タグ:music ( 429 ) タグの人気記事

 

サーストン・ムーアのルーツミュージック探訪


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サーストン・ムーアが今日自身のフェイスブックにて、怒涛のYouTubeリンクシェアを行なつた。
「最初のロックンロールレコードは何か」的なルーツミュージック探訪と思はれる選曲で大変興味深く、常時見られるやうに、以下にまとめておく。


Goree Carter  Rock Awhile
(1949)




Ike Turner  Rocket 88
(1951)




Wynonie Harris  
Good Rockin' Tonight(1947)




Erline "Rock & Roll" Harris  
Rock and Roll Blues(1949)




Fats Domino  The Fat Man
(1949)




Arther Smith  Guitar Boogie
(1945)




Chris Powell and The Five Blue Flames
Rock The Joint(1949)




Jimmy Smith Orchestra  
Rock That Boogie(1949)




Big Jay McNeely  Man Eater
(1949)




Roy Brown  Boogie At Midnigh
(1949)




Wild Bill Moore  Rock And Roll
(1949)




Albennie Jones with Sam Price and His Rockin' Rhythm
Hole In The Wall(1949)




Louis Jordan and His Tynpany Five
Saturday Night Fish Fry(1949)




Jimmie Hudson  Rum River Blues
(1949)




Wright Holmes  
Drove From Home Blues(1947)




Nelson Alexander Trio  
Well, Well Baby(1955)




Stick McGhee  Venus Blues
(1950)




Little Walter Trio  Moonshine Blues
(1950)




Johnny Young and His Mandolin  
Warried Man Blues(1947)




Lowell Fulson  Reconsider Baby
(1954)




by ichiro_ishikawa | 2017-09-24 00:13 | 音楽 | Comments(0)  

アメリカのドライと日本のウェット


大滝詠一が昔何かのインタビューで、「プレスリーは受けなかつた、それよりポール・アンカやニール・セダカだつた、日本の音楽界に影響を与へたのは」的な事を言つてゐて、ほほうと思つた。

ザックリと言へば、プレスリーはⅠーⅣーⅤーⅠのスリーコードで、後者はⅠーⅥーⅣーⅤーⅠと、キーがCならⅥ度のAmを挟むと。そこが日本人の琴線に触れるのだと。さういう事を言つていた。

このCからAmに行つてからのF、G、C。
昨今ではJ-popヒットの王道(カノンコード?)として認知されてゐるやうに、6度のマイナーが切なさを醸す。これが甘い。カフェ・オ・レだ。ブラックやエスプレッソを好む向きには、ちといただけない。

プレスリー、といふかそれ以前のアメリカンルーツミュージックの、特に7thでのスリーコード(つまりはブルーズ?)ベースの、ザクッとした乾いた感じが、やはりロックだと思ふ。


by ichiro_ishikawa | 2017-09-19 09:45 | 音楽 | Comments(0)  

【転載】Jimi Hendrix: 1942-1970

Jimi Hendrix: 1942-1970

Remembering the life and music of the guitarist after his untimely death


転載元 Rolling Stone


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Jimi HENDRIX, performing live onstage in England on February 24th, 1969. David Redfern/Redferns/Getty 

The exact nature of the death is still vague, and a coroner's inquest is to be held in London September 30th. Police, however, say it was a drug overdose. They say he took nine sleeping pills and died of suffocation through vomit.

According to Eric Burdon [The AnimalsWar], Hendrix left behind for the girlfriend in whose apartment he died what Burdon called a "suicide note" which was a poem several pages in length. The poem is now in the possession of Burdon, the last musician with whom Hendrix played before he died.

Said Burdon: "The poem just says the things Hendrix has always been saying, but to which nobody ever listened. It was a note of goodbye and a note of hello. I don't think Jimi committed suicide in the conventional way. He just decided to exit when he wanted to."

Burdon went on BBC television September 21st – three days after Hendrix's death – to say Jimi "killed himself." He made no mention then of the poem he told Rolling Stone about two days earlier. The inquest was to have been held September 23rd, but the day after Burdon appeared on television, it was postponed one week. (Burdon refuses to show the poem to anyone.)

"I don't believe it was suicide," answered Michael Jeffery, Jimi's personal manager. "I just don't believe Jimi Hendrix left Eric Burdon his legacy for him to carry on. Jimi Hendrix was a very unique individual.

"I've been going through a whole stack of papers, poems and songs that Jimi had written, and I could show you 20 of them that could be interpreted as a suicide note," he continued.

Speaking with Jeffery on another phone extension, Michael Goldstein, Jimi's publicity agent, said, "A lot of foolish things will be said in the next few weeks by people who considered themselves close to Jimi Hendrix; they will not be saying them for Jimi; they will be saying them for themselves."

Both Jeffery and Goldstein said that Burdon was never that close to Hendrix, and also noted that Burdon and his current manager, Steve Gold, have a lawsuit in the courts against Jeffery, Burdon's former manager.

Hendrix had spent Thursday evening, September 17th, at the Samarkand Hotel flat of Monika Danneman, a German painter. She found him in a coma Friday morning and called an ambulance. The ambulance rushed to the hotel on Landsdowne Crescent, in London's Nottinghill Gate district, and took him to St. Mary Abbot's Hospital, where he was pronounced dead on arrival at 11:45 a.m., London time.

Police said the sleeping pills were missing from a bottle in Miss Danneman's flat, which she had rented in mid-August for six weeks, and that Hendrix had taken some when he retired the night before. They took the rest of the pills as evidence.

Hendrix had been in Europe since he played the Isle of Wight Festival August 30th. That was his first British gig in two years, and the Jimi Hendrix Experience (with Billy Cox on bass and Mitch Mitchell on drums) had taken off almost immediately for a tour of the Continent. The tour was supposed to end in Rotterdam on September 14th, but that final date had been cancelled when Cox suffered a nervous breakdown and had to return to the States. Noel Redding, the original Experience bassist, was due to leave New York to join the group in London when word came of the death.

Jimi had been staying at the Cumberland Hotel off Park Lane since he arrived last month. He was due to check out after Wednesday night, but asked the manager instead to book him over one more evening. However, he didn't return Thursday night.

The last time he had appeared before an audience was Wednesday night, when he joined Burdon and War on stage at Ronnie Scott's Club in London for a jam session.

"I know he had been in a bad state for a year," said Burdon. "He came out of his shell on Tuesday and came over to the club and asked if he could play with us the next night, the 16th, which he did. At first he played like an amateur, real bad, using stage tricks to cover up. Then he came on with a solo which was up to scratch, and the audience dug it. He went off stage and came back, playing the background to 'Tobacco Road.'" That song was his last.

Hendrix had been for some time attempting to become more independent in his business affairs. He saw Electric Lady as a step toward that goal. Burdon says that a week before Hendrix died, Jimi told him he was going to get new management.

"Numerous amounts of times he complained about his managers, I'd have to say he did," said Buddy Miles, who played with Hendrix in the Band of Gypsys. "I ain't gonna lie and say I don't know, because I was with him a lot and got to him in ways lots of others didn't.

"The few good things Jimi got, he really deserved. Even more things, as far as I'm concerned. When I left the Band of Gypsys, I know Jimi was extremely unhappy," Miles added.

"He never said to me he wanted to change management," Jeffery replied to these statements. "What happened was, both of us were expanding in areas, and at certain times he needed very close attention. There was a time when he wanted to expand the group, and the thing was, half my energies were in the studio and other things, and I didn't have time to devote energies fully to helping expand the group.

"Both he and I felt that the three-way function of manager – artist – agent was quite likely to fall apart, because the times are different than they once were in show business. People outside the circle mistook this for discontent, but it wasn't, because Jimi was intelligent and bright enough. If he wanted to split, he would have split.

"As far as being artistically frustrated, Jimi had an incredible genius about him, and the common thing with most artists of that caliber is that they are constantly artistically frustrated," Jeffery added.

"He told everybody different things. He was that way. Always changing his mind," Burdon said over the weekend. "Hendrix was in a such a deep well that the only way out was to stop playing music and try to clear up the mess. But he knew that without music he would be destroyed anyway. He realized that the only thing to do was to keep on playing and died anyway because he was being stifled creatively.

"He realized that the only way he could get what he wanted, helping the Panthers, and setting up an anti-ghetto project in Harlem, was to die and hope that someone else would take care of the business for him using the things that he left behind, his music and his last poem, to make the money," stated Burdon.

Jimi's affairs were in a state of confusion at the time. At one point his road manager, Jerry Stickles, said that the day Hendrix died, he (Stickles) had called Dick Katz, his European agent, to tell him that Jimi wanted to do another European tour and a British tour as soon as possible. Katz lined up a German tour and some British dates that day before he heard the news, according to Stickles.

At another point, however, Stickles said that at Jimi's request he made airline reservations to return to the States September 21st, because Jimi wanted to finish up some recording for a new album by the Experience. (All that needed to be done on that album was the mastering, which Hendrix was going to do himself at Electric Lady.)

None of Jimi's friends or associates except Burdon, at first, would discuss the matter, and in the absence of a complete report, the London press chose to carry instead pure sensationalism. One Sunday paper had an "exclusive story" by a groupie which told of five-in-a-bed orgies with Hendrix.

In America, the first report – spread across the country primarily by FM radio within hours after his death – was that Hendrix had died of a heroin overdose. American newspapers generally carried the story of his death on the front page Friday afternoon and Saturday morning.

September 26th, Radio Geronimo in England played unreleased Hendrix material the entire evening, including a tape of Jimi with Buddy Miles and the Last Poets, and another unreleased live album.

The funeral was to have been Monday, September 28th, in Jimi's hometown of Seattle, Washington.

James Marshall Hendrix was born November 27th, 1945. On the day of his death, his father, James, a landscape architect, talked about his son's childhood. The Hendrix family lives in a simple house with lawn and garden in the better part of Seattle's black neighborhood, near Lake Washington. The mantel is covered with pictures, guitar straps, magazine clips and other evidence of Jimi's illustrious career. Mr. Hendrix has remarried, and has two daughters by that second marriage. He also has a 22-year-old son, Leon, by the first marriage.

The last time the family saw Jimi was on July 26th, the day after Leon began doing time for grand larcency. As always when he was in Seattle, Jimi stayed at the Hendrix house that weekend.

Mr. Hendrix recalled that Jimi first became interested in music when he was 10 years old. His father remembers going into Jimi's room one night in the dark and tripping over a broom. He asked Jimi why the broom was there, since he obviously wasn't using it to clean up his room.

"That's my guitar, Dad," Jimi had answered. "I'm learning how to play it."

When he was 11, his father bought him a cheap acoustic guitar, and at 12, Jimi got his first electric guitar. He learned quickly, and was playing in bands at 13. When he was 14, that first electric guitar (inscribed "Jimmy") was stolen, and he was unable to replace it until his sophomore year at Garfield High.

Members of Jimi's bands were quite surprised when he became a star, because he seemed the least likely person in any of his groups to make it. He was then only an average musician, and gave no indication of the almost compulsive creativity that he showed later. He was also known for being very shy and reserved. He displayed no stage presence at all.

Jimi quit Garfield High in the middle of his senior year and went to work as a handyman for his father, who was then doing mostly gardening and lawn jobs. One day as they were working, Jimi told his father that he felt the work was a drag, and that he'd just decided to join the Army instead. This was in 1963.

He left Seattle within a few days and joined the 101st Airborne Division, stationed in the South. His father remembers going into Jimi's room right after he left, seeing the guitar, and expressing surprise that Jimi hadn't taken it with him. Sure enough, a few days later he got a call from Jimi, who said the Army was driving him mad and he needed his guitar "right away."

Except for a photo he received in the mail, that was the last time Mr. Hendrix heard from his son until Jimi reached England in 1966. He had been discharged from the military after 14 months when he suffered a back injury in a parachute jump, and he'd spent the next couple of years criss-crossing the United States, playing with more than 40 rhythm and blues groups. Using the name Jimmy James, he played for six months with a New York group called the Blue Flames. At various times, he backed Little RichardJackie Wilson, the Isley Brothers, and Wilson Pickett.

"I got tired of feeding back 'In the Midnight Hour,'" he told an interviewer in 1968. "I was a backing musician playing guitar."

He also played with a group called Curtis Knight and the Squires, and, after he became a star in 1967, Capitol Records embarrassed him by releasing an album called Got That Feeling; Jimi Hendrix Plays, Curtis Knight Sings, an album that was poorly recorded and of no historical value. It revealed only traces of the Hendrix artistry. Hendrix said: "The Curtis Knight album was from bits of tape they used from a jam session, bits of tape, tiny little confetti bits of tapes ... it was done. Capitol never told us they were going to release that crap. That's the real drag about it. It shows exactly how some people in America are still not where it's at, regardless. You don't have no friend scenes, sometimes makes you wonder. That cat and I used to really be friends. Plus I was just at a jam session and here they just try to connive and cheat and use. It was really a bad scene."

In 1966, he was playing (and, for the first time, singing) with a group at the Cafe Wha? on MacDougal Street in Greenwich Village when Chas Chandler, then the bass player with the Animals, walked in. Chandler was enthusiastic about Hendrix, who had assembled this group only two months before, but Jimi expressed doubts about his own musical ability and about Chandler's claim that he could become a star. Two weeks later, after a quick tour with the Animals, Chandler returned to New York, confirmed his first impressions, and talked Hendrix into going back to England with him. This was in September, 1966.

A few days later, James Hendrix, Sr., received a phone call at about 4 a.m.

"It's me, Jimi. I'm in England, Dad," said the voice at the other end of the line. "I met some people and they're going to make me a big star. We changed my name to J-i-m-i."

Surprised, his father asked why he'd changed his name, and Jimi replied that it was "just to be different." Mr. Hendrix remembers telling Jimi that if he was really calling from London, the call was going to be very expensive. They both started crying over the phone. "We were both so excited I forgot to even tell him I'd remarried," his father says.

Once in England, Hendrix formed a new band. Noel Redding, who had come to audition as guitarist in the Animals, met Hendrix through Chandler. "Can you play bass?" was the first thing Jimi asked Redding. He never had before, but he immediately became bassist, and sometimes-guitarist, with the Jimi Hendrix Experience. Mitch Mitchell, another Englishman, was picked as drummer.

Six weeks after he left New York, four days after forming his trio, Hendrix opened at the Olympia in Paris, on the bill with French pop star Johnny Halliday. He reminisced about it for an interviewer in 1968:

"Paris Olympia is worse than playing the Apollo. Four days after we got together, we were playing the Olympia. It is the biggest thing in Europe. The reception was great and we played four songs. We were trying to get together. We did everything. We never played these songs except once in Germany. We got together with 'Midnight Hour,' 'Land of 1000 Dances,' 'Everyone Needs Someone to Love' and 'Respect.'"

They took off on a tour of Europe. Eight days after the Beach Boys broke an attendance record by playing to 7,000 in two shows at the Tivoli in Stockholm, the Experience drew 14,500 for two shows. They became the second group (the Rolling Stones were the first) to sell out the Sports Arena in Copenhagen. At the Seville Theater in London, they were the first act ever to sell out both shows, and, when a return engagement was booked a month later, tickets sold out the day they became available. The Jimi Hendrix Experience was, as the European press said, "an overnight smash."

Now it was time to return to America. With several hit singles and a successful album in Europe behind him, Hendrix made his U.S. debut in 1967 at the Monterey International Pop Festival. Few in the audience knew that, until nine months ago, Hendrix had lived his whole life in this country. Few knew anything about him except that this "freaky black English bluesman" was making his "American debut."

Lou Adler, with John Phillips, co-producer of the festival, said he heard of Hendrix from Paul McCartney – "He told me about some guy in England playing guitar with his teeth." Adler decided on Hendrix and the Who as the "new" acts to be introduced to the Monterey audience.

In the liner notes to the live recording of Jimi's performance (ironically, it was the last Hendrix recording to be released before his death), Pete Johnson of Warner Brothers writes what happened:

"Their appearance at the festival was magical; the way they looked, the way they performed and the way they sounded were light years away from anything anyone had seen before. The Jimi Hendrix Experience owned the future, and the audience knew it in an instant."

Another ironic note was the presence of Jimi's R&B counterpart, the late Otis Redding, whose own Monterey performance is coupled with Hendrix's on the new album.

And yet another fallen star was at Monterey – Brian Jones, who attended the festival with Nico and spent most of his time as a spectator, seated in the press section. Adler recalled: "Brian was over here for his own pleasure, but he went up on stage and introduced one of the English acts – either Jimi or the Who." Hendrix was on the same bill as the Who and the Mamas and the Papas. His next performance would be at the Hollywood Bowl with the Mamas and the Papas.

The stories that came out about Hendrix after Monterey were enough to shoot him straight to the top, just like in Europe. "Purple Haze" became a hit single, Are You Experienced? a hit album. The Jimi Hendrix Experience, electric hair and all, was taking America by storm.

But if the audience knew just where Jimi Hendrix was at, the same can't be said of the music business brains. In one of those showbiz anomalies, the Experience took off on a tour, second billed to the Monkees, playing to the kiddies. When a promoter complained (under pressure from the Daughters of the American Revolution) that their stage act was "too sexy," the Experience refused to modify it, instead dropping out of that tour and packing houses on one of their own.

Monterey was where Jimi introduced his guitar-burning bit, and by now he was finding it necessary to explain: "At the Monterey Festival, I decided to destroy my guitar at the end of the song. It was a painted guitar. I'd just finished painting it that day and was really into it. I had my little bag on stage. I had my rawhide bag on stage, carried everything in it including kerosene for my lighter which was given to me by Chas at Christmas. I destroyed my guitar again in Washington, D.C. It was accidental.

"I think of people who say that setting your guitar on fire has nothing to do with the music as cellophane, bags and bags of cellophane. Of cellophane but in bags of cellophane. Have you ever thought of lighting cellophane on fire? There's no need to."

The British pop magazine Disc voted him Musician of the Year for 1967, as did the pop newspaper Melody Maker. In 1968 – by which time each of his first three albums were gold – he was named Performer of the Year by Rolling Stone.

When Jimi made his triumphant return to Seattle early in 1968, he received a key to the city and an honorary diploma from Garfield High. His father was floored when he saw Jimi in purple velvet cape and rainbow shirt. Not only did the elder Hendrix not realize how big a star Jimi had become, but he remembered his son as a conservative dresser with a subdued, reserved personality.

But if Hendrix was a brash dresser, if his stage act was pure mayhem, he also had a distinct ambivalence toward being a rock and roll star. Onstage, he was what every mother feared when she expressed doubts about rock and roll's effect on her daughter. Offstage, he remained the same quiet, boyish, seemingly vulnerable Jimi Hendrix as always.

The ambivalence became more noticeable in 1969, his most unproductive year. Hendrix became more uncommunicative, more withdrawn, and the Experience broke up. Noel Redding had his own group, Fat Mattress, and Jimi was saying little to anyone.

In May, he was up for his first, and only, dope bust. It came as he was crossing the border into Canada; the charge was possession of heroin and hashish. Hendrix claimed he didn't know what was in the bag, that a fan had given it to him a few days earlier, and he had packed it without looking to see what it was.

At his trial last December, he said he had tried just about everything from grass to cocaine – but never heroin – a few times, and that he had "outgrown" dope of any kind. The trial lasted three days, and the jury found him innocent of both charges.

Still, through most of last summer, he kept himself out of the public eye. Billy Cox, an old Army buddy, was announced as his new bass player, and Mitchell stayed on. Jimi spent most of the summer with an "electric family" of musicians – everyone from old bluesmen to avant garde classical composers – in upstate New York. He questioned whether he was taken seriously by other musicians. He said the new "family" was going to do what he called, for lack of a better term, "sky church music" and that the group would have other singers and songwriters.

"I don't want to be a clown anymore," Jimi told one interviewer. "I don't want to be a rock and roll star."

But the musical family didn't work out, and when Hendrix surfaced again, it was New Year's Eve at the Fillmore East and he was playing with Cox and old friend Buddy Miles on drums. This was A Band of Gypsys. Bill Graham danced in the stage wings during their set, then personally went up to the dressing room to tell Hendrix it was the best music he'd ever heard in his hall.

Although all but the Curtis Knight albums were on Warner-Reprise, Jimi still owed Capitol one album through an old contract deal. He gave them the Band of Gypsys album, although in later interviews he revealed he wasn't completely satisfied with the performance because his guitar was out of tune. Stylistically, the music was close to the "Purple Haze" days, and Hendrix had merely stood on stage and casually played his guitar, with none of the old gyrations.

Just a couple weeks later, at the Moratorium concert in Madison Square Garden, he put down his guitar in the middle of the second song, said "We're not quite getting it together," and walked off the stage. He was depressed about the new group. The music just wasn't right, and soon he was back with the original Experience.

In an interview given at that time, Jimi explained what had happened to the Gypsys: "Maybe I just started noticing the guitar for a change. It's like the end of a beginning maybe or something. I figure that Madison Square Garden is like the end of a big long fairy tale. Which is great. I think it's like the best ending I could possibly have come up with.

"The Band of Gypsys was outasite as far as I'm concerned. It was just ... going through head changes is what it was, I really couldn't tell – I don't know: I was very tired. You know, sometimes there's a lot of things that add up in your head about this and that and they might hit you at a very peculiar time, which happened to be at a peace rally, you know? And here I'd been fighting the biggest war I ever fought. In my life. Inside, you know? And like that wasn't the place to do it."

Supposedly, things were to be better than ever with the Experience together again, but that didn't turn out to be true. Relationships between the three weren't entirely patched up, and for the rest of this year he played with Mitchell and either Cox or Redding.

One of the last interviews Jimi Hendrix gave was to Melody Maker, the British pop newspaper, around the time of the Isle of Wight. Jimi told reporter Roy Hollingworth about his fear that Europeans didn't regard him as they used to.

"While I was doing my vanishing act in the States I got this feeling that I was completely blown out of England. I thought they had forgotten me over here. I'd given them everything I'd got, I thought maybe they didn't want me anymore, because they had a nice set of bands. Maybe they were saying, oh, we've had Hendrix, yeah, he was okay. I really thought I was completely through here," he said.

Jimi was pleased to find he was wrong, that they still liked him in Europe, and the interview ended with him stressing, "I'm happy, it's gonna be good."

Hendrix explained that he had been "... thinking about the future. Thinking that this era of music – sparked off by the Beatles – had come to an end. Something new has got to come, and Jimi Hendrix will be there.

"I want a big band. I don't mean three harps and 14 violins. I mean a big band full of competent musicians that I can conduct and write for. And with the music we will paint pictures of earth and space, so that the listener can be taken somewhere.

"It's going to be something that will open up a new sense in people's minds. They are getting their minds ready now. Like me, they are going back home, getting fat, and making themselves ready for the next trip.

"You see, music is so important. I don't any longer dig the pop and politics crap. That's old-fashioned. It was somebody's personal opinion. But politics is old hat. Anyone can go round shaking babies by the hand and kissing the mothers, and saying that it was groovy. But you see, you can't do this in music. Music doesn't lie. I agree it can be misinterpreted, but it doesn't lie.

"When there are vast changes in the way the world goes, it's usually something like art and music that changes it. Music is going to change the world next time.


by ichiro_ishikawa | 2017-09-18 23:10 | 音楽 | Comments(0)  

【転載】NMEの記事

R.E.M. announce 25th anniversary ‘Automatic For The People’ reissue


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The album has gone on to sell over 18million copies worldwide Credit: Getty


By

Samantha Maine

Sep 14, 2017


転載 NME



The iconic 1992 album will be released in a variety of formats


R.E.M. have announced a 25th anniversary reissue of their iconic album ‘Automatic For The People’.


Featuring singles ‘Everybody Hurts’ and ‘Man On The Moon’, the 1992 album became one the band’s most iconic LPs and has currently sold over 18million copies worldwide.



It will feature the album in its entirety mixed in Dolby Atmos by original ‘Automatic For The People’ producer Scott Litt and engineer, Clif Norrell. It also marks the first time an album has been commercially released in this format.


See the announcement video below.




Arriving on November 10, the album will be released in a variety of formats. A 4-disc Deluxe Edition will include 20 previously unreleased demos from the ‘Automatic For The People’ sessions. The reissue will also feature bonus track ‘Photograph’ featuring Natalie Merchant.



The Deluxe Anniversary Edition comes in a 12″ x 12″ lift-top box and features an all-new 60-page book, offering never-before-seen photos by Anton Corbjin and Melodie McDaniel, plus new liner notes by Scottish music journalist Tom Doyle. You can see a picture of the Deluxe Anniversary Edition below.


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R.E.M. Automatic For the People reissue

The Deluxe Edition features a huge photo book



Also included in both the 2-disc 25th Anniversary and Deluxe Edition of the album is a full live set from R.E.M’s show at the Live At The 40 Watt Club on November 19th, 1992. It was their only live show that year.


Speaking of ‘Automatic For The People,’ bassist Mike Mills said: “Mortality is a theme that writers have chosen to work with throughout time. It speaks of the fragility and beauty of life and living life to the fullest in the present moment. It happens all too quickly and we all know that. I think it’s our most cohesive record…It’s the strongest from first to last.”



by ichiro_ishikawa | 2017-09-16 02:52 | 音楽 | Comments(0)  

【転載】ピーター・バック曰く「こんなに売れるとは思はなんだ」


R.E.M.'s Peter Buck Talks 'Automatic for the People' Before 25th Anniversary Reissue: 'I Didn't Expect It to Be a Huge Hit'


9/14/2017 by Craig Rosen


from  billboard



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AP Photo/Frank Franklin II

Michael Stipe and Peter Buck of R.E.M. perform at Madison Square Garden in New York City. 




R.E.M. will celebrate the 25th anniversary of Automatic for the People with a deluxe reissue of the album that found the band at the height of its commercial and critical success. It's due in three different configurations on Nov. 10 from Concord's reissue imprint, Craft Recordings, including a Deluxe Anniversary Edition that will feature the album remixed in Dolby Atmos.


Original album producer Scott Litt and engineer Clif Norrell remixed the album using the technology, which offers a three-dimensional listening experience previously used mostly for films. This is the first major music release to utilize the technology.


Craft Recordings President Sig Sigworth, who previously worked with the band during its '80s stint on IRS Records, is spearheading the R.E.M. reissue campaign. This marks the label's second deluxe 25th anniversary package, following last year's Out of Time reissue, which received a similar treatment, but Sigworth notes the addition of the album mixed in Dolby Atmos makes this package even more special. He points to a remark Norrell is heard making about the improved sound of the album in the promotional video for the release: "It's like a sculpture rather than a painting."


The set will also include 20 previously unreleased demos from the album's recording sessions, including "Mike's Pop Song," which is now available to stream on Spotify, Apple Music and Google Play and for purchase at Amazon and iTunes. The second disc of the two-disc 25th Anniversary and Deluxe Edition is the concert recording, "Live at the 40 Watt Club 11/19/92," which captures the band in its hometown of Athens, Ga. at a benefit concert for Alternative NRG/Greenpeace, playing its only show that year. Also included with the Deluxe Edition, packaged in a 12-by-12-inch lift-top box, is a 60-page book featuring never released photos by Anton Corbijn and Melodie McDaniel, and new liner notes by music journalist Tom Doyle. The album will also be released on 180-gram vinyl.


Since the Rock & Roll Hall of Fame inductees disbanded amicably in 2011, guitarist Peter Buck has been the most musically active. His latest band, Filthy Friends, released its debut album, Invitation, in late August and is still playing live dates to support it. Buck recently took a break from his schedule to sit down in the studio with former bandmate, bassist/keyboardist Mike Mills, Litt and Norrell to listen to the remix in Dolby Atmos, which he refers to as "the 13-speaker thing."


He says he was initially a little skeptical, but he came away impressed. "I'm usually a little ambivalent about things like that," Buck says. "But I was kind of blown away at what it sounded like. I didn't go as far as Dark Side of the Moon, but it's not that kind of record. It has amazing ambient and percussion sound. It's a really good record and I was surprised how strong it all sounded at this point."


Automatic for the People, named for an expression used by the proprietor of an Athens, Ga. eatery the band frequented, was originally released on Oct. 6, 1992. It peaked at No. 2 on the Billboard 200, behind Garth Brooks' The Chase, and went on to sell 3.52 million copies in the U.S., according to Nielsen SoundScan, and 18 million worldwide.


It followed R.E.M.'s breakout success with the Billbaord 200-topping 1991 album Out of Time and the omnipresent single "Losing My Religion," allowing the band the time and freedom to follow its creative muse. Although the quartet, fronted by singer Michael Stipe and also including drummer Bill Berry, had earned its reputation from seemingly endless touring, it did not support Out of Time or Automatic with tours, the two albums that ended up being the band's best-sellers. "That's not in the playbook," noted Bertis Downs, the band's long-time manager. "It's weird the way it worked out."


Just as the mandolin-laden "Losing My Religion" had upended then-current pop standards, Automatic for the People also bucked contemporary trends with its somber string-soaked mediations on death and mortality, including "Try Not to Breathe" and "Sweetness Follows." The album actually began to take shape almost immediately following Out of Time. "I'm not sure what we were aiming for, but when we were mixing Out of Time, Michael and Mike did 'Nightswimming,' so we knew that existed, and we had demos of 'Drive' and 'Try Not to Breathe,'" Buck recalls. He says that those three "really strong songs" set the tone for the album.


Like other classic rock bands with rabid followings, R.E.M. has been the subject of bootlegs featuring demos and alternate recordings, but many of the demos on the Automatic bonus disc have never been circulated. "What leaks out is usually the stuff we did outside of [longtime associate] John Keane's studio," Buck says. "That stuff sat in his house and then we moved it to the vault." Buck, who recently listened to the demo disc on his car CD player, says some of it even sounded new to him. "There's a track called 'Arabic Feedback' that I have no memory of knocking out," he relates.




Overall, Buck was a bit surprised by the success of the album, which included the hit singles "Man on the Moon" and "Everybody Hurts." "My feeling was -- not in a negative way -- is that it was kind of a down record with a lot of minor keys, and we were at the age when Michael was thinking a lot about mortality, so I didn't expect it to be a huge hit," he explains. Yet according to the guitarist, when he played the advance cassette for friends, "Everyone thought it was a great record."


However, Buck stops short at calling Automatic his favorite album. "It is a strong record, but I'm a little confused with what we came up with," he says. "I go through and look at all of our stuff and it all has different meanings… Murmur was my childhood dream since I was seven."


Still, he says that the material on Automatic has held up over time -- noting the band's final show on Nov. 18, 2008, in Mexico City, featured four songs from the album, 16 years after its release. "That's nothing to flinch at."



by ichiro_ishikawa | 2017-09-16 02:37 | 音楽 | Comments(0)  

R.E.M.『Automatic for the People』 25周年記念エディション


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ザ・スミス『The Queen Is Dead』に続き、R.E.M.も、1992年リリース『Automatic for the People』の25thアニヴァーサリー・エディションが11月10日発売。リイシュー元はCraft Recordings。
また同日に2CDエディション、リマスター音源採用のアナログレコード版も発売されるとのこと。

『The Queen Is Dead』も『Automatic for the People』もそれぞれの最も売れた、代表作であるが、俺の中でのそれぞれの最高傑作にして、全ロックアルバム中、最も好きなアルバムである。特に『Automatic for the People』は、1997年のロンドンの、今はなきホステル「ホテル・パラマウント」でよく聴いてゐて、嫌が応にも当時の空気を思い出す。あの頃俺は25歳で、自信に満ち溢れてゐたよ。変はりゆくものに牙をむいてゐたもの。
これを買ふのはさういふ40代ばかりだらう。








『Automatic For the People: 25th Anniversary Edition』

●CD1
新たにリマスタリングされたオリジナル収録曲を収録
01. Drive
02. Try Not To Breathe
03. The Sidewinder Sleeps Tonite
04. Everybody Hurts
05. New Orleans Instrumental No. 1
06. Sweetness Follows
07. Monty Got A Raw Deal
08. Ignoreland
09. Star Me Kitten
10. Man On The Moon
11. Nightswimming
12. Find The River


●CD2: (Live at The 40 Watt Club – 11/19/92) 
1992年11月19日に米ジョージア州アテネの40 Watt Clubにて行われたコンサートのライヴ音源20曲を収録

01. Drive
02. Monty Got A Raw Deal
03. Everybody Hurts
04. Man On The Moon
05. Losing My Religion
06. Country Feedback
07. Begin The Begin
08. Fall On Me
09. Me In Honey
10. Finest Worksong
11. Love Is All Around
12. Funtime
13. Radio Free Europe

●CD3: (Demo)
未発表曲「Mike’s Pop Song」も含んだ未発表デモ音源20曲を収録。

01. Drive (Demo)
02. Wake Her Up (Demo)
03. Mike’s Pop Song (Demo)
04. C To D Slide 13 (Demo)
05. Cello Scud (Demo)
06. 10K Minimal (Demo)
07. Peter’s New Song (Demo)
08. Eastern 983111 (Demo)
09. Bill’s Acoustic (Demo)
10. Arabic Feedback (Demo)
11. Howler Monkey (Demo)
12. Pakiderm (Demo)
13. Afterthought (Demo)
14. Bazouki Song (Demo)
15. Photograph (Demo)
16. Michael’s Organ (Demo)
17. Pete’s Acoustic Idea (Demo)
18. 6-8 Passion & Voc (Demo)
19. Hey Love (Mike Voc / Demo)
20. Devil Rides Backwards (Demo)

●Blu-ray (Surround Mix & Videos)
『Automatic for the People』のサラウンド・ミックス(Dolby Atmos Mix)、ミュージックビデオほかを収録。

01. Drive (Dolby Atmos Mix)
02. Try Not To Breathe (Dolby Atmos Mix)
03. The Sidewinder Sleeps Tonite (Dolby Atmos Mix)
04. Everybody Hurts (Dolby Atmos Mix)
05. New Orleans Instrumental No. 1 (Dolby Atmos Mix)
06. Sweetness Follows (Dolby Atmos Mix)
07. Monty Got A Raw Deal (Dolby Atmos Mix)
08. Ignoreland (Dolby Atmos Mix)
09. Star Me Kitten (Dolby Atmos Mix)
10. Man On The Moon (Dolby Atmos Mix)
11. Nightswimming (Dolby Atmos Mix)
12. Find The River (Dolby Atmos Mix)
13. Photograph (Dolby Atmos Mix)
14. Drive
15. Try Not To Breathe
16. The Sidewinder Sleeps Tonite
17. Everybody Hurts
18. New Orleans Instrumental No. 1
19. Sweetness Follows
20. Monty Got A Raw Deal
21. Ignoreland
22. Star Me Kitten
23. Man On The Moon
24. Nightswimming
25. Find The River
26. Photograph

*Videos (27-33)
27. Drive
28. The Sidewinder Sleeps Tonite
29. Everybody Hurts
30. Man On The Moon
31. Nightswimming (British Version)
32. Find The River
33. Nightswimming (R Version)

34. Automatic For The People Press Ki
t



by ichiro_ishikawa | 2017-09-15 00:14 | 音楽 | Comments(0)  

R.E.M. IN 20 SONGS

転載元

https://www.udiscovermusic.com/stories/rem-in-20-songs/


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If ever a band proved that you can play rock’n’roll and retain your integrity, then surely that band was R.E.M. Starting at the bottom playing soul-destroying club gigs, the Athens, Georgia, quartet’s dedicated work ethic ensured they rose steadily through the ranks and made the leap from cult heroes to fully fledged rock stars without ever sacrificing their credibility. An electrifying live act, they amassed an equally formidable catalogue of studio recordings, with their 15 superlative LPs stretching from 1983’s idealistic Murmur to 2011’s critically hailed swansong Collapse Into Now.
The band originally began after vocalist Michael Stipe met guitarist Peter Buck at Wuxtry Records in Athens, where the latter was gainfully employed in his early 20s. Discovering a mutual passion for punk and proto-punk artists such as Patti Smith and Television, the duo drafted in fellow University Of Georgia students Mike Mills (bass) and Bill Berry (drums), and R.E.M. was born. Playing their first gig in April 1980, the band quickly built up a following among the local college fraternity, with fans often praising Stipe’s eccentric, mumbled vocals and Buck’s ringing, Byrds-esque guitar sound.
Released by local independent label Hibtone in 1981, the band’s critically endorsed debut 45, ‘Radio Free Europe’, led to a deal with Miles Copeland’s IRS label, who released August ’82’s mini-LP Chronic Town and R.E.M.’s eagerly awaited full-length debut, Murmur, in April the following year. Brittle, fresh and mysterious, Murmur included fan favourites such as the folk-flecked ‘Talk About The Passion’ and the otherworldly ballad ‘Perfect Circle’, built around a haunting piano melody brought in by Bill Berry.
Murmur surpassed commercial expectations, winning Rolling Stone’s prestigious Album Of The Year award for 1983, and peaking at No.36 on the US Billboard 200. Popular with North America’s college rock network, the band’s sophomore release, 1984’s Reckoning, was recorded in just 12 days, but its contents – which vacillated from the yearning folk-rock of ‘So. Central Rain’ to the country-flavoured ‘(Don’t Go Back To) Rockville’ – were rarely less than beguiling, and the album eventually climbed to No.27 on the Billboard 200.
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Overseen by ex-Fairport Convention/Nick Drake producer Joe Boyd, 1985’s Fables Of The Reconstruction proved to be a “difficult” third album in that it was recorded during a harsh British winter with the band suffering from homesickness. With hindsight, though, it’s something of a flawed masterpiece and includes firm fan favourites such as the strident ‘Driver 8’, the brass-enhanced ‘Can’t Get There From Here’ and the dense, string-assisted ‘Feeling Gravity’s Pull’.
Helmed by John Cougar Mellencamp producer Don Gehman, 1986’s Lifes Rich Pageant was, by comparison, brash and direct. Stipe’s vocal delivery was noticeably more confident and, on some of the album’s stand-out tracks, such as ‘Cuyahoga’, the urgent ‘These Days’ and the glorious, acid-rain-related ‘Fall On Me’, his previously elliptical lyrics lent towards political and ecological issues for the first time.
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Climbing to No.21 on the Billboard 200, Lifes Rich Pageant won R.E.M. their first gold disc, though it was out-performed by their fifth LP, Document, which was released in September 1987. The first of six R.E.M. albums to be produced by Scott Litt (Counting Crows, The Replacements), Document was long on muscular, mainstream-inclined rock anthems such as the ironic, exuberant ‘It’s The End Of The World As We Know It (And I Feel Fine)’, ‘Finest Worksong’ and ‘The One I Love’. With the latter providing the band with their first major hit in North America, Document climbed to No.10 on the Billboard 200 (where it obtained a platinum certificate) as well as cracking the UK Top 30.
R.E.M. signed with Warner Bros for their sixth album, Green, released in October 1988. Greeted with considerable critical acclaim and promoted with a highly publicised 11-month world tour, this satisfyingly diverse record incorporated edgy, politically inclined rockers (‘Orange Crush’, ‘Turn You Inside Out’), catchy pop songs (‘Stand’, ‘Pop Song 89’) and pastoral, folk-flecked numbers such as ‘You Are The Everything’ and ‘Hairshirt’.
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Awarded platinum status in the US, Canada and the UK, Green was the commercial breakthrough R.E.M. had been working towards for almost a decade. They left cult status behind for good, however, with 1991’s Out Of Time, which went to No.1 on both sides of the Atlantic and sold 18 million copies worldwide, even though the band decided against a promotional tour in support of it. Dextrously blending elements of folk and pop (plus country on the enigmatic, pedal steel-assisted ‘Country Feedback’), the album spawned a brace of hit 45s and included the group’s biggest US hit, ‘Losing My Religion’, launched by Peter Buck’s distinctive mandolin riff.
An intimate, but consummate record frequently dealing with loss and mourning, 1992’s Automatic For The People also hit critical and commercial pay dirt, selling 18 million copies worldwide and featuring six enduring hit singles including the moody, monochromatic ‘Drive’, the tear-jerking ballad ‘Everybody Hurts’ and the joyous Andy Kaufman tribute ‘Man On The Moon’, with its tongue-in-cheek Elvis Presley vocal inflections from Stipe.
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R.E.M. returned with a no-holds-barred rock record courtesy of 1994’s hard-edged, grunge-inflected Monster, which was trailed by the churning UK Top 10 hit ‘What’s The Frequency, Kenneth?’ The band celebrated the record’s multi-platinum success with a lengthy but ill-fated world tour wherein drummer Bill Berry suffered a brain aneurysm onstage in Switzerland. Happily, Berry survived, but he quit the band after R.E.M. had re-signed with Warner Bros and cut 1997’s New Adventures In Hi-Fi. Arguably the group’s most underrated disc, this sprawling but compelling LP included gems such as the mesmeric, Patti Smith-assisted ‘E-Bow The Letter’ and the gorgeous pre-millennial hymn ‘Electrolite’.
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Instead of officially replacing Berry, R.E.M.’s three remaining members chose to draft in additional musicians, including Minus 5 multi-instrumentalist Scott McCaughey, and drummers such as Joey Waronker (Beck) and later Bill Rieflin (Ministry, Swans) for studio and/or live work. Recorded with new producer Pat McCarthy, the band’s first post-Berry outing, 1998’s Up, was a transitional record, but it included the delightful, Beach Boys-esque ‘At My Most Beautiful’.
Rather more successfully realised was 2001’s lush, melodic Reveal, which housed enduring UK Top 10 hit ‘Imitation Of Life’ and the dreamy ‘All The Way To Reno (You’re Gonna Be A Star)’. It was a solid seller, though it was eclipsed by 2003’s self-explanatory In Time: The Best Of R.E.M. 1988-2003, a well-chosen, multi-platinum-selling anthology cherry-picked from the band’s Warner Bros catalogue and featuring two stand-alone hits, ‘Bad Day’ and ‘The Great Beyond’, the latter having previously featured in director Miloš Forman’s Andy Kaufman biopic Man On The Moon, starring Jim Carrey.
R.E.M. returned to the fray with 2004’s introspective Around The Sun, which rose to No.1 in the UK Top 40 and included Michael Stipe’s affecting tribute to his second home, ‘Leaving New York’, which also broached the UK Top 5. The band then went back to basics for 2008’s Accelerate, hooking up with U2producer Jacknife Lee and unleashing some of their most stripped-back rock’n’roll in years. Fans rapidly seized on aggressive anthems such as ‘Man-Sized Wreath’ and the crunching, séance-related ‘Supernatural Superserious’, while critics tripped over themselves to hail the album as a return to form.

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Buck, Mills and Stipe had, however, discussed calling time on R.E.M. even before they set out on the lengthy tour to support Accelerate in 2008, and they split definitively after recording 2011’s Collapse Into Now, again with Jacknife Lee at the controls. The resulting album touched base with all R.E.M.’s strengths, from affecting, slow-burning anthems (‘Überlin’) to crunching rockers (‘Alligator_Aviator_Autopilot_Antimatter’) and heartfelt ballads such as ‘Oh My Heart’; collectively, Collapse Into Now sounded like the perfect parting shot from the consummate rock band who super fan Kurt Cobain once told Rolling Stone were “the greatest… and they keep delivering great music”.

by ichiro_ishikawa | 2017-09-13 22:38 | 音楽 | Comments(0)  

ゲスの魅力


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最近とみに書いて来た通り、ゲスの極み乙女。に今ごろハマつてしまつてゐるのだが、「は?」「ジャリタレJポップぢやん」「終はつたな」「そもボウイ長渕好きだもんな」といつた非難めいたリアクションを、センスのよい、分かつてゐる人達から多く受けるにつけ、ゲスがどういいか、誰もが思ふことの範囲を出ないが、以下にまとめておかむ。

演奏
普通に演奏が上手。特にキーボード、ピアノ。
各パートのフレイズもいい。
歌もうまい。発声、声質も実はいい。
全作詞作曲を手がける川谷の陣頭指揮が光るも、ワンマンバンドではない。


歌詞
歌詞がいい。言葉の斡旋、時代の気分の掬い取りがいい。意外と甘くない。男気溢れるロック。
言葉のリズムの乗り方がいい。ラップ部、コール&レスポンス部、コーラス部、メロディ部すべて。


曲の構成がいい。主にイントロ、ラップ、コール&レスポンス、ブリッジ、サビ、間奏、アウトロといつた要素が各楽曲に惜しみなく配置され、サビも3種類ぐらい贅沢に盛り込まれてゐたりもする。品数が多い、高い方のコース料理の様相。出てくる順番、並びも周到。

メロディが抜群。リピートに耐える普遍的なグッドメロディ。

女性陣コーラスの入り方、コール&レスポンスなどオカズ的な部分の練りこまれやうが楽しい。

ラップ部、メロディ部共にリズム感がいい。意外と腰に来る。ベースとドラムのグルーヴ、鍵盤、ギターのカッティングに切れ味がある。

鍵盤の醸すコードがよい。ジャズ的なテンションが加味されてゐる。


ビジュアル、人
各メンバーのキャラがいい。ユーモアあり。アー写のポーズや衣装もセンスがよい。
特にボーカルは、バズーカバンドのプロデュースなる企画での小藪やクッキーとのやりとりもよい。切り返しやコメントも、秀逸。

ボーカルが俺が嫌いなヒョロイ文系優男風だが、意外と精神的骨太でパンクスピリット溢れる。前髪をおろしているのも似合つてゐるからよしとする。パーカーもスルーできる。メガネをかけてないのが救い。まあかけててもよいが。

ドラムのツラと態度がよい。ロック的な美人。

鍵盤のツラと動きがよい。ビジーフォーでいふ紅一点的な味。

ベースの太め感が安定味あり。ひとりデカいデブがゐるとバンドはしまる。湘南爆走族の原沢的な。



by ichiro_ishikawa | 2017-09-13 09:04 | 音楽 | Comments(0)  

ゲスの極み乙女。ベスト5


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ゲスの極み乙女。を知つて一週間。まだどんな出自でいつデビューしてなど基礎情報も知らない状態での、「俺の中での接触初期」時のベスト5。







by ichiro_ishikawa | 2017-09-09 23:23 | 音楽 | Comments(0)  

ザ・スミス『クイーン・イズ・デッド』デラックス版がリリース


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ザ・スミスの1986年のアルバム『ザ・クイーン・イズ・デッド』のデラックス版が10月25日に発売される模様。すでにApple Musicにスタンバイアップされてゐる(CD2の9. ‘There Is A Light That Never Goes Out’(take 1)、CD3の8. ‘Rubber Ring/What She Said/Rubber Ring’ の2曲だけが聴けるやうになつてゐる)。しかしCD+DVD版も買つてしまふやもしれぬ…。いや無用か? 本でも音楽でもパッケージ、ブツに惹かれてしまふのは昭和病なのか。


曲目は以下の通り。


『ザ・クイーン・イズ・デッド-デラックス・エディション』(完全生産限定盤 CD+DVD)


<CD1 – Original album: 2017 master>

1. ‘The Queen Is Dead’

2. ‘Frankly, Mr. Shankly’

3. ‘I Know It’s Over’

4. ‘Never Had No One Ever’

5. ‘Cemetry Gates’

6. ‘Bigmouth Strikes Again’

7. ‘The Boy With The Thorn In His Side’

8. ‘Vicar In A Tutu’

9. ‘There Is A Light That Never Goes Out’

10. ‘Some Girls Are Bigger Than Others’


<CD2 – Additional recordings>

1. ‘The Queen Is Dead’(full version)

2. ‘Frankly, Mr. Shankly’(demo)

3. ‘I Know It’s Over’(demo)

4. ‘Never Had No One Ever’(demo)

5. ‘Cemetry Gates’(demo)

6. ‘Bigmouth Strikes Again’(demo)

7. ‘Some Girls Are Bigger Than Others’(demo)

8. ‘The Boy With The Thorn In His Side’(demo mix)

9. ‘There Is A Light That Never Goes Out’(take 1)

10. ‘Rubber Ring’(b-side)

11. ‘Asleep’(b-side)

12. ‘Money Changes Everything’(b-side)

13. ‘Unloveable’(b-side)


Tracks 1-7 and 9 are previously unreleased.

Track 8 was released on 7” for Record Store Day.

Tracks 10 and 11 are 2017 masters of b-sides from ‘The Boy With The Thorn In His Side’.

Tracks 12 and 13 are 2017 masters of b-sides from ‘Bigmouth Strikes Again’.


<CD3 – ‘Live in Boston’ – previously unreleased>

1. ‘How Soon Is Now?’(5.25)

2. ‘Hand In Glove’(2.58)

3. ‘I Want The One I Can’t Have’(3.24)

4. ‘Never Had No One Ever’(3.29)

5. ‘Stretch Out And Wait’(3.09)

6. ‘The Boy With The Thorn In His Side’(3.34)

7. ‘Cemetry Gates’(3.01)

8. ‘Rubber Ring/What She Said/Rubber Ring’(4.17)

9. ‘Is It Really So Strange?’(3.23)

10. ‘There Is A Light That Never Goes Out’(4.09)

11. ‘That Joke Isn't Funny Anymore’(4.51)

12. ‘The Queen Is Dead’(5.08)

13. ‘I Know It's Over’(7.39)


Recorded at the Great Woods Center For The Performing Arts on 5th August 1986.


DVD:

‘The Queen Is Dead’ on 96kHz / 24-bit PCM stereo.

‘The Queen is Dead – A Film by Derek Jarman’.



なお、Apple Musicでは、
Never Had No One Ever、Cemetry Gates、The Queen Is Dead、I Know It's Over、Frankly Mr. Shankly、そしてBig Mouth Strikes Againのライブバージョンのシングルが、さらに動画‘The Queen is Dead – A Film by Derek Jarman’.がすでに配信されてゐる。





by ichiro_ishikawa | 2017-09-07 23:31 | 音楽 | Comments(0)