Like the Pumpkins, My Chemical Romance shares a love of classic metal that manifests itself in both pummeling riffs and soaring guitar solos, plus they also have a flair for melody, two things that give their solipsistic rock muscle and grandeur. If MCR didn't have these gifts, The Black Parade would collapse in a pile of drama club clichés, sophomoric self-pity, and an adolescent obsession with death, yet they manage to skirt such a disaster even if they flirt with it shamelessly. But that doesn't necessarily mean that the album is a triumph. For one, The Black Parade plays a lot straighter than it reads. Sure, it has the marching bands, overdubbed choirs, radio-play theatrics, and Liza Minnelli cameos, a list that makes the album sound like a wild Grand Guignol rock opera but all of that winds up being window dressing to music that often isn't far removed from what My Chemical Romance has done before. Despite all these seemingly fancy accouterments, they're still a modern emo-punk band, which means for all the emotion poured out by their ever-earnest lead singer, there's little grit in their sound and Rob Cavallo's brittle production doesn't help, as its wall of digital sound emphasizes the sonic similarities between the songs instead of their differences. And there are a lot of similarities here: the bulk of the record is firmly within MCR's comfort zone, which helps make the extra flair -- which doesn't arrive as often as it should -- stand out all the more. But even if this isn't quite the radical break that it was intended to be, MCR does their signature blend of Sturm und Drang better than ever -- "Dead!" rushes along on a series of escalating hooks, "This Is How I Disappear" surges with purpose -- and when they're paired with tunes that do break the mold, like the wonderfully pompous title track "Welcome to the Black Parade" or "Teenagers," a tremendous reworking of the "Bang a Gong"/"Cactus" riff that is the simplest and best song they've ever written, it makes for a record that's their strongest, most cohesive yet, even if it isn't quite as weird or compelling as it should be given the group's lofty ambitions. Cited from starpulse.com
Любэ(LUBE) The Voice From RussiaХронологические "Любэ"- полустаночки
(В. Полупанов)  Игорь Игоревич Матвиенко, создавая в конце восьмидесятых группу "Класс", не мог и предположить, во что выльются его эксперименты в музыкально-продюсерской инженерии. По сути, этим проектом он зачал свой Продюсерский центр, под крышей которого сегодня и трудятся герои этой монументальной хронологической справки - группа "Любэ" (а также их меньшие братья и сестры, трио "Иванушки интернэйшнл" и квартет "Девочки"). Обладая природной скромностью и истинным даром художника, Матвиенко никогда не стремился высвечивать свою персону на страницах газет и не скоморошничал, как некоторые его коллеги, на экранах ТВ. Поэтому для всех поклонников вышеназванных коллективов он всегда оставался как бы второстепенным и необязательным объектом, скромно присутствуя лишь в выходных данных, помещенных на полиграфических вкладышах в кассеты и компакт-диски. Как бы то ни было, но в 1987 году именно в его голове зародилась идея создания нового музыкального коллектива с легким национально-патриотическим уклоном и мужественным вокалом. Кандидатура на роль фронтмена подыскивалась долго и мучительно до тех пор, пока окончательным вердиктом на эту должность не был назначен бывший "подчиненный" Игоря Игоревича по работе в ансамбле "Здравствуй, песня" Николай Расторгуев.  Как гласят легенды, историческое знакомство будущих партнеров произошло, когда Расторгуев, за плечами которого был опыт работы в ВИА "Шестеро молодых", "Лейся, песня" и "Рондо", пришел на прослушивание в "Здравствуй, песня". "Тогда было модно, - говорит Матвиенко, - чтобы в группе было несколько солистов, да и штат позволял. После того, как из коллектива ушел Сергей Мазаев, мы стали искать ему замену. Среди прочих пришел молодой упитанный человек по имени Николай Расторгуев, который внешне ну никак не вписывался в формат рок-бэнда. Жанр требовал худых, изможденных музыкантов, а тут - такой крепыш... Однако, он выучил песни из репертуара "Здравствуй, песня" и пришел на второе прослушивание. Я почему-то был настроен против него. Увидев это, Николай, конечно, расстроился и удивился: как это так, выучил песни, хорошо спел, а в коллектив не берут? Спел он действительно блестяще. В итоге, Коля меня убедил, что он просто необходим группе, и оказался прав. Кстати, песня "Дядя Вася" из репертуара "Здравствуй, песня" в исполнении Расторгуева вошла в первую пластинку "Любэ". Николай доказал, что он артист высочайшего класса. В этом нет сомнений". В то время, когда эстрада была заполонена коллективами и исполнителями с приторно-сладкими голосами, "Любэ" подали "к столу", по выражению Матвиенко, эдакой селедочки с пряностями. По легкости и мелодичности вроде бы попса, а драйв и тексты как у хороших рок-н-ролльщиков. Да и первый сценический имидж группы был чрезмерно агрессивен. С глянцевых постеров на вас сурово глядели накачанные парни в майках, из-под которых четко просматривался рельеф мускулатуры. В ту пору любой житель мужского пола из подмосковного города Люберцы заставлял трепетать не только обычных обывателей, но и правоохранительные органы. В ту пору "любера", словно воинственные хазары, совершали набеги на столицу и ее окрестности и, благодаря этому, держали в страхе население чуть ли ни всей страны. Естественно, появление группы с названием "Любэ" не могло не остаться незамеченным. Пресса тут же приклеила группе ярлык выразителя мыслей "люберецкой" шпаны и чуть ли не идеолога этого хулиганского движения. Хотя, по сути, ни одна из песен коллектива не призывала к насилию и даже косвенно не воспевала ратные подвиги подмосковных героев. "Клетки, клетки, клетки - вы словно шоколадные конфетки...", "Атас! Веселей, рабочий класс..." - ни в этих строчках, ни в других внимательный слушатель не уловит даже тени идеологии люберов. Может быть, именно поэтому песни, созданные больше десяти лет назад, актуальны и сегодня. Кстати, тексты для дебютных произведений "Любэ" уже тогда писали поэт "с есенинской грустью в глазах" Александр Шаганов, положительно зарекомендовавший себя по работе с хард-группой "Черный кофе" (в частности, "Владимирская Русь" ("Деревянные церкви Руси") и Дмитрием Маликовым ("До завтра"), и Михаил Андреев, писавший для матвиенковской группы "Класс" и ленинградской группы "Форум". Первыми записанными песнями были "Люберцы" и "Батька Махно". Работа над ними началась 14 февраля 1989 года в студии "Звук" и в студии Московского Дворца Молодежи. В работе приняли участие гитарист группы "Мираж" Алексей Горбашов, люберчанин по прописке и по убеждению Виктор Застров, сам Игорь Матвиенко и, конечно же, Николай Расторгуев. С этого дня и было решено вести летоисчисление и считать этот день официальным днем рождения "Любэ". Успех был настолько внезапным, что, когда посыпались предложения поехать на гастроли, участники "Любэ" оказались к этому не готовы. Для поездок по стране требовался специальный гастрольный состав. Поэтому в срочном порядке стали подбирать людей. Ими стали: Александр Николаев (бас-гитара), Вячеслав Терешонок (гитара), Ринат Бахтеев (ударные), Александр Давыдов (клавишные) и, конечно, вокалист Расторгуев.  James Blunt.. the great Captain poet.. James Blunt’s family have served in one kind of army or another since 995A.D. A long line of warriors. Savages really. Not a musical bone in any one of their bodies. The only music he heard growing up was “Happy Birthday” and “Silent Night”. His father considered all music, even classical, to be unnecessary noise. Although James was not one to rock the family boat, he didn’t really think he was going to join the army – it sort of crept up on him. Plus his family didn’t have a boat. Aged fourteen he just held the teenage conviction that he would have an interesting life – maybe that’s why he picked the guitar? Then again, maybe if he hadn’t, he would have tripped over it. He went to University and studied Aerospace Manufacturing Engineering and Sociology, spending most lectures asleep on the floor at the back. In much the same way, he ended up in the army. In essence, one day he was sleeping off a hangover at the back of a sociology lecture hall and the next thing he knew he was in Kosovo with a gun and a guitar strapped to the side of a tank, wondering who he could possibly sleep with to get out of this war. To break up the super attenuated monotony, James would sometimes stroll through Serb villages wearing an East German cap singing, “All we are saying is give peace a chance”. “We were peace-keepers at that point,” he explained, shrugging helplessly.
So how did the music get into him, you might ask? Well if you were sent to boarding school aged seven, studied Engineering by mistake (“I thought we were going to fly planes, but we just pulled metals apart – the brochure was very misleading.”), joined the army by default, guarded The Queen, buried The Queen Mother and pranced around London like a tit for Japanese tourists to photograph, what you’re going to want to do very much after that, besides getting stoned and laid, is put your gun down, pick up a guitar and make an album in America with Linda Perry. So James came to Los Angeles in September 2003 to record with Tom Rothrock et al. At night he’d go to bars, bringing with him his valuable British accent (in the U.K., too posh for some people – in LA, the best thing she’d heard all night) and the fact that like 50 Cent he’d been shot at numerous times, but unlike the Cent, had dodged the bullets. One song, “Goodbye My Lover”, was recorded in his landladies’ bathroom (“She was a frequenter of mental hospitals and in general, a freak – but pleasant”) where, naturally, she kept a piano. From birth in a military hospital in Tidworth, to Harrow School, to Aerospace Manufacturing Engineering, to the Royal Military Academy Sandhurst, to The Household Cavalry, to Kosovo, to Buckingham Palace, to a recording studio in Los Angeles. How did James get from there to here? Only James Blunt’s hairdresser knows for certain, and either he isn’t talking or James cuts his own hair, and it’s up to you to join the dots – there are ten of them on the album.  《You're Beautiful》
My life is brilliant.
My love is pure. I saw an angel. Of that I'm sure. She smiled at me on the subway. She was with another man. But I won't lose no sleep on that, 'Cause I've got a plan. You're beautiful. You're beautiful.
You're beautiful, it's true. I saw you face in a crowded place, And I don't know what to do, 'Cause I'll never be with you. Yeah, she caught my eye,
As we walked on by. She could see from my face that I was, Fucking high, And I don't think that I'll see her again, But we shared a moment that will last till the end. You're beautiful. You're beautiful.
You're beautiful, it's true. I saw you face in a crowded place, And I don't know what to do, 'Cause I'll never be with you. You're beautiful. You're beautiful. You're beautiful, it's true. There must be an angel with a smile on her face, When she thought up that I should be with you. But it's time to face the truth, I will never be with you.  The top voice of Italy —— Laura Pausini Laura was born in Solarolo, a teeny city of Emiglia-Romagna, north of Italy, in May 16th, 1974. She attended the Liceo Artistico di Faenza, an Italian high school, she left there formed at the age 18 (she left it with average 36, the maximum is 40), she had already won the San Remo Festival'93, and Laura was to Milan, where she's living until today. She was born under the Taurus sign, Laura recognizes herself as a really one, ' I'm obstinate and very jalousie ', besides being romantic ' Can I hide that? People say that I'm romantic as my songs, but I don't get to be different ...' . And Laura has a special reason to so much romanticism, she is passionate and fiancée of Alfredo Cerruti Jr. (five years older than Laura), he's also her manager, ' he is everything to me ', she says. They are living together in Milan.
The success, at the biginning, did not bring her only happiness, her mother has never wanted that she was a singer, therefore they had been without talk to each other for some years, but now, happily, they had reconciled themselves 'Mi dispiace' is dedicated to her. To live with Alfredo also was a problem, the Church does not like those things, and worse if it is in Italy, but Laura defends herself saying that she wants ' an only marriage and for that nothing better than acquaintance' , she's right... Over 16 Million copies sold world-wide of her previous five records LAURA PAUSINI , LAURA , LE COSE CHE VIVI/LAS COSAS QUE VIVES, LA MIA RISPOSTA/MI RESPUESTA and TRA TE E IL MARE/ENTRE TU Y MIL MARES. Over 160 platinum discs, a long list of gold discs and several international awards. And now, an important outing with her first BEST OF collection, an album the ideally closes the first part of her career, while at the same time incorporating some of the elements destined to become a part the near future of this artist, Italian by birth, but adopted around the world. In effect, The Best Of Laura Pausini - E Ritorno Da Te / Lo Mejor De Laura Pausini - Volvere' Junto a Ti', includes two prevoiusly unreleased tracks : E Ritorno da Te/Volvere' Junto a Ti' and Una Storia Che Vale/ Dos Historias Iguales, plus rearranged versions of some of her biggest international hits, for instance Non C'e' / Se Fue, with Nek on bass, and Seamisai/Cuando Se Ama, sung as a duet with Gilberto Gil. This is an album that Laura has crafted with the same passion devoted to all the albums of her short but truly intense discography.
La solitudine
NOIR, les musiques Si il est vrai que NOIR est
une série qui ne fait pas l’ unanimité, on ne peut pas en dire autant
de la magnifique bande son qui l’ accompagne. Véritables petits bijoux
d’ une Kajiura au sommet de sa créativité, elles apportent à la série
toute sa profondeur et son ambiance unique et rares ceux sont qui ne
les apprécient pas.
Les musiques de la série sont regroupés sur 3 albums
NOIR OST 1
Il s’ agit du générique d’ ouverture de la série proposé dans sa version longue. Ce qui est fort plaisant car en général les génériques sur les Ost sont présentés sous leur forme « Tv edit » les version longues se trouvant sur des singles. Cette chanson, que l’ on doit au groupe Ali project est un mélange de pop et de rythmes rétro ponctuée de « coups » de violon très aigus. Cela lui confère un côté « film policier » ou d ‘ espionnage. Une chanson agréable à écouter donc.
« Chanson la messe » comme diraient certains. En effet, il s’agit d’ un chant de chorale, à laquelle vient se greffer un peu plus tard une musique de fond plus « moderne », le tout s’ achevant sur des sons de cloche. On retrouve cette piste à chaque prélude au début de chaque épisode pendant la « prière ».
Un joli petit solo piano à la sonorité très calme voire triste.
Tout simplement fabuleuse : un chant féminin, une guitare et un violon et vous voilà bercés. En effet l’ impression que l’ on a en écoutant ce chant justement c’ est de « planer ». On se laisse presque emporter sur les voix du chœur, au rythme de la guitare et quand à partir de 2e minute, le violon faisant, son show on ne peut que lâcher un « Wow que c’ est beau ». Le moment fort de la piste, ce sont ces 30 petites secondes durant laquelle le violon se met chanter et à vous bercer avant que le chœur ne vienne s’y ajouter pour vous mener jusqu’ à la fin du voyage qui s’ achève avec ce même violon et quelques coups de guitare
Une musique très agréable dans un premier temps... Le rythme assez percutant donné par les coups de basses couplé à la flûte est très agréable à écouter.
Une musique bien sombre. La rythmique y est lourde, accentuée par les percutions. A cela s’ ajoutent des violoncelles...
Une musique triste histoire de changer un peu... Certainement l’ une des plus belles de ce cd. Tout commence par des notes de piano timides, ensuite le piano est rejoint par un accordéon et la mélodie prend de l’ ampleur, le piano se fait plus présent... Au final une très belle musique et le mariage Piano/accordéon fait des merveilles.
Accordéon le retour... Cette fois Yuki Kajiura l’ associe à une guitare. Un rythme est soutenu et prend son envol après 2 minutes 25 où l’ accordéon puis la guitare se lâchent dans un final époustouflant jusqu’ à la tombée du rideau... Du grand art en somme. L’ une des rares musiques aux sonorités « festives » de cette série.
Vu le nom, faut pas vous attendre à du très joyeux... En effet les coups de basses présents dans ce morceau, que l’ on peut assimiler à des battements de cœur, rendent un peu « mal à l’ aise ». Cette impression est accentuée par les divers bruits de fond et autres cris. Une musique d’ ambiance donc, utilisée pour faire monter la tension.
C’ est beau. Mais alors très, très beau. Une musique d’ une douceur à l’ image de la douceur apparente d’ Artena dont c’est le thème. Une guitare, un violon... Un rythme très lent, très doux et une belle voix qui nous bercent pendant plus de 3 minutes. D’ ailleurs le titre n’ est pas usurpé car Lullaby veut dire berceuse.
La mélodie de Melody est tout simplement la musique de la montre à gousset de Kirika. On a donc droit à des notes au sonorités « boite à musique » seules au début puis rejointes par une guitare électrique, des percutions qui vont un peu alourdir le tout. Un joli mix agréable.
Comme son nom l’ indique, si vous entendez cette musique, c’ est que Chloé n’ est pas loin. La mélodie de cette musique est assez enfantine qui correspond bien au côté « petite fille » de Chloé.
Dans le genre original, c’ est original. Une musiques aux percutions variées dans leur nature et leur rythme conférant un certain exotisme au thème. A cela s’ ajoute une flûte de pan et des chants qui font assez « indiens ». D’ ailleurs certains bruits et certaines voix que l’ on entend à l’ arrière confortent cette impression.
Dans la lignée de Snow, un solo piano tout ce qu’ il y a de doux et mélancolique... Très beau.
Une musique assez électronique avec sythé et percutions... Mais si ça se limitait à cela ce ne serait pas du Yuki Kajiura... Elle a trouvé le moyen d’ y ajouter des voix assez spéciales qui font assez « cris agressifs ».
Encore une fois audace et mélange des styles font tout le charme de cette piste. Un chœur qui chante sur de la musique techno ponctuée de coups de guitare électriques jusqu’ à la 15e seconde de la deuxième minute où débarque en trombe un violon (encore ?) et nous fait un show époustouflant. La meilleure partie de la chanson sans conteste.
Le générique de fin. Tout simplement fabuleux, l’ un des plus beaux qui existent. La voix d’ Akino ARAI mêle douceur et mélancolie dans sa voix sur cette belle balade. On a l’ impression au ton de sa voix qu’ elle vit complètement ce qu’ elle chante, on entend même sa respiration, ses soupirs... Vraiment du grand art. La musique met en scène une guitare sèche, des percussions, des violons et même un clavecin rendant l’ ensemble très mélodieux. Une très belle chanson donc. Au final si on connaît NOIR et ses musiques, on ne peut que se jeter sur les Osts. Le premier cd tient ses promesses et est nous propose un peu les thèmes phares de cette série. Le talent de Yuki Kajiura y est exprimé à merveille et commence ainsi à gagner ses lettres de noblesse dans le monde de la composition. Une rapide sélection des meilleures pistes
Avril LavigneBorn: 27 September 1984 Birthplace: Napanee, Ontario, Canada Best known as: 'Skater punk' singer of "Complicated" A hard-edged Britney Spears
for the skateboard set, Avril Lavigne was once described on her own
website as "a skater-punk, a dynamic spirit, a true wild child."
Lavigne was born in a small town in Ontario and grew up singing in
church. At age 16 she caught the eye of record producers, who had plans
to make her a pop star in the mold of fellow Canadian Shania Twain.
Instead Lavigne teamed with songwriters and came up with hit tunes such
as "Sk8er Boi" and "Complicated," the latter of which was featured on
the show Dawson's Creek. Lavigne was only 17 when her debut album Let Go was released (2002); the album netted her five Grammy nominations. Her next album. Under My Skin, was released in 2004 and reached #1 on the Billboard album charts. In 2006 she announced that she had signed a contract with the powerhouse Ford Models agency, and told Harpers Bazaar magazine that she was hoping "to do those really beautiful ads with high-end products." Extra credit: Lavigne married Deryck Whibley, frontman for the band Sum 41 and a fellow Canadian, on 15 July 2006. BeethovenIt has been called the greatest audio entity one could ever listen to; a song which can pierce the soul of even the most dedicated music-hater: Beethoven’s Ninth Symphony. Not only has it been designated thus; also, as one of the few truly divinely inspired works, one which most men can only marvel at, as they wallow in their appropriate humility. These creations, however, are definitely not the only aspects of entities beyond the scopes of men; there are far more examples, which are seen every day, but often overlooked. I was walking outside, with this song echoing in the recesses of my mind, on a dismal, overcast day in the Autumnal quarter, a day when where the streets blended with the atmosphere, when one could hardly look up without feeling the singe of the wind against one’s face. To me, these days have always conjured up images of some distant, looming storm, some silent tempest which, if not otherwise distracted will soon wreak mayhem and disaster on my environs.
This day had an intense air about it, as do others of its ilk. This is most likely the fault of the storm under which it is shadowed, as though it and its inhabitants are uneasy and harrowed about the imminent predator waiting overhead to pounce.
As the sky overhead swam with deeper and deeper shades of gray and hopeless black, the song in my mind was reaching some vocal crescendo in the fourth movement, a better foreteller of the gale I could not imagine. While the winds bullied and tormented the defenseless neighborhood, I started for my house.
Unexpectedly, as the crescendo was losing speed, a quiet, pacific violin entered the musical fray in my brain, and the entire mood of the symphony mellowed, the winds themselves pacified, seemingly under Ludwig’s fickle dominion. Thinking the storm had passed, I continued blissfully onward to the meadows which were my destination.
Again I was assaulted, this time by a different part of the symphony; not too long after the first chorale. This was the startling and almost fearful, but still uplifting, part in which the female and male vocals collided like two huge tidal waves with the power to splinter a fleet of ships with the German Alle Menschen repeated several times. Upon this onslaught of euphony, I turned from whatever I might have been thinking before, and looked at some violently twisting and rising leaves and other debris, and gazed at the playful heavens, again ominous.
Annoyed with Beethoven and the cruel elements, I stood there, unmoving; indecisive, not knowing whether to turn around or pursue my present course, I felt the excited chorale still striking some unknown and inexplicable fear within me, as though some divine creature were about to strike me down in some vehemence which lies well beyond the realms of verbal description. So, as the chorus continued repeating its faithful mantra, the winds again rose up stronger than before, as twigs began to snap and fall about me; I was still, yet deeply moved.
Perplexed at the whimsy antics of nature, I was about to retreat to my home, when, in the remarkable symphony, a single male vocal broke through the complicated entanglement of godly voices, and I, despite the protests of my superego, decided to continue on with some alien, renewed vigor against the gusty weather, as though I were the bearer of news about the winner of a war or some other momentous aftermath. At this, as though impressed with my display of singular determination, the wind made itself placid, laying down before me.
Violins were heard, along with the driving, male voice. Suddenly, completely without warning and all at once, what seemed like throngs of angelic, female voices sang as though sent on an appeal to God on the eve of apocalypse. They continued, soon joined by male voices, and other instruments, in the most spiritual and epiphytic reverberation I’ve ever had the pleasure of witnessing, and, seemingly, all in my favor, against cruel and remorseless nature, pleading to let me pass. I, however, felt like only a petty bystander in this competition between the symphony and the elements, completely unable to comprehend, let alone justify either side’s wish, only able to observe the outcome and obey it as the gospel that I knew it was.
Thus, whether or not I ever achieved my destination is beside the point. My sojourn in that small neighborhood taught me perhaps what is life’s most important lesson. This lesson is clear: there are many things in this world completely beyond most men’s small intellects. They may manifest themselves in certain artworks, novels, or musical masterworks; however, these manifestations only serve as reminders to arrogant man. While it is true that these manifestations are created by singular members of the selfsame race, these members serve only as conduits of a greater, nearly incomprehensible power; something which they, themselves, may often forget. The parting classic: Frente! Frente,a band comes from Australia. It started with four members: Angie Hart - Vocals Simon Austin - Vocals, guitars Tim O Connor - Bass Mark Picton - Drums Angie plays the coryphaeus of Frente. Frente doesn't go with the times to produce albums as bubble gum to cater to the demand of maket, to the contrary, they prefer to perform in their way. They're keen at guitars, and most of their songs are in the style of balladry, which open up another kind of sincere music.
With the obbligato of guitar, the remarkable voice of coryphaeus Angie Hart sounds so prominent. Angie Hart's voice is very tender. While listening to her, you'll feel like mumble sounded by a teen-age, which would make you feel very peace and a little stubbornness. The magizine 《Rolling Stone》 describes: "the tender voice that upsets the traditional sense."
In their album, you can smell out the aroma of flowers, the tinge of nature, Angie's bell-like voice always makes people pleasant. In 1989, Angie lived in Melbourne. With the support from her best friend Simon, she decided to set up a band. And then they turned to Tim and Mark for help. The tender voice of Angie, The guitar playing of Simon, that all make up of Frente! In 1992, they made the first album in their hometown: 《Marvin The Album》
 As soon as the album was published, it won the favours of youth and became very popular among campus. Unexpectedly, the album made the best sale of that year. And then Frente travelled to many country for circuit performances.
However, becoming famous too rapidly also threw much pressure on Frente. After the circuit performances, Tim and Mark made a decision to depart, and that also made Angie and Simon very low, even several times within an inch of dismiss the band.
After dreariness of a phases, Angie and Simon screwed up again, and the band fetched in another two new member: Bill McDonald and Alastair Barden. The band soon made the second album: 《Shape》. Although it didn't make as good a sale as the former, it also won a high praise.
 For the publishment of the new album 《Sharp》, Frente got busy with another circuit performances. Unfortunately, divarications came out again after it. Finaly, the famous band dismissed in 1998. What a pity...
MockingbridEminem - Mockingbird
lyric:
Yeah
I know sometimes things may not always make sense to you right now But hey, what daddy always tell you? Straighten up little soldier Stiffen up that upper lip What you crying about? You got me Hailie I know you miss your mom and I know you miss your dad
Well I'm gone but I'm trying to give you the life that I never had I can see you're sad, even when you smile, even when you laugh I can see it in your eyes, deep inside you want to cry Cuz you're scared, I ain't there? Daddy's with you in your prayers No more crying, wipe them tears Daddy's here, no more nightmares We gon' pull together through it, we gon' do it Laney uncles crazy, aint he? Yeah but he loves you girl and you better know it We're all we got in this world When it spins, when it swirls When it whirls, when it twirls Two little beautiful girls Lookin' puzzled, in a daze I know it's confusing you Daddy's always on the move, mamma's always on the news I try to keep you sheltered from it but somehow it seems The harder that I try to do that, the more it backfires on me All the things growing up his daddy that he had to see Daddy don't want you to see but you see just as much as he did We did not plan it to be this way, your mother and me But things have gotten so bad between us I don't see us ever being together ever again Like we used to be when we was teenagers But then of course everything always happens for a reason I guess it was never meant to be But it's just something we have no control over and that's what destiny is But no more worries, rest your head and go to sleep Maybe one day we'll wake up and this will all just be a dream [Chorus]
Now hush little baby, don't you cry Everything's gonna be alright Stiffen that ?limb up? little lady, i told ya Daddy's here to hold ya through the night I know mommy's not here right now and we don't know why We feel how we feel inside It may seem a little crazy, pretty baby But i promise momma's gon' be alright It's funny
I remember back one year when daddy had no money Mommy wrapped the Christmas presents up And stuck 'em under the tree and said some of 'em were from me Cuz daddy couldn't buy 'em I'll never forget that Christmas I sat up the whole night crying Cuz daddy felt like a bum, see daddy had a job But his job was to keep the food on the table for you and mom And at the time every house that we lived in Either kept getting broke into and robbed Or shot up on the block and your mom was saving money for you in a jar Tryna start a piggy bank for you so you could go to college Almost had a thousand dollars till someone broke in and stole it And I know it hurt so bad it broke your momma's heart And it seemed like everything was just startin' to fall apart Mom and dad was arguin' a lot so momma moved back On the Chalmers in the flat one bedroom apartment And dad moved back to the other side of 8 Mile on Novara And that's when daddy went to California with his CD and met Dr. Dre And flew you and momma out to see me But daddy had to work, you and momma had to leave me Then you started seeing daddy on the T.V. and momma didn't like it And you and Laney were to young to understand it Papa was a rollin' stone, momma developed a habit And it all happened too fast for either one of us to grab it I'm just sorry you were there and had to witness it first hand Cuz all I ever wanted to do was just make you proud Now I'm sittin in this empty house, just reminiscing Lookin' at your baby pictures, it just trips me out To see how much you both have grown, it's almost like you're sisters now Wow, guess you pretty much are and daddy's still here Laney I'm talkin' to you too, daddy's still here I like the sound of that, yeah It's got a ring to it don't it? Shh, momma's only gone for the moment [Chorus]
Now hush little baby, don't you cry Everything's gonna be alright Stiffen that ?limb up? little lady, i told ya Daddy's here to hold ya through the night I know mommy's not here right now and we don't know why We feel how we feel inside It may seem a little crazy, pretty baby But i promise momma's gon' be alright And if you ask me too
Daddy's gonna buy you a Mockingbird I'mma give you the world I'mma buy a diamond ring for you I'mma sing for you I'll do anything for you to see you smile And if that Mockingbird don't sing and that ring don't shine I'mma break that birdies neck I'd go back to the jewler who sold it to ya And make him eat every carat don't fuck with dad (haha)
Avan: No matter what style it is, Rock, Punk or HIP-HOP, once it warmhearted, it must be much more affecting than any other boys'-band. This 《Mockingbird》 perhaps to be the extreme of Eminem's softness. The whole-length soft expressing and a hoax in the end, all shows "the tenderness behind the rogue mask" It's really a good works of Eminem. I suggest you to enjoy it with the comprehension of the lyric -_-
Fall in love with "Blue Foundation"``` Once I heard a track occasionally, I fell in love with it, then also I got crazy about "Blue Foundation". One of their tracks are now used as BGM of my space. Maybe you'll like it. Then here's something about this band.
Blue Foundation are made up by: Kirstine Stubbe Teglbjærg, Tobias Wilner aka. Bichi, Bo Rande, MC Jabber, Tatsuki Oshima, Sune Martin, including live crew: Christoffer Ohlson.
And after two years of composing, recording and experiment in a 3m x 4m top-floor atelier in Vesterbro, Blue Foundation have whittled down more than 30 pieces into their second album (out on Virgin on 02.02.04), the 11-track 'Sweep of Days'.
As with the critically acclaimed first album, the Danish members of the band, Tobi, Kir and Bo, have once again combined their instrumental, vocal and rogramming talents with the London-based Japanese turntable maestro DJ Tatsuki, and with the English lyricist and performer MC Jabber. The band's characteristic style from their previous record - soundscapes layered with dense and unpredictable beats, subtle scratching and soft trumpet harmonies, threaded throughout with intelligent lyrics expertly delivered - has been further developed and refined for 'Sweep of Days'. The new album features a wide range of live instruments, including violin, cello, guitars, piano and melodica, plus guest vocals from Blood & Fire's Spikey T on the dub-inflected duo 'Embers', and Japanese rap from Sato-ji o the uncompromising 'Yellow Man'. Warm and reflective, melancholy yet life-affirming, 'Sweep of Days,' with its mix of jazz, catchy melody, bass, scratch and static, is a testament to the diverse musical inspiration and experience of the Blue Foundation band members and collaborators. Now, after mixing in Copenhagen (October '03) and mastering at the Exchange in London (November '03), it's time, finally, to put our music to the test, and release it to a changed world. After preliminary enjoying this album, I commend two tracks: "as I move on" and "end of the day". Especally "as I move on", please enjoy it with patience. Endless RoadThe truth is tearing up my heart I can't recognize this place The endless road without a stop sign Can't even find a stranger this time Why am i still holding back my tears In this loneliness there's nothing to fear Every chord still seems a wonder How we could be together Every time I ask if this Would be the last Why am I still talking to myself Hoping you will have the keys to my sell Every song might calm the weather But it just draws me deeper How do I get out of this I think I never will…… A crystal forming in the eye Maybe this would be the last The winding path down my face till I begin to taste the bitterness inside I never will…… |
Titre : Noir Original Soundtracks 1
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