专辑中文名: Beatles 1
歌手: The Beatles
资源格式: APE
发行时间: 2000年11月14日
地区: 美国
语言: 英语
简介:
专辑评论:
对于一个Beatles歌迷来说,手头银子多的时候才可以考虑买这么一张唱片权作纪念,因为它收录的曲子想必在你的专辑收藏和其他精选辑里已经出现过n次了。但是对于一个刚开始了解欧美流行音乐历史的人来说,这张唱片无疑是最佳入门课程。从早期“I Want to Hold Your Hand ”简单诚挚的快乐到Yesterday,Hey Jude,Let It Be这样的成熟经典,一应俱全。如果这样的懂得音乐的披头四(Beatles)不能打动你,那你还是回头听F4吧。
唱片文案:
披头四的作品总是那么完美。这四个年轻人,约翰、保罗、乔治和林戈,打败了同时代的无数竞争对手,他们将作为二十世纪最伟大的乐队和作曲家而载入史册。
从“Love Me Do”到“TheLong AndWinding Road”,这张精选辑横跨了八年时间,记载了那段摇滚乐的辉煌岁月。这是一张绝对精彩的唱片,对我来说,经历过那个时代同样精彩。乔治·马丁(被誉为"披头四第五名成员"的制作人)
对许多人而言,披头四乐队代表的不只是一个音乐团体,同样也是一种乐风、一个故事、一个风光的时代。在约翰·列侬逝世即将满20年的这个时候,中唱上海公司继《黄色潜水艇》之后,隆重推出了收录披头四乐队自1963年5月至1970年6月,17首在英国、20首在美国拿下的全部冠军单曲精选辑《1》,献给所有喜爱Beatles的乐迷们。这张专辑以抢眼的红色画上大大的"1"为封面,突显整张专辑给予人独一无二的印象。《1》中收录了27首Beatles乐队在英国及美国两地的排行榜上得过第一名的所有歌曲,可谓一网打尽而又绝对超值。唱片中涵概了Beatles乐队三个时期的佳作;包括了刚出道时期,青春萌动爱情期的Beatles的歌曲如“Love Me Do" 、"I Feel Fine”及“I Want To Hold Your Hand”等之类的清新爽朗的小品;包括了Beatles与THE ROLLING STONES在歌坛上抗衡,以及乐队受到印度禅师Maharishi的影响后成熟又大气的作品如,“All You Need Is Love"、 "Yellow Submarine"及“ Hey Jude ”等之类的曲子;当然还包括beatles后期,在大野洋子介入乐队情况下的作品如,“The Ballad of John and Yoko"、“Let It Be”、“ The Long And Winding Road ”等等。
REVIEW FROM AMAZON.COM:
Proving yet again their willingness to dice 'n' slice their burgeoning legacy into new--if not exactly fresh--product, the Fab Four Minus One have released this single-disc compendium of their No. 1 hits. Though obviously superfluous to the faithful (who may also find themselves quibbling over the precise definition of "No. 1 hit" and the exclusion of seeming contenders like "Please Please Me" and "Strawberry Fields"), newly arrived visitors from the Pleiades star cluster and other neophytes will find it a concise and generous (nearly 80 minutes) single-disc introduction to the band's career-spanning, unparalleled dominance of pop music in the 1960s. But beyond being a mere trophy case of commercial success (and it won't be hard to find critics who'll argue that these singles aren't even the band's best work), it's also a Cliff's Notes take on a remarkable seven-year run of musical evolution, one that stretches from the neo-skiffle of "Love Me Do" through a remarkable synthesis of R&B, rockabilly, Tin Pan Alley, gospel, country, and classical that still defies efforts to effectively deconstruct it. This is the pop monument equivalent of the '27 Yankees and '90s Bulls; it's every bit as obvious and dominating--and just as essential. --Jerry McCulley