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Someone had asked for more Chinese music, so here’s something for you all~
Peter Ho (何潤東) ★ 好想對你說 (Really Want To Tell You)
album type seventh (??) album
release date 02.08.2007
language Chinese – Mandarin, Japanese
genre CPop
record label 豐華唱片 (Forward Music)
buy it YesAsia
01. 黑色翅膀
02. DiDa
03. 悲傷也快樂
04. 一封信
05. 白屋之戀
06. 雙飛
07. 沒有我你怎麼辦
08. 好想對你說 (vs. 張娜拉)
09. Think About You
10. 星海流浪的人
11. 你的回答
12. 無我
13. 最後一天
14. 星海流浪的人 (日文)
Full Album
DOWNLOAD ★ [84.51 MB]
Music Videos (via YouTube) [… these Chinese singers really like making these, huh? D:]
→ 黑色翅膀 (Black Wings)
→ DiDa
→ 一封信 (A Letter)
→ 白屋之戀(Love in a White House)
→ 沒有我你怎麼辦 (What Will You Do Without Me)
→ 好想對你說 (vs. 張娜拉) [Really Want To Tell You (vs. Jang Nara)]
→ 星海流浪的人 (Person Who Roams the Stars and Seas)

安室奈美恵 ★ PLAY
album type 7th album
release date 2007.06.27
language Japanese
genre Jpop / R&B; / urban
record label avex trax
buy it yesasia / cdjapan
01 Hide&Seek
02 Full Moon
03 CAN'T SLEEP,CAN'T EAT,I'M SICK
04 It's all about you
05 FUNKY TOWN
06 Step With It
07 Hello
08 SHOULD I LOVE HIM?
09 Top Secret
10 Violet Sauce (Spicy)
11 Baby Don't Cry
12 Pink Key
album (69.45 MB @ 192kbps)
→ [ download sendspace ]
→ [ download gigasize ]
→ [ download megaupload ]

Fly To The Sky (플라이 투 더 스카이) ★ 7집 - No Limitations
album type Vol.7
release date 2007.07.03
language Korean
genre Kpop / R&B; / ballad
record label Pfull Creative/T Entertainment
buy it yesasia / annyoung
translations tracklist
01 사랑해
02 My Angel
03 기억한줌
04 가질 수 없어도
05 미워해줘
06 남겨진 사람
07 Let's Get It On
08 Man 2 Man
09 3번째 날
10 결혼하지마
11 그래도 사랑입니다 (Feat. Heritage)
12 오늘도 이쁜걸
13 Kissing you (Feat. Issac Squab Of Trespass)
14 가벼운 사랑 (Feat. Hyun Moo & TKO Of Trespass)
album (76.62 MB @ 192kbps)
→ [ download sendspace ]
→ [ download gigasize ]
→ [ download megaupload ]

After my earlier post, 'Greg' requested this, so here it is!
AN EPIC CD THAT YOU PROBABLY HAVEN'T HEARD OFThe world of Isobel Campbell’s Amorino is like Eric Rohmer’s early 1960s work playing back in a perpetual loop. That set-up requires some explanation. Amorino, Campbell’s first true solo album since leaving Belle and Sebastian last spring, tries to set a scene more than it tries to captivate or fascinate its listeners. No one who has heard Belle and Sebastian, or Campbell’s Gentle Waves side project, or her EP with Bill Wells last year, will be surprised to learn that the scene that this album sets is one before popular music committed itself to the flat rock and roll path (on which every song has to feature either the guitar or a very clever substitute for a guitar, like a reversed guitar), a time when jazz was still popular enough that songwriters naturally wrote trumpet parts, just as a great many rock songwriters naturally write songs with guitar chords.
And the part about Eric Rohmer? She conjures a very specific kind of popular music – one that prized musicianship above energy and emotion, one in which the vocalist had to sing in key and in tune with the band, and one in which feedback and reverb were the kind of things studio engineers were supposed to get rid of. That of course was not the dominant mode of popular music even in the early 1960s, but it was a mode popular in Europe, particularly in France. You can hear it in the soundtracks of New Wave movies, blaring from the transistor radios of beachgoers stuck in traffic. Also, to put the matter bluntly, the title track ends with a voice-over in French, which is about as obvious a sign of the album’s influences as a critic can hope to receive.
Given its inspirations, Amorino is not supposed to be a dense or difficult album; the songs reveal everything in their early moments and there is no twisted construction to sort through, nothing anyone is in danger of missing after a single listen. It’s a style – and an album – that can be judged entirely on its obvious merits. The songs are meant to be pleasant, perhaps even beautiful at times, and the expanded musical palette – the violins, cellos, flutes, accordions, and so forth – is not the least bit experimental. The instruments are not pressing the boundaries of the form – they just happen to be the sorts of instruments that those who wrote and played French pop music used.
For people attuned to this sort of thing, Amorino is certainly worth it. The orchestral sweep of “Why Does My Head Hurt So” and “This Land Flows With Milk” remind us of a time when non-Francophone kids could enjoy Serge Gainsbourg without having to worry about the more disturbing implications of his lyrics; as far as they are concerned it was just sweet of him to duet with his daughter. Fans of Belle and Sebastian – and I’ll make a safe assumption that they comprise the vast majority of people interested in this album – will appreciate the album’s closing duet, “Time is Just the Same,” a guitar sing-along with a partner’s whose voice is about a register deeper than Stuart Murdoch’s, but that echoes some of their finer call-and-response moments just the same.
Still, there are missteps. The big band stomp of “The Cats Pyjamas” unfortunately confirms that harkening back to the time of the French New Wave also involves harkening back to the prohibition-era United States (hell, anyone who’s seen “Breathless” ought to know that). “Johnny Come Home” strips down its jazz accompaniments to dusted percussion and toy-piano plinking with only the faintest hints of strings and woodwinds, and Campbell – whose voice is good but not exactly powerful – cannot seem to make it work.
Of course, I’ve ignored so far the elephant that walks into the room whenever a Belle and Sebastian album – or splinter-album – comes under discussion: the “twee “ label. There’s no getting around it: this album is twee. Its melodic songs lack the fiery drive and urgency of rock and roll, consciously recalling an era of music of interest only to people looking for something truly vintage. Even if it were a more straightforwardly modern album, Isobel Campbell’s high, breathy vocals would still draw the charge from some listeners. The album’s greatest limitation, then, is that one has to be in a particularly receptive mood in order to sit down and listen to it. But “twee” implies an element of affected cuteness and vulnerability that the dark sophistication of most of the tracks – the title track most obviously – preempts. Campbell and her former bandmates have always been good at that trick: the music suggests an air of sunny naivete that the lyrics then undercut. “Monologue For An Old True Love,” for example, starts out as a simple tell-off, but gradually gives way to unrepentantly spiteful manipulation. Amorino may construct a mid-twentieth century idyll, but it’s careful to include moments of contemporary desperation as well. All in all, a pretty complete picture.
Isobel Campbell : "Amorino" (2003, FULL CD, HQ MP3)



