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Allan Taylor -《Leaving at Dawn》(黎明时出发)[SACD-r]

  • 状态: 精华资源
  • 摘要:
    音乐风格民谣
    发行时间2009年
    地区德国
    语言英语
  • 时间: 2013/04/07 15:59:24 发布 | 2013/04/07 16:38:13 更新
  • 分类: 音乐  欧美音乐 

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专辑英文名Leaving at Dawn
专辑中文名黎明时出发
歌手Allan Taylor
音乐风格民谣
版本[SACD-r]
发行时间2009年
地区德国
语言英语
简介

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专辑介绍:

最顶级的录音 最发烧的人声
Stockfisch唱片录音採用二十八位元的类比数位转换器、NAGRA-D等超发烧设备录制,并以B&W NAUTILUS 801进行鑑听。

以吟游诗人的风格,用歌曲带您航向一个又一个的旅程。民谣泰斗亚伦泰勒全新大碟,以十二首动听歌曲、精湛的演出与录音水準,再次打动人心!

旅行与流浪似乎就是民谣大师亚伦泰勒的人生,事实上,歌曲就是他真正的家。在这些歌曲中,他以睿智、世故的眼光诉说他在世界各地看到的风土人情。这张全新专辑中,他回到较早期的吟游诗人风格,以寓言的模式写下一曲又一曲的人生故事。

亚伦泰勒说:「旅行的吟游诗人那自由自在的人生其实并不自由亦不自在,但这绝对不是不值得的旅程。像是如果没有这些旅行,这些歌曲不会存在。」

「就像水手会把他从遥远地方带回来的小玩意从行囊中倒到桌上展示以取悦家人与朋友,我希望我这一路上写下的每首歌,都能说出属於它们自己的故事与我想分享的情感,希望这些东西能够带著你走上,属於你自己的旅程。」在亚伦自己充满诗意的解说下,相信任何乐迷们都可以清楚感受到这些歌曲中充满了叙事、比喻等元素,这是亚伦泰勒最擅长也最迷人的一面。

如同过去的专辑,在这十二首歌曲中,亚伦泰勒都会写下自己写作时的心情或是场所。特别的是,「It Could Have Been」是另外一位吉他高手,曾经来台演出的尤利(Ulli Bogershausen)的曲子,由亚伦泰勒填词而完成这个歌曲版本。而「Red On Green」则是改编自义大利歌手Massimo Bubola的歌曲,讲述他舅舅在一次世界大战阵亡时身上带著的一封情书。

与歌曲内容同样精彩的,则是坚强的演出阵容。亚伦泰勒历尽沧桑的歌声、温柔的Martin牌吉他琴声是当然的主角,而如Ian Melrose的吉他伴奏、Hans-Jorg Maucksch的贝斯配上小提琴、手风琴、曼陀林、斑鳩等多种乐器的伴奏,让这些歌曲展现出纯粹而轻缓的氛围,让聆听者轻易的跌入歌曲所塑造的世界中。还有,老虎鱼擅长的自然乐器收录、精湛的混音技巧与极高的录音水準,更是让这专辑听起来舒畅迷人的重要因素。

在最佳的音质、一流的伴奏、优美的歌曲下,你是否也準备好,让亚伦泰勒带你进入由动人音乐故事交织而成的旅程了呢?

【曲目】
01. Winter 冬天
02. The Almost Man 差一点先生
03. Back Home To You 回家来看你
04. Provence 普罗旺斯
05. Firefly 萤火虫
06. Lay Soft On Your Pillow 在你枕边轻躺
07. New York In The Seventies 纽约.七0年代
08. The Last Of The Privateers 最后的海盗
09. Leaving At Dawn 黎明时出发
10. It Could Have Been 本会是这样
11. Make Another Turn 转另一个弯
12. Red On Green 绿上的红


Allan Taylor - Leaving At Dawn
Label/Cat#: Stockfisch Records # SFR 357.4057.2 | Country/Year: Germany 2009
Genre: Rock, Folk | Style: Acoustic, Singer/Songwriter

Label: Stockfisch Records
Catalog#: SFR 357.4057.2
Format: Hybrid-SACD, Album, Stereo, Multichannel
Country: Germany
Released: 2009
Genre: Folk, Rock
Style: Singer/Songwriter

David Kidman, fRoots, August/September 2009:
The latest album from Allan, his 20th, is heralded as showing a return to the more folk-inflected style of troubadour song that characterised his earlier years. Whatever, Allan remains the consummate craftsman-in-song, and he hasn’t in any way abandoned the key themes and concerns that he’s developed and made very much his own over a long and illustrious career. Leaving at Dawn is absolutely quintessential Allan Taylor, instantly recognisable for its telling combination of a uniquely expressive, warm and inviting vocal delivery and an attractive, precisely captured instrumental backing, centred as ever around Allan’s own intricately moulded and mellifluous guitar playing. But it’s also the product of an artist of total maturity and integrity, delivering work of the highest self-imposed standards and exhibiting (in every single aspect of its presentation) supreme confidence without complacency.
This new batch of songs was written(with just one 1993 exception) between 2001 and 2007, each one a prime example of Allan’s second-nature ability to directly share his emotions in simple yet always profoundly literate language, thereby taking the listener on a journey that feels personal yet contains universal truths aplenty. Allan’s musings are affectionate and eloquent, yet often more complex than they appear, primarily because they’re shot through with the perceptiveness and realism that are the hallmarks of a true observer.
Leaving At Dawn is full of songs that follow the songwriter’s eternal preoccupation, reflection with regret, either musing sensitively on love (Lay Soft On Your Pillow, Back Home To You) or embodying a strong sense of genius-loci (Provence, New York In The Seventies), often memorably bringing together both strands in the same song. Especially beguiling here are two songs in traditional vein (Firefly, already celebrated in Tom McConville’s fabulous recording, and The Last Of The Privateers), The Almost Man (a chokingly pertinent tribute to Allan’s father), and Winter (a beautiful and masterfully poetic expression of tender reassurance), while Red On Green is Allan’s own translation of a poignant song of farewell composed by Massimo Bubola based on a WW1 love-letter written my Massimo’s uncle.
The disc’s exceptional, state-of-the-art recording draws you in right close, with Allan’s very special and intimate delivery cocooned by the immaculately judged and empathic contributions of a handful of other musicians (guitar, dobro, accordion, banjo, bowed psaltery, fretless bass). I feel sure that Leaving At Dawn will come to be judged as one of Allan’s finest ever collections.

Nigel Schofield, The Living Tradition:

Everything about this CD declares quality and consideration. Recorded with stunning digital clarity and released on SACD (don’t worry, it plays on your old CD player), it is packaged in a new design of durable jewel case and features a cover shot which is a little work of art in itself [‘delicate – looks like Vermeer”].
This collection of a dozen new songs is contemplative and elegantly crafted. While many of the songs here are reflective – a meditation brought on by the passing of his father, a translation of a lost soldier’s letter home, New York In The Seventies which does what it says on tin, several songs of discreet departure -, the overall mood is of optimism and possibility: “Let’s get on the road and follow that golden star” is the ultimate response to the arrival of the urn containing his father’s ashes.
What slips by almost unnoticed on first hearing is the narrative power of most of the songs here: they certainly evoke a time; they clearly depict specific situations; but they also subtly tell a story – one reaches the end of a song, having, as it were, enjoyed the view, wondering how you got to where you now are. By the time you’ve figured what’s happening, you’re hit with The Last Of the Privateers – a full-on narrative ballad.
Allan Taylor has always had that felicitous skill of making you want to listen to his latest album – rather than it simply prompting a return to earlier work. Here, it is not just the quality of the writing and singing which draws you back to the CD, but also the spacious, acoustic settings: they are rooted in folk music and are richly textured – among the instruments one hears accordion, banjo, fiddle, cor anglais, bowed psaltery, fiddle, viola, a looping fretless bass and, of course, magnificent rolling acoustic guitars. It is, in short, an acoustic treat.
Speaking of the album’s folk influence, one must quote Allan’s note on the tradition-based Firefly: “Many of the finest songs I know are from the tradition and the British Isles and Ireland are graced with some of the most beautiful and powerful songs in the English language.” Some of the finest songs you’ll hear this year on this CD. To steal a line from The Almost Man, “he’ll smile and say, ‘You did it, Al’ ”.


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专辑曲目

01. Winter 3:54
02. The Almost Man 6:31
03. Back Home To You 4:43
04. Provence 3:46
05. Firefly 6:07
06. Lay Soft On Your Pillow 4:06
07. New York In The Seventies 6:10
08. The Last Of The Privateers 5:43
09. Leaving At Dawn 4:19
10. It Could Have Been 3:36
11. Make Another Turn 5:08
12. Red On Green 3:46

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