专辑名称：Songs Of Mass Destruction
发行日期：October 2, 2007
Annie Lennox ,安妮·蓝妮克丝.一个在国际流行乐坛迴响了二十多年的名字.她是80年代红遍欧美乐坛的"eurythmics（舞韵合唱团）"女主唱、两座葛莱美奖得主、曾被vh1音乐频道评为"乐坛一百位最伟大女性"，她曾获选为美国知名的公告牌音乐杂志"2002年度世纪音乐奖"得主。这个奖于1992年创立，annie是第11位被授与这项殊荣的艺人，得到这个奖，也象征着annie在歌坛的地位与披头四的乔治哈里森、比利乔、山塔那等人齐名，一样在歌坛中有着不可被取代的崇高地位。
1954年12月25日，安妮出生于苏格兰的阿伯丁。她安妮父母在她三岁的时候，就已发 现她身上不凡的音乐潜力。日后的安妮顺理成章的进入英国伦敦皇家音乐学院学习，主修长笛。但由于家庭原因，安妮未能完成学业。其后她在白天做各种各样的工作，而晚上则出去演唱。在70年代末期，她通过一个朋友 认识了吉他手dave stewart。很快dave就邀请安妮加入自己所组的the touris ts乐队。在the tourists乐队合作期间，安妮和dave st ewart坠入了爱河。1980年，两人离开the tourists，组建了eurythmics，乐队在整个80 年代红遍欧美乐坛，成为当时最受欢迎的新浪潮（new wave）乐队，并在1986年获得第29届格莱美最佳摇滚乐 队奖。1987年，eurythmics推出了《savage》专辑，1989年又推出了专辑《we too&nbs p;are one》，这两张专辑被乐评认为是eurythmics所有作品中最成熟、最多元也是最好的，鲜明生动的 感情表达强烈而真挚，一如后来安妮的个人专辑，然而从市场反应看来却是最不流行。经历了《we& nbsp;too are one》商业上的挫败之后，安妮宣布她将暂别乐坛两年以孕育自己和dave stewart的爱情结晶。
1991年，随着安妮的生育，eurythmics乐队便悄无声息的解散了。之后她便忙于自己个人专辑的发行 。1992年5月，安妮第一张个人lp唱片《diva》（女伶）正式发行，同年她被著名的《滚石》杂志评为最佳女歌手，并 凭借《diva》获格莱美最佳长篇音乐录影带奖。1995年3月，安妮的第二张唱片《medusa》发行，同年凭借《no more "i love you's》获第38届格莱美最佳流行女歌手奖。1999年，安妮·蓝妮克丝和dave stewart再次以eurythmics乐队成员的身份出席了全英音乐奖颁奖典礼，并被授予了终身成就奖，以表彰他们多年来对英国音乐所做出的巨大贡献。
曾在伦敦皇家音乐学院求学的安妮·蓝妮克丝有着其他许多女歌手无法相比的学院派根基，第一张个人专辑《diva》的推出，向世人展现出一个成熟、睿智、沉静的当代流行女伶，她以磅礴大气的半歌剧式演唱著称，空灵、深邃犹如天籁般的 优美歌声直触心灵，被称为现代最优美女声之一。她曾为著名吸血鬼电影《惊情四百年》（bram stocker's& nbsp;dracula）演唱荡气回肠的凄美主题曲"love song for vampi re"（也是影片中唯一的歌曲，在结尾的字幕时出现），歌声中排山倒海而来的旷古悲情催人泪下，让人明白什么叫"惊心动魄"，什 么叫"至死不渝"。继《diva》之后，蓝妮克丝在营造气氛上更达到了另一高峰--深邃、孤寂、气势磅礴！"首席女伶"这个称 谓她当之无愧。
除了歌声之外，蓝妮克丝不同于其它总是以性感外型示人的女歌手，她反其道而行的中性纤细身材，愈发闪现出知性的光彩和出尘 脱俗的美感，同时她也成为许多迷恋骨感身材之时尚拥戴者眼中的不朽绝佳象征。而蓝妮克丝每次在公众前露面，都会带来具强烈视觉 效果、让人惊艳的魅惑造型，黑色皮衣、金属饰片、鲜艳的翎毛、舞会长袍都是她偏爱的打扮，而她的中性造型更是显现出无人能及的魅 力，她曾经装扮成david bowie的模样并和david bowie本人同台演唱，几可乱真。蓝妮克丝向来以改革者、反偶像崇拜者的形象而著称，这些造型都揭示了在她个性中一些相对的特质，比较概括的 描述就是：annie拥有混合了男性坚毅、勇敢、理性和女性温柔、脆弱、感性的独特人格魅力
如Amazon4星半，AMG 4星 滚石杂志3星半……
Songs of Mass Destruction is a sterling, rock-solid, expert example.
All Music Guide(AMG):
It's as gorgeous a collection as "Bare," and pop music should be so lucky as to have more of this kind of thing out in the world.
While the aim is irreproachable, and Lennox's inimitable voice--all dark-chocolate rasp and throaty power--remains undiminished, listening to the album too frequently feels like eating your veggies. [12 Oct 2007, p.75]
Boston Globe: 波士顿地球报
She applies her ever-mesmerizing mix of vocal heat and instrumental chill to images of longing, falling, searching, raging, and despair on her deeply emotional and soul-stirring fourth solo album, Songs of Mass Destruction.
Los Angeles Times: 洛杉矶时报
Lennox has pop-rock maestro Glen Ballard, who marshals her voices into a cyber-soul chorale. The sleekness doesn't diminish the fervor or the fun.
Rolling Stone: 滚石杂志
The result is an album that captures the range of her styles, from the rhythmically charged pop of her Eurythmics days to the haunted, longing ballads of her solo career. If the two approaches don't always cohere, each is satisfying in its own right.
Four albums in 15 years is not exactly prolific when it comes to making records. But Annie Lennox has never been one to rush things, and her recorded output as a solo artist in life after the Eurythmics has been stellar. The last time she issued a recording in 2003 with Bare, a collection of deeply committed emotional songs that set a new standard for her artistically, though they were written in the turmoil following her second divorce. Perhaps the reason she hasn't had the time to record is her activism. She's involved herself in causes that range from her primary concern, raising awareness about AIDS/HIV (and she refers to this in the album's notes), to the environment and poverty. But Songs of Mass Destruction isn't a political album by any means, unless the personal is — and often it is. This is another album of love songs; dark love songs. These are breakup ballads, statuesque embers of pain and rage that have simmered down to the traces of that dull ache of emptiness that always exists in the aftermath of something profound. The production is characteristically slick, and Lennox is in excellent voice — it's always startling to hear something new from her simply because that voice is so singular, it becomes a part of the listener no matter what she's signing. Most of what's here is adult-oriented, sophisticated pop. That's nothing to apologize for. The keyboard- and drum-drenched set has all sorts of texture to keep it from being formulaic, such as the accordion on "Ghost in My Machine," which is a rocking number. "Love Is Blind" begins with an acoustic piano and a slide guitar quietly rumbling behind it, though it's a suicide ballad turned inside out. When Lennox opens her mouth, it's all blues scorch wither, letting that big voice wrap itself around some harrowing lines like "I got so much trouble getting in to this/Can't decide if it's hell or bliss/Sometimes I feel like I don't exist/Cut my veins and slit my wrists/Goodbye/Goodbye...Can't you see that I'm so addicted/To the notion of a someone/Who could take me from this wretched state/Save me from the bitterness and hatred of humanity/I'm so screwed up." But she's not pleading; she's declaring, testifying with searing honesty. On the track "Sing," she has donated all proceeds to an AIDS charity TAC (Treatment Action Committee) and enlisted a host of women to sing in a choir who will likely not be heard in the same place again: Beth Gibbons, Madonna, Celine Dion, Beth Orton, Angélique Kidjo, Shakira, Sarah McLachlan, Faith Hill, Fergie, Beverley Knight, Martha Wainwright, k.d. lang, Shingai Shoniwa, KT Tunstall, Bonnie Raitt, Dido, Gladys Knight, Anastacia, and Melissa Etheridge. It's another huge feminist anthem, with a killer hook, a big bad soul/gospel refrain, and a beat that, once it gets into the spine, will not be easily dismissed. But the ballads here are as profound and deep as the big production numbers. The opener, with its lilting Celtic flavor, is devastatingly beautiful and sad. "Smithereens," with its languid piano treading so lightly, offers the singer once more bearing heart and soul in a kind of vulnerability that accepts responsibility as well as lays blame: "Behind the victim/Behind the trouble/Of all the things you've not expressed...So don't make me sad/I couldn't stand to watch you fall/'Cause everybody has a tender heart/Remember this/I didn't mean to break it down to smithereens." "Womankind" is a funky soul number offering wishes that perhaps many women wish for (though men do too), though its expression of raw need and desire may piss off a few of its intended recipients. The track is a bona fide single, though. It's colored by the exotic ballad "Through a Glass Darkly," looking through the mirror of life in the true self, with its cyclical coming together and splitting apart, which is realized utterly in "Lost." "Coloured Bedspread" revisits the electronic beat pop of the Eurythmics. The skeletal toy-sounding piano and cheap drum machine in "Big Sky" is lifted by the power of Lennox's voice and her backing vocalists before it breaks into big fat warm loops, and Lennox digging deep into her soul book for the melody. Anita Baker, eat your heart out. The set closes with the elegant, complex, and confident ballad "Fingernail Moon," which is sung alone in the emptiness of the night sky, bearing the entirety of disappointment, the smallness of humanity in the universe — no matter how much we think we're the center of it. The sadness in the song is also confessional and speaks to bewilderment and ultimately becomes a prayer when she sings, "I feel so sad/There's something unsettling under my skin/I don't know the reason or where to begin/Caught in the circles I've found myself in/But I want to reach out and touch you/My sweet sickle moon." Songs of Mass Destruction can be heard as a melancholy part two of Bare, but one feels after repeated listening that Lennox is not only speaking of her own experiences in life and love, but those of her sisters, and the human condition at large, when focused on in the first person, becomes somewhat palatable and embraceable by a third party. It's as gorgeous a collection as Bare, and pop music should be so lucky as to have more of this kind of thing out in the world. She may not be prolific, but she is always profound, and to date has always delivered the very best she's had to offer, which is, in this case, as well as her other recordings, plentiful and magnificent.
01. Dark Road
02. Love Is blind
04. Ghosts In My Machine
06. Through The Glass Darkly
08. Coloured Bedspread
10. Big Sky
11. Fingernail Moon