I Have A Room

艺人：Violet Indiana

专辑：Russia Doll(2004,Bella Union)

整批货全做成了Digipak：

    还是Robin Gutherie熟悉的乐音，整体感觉像简化了的CT编排配上一把粗糙的女声，另加对4AD设计的刻意模仿。听完之后，让我忍不住又拿起了BBK——CT才是永远最曼妙的，我想，ROBIN和SIMON RAYMONDE大概是永远无法从CT的阴影中超生了。

艺人：Joni Mitchell（琼尼·米切尔）

专辑: Blue (1971，Reprise)

时长：35:41

阵容：

• Joni Mitchell：主唱，吉它
• Stephen Stills：贝司/吉它
• James Taylor：吉它/钢琴
• Henry Lewy：录音工程师

总销量: 1 million

最高上榜名次: #15

• 评价摘抄：

 Sad, spare, and beautiful, Blue is the quintessential confessional singer/songwriter album. Forthright and poetic, Mitchell's songs are raw nerves, tales of love and loss (two words with relative meaning here) etched with stunning complexity; even tracks like "All I Want," "My Old Man," and "Carey" -- the brightest, most hopeful moments on the record -- are darkened by bittersweet moments of sorrow and loneliness. At the same time that songs like "Little Green" (about a child given up for adoption) and the title cut (a hymn to salvation supposedly penned for James Taylor ) raise the stakes of confessional folk-pop to new levels of honesty and openness, Mitchell's music moves beyond the constraints of acoustic folk into more intricate and diverse territory, setting the stage for the experimentation of her later work. Unrivaled in its intensity and insight, Blue remains a watershed.

                                             ---Music.com

All her previous albums' poetic and sparsely instrumental strengths culminated in 1971 with Mitchell's masterful "Blue." A million-seller (as "Ladies" soon became) at a time when such feats were exceptional, "Blue" remains the vocal, lyrical, and compositional equal of any celebrated album of rock's first 40 years, whether it be "Blonde On Blonde," "Rubber Soul," "Pet Sounds," "Tapestry," "The Joshua Tree," or "Diva."

"Blue's" doleful, fiercely adroit arrangements were built around Mitchell's supple piano, guitar, and dulcimer, and the songs themselves were so precedent-splintering in their candid self-pronouncements that the mere mention of their titles ("All I Want," "My Old Man," "Little Green," "Carey," "Blue," "California," "This Flight Tonight," "River'" "A Case Of You," "The Last Time I Saw Richard") is sufficient to evoke note-for-note reminiscence among the cognoscenti - along with a mental Rolodex of songwriters who borrowed the melodic/rhythmic structure of the tunes to buttress their own output. But for Mitchell, "Blue" was a triumph that took a stunning toll."I have, on occasion, sacrificed myself and my own emotional makeup," Mitchell told this writer in 1988, "singing, 'I'm selfish and I'm sad' [on 'River'], for instance. We all suffer for our loneliness, but at the time of 'Blue,' our pop stars never admired these things."

Hacking away at every vestigial rule of rock'n'roll's raucous hauteur, the resoundingly intimate "Blue" stretched the tape measure for unfathomed personal inquiry until it snapped free of the spool. The deeper Mitchell delved, the higher her untethered singing flew, trembling with tortured liberty as it swooped into trills and ululations that constituted her own Alberta-bred equivalent of qawwali. Henceforth, a popular singer could test the limits of range, vocal characterization, and technical agility at his or her pleasure.

Just as venturesome were Mitchell's elaborate guitar tunings, which by the mid-'70s had ensured that of the 45-odd guitar songs in her repertoire, only two used conventional Spanish concert tuning. "There are certain simple fingerings that were difficult in standard tunings," Joni details. "My left hand is not very facile; my right hand is extremely articulate, At the time that I began to write my own music, Eric Andersen showed me open G and D modal, dropping the bass string. I had always heard beautiful melodies and music in my head, so I just tuned the guitar to those chords, or slipped into a tuning so that the shapes made by the left hand were simplified."

Emotionally spent in the wake of "Blue," Mitchell left Reprise, her departure accelerated by Warner Bros.' irksome promotional policies as typified by headlines on consumer advertising like JONI MITCHELL IS 90% VIRGIN and JONI MITCHELL TAKES FOREVER. Jumping to the Asylum label, Joni planned a sequel to "Blue" in 1972 called "For The Roses," which was conceived as a possible farewell to the music business. Fleshed out in solitude under the rustle of arbutus trees in her remote British Columbia hideaway, the bucolic project yielded a hit with "You Turn Me On, I'm A Radio," as well as a batch of experimental, tempo-shifting ballads of exquisite beauty, such as "Cold Blue Steel And Sweet Fire," "Barangrill," "Electricity," and "Woman Of Heart And Mind."

                                                 ---www.jmdl.com

"The 'Blue' album, there's hardly a dishonest note in the vocals," Mitchell told Rolling Stone in 1979. "At that period of my life, I had no personal defenses. I felt like a cellophane wrapper on a pack of cigarettes. I felt like I had absolutely no secrets from the world, and I couldn't pretend in my life to be strong. Or to be happy." With song after song of regrets and sorrow and a smoky-blue cover shot of Mitchell on the edge of tears, this may be the ultimate breakup album. Its whispery minimalism is also Mitchell's greatest musical achievement. Stephen Stills and James Taylor lend an occasional hand, but in "California," "Carey" and "This Flight Tonight," Mitchell sounds utterly alone in her melancholy, turning the sadness into tender art.

    看了龙宽九段现场，顺道带套《达明·Reunion》回家……3CD+DVD，比较划算。

还有昨天拿的《花心》，喜纳昌吉的原唱单曲。

Dear Tori Amos

Purchase from Ebay,Some other more still coming in,here are some:
1.Crucify Ep(Alantic/WEA 1992)

Tracks:1>Crucify(Remix)
         2>Winter
         3>Angie(Covered The Rolling Stones)
         4>Smells like teen spirit(Covered Nirvana)
         5>Thank You(Covered Led Zepplin)

2.God EP(Alantic/WEA 1993+1994)

Tracks:1>God(Lp version)
         2>Home on the range-Cherokee Edition(Traditional,Non Lp Track)
         Piano Suite:
         3>All the girls hate her(Non Lp Track)
         4>Over It(Non Lp Track)

    上午去领了在当当订的“步升·环球巨星”系列，5张碟中居然氧化了两张，国产货真的是烂到家了。整条线的碟都坏了，可见连质量抽检也是没有的。

    中午去三明家看他新进的纯原包货。这厮居然口口声声号称货很贵，就这种烂货？头一层75张还行，下面两层150张简直就是垃圾。难怪他要一味抬价，就这种货色，我看要亏的。下面的碟商也越来越精，一件货里居然能看到欧版、美版、加拿大版三种货色混在一块，真是有够Fusion。

    1.Tom Petty & The Heartbreakers:She's The One

    (Soundtrack,1996,Canada)

    2.Yes:Close To The Edge(1972,Alantic,EU)

    下午兴奋地赶到单位，终于等到了Notmyself寄来的日版Alanis,赞！！

    1.So-Called Chaos(2004,JPN Sample)

    2.MTV Unplugged(1999,JPN Sample)

    3.So Pure(1998,JPN Single Sample)

    今日又有人到货，比前两趟稍好。

    1.披头士《让它去》（2CD/EU）

    2.莎拉·麦克拉兰《晚霞余晖》（2CD/EU）

    3.挽歌《首张同名专辑》（UK）

    4.其它的怕撑破空间就不贴了：

    Ella Fitzgerald:The Very Best Of(Cut On The Spine,Canada)

    Van Morrison:What's Wrong With This Picture?(EU)

    Lene Marlin:Another Day(EU)

上午：广州包裹

    上午8：16分就出门了，特精神，莫名其妙啊。

    原来林青霞的声音，要用CD听啊……现在才发觉，多年前那卷拼盘磁带的音质如此不堪……

    《只记今朝笑》，黄沾原来也写得出这么Feminine的歌曲……

    寻觅了多年，终于知道这张《东方不败—林青霞·电影音乐纪实》里是什么东东了……

下午：有人进货

    初秋燥热，中午居然只睡了两首歌时间。醒来一看最后一首是《Drowning》。后街的歌，三不五时拿来听是还是悦耳的。

    “火车道”（我每次都忘了他的姓，只好以居住地命名）进货，又是一件巨烂的垃圾包货，那些东西都卖了一年多了。

    美版和加版的口盘估计又有好货了，可惜我们这里只见得着残肢断腿。

    1.柯川叔叔的《至高无上的爱》，2000年VERVE出的“Desert Island Discs（荒岛漂流必备碟）”系列版。微口，但这张印有柯川所有大碟封面的Insert还是让人动心……

    2.石庙向导《多谢·精选》（广东感觉……）

    全新款拆，加拿大版，外贴两碟标，欲转让。

    3.Marc Bolan：Acoustic Warrior(Camdem/BMG 1999)

    CAMDEM这家公司专翻旧版权，这张“原声勇士”名字起得太土，明显要沾T.REX那张不朽的《Electric Warrior》的光。而且内容也无非是马克·波兰1996及1999年的某些现场录音集结而成。可惜不是在MTV台开唱，否则就是“Marc Bolan：MTV Unplugged”了！可是看到《Get It On》，还是忍不住想听听原声版是啥样的……

    好久没人去下货了……据说每个碟商家里都是碟积成山，卖不动！

    总算有个小陈下去进货，却还是狂烂的一件便宜包货。

    有史以来包货买得最少的一次，仅两张收获，而且一张已经有了。

    专辑：Tribute（已转让）

       艺人：Keith Jarrett, Gary Peacock, Jack DeJohnette 三重奏

       一张致敬唱片，对象太多了：Lee Konitz、Jim Hall、Nancy Wilson、Bill Evans、Charlie Parker、Coleman Hawkins、Miles Davis、Anita O'day、Sonny Rollins、John Coltrane。既然都是伟人，不如就拿了吧……双碟，DDD录音，厚盒装，30元，性价比不错。

       专辑：Days of the open hand

       艺人：Suzanne Vega

      法国版初版。估计在货仓里放了十多年了……

    亲爱的日本友人Mr.Funayama又寄意外的EMS邮包来了……在这无聊无碟的9月。这一次是我钟爱的《为人民服务》（哈哈我自己的翻译，自觉比某些人把Jennifer Warnes"The Well"译作“枫叶情”、把Hope Sandoval"Barbarian Fruit Bread"译作“幽伤兰花”要来得好些），日本友人一如既往地多送了我两张REM的专辑：Out of time和Monster。三张都是九八年的再版，侧标清一色白底黑字，这似乎是日本再版的习惯。

    拿什么感谢他呢？要好好想想了。

       诱惑总是存在的，即使在艰难的日子里。

The Beatles:Abbey Road(1987 EMI/ODEON Japan)

        本以为抢着初版了，事实是，这是第二版。查了下资料，在一个日本人的博客上看到，这张碟的初版是1982年（盘编号的前四位是CP35）。这张红标版是1987年的第二版（CP32打头），最近这批80年代末90年代初的日本版，来源非常奇特，既非见本，又非中古，亦非租借，更像是个人收藏的转让，因为品相基本都是Near Mint。这种“初版”+“20年或以上的盘史”，真正是终极诱惑了，禁不住重金购入了几张。

Madonna:You Can Dance(1987 Warner Music Japan)

Enya:Watermark(1988 Warner Music Japan)

        华纳80年代末到90年代初那阵子的这个侧标设计，实在是太无趣了，比起环球，BMG甚至是VIRGIN，都是差了一大截。曲目印在侧标正面的做法，更是土到了极致。

Enya:Shepherd Moons(1991 Warner Music Japan)