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Linda Ronstadt -《What's New》(音信)[LP 黑胶 24bit/96KHz - 发表完毕][FLAC]

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  • 摘要:
    音乐风格摇滚
    发行时间1983年
    地区美国
    语言英语
  • 时间: 2011/04/12 10:21:44 发布 | 2011/04/12 18:59:38 更新
  • 分类: 音乐  欧美音乐 

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专辑英文名What's New
专辑中文名音信
音乐风格摇滚
资源格式FLAC
版本[LP 黑胶 24bit/96KHz - 发表完毕]
发行时间1983年
地区美国
语言英语
简介

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专辑介绍:

乡村摇滚天后Linda Ronstadt 70年代美国pop rock的最高代表人物之一

真情、真心、真自由,亚利桑那州的真女人 Linda Ronstadt唱起歌来,彷彿置身於辽阔空旷的山谷,迴盪内心所思念的事与物,把所有感受完全赤裸、解放,无论是消遥的山歌民谣,脆弱的乡愁小调,带点劲道的乡村摇滚,微婉动人的抒情小品,还是美国、墨西哥、拉丁美洲各地的传统歌谣,她那带著民谣质朴感与摇滚乐热情的音色,总会将歌曲咀嚼出一份岁月的情感,在爱恨鲜明的独特情感歌声之外,Ronstadt更是美国摇滚图腾-The Eagles的幕后推手,堪称当代乐坛的奇女子。

Linda Ronstadt 琳达朗丝黛1946年生在美国,60年代就在好莱坞组过乐团,1971年的时候她筹备了一个她个人的专属乐队。

「Linda Ronstadt」一共获得了十座Grammy奖,五次登上了Rolling Stone滚石杂誌的封面,在全球有超过五千万张的销售记录。她从流行做起,然后是摇滚、乡村、拉丁,一直到晚年的Jazz和歌剧,不论是山歌、民谣、小调,还是抒情小品,她的声音都有一种很质朴的感觉,在高潮的地方总是会有一种很rock的热情。

1969 年发行首张个人专辑《 Hands Sown,Home Grown 》并开始在全美各地巡迴演唱,Linda Ronstadt以她丰润感性的歌声逐渐树立个人风格。1971年Linda Ronstadt组织专属乐队,其中乐手包括「老鹰合唱团」的成员「Glenn Frey」和「Don Henley」,「Linda Ronstadt」便是发掘「老鹰合唱团」的幕后推手。

60年代末期,她以乡村歌手的姿态崛起,70年代,她蜕变为流行摇磙的巨星。1980年,她第一次令人跌破眼镜,登上大银幕,主演了根据音乐剧「盘冉斯的海盗」(The Pirates of Penzance)改编的同名电影,四年之后,甚至更登上纽约大都会歌剧院的舞台,演出了普契尼的歌剧「波西米亚人」。

如果你以为这是她偶发的奇想,那你就错了,因为她早在十七岁的时候,就曾经获得进入歌剧界的机会,但是她却因为生存的考量,而选择了流行音乐。

基本上,她对於摇磙乐并不是真正那么热中,充其量也只是喜欢50年代之前的早期摇磙乐,而她最喜爱的,则是父母、亲人文化根源的墨西哥歌谣曲,以及40年代以前的爵士乐经典。

1983年,在制作人的建议之下,她大胆的尝试灌录一张传统爵士乐歌谣曲的专辑,由资深大师尼尔森瑞鐸(Nelson Riddle)亲自指挥自己的大乐团为她伴奏,推出了造成轰动的「What's New」专辑,而且欲罢不能的连续出了三张。

爵士老歌的阶段,由於Nelson Riddle尼尔森瑞鐸的过世而划上了休止符。

1987 年,琳达回到了乡村的歌路,跟老友桃莉芭顿(Dolly Parton)和艾美露哈瑞丝(Emmylou Harris)共同推出了一张「三重唱」(The Trio)的专辑,再度获得了相当高的评价,成为该年度「最佳乡村合唱团体」葛莱美奖的得主。接著,琳达再度「改变歌路」,开始演唱她从小熟悉与热爱的墨西哥拉丁歌谣,首先登场的是「我父亲的歌」(Canciones De Mi Padre),奔放而灿烂的旋律,获得了广大的迴响,这回又是一连三张。

然后,除了回到主流的流行摇滚路线,她又陆续尝试了新世纪音乐和儿童歌曲。总之,不论她唱什么,表现都是令人喝采的,现在,大概只剩下饶舌与嘻哈是她还没有尝试过的。只可惜,原本精力充沛的她,却在90年代末期罹患了甲状腺机能亢进的毛病,不但身材变得十分臃肿,体力也衰退了很多,经常必须临时取消演唱会。但是,也正因为如此,她反而更积极的录制专辑、或者参与其他艺人作品的客串,希望趁著还能唱,好好留下一些自己真正喜欢的作品。而由於她过去已经有了太多在商业上大为成功的作品,如今她已经不在乎商业的价值,她要继续利用她的才华,制作符合自己理想的音乐,哪怕是「格局」越来越小、跟「主流」市场越行越远,她也不在乎。

2004年,琳达告别了合作三十年的老东家,投入以爵士音乐而著名的Verve唱片旗下,发表最新专辑「Hummin' to Myself」,而这个时候的她,已经逼近六十岁了。

这回,她再度挑选了复古的爵士经典,当作重新出发的路线。

熟悉唱片市场的朋友,应该都知道,最近这几年,歌坛非常盛行「复古」,包括洛史都华(Rod Stewart)、蓓蒂密勒(Bette Midler)、麦可波顿(Michael Bolton)等人,都先后推出爵士老歌的专辑,早在二十年前就已经以这种游戏大获成功的琳达,当然更是驾轻就熟的,儘管体力大不如前,至少在录音室里,她却仍然保持著过去的高水準表现。

不过,她可不想炒冷饭。

这次,我们可以发现,她舍弃了当年那一系列老歌专辑华丽的大乐团风格,改用小编制的乐队,在制作大师乔治梅森伯格(George Massenburg)掌舵之下,由亚伦布洛本特(Alan Broadbent)负责编曲,率领几位顶尖的乐手共同为她伴奏,营造出一种精致而亲密的感觉。

也不晓得是否刻意安排,正如当年的「What's New」专辑,她在这张专辑的一开头,首先就唱出了同样描绘失恋女子故作坚强、向老情人问好的「Tell Him I Said Hello」,表现丝毫不逊於1955年把这首歌唱红的蓓蒂卡特(Betty Carter)。

小编制的乐队,风格与大乐团的伴奏有著相当大的不同。

这张专辑基本上仍然都是以钢琴为主,而不论是编曲人亚伦布洛本特、或者是另外一位钢琴好手华伦伯恩哈特(Warren Bernhardt)的弹奏,都非常细腻的把琳达的歌唱技巧衬托得更为动人。这些曲目,主要来自几位昔日在好莱坞与百老匯备受推崇的大师,以奥斯卡名曲「Baby, It's Cold Outside」著称的法兰克洛瑟(Frank Loesser),有两首歌曲获得採用,分别是「Never Will I Marry」和「I've Never Been in Love Before」,尤其是前者,更展现了琳达当年在与尼尔森瑞鐸合作的专辑中无法充分发挥的特质,以些许摇滚歌手的野性,把这首歌唱得几乎完美,堪称琳达最漂亮、最精彩的翻唱歌曲之一。

而在亚瑟汉弥尔顿(Arthur Hamilton)的「Cry Me a River」里面,我们则可以发现,她似乎参考了资深女歌手茱莉伦敦(Julie London)早年的经典版本,不过却以一种忧鬱的感觉,取代了茱莉伦敦那种稍带戏謔的风情,非常的动人。

在这张专辑的最后,琳达带来了山米范恩在1944年所谱写的经典,当年由平克劳斯贝(Bing Crosby)唱上冠军宝座的不朽名曲「I'll Be Seeing You」,彷彿告诉歌迷们,她仍然会继续努力的决心。

这首歌是所有歌曲之中使用乐器最为简约的一首,前半段只有亚伦布洛本特轻柔的钢琴伴奏,到了后半段,才逐渐加入小提琴与大提琴,以三重奏的方式陪伴著琳达,为这张专辑划下令人回味无穷的休止符。

假如一定要抱怨,就是这张专辑实在是短了些,只有三十七分鐘。

不过,与其滥竽充数,还不如以品质取胜。或许琳达永远无法取代艾拉费兹杰罗(Ella Fitzgerald),但是她有如行云流水的独特风格,却是我们难以抗拒的。

在专辑封面上,我们看到的琳达似乎仍然青春俏丽,但那是化妆与摄影的魔术,事实上她如今的身材几乎两倍於昔日,让我们祝福她克服病魔,继续自我挑战、为我们唱出更多好歌!

What's New is a Grammy-nominated, Triple Platinum-certified, 1983 Jazz album by American singer/songwriter/producer Linda Ronstadt consisting of nine songs of Jazz music. It represents the first in a trilogy of 1980s albums Ronstadt recorded with the late bandleader/arranger Nelson Riddle.
(wikipedia)

The title is a bit of a tease. The most recent song on What's New is Crazy He Calls Me (1949). The earliest, What'll I Do? is a certifiable, card-carrying Irving Berlin classic, vintage 1924.
But what's old, in the case currently under consideration, is very new indeed for Linda Ronstadt, 37, whose lovelorn voice has provided rock'n'roll with some of the best ballad singing of the decade just past. Now, turning to other decades long past and currently in musical disfavor among her peers, Ronstadt has found a fresh direction. What's New, released last week by Asylum, avoids all the obvious routes. Powered by the celestial arrangements of Nelson Riddle, the album is not a sentimental journey, a dizzy camp-out or a show-biz grandstand play. It is a simple, almost reverent, rendering of nine great songs that time has not touched. At first hearing, Ronstadt's fans may be taken aback by the suave but swinging Riddle orchestra, by the playfulness and sophistication of the lyrics, by the tidal pulls of strong melody; this is the sort of music that anyone under 40 is supposed to despise. That is practically an article of rock'n'roll faith.
But creeds are made to be challenged, and by that measure What's New is one of the gutsiest, most unorthodox and unexpected albums of the year. "Linda deserves a lot of credit for having the courage to do such an album, to fly, in a sense, in the face of the times," says Riddle. Comments Ronstadt's longtime producer-manager, Peter Asher. "It's a bold move. I had mixed feelings about how the record would sell, but not about whether she would do it well."
Ronstadt's feelings are emphatic: "This record is the most important thing I have ever done, the best songs I have ever sung and the best singing I have ever done. I feel it's my life's work in a way. I don't know what my fans will think of it. I don't care too much. I hope they like it, but if they don't there is nothing I can do about it." Or would want to. No one in contemporary rock or pop can sound more enamored, or winsome, or heartbroken, in a love song than Linda Ronstadt. Singing the tunes on What's New, or even just talking about them, she still sounds like a woman in love: "It's like falling for a man. You can't not do it. He might be married or maybe not even like you very much and make a complete fool out of you, but you have to have him. When you fall in love you have no choice, and I literally had no choice with these songs. I was hijacked."
She had a long and sometimes bumpy ride. Her pal J.D. Souther, a pretty fair hand at writing a ballad himself (Prisoner in Disguise), liked to play Frank Sinatra's 1958 album for her, Only the Lonely. She also listened a lot to the extensive collection of vintage records owned by another friend, Author Pete Hamill. But it was not until the summer of 1980, listening one weekend to a Mildred Bailey record ("She sounds very pure and sexy at the same time- a sexy Snow White") at the home of Producer Jerry Wexler, that Ronstadt first hit on the idea of making an album entirely of standards.
Almost a year later, right after finishing her Broadway run in The Pirates of Penzance and just before starting the movie version, she and Wexler spent four days in a New York studio working on an album that Ronstadt now thinks of as "an expensive rehearsal session. The tracks weren't right, the way they were recorded wasn't right, the way I sang them wasn't right. What's New and Good-bye I couldn't sing at all. But I could sing them in the shower, so I knew there was something wrong with the arrangements." She abandoned the record ("Doing that killed me") and instead made Get Closer, a fine, smooth and entirely typical Ronstadt album that has sold under her recent platinum-record standard.
It seemed just the time for a new direction, if not for such a big risk. Asher admits feeling a lot better about the project after Riddle, the 62-year-old grand master of pop orchestration, agreed to sign on. Riddle, who speaks of Ronstadt's "strong, sure, pure tone, a naiveté and a freshness and a little-girlishness which were very appealing," had worked on several seminal Sinatra albums of the 1950s, including Only the Lonely. His work with Ronstadt may be hard for him to describe ("I don't know what kind of arrangements I wrote for Linda. It is probably as mysterious to me as it is to you. One goes on instinct"), but it does them both equal honor. Ronstadt, working from the same basic list of tunes she had attempted in 1981, wanted to "present the songs as purely as the day they were written. I wanted the pure melodies to come out."
When Riddle and Ronstadt first met in May 1982, he brought along the original sheet music he had used to arrange Guess I'll Hang My Tears Out to Dry. Casually he crossed out "Frank's key" in the corner to replace it with an annotation for Ronstadt's. "You can't do that, that's historic!" she protested, and got herself a new piece of sheet music, as well as a brand-new arrangement.
Ronstadt faced the recording process with some trepidation. Used to following a rock band, she now found herself singing, live, with a 47-piece orchestra that followed her. The experience, she reports, was "overwhelming. But musically it was also the most exhilarating I have ever had." Her friend Randy Newman, recording in a studio near by, listened in on some sessions and razzed Peter Asher about tapping his foot to the music. "There's no beat," Newman reminded him. "It's not like rock'n'roll."
Maybe not musically. But emotionally, Ronstadt's new album can bring a sweet rush of feeling that is immediate, direct and, for all its sumptuousness, almost recklessly intense. Any rocker would recognize the feeling. And, if anyone can, it is Linda Ronstadt who ought to be able to get them to hear it, too, right here.
( Jay Cocks - Time Magazine, Sept. 1983)

引用
http://records.5d6d.com/viewthread.php?tid=592
LP唱片比数位软体更好吗?
。。。。我们要讨论的其实就是前面三项﹐这三项都攸关声音表现的优劣好坏﹐也是LP迷之所以死抱LP唱片不放的关键要素。同样的 ﹐Christine Tham仍然以他的电脑作为数位录音与分析﹐另外还加上他的LP系统﹐他使用的LP系统只能算是「平价」系统﹐唱盘是Rega P3﹐唱头为Dynavector DV-20xL﹐唱头放大器是Dynavector P-75。至於拿来与CD或DVD-Audio、SACD比较用的LP唱片则选了五张﹐都是二手货﹐分别为「火战车」(Vangelis)、「Café Bleu」(The Style Council)、「What’s New」(Linda Ronstadt)、「I Robot」(The Alan Parsons Project)、「Avalon」(Roxy Music)。测试前﹐他先用VPI唱片清洗机将唱片洗乾净﹐然后透过自己的Denon扩大机类比输出﹐将LP的音乐讯号以电脑转制成24/96数位格式 ﹐用来与相同的数位软体做比较。
他首先比较的是Noise Floor噪音底层的高低﹐Noise Floor也就是最小声之处。对LP而言﹐由於有针尖与唱片沟槽接触的摩擦噪音﹐还有唱片本身的炒豆子杂音﹐因此在这方面不用说﹐LP一定输给数位软体。我想所有的人都会这样想。没错﹐如果以一般的讯噪比或动态范围的定义来看噪音底层﹐LP的确不如数位软体。可是﹐当他更进一步分析时﹐却发现事实并不是如此﹐就以「火战车」为例﹐LP在500Hz以下的频域噪音的确比数位软体还大﹐那是因为炒豆子杂音与沟槽摩擦杂音所致。可是﹐从2kHz-10kHz之间 ﹐LP的噪音底层实测值为-96dB﹐远低於数位软体的-88dB(数值越大表示噪音越低)。这代表什么意义呢?代表当实际聆听LP时﹐聆听者所真正感受到的动态范围还比CD更大﹐这样的结果恐怕不是CD迷所能够接受的。



专辑曲目

Side One
01. "What's New?"
02. "I've Got a Crush on You"
03. "Guess I'll Hang My Tears Out to Dry"
04. "Crazy He Calls Me"
05. "Someone to Watch Over Me"

Side Two
01. "I Don't Stand a Ghost of a Chance with You"
02. "What'll I Do"
03. "Lover Man (Oh Where Can You Be?)"
04. "Goodbye"

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