[已注销]的音乐

Celine Dion calling her new album Taking Chances? That's like a Zac Efron musical called Making Cops Shit Their Pants, or a Lil Wayne mix tape titled Bumming Bus Fare From My Mom. Celine's shtick is as safe a bet as there is in the music biz, coming a mere six months after her last album, the Canadian chart-topper D'Elles. Alas, her cat-strangling whine is still a remarkably ugly sound, no matter what she's singing. The days are gone when she had her pick of material, ruining perfectly nice pop-trash ballads from Diane Warren or Jim Steinman — no songs here by either of them, and Linda Perry's "New Dawn" is a Nineties leftover. She interprets Ne-Yo ("I Got Nothin' Left") and the Dream ("Skies of L.A.") with awful results. She goes back to Eighties schlockmeister Aldo Nova for "Can't Fight This Feelin'," which is unfortunately not an REO Speedwagon cover. But that's nothing compared to Dion shrieking the ten millionth version of Heart's "Alone" (mad pitchy, dog!), produced by ex-Evanescence guitarist Ben Moody — Amy Lee, meet the fugliest bullet you ever dodged. CD的新专辑名叫碰运气？ 听起来简直像ZAC EFRON拍了一部名叫“警察拉裤子”的音乐电影。 她发行《DELLE》的六个月后立刻出了这张专辑--在音乐界，CELINE DION光速制造垃圾的丑剧已经成了经典笑话。当然无论唱什么，CELINE DION宛若掐死猫的尖叫都极其丑陋。与以往不同，DION这次没有继续摧残DIANE WARREN和JIM STEINMAN的垃圾流行乐-------专辑中没有他们写的歌。LINDA PERRY的NEW DAWN是这里最好的东西。NEYO和THE DREAM也为她写了歌----DION交出了最糟糕的结果。她翻唱的80年代歌曲“CANT FIGHT THIS FEELING”同样令人失望。不过，以上这些和她在ALONE中惊悚的尖叫相比也就不算什么了。 如果您打算听《ALONE》这首歌，请做好迎接最令人作呕的冲击的准备。 http://tieba.baidu.com/f?kz=612186443 英文部分确实是当年滚石杂志给TC的评价 当然 现在你在滚石的网站应该是找不到这篇乐评了

> 0回应

4/5 By Jon Dolan FEBRUARY 24, 2011 Radiohead's 2000 masterpiece, Kid A, came with a song called "How to Disappear Completely." On the band's eighth album, Thom Yorke has a new magic trick up his sleeve. "I will disappear," he sings. "I will slip into the groove." Yorke sings that line on a track called "Lotus Flower" over gray electronic scrapple and the iciest version of a good-footin' James Brown hustle imaginable. It sets the tone for Radiohead's funkiest record, and one of their most elusive. For these guys, disappearing completely and disappearing into the groove are pretty much the same thing. The King of Limbs defies the sort of grand expectations Radiohead tend to invite. At eight tracks in just 37 minutes, it's the band's shortest album (the brevity is shocking, since it's been more than three years since its last, 2007's excellent In Rainbows). Limbs is also almost totally free of the elegant guitar surge or big-stroke balladry that give Radiohead records their scope and heft. Many tracks recall the obtuse beat science they cooked up on 2001's Amnesiac and 2003's Hail to the Thief. But even those records had a few driving, granular rockers. Limbs keeps the intensity at a low boil, working the body as it follows strange logic down alleys it has no interest in coming out of — the drum circle on "Little by Little" sounds like pencils banging on bedsprings; on "Give Up the Ghost," Jonny Greenwood turns his acoustic guitar into a rhythm instrument, banging its frame as strips of Yorke's frayed falsetto get layered over each other like a hog pile of ghosts. At times, there's a surprising contentedness in this kinky escape. Limbs' closing track, "Separator," seems to be about death (can't disappear any more completely than that), but it's as serenely gorgeous as anything the band has ever done. A clipped, crisp boogie and soft bass pokes from Colin Greenwood set the table for gloaming keyboards and Jonny Greenwood's watery, inverted guitar figure. Yorke croons about being sucked into the world after a long dream: "I'm free of all the weight I've been carrying." Elsewhere, the view from Yorke's funky space station is much darker, even brutal. On "Morning Mr. Magpie," Philip Selway twists the beats into angry pretzels, like the Meters gone post-punk, as white noise hisses below. "Now you've stolen all the magic/Took my melody," Yorke fumes. For the most part, though, The King of Limbs lingers in states of emotional and physical in- between-ness — blooming, diving, flirting, floating, falling. The album's most striking moment might be "Codex," an invitation to leap into the unknown that recalls classic Radiohead more than anything else here. It's just Yorke at the piano accompanied by what sounds like a very depressed EKG machine; the melody luxuriates in pillowy ache, the lyrics are at once reassuring and creepy: "Jump off the end/The water's clear and innocent." Maybe it's about a drowning, maybe it's about a swimming lesson. The fun is in not knowing. Taking the plunge into this band's mysteries is one of rock's true pleasures.

> 0回应

3/5 Dave Simpson February 3, 2011 Although hardly a household name, this London-based quartet made history of sorts when their last album, Union, became the first self-released album to break into the US top 100 on digital sales alone. Since then, they've starred as themselves in Hollywood film Going the Distance and secured the services of Kings of Leon producer, Ethan Johns. They've achieved all this on the back of their one-size-fits-all epic rock, somewhere between Radiohead, Elbow and the National. Although he hails from Tennessee, singer Nathan Nicholson signs straight from the Thom Yorke/David Gray book of existential anguish. At their best, their songs transcend lyrical cliches such as "There's a line between love and hate", and Locked in the Basement and The Runner are undeniably haunting, even though there's nothing to particularly distinguish the band from their better-known peers. Still, they may have decided that it's better being all things to many rather than something very special for a few. DL: http://zjzjyy1990.blogbus.com/logs/106723298.html

> 0回应

The bilingual Bayside Boys Mix of Los del Rio's "Macarena" spent 14 weeks at No. 1 in 1996, gaining the top position several weeks before it was used to introduce-and provide a punch line for-Al Gore's speech at that year's Democratic National Convention. The song spent 23 weeks in the top 10. The flamenco-flavored party track and accompanying dance by two middle-aged men named Antonio Romero and Rafael Ruiz was already a hit in Spain in 1993, and "Macarena" was a favorite on cruise ships before docking in Miami's South Beach clubs by mid-decade. It first appeared on the Hot 100 in 1995. After the success of the Bayside Boys Mix in 1996, an early version by Los del Rio spent 21 weeks on the Hot 100, peaking at No. 23.

> 0回应