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BOØWY 1224 THE ORIGINAL



☆ 『BOØWY 1224 -THE ORIGINAL-』告知映像



ユニバーサルミュージックの告知ページより

BOØWYが解散宣言をした1987年12月24日の伝説のライヴ映像が4Kリマスタリング、「Only You」も完全収録して発売決定!


2017.09.29  TOPICS


今年デビュー35年目を迎えた伝説のロックバンドBOØWY。1987年12月24日に東京・渋谷公会堂で行い解散が発表されたBOØWYの伝説的ライヴが、今年新たに発見されたオリジナルフィルムを用いて編集され、高画質の完全版として発売されることになった。

この映像作品『BOØWY 1224 -THE ORIGINAL-』は、BOØWY 35周年プロジェクトの集大成として発売されるもの。今年倉庫から発掘されたオリジナルフィルムを、LAのスタジオで4Kスキャニングしデジタル映像データ化。BOØWY作品を数多く手がけた映像ディレクターである前島輝氏が、30年の時を経て新たに編集を施し、初のHDおよび4K・HDR化、及び初の16:9画角での登場となる。音源も新たにリマスターされたものを使用。そして幻の“「ONLY YOU」の中の空白の数十秒”が初めて復元されて収録されている。

商品は3形態となっており、「DVD」、「Blu-ray」、そしてもう一つの形態は、日本の音楽ソフトでは初となる「4K Ultra HD Blu-ray」の3形態でリリースされる。

また『BOØWY 1224 -THE ORIGINAL-』発売を記念し、一夜限りの先行上映会が12 月12 日に東京・大阪で開催される。こちらのチケットは10月7日から発売となる。


■リリース情報

『BOØWY 1224 -THE ORIGINAL-』

2017年12月24日(日)
DVD、Blu-ray、Ultra HD Blu-ray +Blu-rayの3形態にて発売。
*3形態ともの収録内容は同じものとなります。

【DVD】UPBY-5064

【Blu-ray(5.1ch)】UPXY-6046

【Ultra HD Blu-ray +Blu-ray(5.1ch)】UPZY-9001

【収録曲目】

[本編]
LIAR GIRL
ANGEL PASSED CHILDREN
BLUE VACATION
ハイウェイに乗る前に
GIGOLO&GIGOLET
PSYCHOPATH
CLOUDY HEART
MARIONETTE
わがままジュリエット
LONGER THAN FOREVER
季節が君だけを変える
WORKING MAN
B・BLUE
RENDEZ-VOUS
HONKY TONKY CRAZY
PLASTIC BOMB
BEAT SWEET
IMAGE DOWN
NO. NEW YORK

[アンコール]
MEMORY
ONLY YOU
DREAMIN’


■イベント情報
「BOØWY1224 -THE ORIGINAL- ONE-NIGHT PREVIEW 1212」
日時:12 月12 日(火)開場18 時/開演19 時
場所;
【東京】Zeppダイバーシティ:東京都江東区青海1-1-10 ダイバーシティ東京プラザ
【大阪】Zepp 大阪ベイサイド:大阪府大阪市此花区桜島1-1-61
主催・企画:ユニバーサル ミュージック、ユイミュージック
協力:フジテレビTWO / J:COM 、BOØWY HUNT
料金:下記3タイプとなります
a)6,400円(税込)=チケット代:¥1,000(税込)+ DVD:¥5,400(税込)
b)7,480円(税込)=チケット代:¥1,000(税込)+ BD:¥6,480(税込)
c)13,960円(税込)=チケット代:¥1,000(税込)+ 4K Ultra HD+BD(5.1ch):¥12,960(税込)

一般発売:2017年10月7日(土) 18:00~
チケット取り扱い:U-CONNECT
※ドリンク代¥500別
※チケットは、お近くのファミリーマートにてお受取ください。
※DVD、BD、4K Ultra HD Blu-ray+Blu-rayの発送は、ユニバーサルミュージックストアより行います。
※発送先につきましては、U-CONNECT会員登録(無料)へご登録をいただいておりますご住所へ発送させていただきます。

■ライヴ映像“1224”とは…
1987年当時、名実ともに日本No.1のロックバンドとなっていたBOØWYの全国ツアー「DR.FEELMAN’S PSYCHOPATHIC HEARTS CLUB BAND TOUR」の最終公演となった12月24日の東京・渋谷公会堂(現在は改装中)の模様を記録したライヴ映像作品。ステージ終盤で突然行われた“解散宣言”により、このライヴがBOØWY最後のステージとなった。(翌年4月に行われた『LAST GIGS』はバンドにとっては解散後に行われた“最後のGIGS”)。
5台のカメラによる16mmフィルムによって記録されたライヴ・ドキュメンタリー映像は、これまでに2001年12月24日にVHSとDVDで、また2012年12月24日にはBlu-ray BOX『BOØWY BLU-RAY COMPLETE』にBlu-rayとして、2度にわたってライヴと同日に発売されている。
これまでの作品ではアンコールで演奏された「ONLY YOU」の中盤で画像・音声が数十秒ほど欠損しているが、今回のDVD、Blu-ray、Ultra HD Blu-ray『1224 -THE ORIGINAL-』ではこの欠損箇所の映像が発見され、ライヴから30年の時を経て初めて完全版の『1224』が世に送り出される。

■「ONLY YOU」欠損部分について…
2001年の発売当時はビデオ・マスターから商品化を行ったが、その際に何らかの理由で「ONLY YOU」の中盤に欠損が生じていた。今回、当時収録をしたオリジナルフィルムが倉庫から発見され、フィルムを確認したところ、この欠損箇所も完全な映像で残っていたことが判明した。

■パナソニック株式会社 プライベート・ビエラとのタイアップ
本作品はパナソニック創業100周年を記念して開発された「Creative! SELECTION」シリーズのハイグレード商品「プライベート・ビエラ」の店頭デモ映像としても使用される予定です。オリジナルフィルムから4Kリマスタリングされ、高画質で再現された映像の中から楽曲「MARIONETTE」と「NO.NEWYORK」を全国の家電量販店などの店頭にて2017年10月中旬以降、順次ご覧いただけます。


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by ichiro_ishikawa | 2017-09-30 00:27 | 音楽 | Comments(0)  

【転載】Review: David Bowie's Heroically Experimental Berlin Era Explored in 11-CD Box Set

今日、Apple Musicにて配信開始。
デビッド・ボウイーの新作ボックスセットは俺が最も好きなアルバムのひとつLow』から始まりheroesLodger』と続くベルリン三部作に、俺が最も好きなボウイー楽曲「Stay」の珠玉バージョンが聴けるライヴアルバム『Stage』、そして“ボウイー最後のアーティスティックアルバム”として名高いニューヨーク録音『Scary Monsters (and Super Creeps)』の時期の音源とブックレットを収めた11枚組ボックスセット。amazonで輸入盤でも15,000円といふ超高額商品で、かういふときApple Musicの契約は奏功する。ブックレットは欲しいが…。
日本ではクロスビートがムックを出すやうで、レコードコレクターズなどでも特集が組まれると予想され、内容によつてはそのいづれかを買ふことにはなるだらう。なんせこの時期のボウイーだから(しかし昨今のレココレの質の低さは目に余るものがあり。分かつてない人が作つてるといふのが一目瞭然だ。つくづく専門誌は“愛と情熱と手間暇”にかかつてると思ふ次第)。
外国の記事は大抵ネットにシフトしてゐるからそれらを渉猟すれば足る。
とりあへず、身売りが決まつてゐる(編集権はそのまま)米ローリングストーン.comのレヴューを転載する。



Review: David Bowie's Heroically Experimental Berlin Era Explored in 11-CD Box Set


The excellent 'A New Career in a New Town' dives deep into the restless innovator's most curious artistic period


c0005419_08280383.jpg

An excellent new David Bowie box set dives deep into the restless innovator's most curious artistic period. Read our review. Mirrorpix/Getty Images


By Kory Grow


転載元 RollingStone.com




c0005419_08303360.jpg

No period in David Bowie's career is more curious than the trilogy of albums he recorded in the late Seventies while living in Berlin's artsy Schöneberg district. They're defiantly uncommercial, stacking soundtrack-y, atmospheric soundscapes alongside pop songs, and they're bizarrely endearing – "The hin-ter-land, the hin-ter-land/We're gonna sail to the hinterland," goes one catchy-yet-strange passage in Lodger's "Red Sails." Stranger yet maybe, this era produced one of his most enduring hits, the anthemic "Heroes," which has been covered by everyone from Oasis to Peter Gabriel and Janelle Monáe. The period, defined by Bowie's collaborations with Brian Eno, was so far-out (even for the former spaceman) that it frustrated his record label and caused a slight dip in his popularity (all of his albums from this period have yet to be certified even gold), though the tales of Bowie's drug-and-alcohol-fueled romps with Iggy Pop and musical experimentation at the time have become the subject of multiple books.


Now a new box set, A New Career in a New Town (1977 – 1982), is offering a freshly polished look at the time. It contains 1977's brilliant and sprawling Low and "Heroes" LPs, 1978's live outing Stage, 1979's avant-rock experiment Lodger and 1980's only slightly poppier Scary Monsters (and Super Creeps), the last of which, recorded in New York, was intended as a return to commercialism, though it still reads like fractured pop. Additionally, the collection features an EP containing German and French versions of "Heroes," an expanded version of Stage, a new remix of Lodger by co-producer Tony Visconti and Re:Call 3, a compilation of single versions, non-album tracks and B-sides. It also includes a hardcover book with lively, insightful liner notes full of behind-the-scenes stories by Visconti, as well as images of handwritten lyrics, alternate album covers and rare and previously unpublished photos galore.


The collection is a brilliant portrait of the most artistic era of Bowie's career (after Scary Monsters he demanded that producer Nile Rodgers help him make pop hits on 1983's Let's Dance). But looking at A New Career in a New Town, it's a pity there's not even more music from this period to dig into. The only previously unreleased tracks here are live versions of "The Jean Genie" and "Suffragette City," which appear on the new Stage. Moreover, the box is missing nearly all the period-specific bonus tracks that accompanied Bowie's early Nineties reissues of the albums via Rykodisc, which remain mostly scattered across compilations like iSelect and All Saints, though some of those tracks have never been reissued. Also absent are some of the rarities from the era, such as various live recordings like the two Earls Court recordings that appeared on RarestOneBowie, the bizarre "Revolutionary Song" he recorded with the Rebels for the Just a Gigolo soundtrack and the instrumental cover of Cream's "I Feel Free" that Bowie recorded around Scary Monsters. 


Instead, the rarities here are the CD debuts of Bowie's Baal EP (a curious selection of melodramatic renditions of Bertolt Brecht's story songs), an extended version of the "Heroes" single "Beauty and the Beast" (which makes the song a bit more danceable and disco-ish) and a single mix of Low's "Breaking Glass" that was available only in Australia and doesn't add much to the conversation.



Track-list quibbles aside, the box set features a brilliant new remastering job and Visconti's new take on Lodger. It's interesting that of all the albums here, he chose to fluff up the least celebrated album of the Berlin triptych. While Low gets credit for taking the nihilistic, progressive sounds of 1976's Station to Station to dark new places and "Heroes" is the popular favorite because of the title track, Lodger is generally busier and more complex, straddling commercial pop song structures with patently obtuse melodies and lyrics. (Incidentally, it's the only album of the three for which Bowie crafted the lyrics, rather than improvising them after the tracks were complete.)


Although the megalomaniacal "D.J." and sexually charged "Boys Keep Swinging" both charted well as singles in the U.K., the rest of the record is an awesome mélange of syncopated percussion, off-kilter melodies and unusual paint-splatter guitar solos, bolstered by outside-of-the-box decisions made with Eno's Oblique Strategies deck of cards. Visconti's original '79 mix was able to fit it all in, down to minute details (the thumping, funky bass in "Boys Keep Swinging" leaps out), so, at first, it seems unusual he'd fidget with it. But Bowie expressed dissatisfaction with the mix, once saying Visconti "didn't take enough care mixing [it]." (Visconti explains in the liner notes that he felt he never had the opportunity to give it a proper mix in 1979 since it was a time when all the studios were booked.)


Unsurprisingly, the new mix, much of which Bowie approved before his death, loosens the sound of the album up a bit. There are no new takes on the songs – no significant restored cutting-room castaways – but there is a greater emphasis on orchestral strings, and the percussion sometimes comes out of different speakers. Everything feels generally lighter, especially in musically dense tracks like "Red Money" and "Yassassin." It makes the original mix sound even muddier by comparison.


The only thing A New Career in a New Town is missing, at least for the diehard fans who would buy a lavish box set like this, is more of everything – more rarities, more photos, more stories. But that's also precisely why this period in Bowie's career remains captivating. There's enough curious music here to last several lifetimes.



【ボックスの内容】


Disc: 1 'Low' (1977) 2017 Remastered Version

  1. Speed of Life

  2. Breaking Glass

  3. What in the World

  4. Sound and Vision

  5. Always Crashing in the Same Car

  6. Be My Wife

  7. A New Career in a New Town

  8. Warszawa

  9. Art Decade

  10. Weeping Wall

  11. Subterraneans



Disc: 2 ''Heroes''(1977)   2017 Remastered Version

  1. Beauty and the Beast

  2. Joe the Lion

  3. "Heroes"

  4. Sons of the Silent Age

  5. Blackout

  6. V-2 Schneider

  7. Sense of Doubt

  8. Moss Garden

  9. Neukoln

  10. The Secret Life of Arabia



Disc: 3 ''Heroes'' E.P. (1977)

  1. "Heroes" / "Helden"

  2. "Helden" (German Single Version) [2017 Remastered Version]

  3. "Heroes" / "Heros"

  4. "Heros" (French Single Version) [2017 Remastered Version]



Disc: 4  the live album 'Stage' (1978) 

2017 Remastered Version

  1. Hang On to Yourself (Live)

  2. Ziggy Stardust (Live) 

  3. Five Years (Live)

  4. Soul Love (Live)

  5. Star (Live)

  6. Station to Station (Live)

  7. Fame (Live)

  8. TVC 15 (Live)



Disc: 5  the live album 'Stage' (1978) 

2017 Remastered Version

  1. Warszawa (Live) 

  2. Speed of Life (Live) 

  3. Art Decade (Live) 

  4. Sense of Doubt (Live)

  5. Breaking Glass (Live) 

  6. "Heroes" (Live)

  7. What in the World (Live) 

  8. Blackout (Live) 

  9. Beauty and the Beast (Live) 



Disc: 6  the live album 'Stage' (1978) 

2017 Remastered Version

  1. Warszawa (Live)

  2. "Heroes" (Live)

  3. What in the World (Live) 

  4. Be My Wife (Live) 

  5. The Jean Genie (Live)

  6. Blackout (Live) 

  7. Sense of Doubt (Live) 

  8. Speed of Life (Live)

  9. Breaking Glass (Live) 

  10. Beauty and the Beast (Live) 

  11. Fame (Live)



Disc: 7  the live album 'Stage' (1978) 

2017 Remastered Version

  1. Five Years (Live)

  2. Soul Love (Live)

  3. Star (Live)

  4. Hang On to Yourself (Live)

  5. Ziggy Stardust (Live)

  6. Suffragette City (Live)

  7. Art Decade (Live)

  8. Alabama Song (Live)

  9. Station to Station (Live)

  10. Stay (Live)

  11. TVC 15 (Live)



Disc: 8 'Lodger' (1979)  2017 Remastered Version

  1. Fantastic Voyage

  2. African Night Flight

  3. Move On

  4. Yassassin (Turkish for: Long Live) 

  5. Red Sails 

  6. D.J. 

  7. Look Back in Anger

  8. Boys Keep Swinging

  9. Repetition

  10. Red Money



Disc: 9 'Lodger'  Tony Visconti 2017 mix

  1. Fantastic Voyage

  2. African Night Flight

  3. Move On

  4. Yassassin (Turkish for: Long Live)

  5. Red Sails

  6. D.J.

  7. Look Back in Anger

  8. Boys Keep Swinging

  9. Repetition

  10. Red Money



Disc: 10 'Scary Monsters (And Super Creeps)' (1980) 

2017 Remastered Version

  1. It's No Game (Part 1)

  2. Up the Hill Backwards

  3. Scary Monsters (And Super Creeps)

  4. Ashes to Ashes 

  5. Fashion

  6. Teenage Wildlife

  7. Scream Like a Baby

  8. Kingdom Come

  9. Because You're Young

  10. It's No Game (Part 2)



Disc: 11 'Re:Call 3'  

a collection of non-album singles and B-sides

  1. "Heroes" (Single Version) [2017 Remastered Version]

  2. Beauty and the Beast (Extended Version) [2017 Remastered Version]

  3. Breaking Glass (Australian Single Version) [2017 Remastered Version]

  4. Yassassin (Turkish for: Long Live) [Single Version] [2017 Remastered Version]

  5. D.J. (Single Version) [2017 Remastered Version]

  6. Alabama Song (2017 Remastered Version)

  7. Space Oddity (1979 Version) [2017 Remastered Version]

  8. Ashes to Ashes (Single Version) [2017 Remastered Version]

  9. Fashion (Single Version) [2017 Remastered Version]

  10. Scary Monsters (And Super Creeps) [Single Version] [2017 Remastered Version]

  11. Crystal Japan (2017 Remastered Version)

  12. Under Pressure (Single Version) [2017 Remastered Version] - Queen & David Bowie

  13. Baal's Hymn (Der Choral Vom Gro en Baal) [2017 Remastered Version]

  14. Remembering Marie A. (Erinnerung An Die Marie A.) [2017 Remastered Version]

  15. Ballad of the Adventurers (Die Ballad Von Den Abenteurern) [2017 Remastered Version]

  16. The Drowned Girl (Vom Ertrunkenen Madchen) [2017 Remastered Version]

  17. The Dirty Song (2017 Remastered Version)

  18. Cat People (Putting Out Fire)

  19. Peace On Earth/Little Drummer Boy - David Bowie & Bing Crosby



by ichiro_ishikawa | 2017-09-29 08:26 | 音楽 | Comments(0)  

米誌ローリングストーン、身売り検討 創刊者明かす

日経より


米誌ローリングストーン、身売り検討 創刊者明かす


2017/9/19 7:49



























【ニューヨーク=清水石珠実】

米国でカウンターカルチャー(反体制)世代を代表する雑誌として知られる「ローリングストーン」が経営悪化を受け身売りを検討していることが分かった。創刊者のヤン・ウェナー氏が18日付の米紙ニューヨーク・タイムズのインタビューで語った。

 1967年創刊の同誌は音楽や政治、大衆文化を網羅し、第2次世界大戦後生まれの「ベビーブーマー」世代に愛読された。日本語版もある。だが最近はネット媒体の台頭で読者数、広告収入とも大幅に減少して苦戦していた。すでに投資銀行を通じて売却先を探し始めているという。

 ローリングストーンは現在、ウェナー氏とその家族が経営する企業が親会社となっている。経営悪化を受け、昨年には保有株式の49%をシンガポールの音楽企業バンドラブ・テクノロジーズに売却した。

 ウェナー氏はインタビューの中で買い手としては「ローリングストーン誌の使命を理解し、潤沢な資金力を持つ人を探している」と語った。

                   *   *   *

これには渋谷陽一がすでに「ERIS」誌でのピーター・バラカンでの対談で触れてゐて、残念がつてゐたが、当のロッキング・オン社の方は、いち早くフェス事業に経営基盤をシフトしていて安泰。ヤン・ウェナー超えである。

渋谷陽一とローリングストーン誌の関係については、ロバート・ドレイパー著『ローリング・ストーン風雲録:アメリカ最高のロック・マガジンと若者文化の軌跡』(1994年、林田ひめじ訳、早川書房)に収められてゐる渋谷氏自身の解説に詳しい。

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by ichiro_ishikawa | 2017-09-27 17:36 | 音楽 | Comments(0)  

人間観察報告 in ファミレス


ファミレスで人間観察中だが、子供は常に走つてゐる。そして転ぶ。で場合によつては泣く。
周囲の大人たちはそれら一連の行為を何事も無いやうにやり過ごす。こらこら走つてはダメですぞ、と注意する老人が稀にゐるぐらいだ。それも含めて、微笑ましい光景ではある。

そんなとき、これがもし大の大人の男だつたらどうなるか、とよく考へる。俺だつたら?

まづ、店内を走つてゐること自体が、非常事態の様相を呈してくるだらう。どうしたどうした?何があつた?とざわつくこと必至だ。
さらに転んだりしたらおおごとであらう。身体が大きいため周囲を巻き込む可能性が高い。二次災害が発生する。当人を含め負傷者が出て、救急車を呼べとなることもあらう。
さらに泣き出したら? 
かうなると少し状況は変はる。ああ春先にどこからともなく登場するアレか?といふ想像が浮上するからだ。ほのぼのしさへするやもしれぬ。これまでの一連が全て腑に落ちてくるわけだ。人はさういふ人に寛容なのだ。受け入れる土壌がある。

たまに、一念発起して、試しにちよつとやつてみたい衝動に駆られる。さういふフリをして生きてみたら、人生はどう変はるだらうかと思ふのである。いつかやらむ。


by ichiro_ishikawa | 2017-09-26 14:18 | 日々の泡 | Comments(0)  

注文の俺


ふだんは殆ど腹を立てない穏当なタチの俺ではあるが、唯一、無性に腹立たしくなるのが、注文時の店員の「はい?」といふ聞き返しだ。

俺の滑舌が悪くかつその音量がイラつくほど小さかつたりくぐもつてゐたとしても、注文を取る店員といふのは常に注意深く聞き耳を立ててゐなければならない。さうすれば、「メニューは全て把握してゐる」、「客は品を注文しようとしてゐる」のだから、大抵は把握できるはずだ。仮にたとへばハムトーストと聞こえたがハニートーストの可能性も払拭しきれない、といふやうな場合でも、注文を繰り返すフリをして確証を固めればよい。

だのに、中には「はい⁉︎」と、「何言つちやつてんのアンタ?」のやうな叱責気味の聞き返しをしてくる輩もゐて、さうするつてえともう一触即発、売り言葉に買い言葉で、結局表へ出ろ的な問答へと発展してしまふ。できればさうした不毛な事態は避けたいのである。

だから注文を取る店員は、細心の注意を払ひ精神統一をした上で注文を聞き、それでも万が一聞き取れなかつた時は、「えろうすんまへん、小生いま少しボーッとしてをり迂闊にも聞き逃してしまひまして、大変おそれいりますが、今一度ご注文をお願ひできますか?」と、優しく穏やかに問い返すべし。
さうすれば、かうした看過すべからざる致命的な凡ミスに対しても寛容に、最初と同じ滑舌、音量、くぐもり加減でもう一度囁き直す用意はある。


by ichiro_ishikawa | 2017-09-26 13:43 | 日々の泡 | Comments(0)  

音楽リスニング環境と俺


udiscovermusic.comが「The Greatest Jazz Guitar Albums」といふジャズギター入門特集を掲載してゐて、消されないうちに先日転載しておいたが、そこで紹介されてゐる全アルバムをApple Musicで検索して、プレイリスト(フォルダーのやうなもの)を作つて格納し、ひねもす聴いてゐる。
検索・格納時間は、生活のちよつとした空き時間を利用してちよこちよこやつてゐたので連続ではないが、正味小一時間だらう。
これは画期的だ。

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これが昭和であつたらどうか。
まづ、ジャズギター入門特集といふのはジャズライフとかニューミュージックマガジン、ギターマガジンといつた雑誌に載つてゐるのである。だから書店まで足を運び、選び、買ふ。持ち帰り、読み、その中のアルバムリストをルーズリーフに書き写す。ここまでで1日かかる。
そしてそのリーズリーフ片手にレコード店へ駆け込み、リストと付き合はせながら物色。たいてい、無いものも結構あるので、さうした場合、周辺の町をハシゴすることになる。全部集めるのは至難の技だ。金の問題もあり50枚ぐらいとなると週1枚買つて行つたとしても1年はかかるだらう(レンタルといふ手もあるが)。
さらにそれを1枚1枚カセットテープにダビングするのだが、平成なら、PCや何やらに取り込むことになる。いづれにせよ、この時間がバカにならぬ。容量の問題で外付けハードディスクに保存するのであれば、その外付けハードディスクは容易に壊れうる、といふリスクも忘れてはいけないだらう。

以上、壮大な営みが小一時間に短縮されたのである。
革命的、と言つてもよい。
これから音楽の世界にどつぷり入つて行かうといふ輩には、この上ない便利な時代が到来した。 無料で情報と音楽が手に入り(音楽は月980円だが)、あらゆる音楽(邦楽はまだまだ完全ではない)をいつでもどこでも聴けて、独自の切り口でのオムニバステープ(プレイリスト)も一瞬で作れて、いくらでも独自の聴き方ができるのである。

本は電子書籍と紙版は両立するし、映画もよほどバキバキのシステムを自宅に組まない限り映画館に観に行くといふ行為はなくならないだらう。しかし音楽に於いては、メディアとしてのCDはもはやお呼びでない。

といふわけで、30年余の歳月をかけて蓄積してきた3000枚のCD、レコードコレクションは「CDレコード棚」といふ一オブジェと化してゐる。これなら「レコード棚の絵」を飾つてゐるのと変はらない。


※この環境を整へるためには、実はSOFTBANK等の通信会社に月額1万6000円ほど払ふ必要があることを見逃してゐるわけではない。これは音楽を聴かなくてももはや必須の出費、固定費なので問はないことにするまでである。これが固定費となつたことの恐ろしさは別問題なので別稿に譲る。




by ichiro_ishikawa | 2017-09-26 09:32 | 音楽 | Comments(0)  

ロック四天王


俺の中での同時代ロック四天王アルバムは、


The Smiths『The Queen Is Dead』

1986年6月23日



U2『The Joshua Tree』

1987年3月9日



R.E.M. 『Document』

1987年9月1日



Sonic Youth『Daydream Nation』

1988年10月18日



なワケだ。15〜17歳。

1951年生まれの渋谷陽一やピーター・バラカンが15〜17歳の時、ビートルズが『Revolver』、『Sgt. Pepper's Lonely Hearts Club Band』、『The Beatles(White Album)』であつたことをよく自慢してゐるが、この四天王のキャリアとてめえのティーンズがピタリと重なつてゐることも、決して負けてはゐない。といふことに気づくのはよいことだ。




by ichiro_ishikawa | 2017-09-26 00:31 | 音楽 | Comments(0)  

Red Hot Chili Peppers' 'Blood Sugar Sex Magik': 10 Things You Didn't Know


Red Hot Chili Peppers' 'Blood Sugar Sex Magik': 10 Things You Didn't Know


From supernatural sex to River Phoenix's inspiration, revisit history of 1991 alt-funk classic

Read little-known facts about the history of Red Hot Chili Peppers' 1991 breakthrough 'Blood Sugar Sex Magik.'

転載元:RollingStone.com

Released 25 years ago this week, Blood Sugar Sex Magik marked a major career turning point for the Red Hot Chili Peppers.

Despite years of toiling in college-rock trenches (and weathering multiple lineup changes along the way, including the fatal 1988 heroin overdose of founding guitarist Hillel Slovak), the raunchy L.A. funk-rock quartet still hadn't managed to transcend their "cult band" status by the time the Nineties rolled round. Mother's Milk, their fourth and final album for EMI, had garnered some radio and MTV exposure thanks to a rocked-up cover of Stevie Wonder's "Higher Ground," but the 1989 LP – their most commercially successful to date – rose no higher than Number 52 on the Billboard 200.

But with 1991's Blood Sugar Sex Magik, the Chili Peppers pole-vaulted to superstardom. The first RHCP album for their new label, Warner Bros., and their first with producer Rick Rubin, BSSMspawned four major hits – "Give It Away," "Under the Bridge," "Breaking the Girl" and "Suck My Kiss" – and reached Number Three on the Billboard 200; it would go on to sell over 13 million copies worldwide, 7 million of them in the U.S. alone. And with its broader artistic and emotional scope, BSSM revealed that the Red Hot Chili Peppers were more than just four rowdy guys with socks on their cocks who wanted to (in the words of a song from 1987's The Uplift Mofo Party Plan) "Party on Your Pussy."

In honor of its quarter-century anniversary, here are 10 lesser-known facts about Blood Sugar Sex Magik. 

1. The band was initially reluctant to work with Rick Rubin.
Despite Rubin's already-impressive track record as a producer, the Chili Peppers had some reservations about bringing him in to helm their fifth album. "At first, I thought, 'Wow, Rick Rubin, I don't know,'" Anthony Kiedis recalled to BAM magazine in 1991. "[I thought,] 'He's into all of these negative bands like Slayer and Danzig. The Red Hot Chili Peppers have always been totally into positive energy. It'll never work.' But then you get to know the guy, and you see how cool he really is." Making Blood Sugar Sex Magik with Rubin proved to be such a positive and fruitful experience that the band ended up working with him on their next five albums.


2. Blood Sugar Sex Magik was the first album ever recorded at the Mansion, Rick Rubin's massive Laurel Canyon estate.
Originally built in 1918, the Mansion – Rick Rubin's sprawling 10-bedroom Mediterranean estate on L.A.'s Laurel Canyon Boulevard – has served as a residential recording studio for a number of Rubin-produced artists over the last 25 years, including Marilyn Manson, Slipknot, System of a Down, Mars Volta and Linkin Park. But it was the Chili Peppers who got there first: "Rick brought up the concept of recording in that house," Kiedis explained to Metal Hammer in 1991. "We were completely gung-ho about the idea – we'd gone into studios so many times and there'd always been this kinda anal-retentive vibration, very sterile, high-tech. ... So we thought how great it'd be if we actually moved into a house, lived and recorded there, how much warmer it would be, and how much more we could isolate ourselves." Still, installing a 24-track recording desk into a giant old house with no soundproofing was considered a fairly radical idea at the time. "We had all these drum experts up there saying, 'You'll never get a good drum sound here,'" Kiedis told RAW magazine in 1991. "But they were totally wrong."


3. One RHCP member was turned off by the Mansion's haunted reputation, while another was totally turned on.
While Kiedis, bassist Flea and guitarist John Frusciante all lived in the Mansion for two months during the making of Blood Sugar Sex Magik, drummer Chad Smith absolutely refused to stay there. "We had heard that the property was haunted by a woman who was murdered there in the Thirties, and that didn't sit well with him," Kiedis later recalled in his memoir, Scar Tissue. "So he opted to ride his motorcycle home each night." Frusciante, on the other hand, greatly enjoyed the ghostly sex noises he claimed to hear in the house. "There are definitely ghosts in this house," he told Interview magazine. "One of the rooms has a very spiritually sexual vibe, and I actually heard a woman being fucked in there one day. I hadn't masturbated the whole time that we'd been here, because I was so concentrated on my music, but then I slept in that room and I couldn't resist the temptation to masturbate."


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Sonic Youth's Kim Gordon, 1991 Ebet Roberts/Getty

4. Kim Gordon inspired Flea to simplify his bass playing.
One of rock's busiest bassists, the normally slap-happy Flea took a simpler, more melodic path on Blood Sugar Sex Magik. "I consciously avoided anything busy or fancy," he told Guitar Player magazine in 1991. "I tried to get small enough to get inside the song, as opposed to stepping out and saying, 'Hey, I'm Flea, the bitchin' bass player.' I hardly slap at all on the new record, aside from 'Naked in the Rain.'" Flea went on to reveal that his new approach had been inspired by an interview he'd read with Sonic Youth bassist Kim Gordon. "She said she loved funk bass but hated the way white guys play it, because they've turned it into this macho-jock thing. As I read that, I knew I was responsible for that tendency. But on the new record I don't do any of that – I try to play simply and beautifully. And I hope she doesn't hate me, 'cause I think she's great." 


5. All of John Frusciante's guitar solos are first or second takes.
Blood Sugar Sex Magik's organic sound and feel derives largely from the fact that most of the album's basic tracks were cut completely live – including many of Frusciante's guitar solos. "A lot of John's solos are basic tracks, cut live with the rest of the band," Flea explained to Guitar World in 1991. "We did very little fix-up stuff. John's philosophy was that he would only play a solo twice. He'd play it once, and if he didn't like it or we didn't like it, he'd play it again – completely differently. And that was it."


6. "Give It Away" may be the only song in history inspired by both River Phoenix and Nina Hagen.
According to Anthony Kiedis in Scar Tissue, "Give It Away" was primarily inspired by some advice that German avant-garde performer Nina Hagen had given him several years earlier: "It's always important to give things away," she'd told him. "It creates good energy. If you have a closet full of clothes, and you try to keep them all, your life will get very small. But if you have a full closet and someone sees something they like, if you give it to them, the world is a better place." The song also featured a shout-out to actor River Phoenix, whom Kiedis had met through his girlfriend, actress Ione Skye. "River was around a lot during the writing and recording of our album," Kiedis wrote. "He was a big supporter of our band, and I wrote a whole verse about him in 'Give It Away': 'There's a river, born to be a giver, keep you warm, won't let you shiver/His heart is never going to wither, come on everybody, time to deliver.'"


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Mark Seliger

7. Anthony Kiedis wrote the words for "Under the Bridge" as a poem, never intending to use them in a RHCP song.
A massive worldwide hit in the spring of 1992, the somber "Under the Bridge" began life as a poem that Kiedis wrote during early rehearsals for Blood Sugar Sex Magik. The singer had been sober for two years at that point, and was feeling increasingly alienated from his still-partying bandmates. "I started thinking about my life and how sad it was right now," he told Rolling Stone in 1992. "But no matter how sad or lonely I got, things were a million percent better than they were two years earlier when I was using drugs all the time. There was no comparison. I was reminding myself, 'OK, things might feel fucked-up right now, but I don't ever want to feel like I did two years ago.'" Kiedis never considered using the poem as the basis for a song, until Rick Rubin accidentally discovered it in one of the singer's notebooks. "It was something I didn't want him to see," Kiedis told BAMmagazine. "It was sort of sensitive, and I thought he'd hate it. But when he read those words, he demanded that I sing it to him – and it knocked him out. I didn't even want the band to hear this song, but when they did, they were floored by it. As a result, it ended up on the record."



8. Kiedis wrote "I Could Have Lied" about his short-lived relationship with Sinéad O'Connor.
A notorious ladies' man, Kiedis had the rug pulled out from under him by Irish singer-songwriter Sinéad O'Connor, whom he briefly dated while she was living in Los Angeles. "We'd drive around and listen to music and kiss and whatnot," he wrote in Scar Tissue, "but she wasn't exactly letting me all the way in her door, so to speak. And I don't mean just vaginally." Still, Kiedis felt that it was "the most wonderful, non-sexual relationship I'd ever had," and was absolutely crushed when O'Connor abruptly broke things off via his answering machine. In response, he and Frusciante stayed up all night writing "I Could Have Lied"; Kiedis dropped a tape of the song into O'Connor's mailbox the following morning, but never heard from her again, save for an awkward encounter at an awards show years later. Despite his heartache, Kiedis allowed that he might have actually dodged a bullet. "Maybe she did me a favor in the end," he wrote. "Who needs that kind of trouble?"


9. Blood Sugar Sex Magik was originally supposed to be a double-CD set.
Depending on which sources you believe, the Chili Peppers cut either 25 or 27 songs during the Blood Sugar Sex Magik sessions, though only 17 of them made it onto the album. According to Jeff Apter's Fornication: The Red Hot Chili Peppers Story, Rick Rubin actually wanted to release the album as a two-CD set, with the producer believing that "it would have been much more digestible in that format." But Warner Bros., wisely figuring that the higher price of a double-disc would scare off potential customers, insisted on a single-disc release. Several BSSM outtakes (including "Sikamikanico," "Soul to Squeeze," the instrumental "Fela's Cock" and a cover of Iggy and the Stooges' "Search and Destroy") would later turn up on various B sides and movie soundtracks.


10. The band only played "Breaking the Girl" once on the entire Blood Sugar Sex Magik tour.
With its 6/8 time signature, ringing 12-string guitar, and space-y mellotron overdubs, "Breaking the Girl" was a very unusual song by RHCP standards, though that didn't prevent it from becoming a big radio and MTV hit in the summer of 1992. Live, it was a different story: The band played the song only once on the entire Blood Sugar Sex Magik tour – on October 16th, 1991, during the tour-opening show in Madison, Wisconsin – before banishing it from the set list. "We tried to play 'Breaking the Girl,' and it fell apart," wrote Kiedis in Scar Tissue, "but the rest of the show went well." (A bootleg recording of the performance indicates that the vocalist may have had more difficulty with the song than the rest of the band did.) The song wouldn't reappear in a RHCP set until 2000; and according to Setlist.fm, the band has only played it 16 times since then.




by ichiro_ishikawa | 2017-09-25 08:37 | 音楽 | Comments(0)  

1987-88年のアルバム大賞


1987年
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1988年
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1987年
長渕剛『License』


1988年
氷室京介『Flowers For Algernon』



by ichiro_ishikawa | 2017-09-24 21:58 | 音楽 | Comments(0)  

Louie Louie 全集


リチャード・ベリー「Louie Louie」(1956)の様々なるカバーが、俺PCトップページの「サーストン・ムーアFacebook」に地味に集められていたので記録しておく。かうしたサーストンのやり口に親近感を覚ゆ。


Origin of " Louie Louie " - 3 versions.
Wailers, Richard Berry, Little Bill

1) Richard Berry original
2) Rockin Robin Roberts and The Fabulous Wailers
3) Little Bill and the BlueNotes

このyoutube動画の解説
The classic "Louie Louie" was written and recorded by Richard Berry, a black American, in 1956. Not a hit, it attracted attention in his north-west US area. What started the phenomenon was The Wailers of "Tall Cool One" fame. They had no vocalist, and used guest singers. For this one it was Rockin Robin Roberts. Released in the Seattle area in 1961 it was a big regional hit. At the same time a competing record was released there by Little Bill and the BlueNotes. I don't know how that one charted.
It was in 1963 that the Kingsmen, also from that area, copied it. Not an immediate hit, it was a sleeper which ended up #2 nationally on Billboard and #1 in Cashbox.

By the way, what the craziness is about is a fellow talking to his friend Louie about sailing back to Jamaica to see his lady.


Patti Smith


The Sonics


The Feelies

Johnny Thunders

Led Zeppelin

Iggy Pop (Live Metallic K.O.)

The Cramps

Black Flag

Black Flag


Black Flag


The Iguanas

Neil Young(for KFJC Radio)

The Kingsmen

The Clash

Motorhead

Blondie

The Pink Finks

Flippers

David McCallum

Sandpipers

Joan Jett

Flamin Groovies

The Troggs

Ike & Tina Turner

Otis Redding

The Kinks(live in Paris, France, 1965)

The Kinks

The Beach Boys

Paul Revere & The Raiders

Paul Revere & the Raiders








by ichiro_ishikawa | 2017-09-24 20:42 | 音楽 | Comments(0)