First time on CD for his 1972 solo debut. Remastered from the original tapes. New photos and extensive sleeve notes. Tracks include 'I Can't Stand It', 'Lisa Says' and 'Ocean'. 2000 release. Standard jewel case housed in a deluxe slipcase.

Among My Swan is the third album by the band Mazzy Star. Although Among My Swan did not contain any US Billboard Hot 100 hits like its predecessor, So Tonight That I Might See, this album did garner the band its highest-ranking single on the UK Singles Chart, when "Flowers In December" reached #40 in November 1996. The album's second single, "I've Been Let Down", did not chart in either the United States or the UK.
Among My Swan relied less on the echo effect that was nearly ubiquitous in all tracks on the previous two albums. Hope Sandoval's voice is paired with simple acoustic instrumentation that marks most of the tracks. The guitar and harmonica accompaniment on "I've Been Let Down" is a prime example of this. These tracks are not markedly different in sound or feel from the preceding two albums.
Among My Swan is widely considered to be Mazzy Star's final album; although the band has not officially broken up, they have released no new material since the release of "I've Been Let Down" as a single in 1996, and lead singer Hope Sandoval has gone on to form Hope Sandoval & The Warm Inventions, which released an album in 2001.
民谣乐队Mazzy Star（迷乱星辰）于1996年推出的专辑，曲风迷幻、黑暗。

组建时间：1989 国籍：美国
风格类型：Adult Alternative Pop/Rock（成人另类流行/摇滚） Alternative Pop/Rock（另类流行/摇滚） Dream Pop（梦幻流行）
迷幻音乐在九十年代成为尚存后朋克的中坚力量，Mazzy Star便是其最杰出的代表之一。这并不意味着Jefferson Airplane、the Grateful Dead这些乐队的追随者可以在Mazzy Star身上继续寻找到他们偶像的踪迹，事实上，Mazzy Star本身已经开创了自己的音乐流派。Mazzy Star更加喜欢阴柔凄美的迷幻味道，从他们的音乐中我们更容易发现像the Doors、the Velvet Underground的遗风。他们邋遢懒散的吉他、悲痛哀怨的民谣曲风几乎弥漫了这个九十年代，几乎成为此类音乐的一种标准。
Mazzy Star事实上是吉他手David Roback、主唱Hope Sandoval的私人乐队。David Roback在Opal乐队时听到了由Hope Sandoval演唱的一盒录音带《Going Home》，Hope嗓音的明亮、飘渺、穿透力、空间感深深打动了他。在Opal乐队的最后一次巡演中，Hope成为了乐队的主唱，不久后，David Roback和Hope Sandoval组建了Mazzy Star。1990年，乐队录制了第一张专辑《She Hangs Brightly》。原本要发行这张专辑Rough Trade美国分公司不久后陷入危机，但幸运的是，Capitol公司接纳了他们，并且顺利发行了专辑。这是一张Post Punk(后朋克)意味浓郁的唱片，其绵长幽深的迷幻意味与the Doors的《The End》一脉相承，而轰鸣的吉他声响又似来自The Velvet Underground的《What Goes On》的真传。这只是这张专辑的一半内容；而在另一半则专注于那些令人久久难忘的小调、民谣和舞剧，而主唱的声音则出卖了它民谣的根源，带着布鲁斯的回音拖曳而去，远离现实的喧嚣与浮躁，与自由状态的自由联想一起漂浮。此外，他们把重点放在了情绪与结构的建造上，而避开形式多样的诱惑和宣讲真义的良机。作为Mazzy Star的处女专辑，《She Hangs Brightl》首先继承了David Roback的前乐队Opal的《Happy Nightmare Baby》的衣钵。David Roback继续着他早在Rain Parade期间就已经开始的新迷幻主义加黑暗色调的冰块加水之旅。随着出众的梦幻气质的《Halah》和受车库摇滚启发的《Blue Flower》，唱片很快失去了焦点，然而坚实的氛围最终突破了言语的限制，不确定的旋律终于起飞了。
《She Hangs Brightly》专辑共有十一首歌，其中Blue Flower是翻唱一支七十年代乐队Slapp Happy的，I'm Sailin'是翻唱一支名为Memphis Minnie的同名作品。再除去Sylvia Gomez写的Give You My Lovin'之外，所有歌曲都是由Hope作词，David作曲。唱片的封面是在一间巴洛克的古宅里拍摄的，石柱，楼梯，通往暗雨的门，仿佛幽灵的歌声始终飘荡。这张唱片的风格，或者说是MAZZY STAR以后所有作品的风格------始终是以民谣和布鲁斯为基础的。但在致幻剂的作用下，又远不同于普通的民谣。它冷冷清清，凄凄惨惨的情绪，弥漫在那眩晕的音符，和剔透的浅吟之中。滚石杂志在1990年9月给了它四星的极好评价：“这是由恶兆般的，缓缓旋绕的黑暗嗓音，和易碎的音调组成的安眠曲。如同不详的夜空映照在湖面上一样让人神魂颠倒。”新专辑的发行并没能让Hope和David一夜成名，实际上，他们或许从没想到过这些。他们的生活和他们的音乐一样是个不解之迷。Hope甚至反感当众表演。人们猜测她大概是太害羞了。Hope曾经说过：“在我的唱片得到更好的反响的时候。我在现场也真的会很紧张。当你站在台上，你总得像很多人期望的一样，去表演。我不那么做，我总是站在那里不知所措，而且不知道对观众们说些什么。这对我来说太难了。” 而听者们又能要求什么？She Hangs Brightly，这是一首关于月亮的歌。月亮的清辉带给你阴郁的幻象，又要她说些什么？
David Roback曾是一个迷幻疯子，一个音乐的阴谋者。在Mazzy Star中，他暂时隐去了，而Hope Sandoval成为他的代言人，用她不连贯的腔调和可以杀死人的甜蜜语气将人们蛊惑。他们的音乐才能远远超过他们的社交能力，我们应当感激与他们进行沟通的录音师。黑色的带有情色意味的女主音伴随着柔软的吉他声线进入以中速行进的列车。

迷幻音乐在九十年代成为尚存后朋克的中坚力量.Mazzy Star便是其杰出代表之一. Mazzy Star更加喜欢阴柔凄美的迷幻味道.从他们的音乐中更容易发现像the Doors.the Velvet Underground的遗风.邋遢懒散的吉他悲痛哀怨的民谣曲风几乎弥漫了整个九十年代几乎成为此类音乐的一种标准.Mazzy Star事实上是吉他手David Roback主唱Hope Sandoval的私人乐队. David Roback在Opal乐队时听到了由Hope Sandoval演唱的一盒录音带[Going Home].Hope嗓音深深打动了他.在Opal乐队的最后一次巡演中.Hope成为了乐队的主唱.不久后.David Roback和Hope Sandoval组建了Mazzy Star.乐队组建初期音乐风格和路线即已经划定.所有的音乐理念的构建在第一张专辑中即都几乎全部完成.此后的两张专辑都是在此基础上再填加一些其它的音乐元素的再发展.但终究没有出离原来的路线，这不知是乐队的创造力不足还是风格的限制或者其它什么原因.其实这也是大多数非主流乐队的最终归宿.在人员组合结构所决定的才华一次性燃尽后.难以为继.最终以解散告终.

2004年新版本，Satellite Of Love、Walk On The Wild Side、Perfect Day为Original版本，增加Hangin' 'Round、Perfect Day两首原声吉他版demo。

Music comes from many different places. Some of it comes from happy accidents; a lot of it comes from the programmed, laboratory environment of a hit factory. Very occasionally, great pop music comes from somewhere deeper within the soul. So it is with The Orange Lights. Their epic, widescreen guitar soul has melodies that scare the sky and words that come laden with meaning and tug at the heartstrings. One listen and there's every chance you'll be hooked. This was definitely the case for fabled Coldplay producer Ken Nelson, who ignored the pile of lucrative offers from major artists and chose instead to work with The Orange Lights when they were still unsigned. Nelson felt - and responded to - the band's music and their passion. It was a similar case for Richard Ashcroft producer Chris Potter, who worked on the album initially, and Chris Lord-Alge, the LA-based award-winning mix engineer who polished the record with his trademark 3D sound.
It's been a similar tale as the band have begun making live appearances: blowing people away as far apart (geographically and spiritually) as Newcastle, Los Angeles (where they appeared at Musexpo, LA's In The City) and Ibiza (Ibiza Rocks supporting the Editors, and broadcast on Channel 4). When the band performed acoustically in front of the BPI / The Brits committee at an industry gathering at The Staples Center in LA, Steve Redmond stated: "I was knocked out. Four out-of-the-box radio records".
America seems to love them too: the band have stacked up 56 plays on Indie 103 in Los Angeles, and 17 plays to date on KCRW - the two most influential radio stations on the West Coast - before even releasing a record! And now Nic Harcourt is championing the band on his hugely influential Morning Becomes Eclectic show with strong support of Let The Love Back In.
In one sense, The Orange Lights are the vehicle for the enormous, emotional vocal chords of Jason ("Jay") Hart - a deceptively quiet, unassuming man with a big, big voice. Which makes it quite ironic that his previous claim to fame was as a touring guitarist - in Jason Pierce's Spiritualized. Jay hasn't quite put the guitar down - he still plays in The Orange Lights - but is mostly concentrating on his vocals. Still, it's unsurprising that The Orange Lights have been compared to - along with New Order and Primal Scream circa Damaged - "a mainstream Spiritualized."
Co-creator of The Orange Lights is Newcastle-based songwriter Paul Tucker, who had had considerable past success but was at a loose end when he came across Nottingham-born Jay after a mate gave him a CD. At the time he'd just been looking for a guitar player, but was struck not just by Jay's distinctive fretwork, but that voice. It sounded then as it still sounds now: wounded, fragile but powerful, soulful. "I was blown away, transported," says Paul. "There was this huge landscape of guitar... and somebody singing. I just had to meet this guy." Even now, Paul is in raptures as he tries to describe what it felt like when he heard that voice for the first time. "It was very warm... but there was something almost ghostly about it."
They met and bonded over music, as mates do - spending a lot of time playing each other differing influences from old soul to Echo And the Bunnymen, and all points in between. In fact, if there is an Orange Lights sound it's the collision between soul and indie or alternative guitar music. "In many ways we're a soul-rock band,' muses Paul, who in a previous musical life penned most of soulsters the Lighthouse Family's biggest hits. There's also something different and nagging about the music: it's hugely positive, but post-traumatic: songs which sound like they're trying to find something good after something horrendous. Which, it turns out, is exactly how they came about.
Three years ago, a family tragedy led Paul to experience what he calls "My own personal 9/11. I think the band's music was defined by that," he says, quietly, telling of a "big black cloud" that followed him around for the best part of two years. One night, he sat at the piano and wrote the first of The Orange Lights' trademark songs. "I thought about what had happened and Life Is Still Beautiful came out of my fingers in about 10 minutes," he says. "It was probably the quickest thing I've ever written. It just flooded out.
Jay was the perfect person to sing it, because at the time he was going through a similarly traumatic period involving someone he was very close to. "The synchronicity was uncanny," he admits of the way Paul would write words that seemed eerily appropriate to him. "We'd go in there [Paul's Tyneside rehearsal room and recording studio The Beach] and the pair of us were in bits. You can hear it, the processes we went through." Indeed. There were moments, Jay admits, when they were too bound up in trauma to write anything in the studio. However, usually, explosions of feelings manifested themselves in uplifting music. Sometimes, only afterwards they realised just how much of what Paul calls the "dark stuff" had found its way into song.
When Jay recruited Chris Gittins (bass) and Alex Lucas (drums) - mates he'd known and played with on and off for years - The Orange Lights became a band. Paul and Jay then saw guitarist Ewan Warden playing with London band Grand National and was blown a y. Together, they talked about what they wanted soundwise and all agreed that it should be widescreen, symphonic, like a "sound prssure wave."
The band adopted the unusual strategy of approaching producers rather than record companies, and were amazed when one of their favourite sound shapers - Ken Nelson, whose work they'd loved with Kings Of Convenience and early Coldplay. Coldplay's X & Y album was erupting just as the unsigned band's demo landed on the table. Out of the blue, the band received a message saying Ken Nelson wanted to meet them. He travelled up to Newcastle, listened to a "very rough" demo of the achingly personal My Guardian Angel - and simply nodded his head. All went quiet for three weeks before he suddenly phoned up saying he'd love to do it. It was a similar tale with Chris Potter, best known for his work on the Verve's truckload-selling Urban Hymns - who has produced no less than seven Orange Lights tracks. Both producers have captured The Orange Lights as they sound during their well-received live performances: emotional, raw, epic; in your face.
Some personal situations are ongoing, but they've clambered from the wreckage with great songs, driven skyward by the sheer force of Jay's soul and golden voicebox. "When you get a tune together and the hairs on the back of your arms stand up, you know you've got to carry on," he smiles, quietly. "I think it is something special, because it's come from a genuine place."

虽然这是Chris Garneau的第一张唱片，但却丝毫没有生涩的感觉，相反，歌曲散发的魅力是很有深蕴的，足可以让人沉醉。他走的风格路线还是比较低迷的，伤情的，是一张听了可以让你跟着沉沦的唱片。歌曲的伴奏主要以钢琴为主，甚至常常一首歌曲只有钢琴在游走，虽然简单，不过就在简 单之中，给了听众最直接最简洁的触动。

布蘭迪·M·卡莉是一位美國另類鄉村和民謠搖滾創作歌手。她已發行多張唱片，包括《The Story》，《Give Up the Ghost》和《Live at Benaroya Hall with the Seattle Symphony》。專輯曾經達到「Top Rock Albums」排行榜第14名。