这部雄浑壮伟的钜作，正是滚石探索美国音乐集其大成的总验收－－蓝调、乡村、灵魂、福音，从Gram Parsons教给他们的白人歌谣到国会图书馆留下来的二○年代密西西比田野录音，Exile On Main Street探索了摇滚乐所从出的美国文化最深邃的灵魂，也替后世树立了一座绝难攀越的巨碑－－或者该说，一条切进美国音乐古老的心脏地带的Main Street。　　 Exile On Main Street，如今大家都同意，是摇滚乐诞生至斯，最值得纪念的扛鼎之作，可能也是滚石最好的一张唱片－－不幸的是，它也是滚石最后一张真正担得起「伟大」两字的专辑，结束了他们从1968年起算的辉煌年代。

The Doors乐队于1965，在洛杉机成立，乐队成员是歌手JimMorrison、键盘手Day Manzarek、吉他手Robbie Krieger和鼓手John Densnore。乐队的倡导者Morrison为乐队取了“The Doors”的名字。同年，The Doors因为Morrison的《末日》而结识了Love乐队的歌手Arthur Lee, 由他引荐给了Joc Holzmen的Elektra唱片公司，并签约于该公司。

1967年1月，乐队首张专辑《The Doors》推出，立即在歌坛上引起了强烈的反响，不仅很快打入排行首，并且停留121周之久也为之罕见，专辑中《燃起我的心火》和《结束》两首主打歌曲更是精妙之作，充分展示了乐队乐手精湛的技艺及Morrison非凡的创作才华。7月，《燃起我的火》，精炼后又作为单曲发行，100多万张的销量使The Doors乐队成为世界一流的摇滚乐队.

legend's first album and RS 's best album ranking 29...

1971年，The Who与制作人Glyn Johns合作了专辑《Who's Next》（谁是下一个）。这张专辑的音乐更硬更重了，它又成了一张热门专辑，其中很多歌象“蓝色眼睛的背后”、“不再受欺骗”、“讨价还价”和Entwhistle的“我的老婆”成了70年代那些专辑化的立体声电台的奠基石。

摇滚乐真正的先行者Chuck Berry在1955－1965年间最脍炙人口的28首金曲的精选，他的歌曲带有明显的由乡村民谣向摇滚乐过渡的特征，曲风清新质朴，欢快洒脱，作为一个杰出的吉他手、创作人和歌手，Chuck Berry影响了后世无数的摇滚大师，有人说，如果没有Chuck Berry，Beatles和Bob Dylan等人的出现全都是不可想像的。
这张专辑在滚石杂志选出的500张历代最强专辑中排名第21位。
This is the place to start listening to Chuck Berry. The Great Twenty-Eight was a two-LP, single CD compilation that emerged during the early '80s, amid a brief period in which the Chess catalog was in the hands of the Sugar Hill label, a disco-oriented outfit that later lost the catalog to MCA. It has proved to be one of the most enduring of all compilations of Berry's work. Up until the release of this disc, every attempt at a compilation had either been too sketchy (the 1964 Greatest Hits album on Chess) or too demanding for the casual listener (the three Golden Decade double-LP sets), and this was the first set to find a happy medium between convenience and thoroughness. Veteran listeners will love this CD even if they learn little from it, while neophytes will want to play it to death. All of the cuts come from Berry's first nine years in music, including all of the major singles as well as relatively minor hits such as "Come On" (which was more significant in the history of rock & roll in its cover version performed by the Rolling Stones as their debut release). The sound is decent throughout (surprisingly, except for "Come On," which has some considerable noise), although it is considerably outclassed by the most recent round of remasterings. In the decades since its release, there have been more comprehensive collections of Berry's work, but this is the best single disc, if one can overlook the relatively lo-fi digital sound.

朋克教父Iggy Pop和风格多变的David Bowie的Stooges在1973年推出的一张朋克专辑。这张专辑从未被主流市场认可，但在早期朋克运动中却扮演了教科书似的角色，成为无数人争相效仿和试图超越的对象。
本专辑在滚石杂志评出的500张历代最强专辑中排名第125位，这里发布的是2002年重新灌录的版本。

朋克的摧毁在作用于外部世的同时，同样也在心灵深处进着，Stooges和Iggy Pop开拓了形式后的朋克精神，这是一支相当心灵化的朋克乐队。

当你面对一个颤抖着的、具强大震撼力的灵魂时，你能做些么呢? ——跟随着它一起颤抖吧，是最好的感受方式了。Stooges的音乐中弥散着一种摄人心魄的失重的坠落感(尤其体现在伟大的杰作《Fun House》中)，你所需要做的就闭上眼睛，任凭心灵被lggy Pop发自灵魂深处的声音牵引着一起下坠。

一座铁索桥架在两壁悬崖间，他跪在桥上，一块块地用双拆着木板，脸上是神经质般纯洁笑客——这是Iggy Pop给予人的那令人恐惧、指向地狱的坠落感。

然而，在享受Stooges的恐惧、堕落的同时，我们所感受到的不只是自虐、受虐的痛苦，痛苦的背面是压抑后被释放的自由的快感，这正是Stooges的伟大之处——在压抑中发泄，在绝望中获得解放，在痛苦感受快乐，这些矛盾的揉合体形成Stooges音乐复杂、丰富的个性，并展现了一个勇敢面对矛盾冲突，进入其中以求得到解答(甚至不惜以牺牲自己为代价)的灵魂，这是Iggy Pop无畏的伟大，是沼泽中求生存，悬崖边求学援，压抑中求释放的勇敢——人一旦屈服于命运便失去了真正造就人的东西，也不能再称为"人"，因为人不能没有精神。

在感受Stooges的音乐时，我们总是无法摆脱一种窒息与释放相交错而成的炽烈、强大的生命力，强大得令人畏惧，这种危机与生命的复合形成了Stooges音乐中无休止的挣扎--如果不想被流沙淹没，只能不停地奔跑，摇滚／生命一刻也未停止过这种挣扎，这种挣扎是痛苦的，但却能给人快感和幸福。

如果生命是为了屈服，不如从死亡中解放；如果生存是为了斗争／革命，那么当你投身其中时，便已经理解生存的含义，并与使命融为一体了。

生存便是为了摧毁，而摧毁就是解放，但或许真正的解放只有在来生中才能找到——人若想要不妥协，恐怕只有放弃肉体，才能保全精神。

Stooges的音乐是极其震撼力的，那种痛苦地受虐／自虐性的快感使人不由自主地把自己整个地交给颤栗。乐队1969年的专辑《Fun House》绝对是一部伟大的作品，其中最突出的是大量的萨克斯风，以连续跳跃，不断变化的表达方式体现了摇摇欲坠的危险感——痛苦、恐惧，却很快乐。Iggy Pop像个站在悬崖边上向激流里的岩石张望的舞蹈者，在快感进发的吼叫声中，Iggy Pop将自己奉献给痛苦和死亡，在这死神的舞蹈中，Iggy Pop竟用充满自虐感的声音喊出了“I feel alright，I feel alright，Feel alright……”，这是精神的一种伟大的挣扎。

Stooges音乐中的跳跃感像是一团火，Iggy Pop似乎在烈焰中舞蹈，撕扯看自己，带着纯洁、撕裂、快慰的微笑——这是临近死亡的体验，是享受痛苦的欢乐。在《Fun House》结尾，你可以听到Iggy Pop绝对自虐性的，带看微笑的呻吟，就如神经质一般的纯洁、真实。

感受Stooges的音乐与Iggy Pop的体验是十分痛苦的——如果你真正理解它，而非头脑简单地把它仅仅当作重金属，或无聊的渲泄，或是站在旁边去做什么"欣赏者"的话，溶入Iggy Pop式的生命释放，你将对灵魂的涵义有一次更为彻底的理解和再创造，这种心灵的再生是极为可贵的，人的一生之中又能有几次这样的再生?

在Iggy Pop充满自我折磨的快感的吼声中，我们找到了弥散着摧毁欲的朋克源头。

紐約New Wave/Punk老祖，The Strokes,Franz Ferdinand等等無數現今New Wave/Punk復辟者的祖師爺，無懈可擊的處男專集，當中的音樂構想編排完全超越Punk的界限。請聽聽一曲Marquee Moon就知所言非虛。

First CD reissue of the album.

Sgt. Pepper's Lonely Hearts Club Band (often referred to simply as Sgt. Pepper) is the eighth studio album by the English rock band the Beatles. Released on 26 May 1967, Sgt. Pepper is regarded by musicologists as an early concept album that advanced the roles of sound composition, extended form, psychedelic imagery, record sleeves, and the producer in popular music. The album had an immediate cross-generational impact and was associated with numerous touchstones of the era's youth culture, such as fashion, drugs, mysticism, and a sense of optimism and empowerment. Critics lauded the album for its innovations in songwriting, production and graphic design, for bridging a cultural divide between popular music and high art, and for reflecting the interests of contemporary youth and the counterculture.

«Before Sgt. Pepper, no one seriously thought of rock music as actual art. That all changed in 1967, though, when John, Paul, George and Ringo (with "A Little Help" from their friend, producer George Martin) created an undeniable work of art which remains, after 30-plus years, one of the most influential albums of all time. From Lennon's evocative word/sound pictures (the trippy "Lucy in the Sky With Diamonds," the carnival-like "Being for the Benefit of Mr. Kite") and McCartney's music hall-styled "When I'm 64," to Harrison's Eastern-leaning "Within You Without You," and the avant-garde mini-suite, "A Day in the Life," Sgt. Pepper was a milestone for both '60s music and popular culture. --Billy Altman»

Credits:

Phonographic Copyright ℗ – EMI Records Ltd.
Copyright © – EMI Records Ltd.
Artwork [Cover Staged By] – Jann Haworth, Peter Blake (4)
Artwork [Cover] – M C Productions, The Apple
Artwork [Wax Figures] – Madame Tussauds
Design – Paul Wilkinson (3)
Design Concept [Cd Packaging Design Idea] – Kathryn Varley
Engineer [Recording] – Geoff Emerick
Engineer [Second] – Richard Lush (tracks: 1 to 8, 10 to 13)
Liner Notes – Peter Blake (4)
Liner Notes [Quote] – George Martin
Liner Notes [Words] – Mark Lewisohn
Photography By [Cover] – Michael Cooper (8)
Producer – George Martin
Written-By – Lennon/McCartney* (tracks: 1 to 7, 9 to 13)
℗ 1967 Original Sound Recordings made by EMI Records Ltd.
© 1967 EMI Records Ltd.
© 1987 EMI Records Ltd.

Made in the U.K. (on back cover). Made in Italy (on CD).

Comes in a jewel case enclosed in a cardboard box with a 28 page booklet including Sgt. Pepper's cut-outs.

Track 1 recording started in studio 2 at Abbey Road on February 1, 1967. Album version mixed from take 10.
Track 2 recording started in studio 2 at Abbey Road on March 29, 1967. Album version mixed from take 11.
Track 3 recording started in studio 2 at Abbey Road on March 1, 1967. Album version mixed from take 8.
Track 4 recording started in studio 2 at abbey Road on March 9, 1967. Album version mixed from take 15.
Track 5 recording started at Regent Sound Studio, Tottemham Court Road, London on February 21, 1967 and later completed at Abbey Road. Album version mixed from take 3.
Track 6 recording started in studio 2 at Abbey Road on March 17, 1967. Album version mixed from take 9.
Track 7 recording started in studio 2 at Abbey Road on February 17, 1967. Album version mixed from take 9.
Track 8 recording started in studio 2 at Abbey Road on March 22, 1967. Album version mixed from take 2.
Track 9 recording started in studio 2 at Abbey Road on December 6, 1966. Album version mixed from take 4.
Track 10 recording started in studio 2 at Abbey road on February 23, 1967. Album version mixed from take 11.
Track 11 recording started in studio 2 at Abbey Road on February 8, 1967. Album version mixed from take 11.
Track 12 recording started in studio 1 at Abbey Road on April 1, 1967. Album version mixed from take 9.
Track 13 recording started in studio 2 at Abbey Road on January 19, 1967. Album version mixed from takes 6 & 7.

Black and white photograph courtesy of the Michael Cooper Collection.

The rear of the booklet states all tracks except 8 are by Lennon/McCartney, but the liner notes are more specific.