渋谷陽一×松任谷由実 1987


# by ichiro_ishikawa | 2019-08-11 21:07 | 音楽 | Comments(0)  

【転載】The Unheard ‘Abbey Road’: An Exclusive Preview of Beatles’ Expanded Final Masterpiece

The Unheard ‘Abbey Road’: An Exclusive Preview of Beatles’ Expanded Final Masterpiece

‘Super Deluxe Edition’ of group’s last album to include outtakes, demos and angry neighbors complaining about the late-night noise 

Fifty years ago today, on August 8th, 1969, the Beatles walked back and forth across a street they knew well: Abbey Road. John LennonPaul McCartneyGeorge Harrison and Ringo Starrlined up and crossed a few times, while a cop held up traffic, right outside the studio where they were already booked to show up for work that day. The whole photo session took only 10 minutes. Yet this became their most iconic image: sky of blue, trees of green. It sums up the sunny confidence of the most popular album the Beatles ever made — which also turned out to be the lastAbbey Road turned a zebra-stripe crosswalk on an ordinary London street into holy ground. Oh, that magic feeling.

Fifty years later, the Abbey Road story takes a new turn with the revelatory Super Deluxe Edition, which drops on September 27th in time for the anniversary. It sheds new light on the essential weirdness of this music — how did the Beatles create such warmth and beauty while they were in the middle of breaking up? “It’s the Last Supper,” producer Giles Martin, son of the late George Martin, tells Rolling Stone. “It’s having great sex with an ex-girlfriend. They said, ‘Let’s do one last great thing.’”

The new Abbey Road edition follows the model of the Sgt. Pepper and White Album sets from the past couple of years. And like them, it explores the vaults to find fresh surprises in music you think you already know by heart. It’s the Beatles’ best-selling album  —but it’s also a bittersweet finale from four friends preparing to go their separate ways forever. It’s their farewell — but you can also hear the smiles returning to their faces. The last time John, Paul, George and Ringo played together was when they cut “I Want You (She’s So Heavy).” Yet all four were on fire as songwriters — even Ringo, who contributes “Octopus’ Garden.” The music has a childlike warmth. “Abbey Road is a kids’ album,” Martin nods. “Come Together’ is a blues groove — but it’s also my 11-year-old daughter’s favorite Beatle song.”

There’s a new mix from Martin and engineer Sam Okell in stereo, 5.1 surround sound and Dolby Atmos. There’s a coffee-table book with Paul McCartney’s foreword. There’s also 23 outtakes and demos to enhance the original album. Compared to Sgt. Pepper or the White Album, the sessions were orderly and civilized. George Martin, still wary after the madness of 1968, agreed to come back and produce only if they promised to be on their best behavior. So these outtakes don’t include the same kind of far-flung studio experiments. “They’re not really jamming,” Giles Martin says. “It’s not like the White Album — with this record, maybe to protect against arguments, they had a pretty damn good idea about the direction each song was going to go in before they recorded it.”

In early 1969, the Beatles tried to make Get Back, the album that turned into Let It Be. It turned into open warfare, nearly ripping the band apart. It was Paul who talked the others into giving it one more go. “They came in knowing that this was the end,” Martin says. “There was never the illusion that this was going to be the big start of something new.”

But since these four boys were the Beatles, they couldn’t stop showing off — for each other, for the world, for themselves. So facing the final curtain just fired up their competitive edge. “There wasn’t that element of continuation: ‘We’ll put it out, then do something else.’ It wasn’t the White Album, where it feels like, ‘This is where we are right now, and where we’ll be in six months time, who knows, but we’re on this journey and this is part of the journey,’” says Giles Martin. “They knew this was it. The way I would explain it is, you’ve only got a certain number of breaths or heartbeats left in your life, and you want to make sure they’re important. That’s the essence of Abbey Road — they knew how important it was.”

In a previous unheard version of “I Want You (She’s So Heavy),” the Beatles bash away at John’s heaviest riff in Soho’s Trident Studios, at top volume. But this posh address is a little different from Abbey Road — the session gets interrupted by neighbors complaining about the late-night noise. Surprisingly, John agrees to turn it down, after one more take. He tells the band, “The loud one — last go. Last chance to be loud!” Martin says, “It’s so funny — he’s so polite. He should have said, ‘Fuck off, we’re the Beatles!’”

The studio banter brings the sessions to life — even at this late stage, the lads can’t resist trying to crack each other up. When it’s time for a coffee break, one of Paul’s ballads turns into “You never give me your coffee.” John plays around with “Polythene Pam,” sneering, “His sister Bernice works in the furnace.” “I like trying to find as much speech as possible — it humanizes it,” Martin says. “You hear John Lennon talk, then he suddenly starts singing, and you think: It’s that fucking simple? That’s all I have to do? He just starts singing and it makes the sound of John Lennon? There’s no process there? It’s the same microphone? There’s no switch being turned? I think that changes it. You listen to “I Want You (She’s So Heavy), when they stop and start talking. Wait — these people are making that noise?”

The extras also include Paul demos for two hits he gave away — “Goodbye” for Mary Hopkins and “Come and Get It” for Badfinger. There are three takes of “Her Majesty.” (But if you’re among the many fans who consider “Maxwell’s Silver Hammer” a pataphysical gaffe, don’t necessarily get your hopes up that Take 12 will change your mind.) Maybe Ringo couldn’t have written “Octopus’ Garden” without a little help from his friend George — but he still deserves an eight-tentacled round of applause.

The Quiet One brought in only two tunes — as John sniped in NME at the time, “George has got songs he’s been trying to get on our records since 1920.” But they turned out to be the best-loved highlights, “Here Comes The Sun” and “Something.” In fact, George might deserve the credit for the album’s quality — he threw a scare into the others. “They’re pretty bloody big songs,” Martin says. “It must have shaken things up for John and Paul — they were nothing if not competitive. There’s no question that the catalyst for their demonic level of songwriting here was ‘Something’ and ‘Here Comes the Sun.’”

They’re not at all like George’s White Album or Pepper songs — they’re broad, emotionally direct, not the least bit quizzical. (For that matter, they don’t sound like the solo songs he was already demoing for All Things Must Pass.) But in itself, that’s a sign he was leaving the Beatles behind. After his bitter experience trying to get them to play “All Things Must Pass” at the Get Back sessions  —John responded by ignoring him and plucking a Chuck Berry riff until George stormed out — he wasn’t bringing them his personal cosmic riddles anymore. As Giles Martin says, “He was planning his solo album. He knew what his next plan was. He was definitely fed up with life with John and Paul. And the Beatles didn’t function without John and Paul functioning.”

John was also stretching himself — he added the harmony ballads “Because” and “Sun King,” as if he knew this was his last chance to write songs for these three voices to sing together. These are Beatle songs, very different from anything he’d write for himself and Yoko to sing. For John and George, this was their last chance to be Beatles; instead of battling for self-expression, they came together. For “The End,” all three trade off guitar solos, tracking it live — Paul, George and John, in that order.

As on the Pepper and White Album sets, Ringo nearly steals the show. His drums have their own track, for one thing — crazy as it seems, this was the first (and only) album the Beatles recorded on eight-track, a little late in the game. “It’s much bigger-sounding — eight tracks, a transistor desk. It’s the only Beatles album that was recorded in stereo — there’s no mono version.” Giles Martin points out a sonic detail that jumps out from the new mix of “Something”: you can hear Paul play the high-hats in the middle eight. “Ringo is playing toms with both hands, and then in the middle bit, Paul goes over to hit the high-hat. It took the two of them to play drums on that bit.”

But for all the team spirit on Abbey Road, there’s something wistful. Paul’s sense of loss is all over the Side Two suite, right up to “The End” itself. “You do get the impression with Abbey Road that Paul was trying to hold on to the dream — and my dad as well.” Giles makes the argument that it resembles George Martin’s subsequent work rather than theirs. “Sonically, it’s more like his work with [the band] America. Abbey Road has that precision — everything’s in tune, it has the right fit, and that’s how he liked things to be.”

But the Beatles and their producer were heading into the unknown — as if cramming in all the experiments they knew they’d never get a second chance to try together. In the middle of Side Two, Paul sings, “Soon we’ll be away from here / Step on the gas and wipe that tear away.” On Abbey Road, all of them sneak a look back at the past they’ve shared. And then — walking as boldly as they do on the album cover — they cross the road into the future.

# by ichiro_ishikawa | 2019-08-10 11:10 | 音楽 | Comments(0)  

追悼 Dr.ジョン、アート・ネヴィル

Dr. John  Iko Iko

The Meters 
LOOK-KA PY PY、Jungle Man
The Meters Cissy Strut

大滝詠一 福生ストラット

# by ichiro_ishikawa | 2019-07-25 10:23 | 音楽 | Comments(0)  

ユーミン ベストオブベスト2019

18,19の女ならではの何かの一瞬が奇跡的に凝固した「雨の街を」と、プロフェッショナルなミュージシャンとしての傑作「夕闇をひとり」「DANG DANG」の違ひが気になつてゐる。




Am7  Dm7  Am7  G
 夜明け の雨は ミルク色

Fmaj7 G7  Cmaj7
 静か  な街 に

Am7  Dm7  Am7    G
 ささや きながら 降りて来る

Fmaj7 G7   Cmaj7
 妖   精たち よ

Fmaj7 G7    Cmaj7 Am7
 誰   かやさし くわた しの

Fmaj7 G7    Em7 E7
 肩   を抱いて くれた ら

Am7  Dm7  Am7    G
 どこま でも遠  いところへ

Fmaj7 Em7 Am7
 歩い てゆけ そう




井上鑑(key, arr)、村上ポンタ秀一(ds)、大村憲司(g)高水健二(b)、中西康晴(key)、金子マリ(vo, cho)、CHAKA(vo, cho)

# by ichiro_ishikawa | 2019-07-24 10:12 | 音楽 | Comments(0)  

考察 なぜ人はある一つのことを終へられないのか


戦場へ。移動中はApple Musicでインスト流しながら趣味の読書。たまにネットニュースもチラチラ。




帰宅。移動中はYouTube。もしくはApple Musicでインスト流しながら趣味の読書。
夕食、風呂、あー明日学校行きたくねえと思ひつつ、Apple Musicをかけながら、睡眠。



# by ichiro_ishikawa | 2019-07-23 09:27 | 日々の泡 | Comments(0)  

貴重PV 山下久美子 Single

山下久美子 Single
BOØWY「B・BLUE」(9月29日)、『BEAT EMOTION』(録音9月6〜23日、発売11月8日)期、布袋絶頂時の楽曲。

# by ichiro_ishikawa | 2019-07-05 01:12 | 音楽 | Comments(0)  






# by ichiro_ishikawa | 2019-07-04 23:19 | 文学 | Comments(0)  

小林秀雄 20代までの生活年表



























3月 白金尋常小学校卒業   

4月 東京府立第一中学校(現・都立日比谷高等学校)入学





3月 府立一中(五年制)卒業。一高入試に失敗、浪人


3月20日 父豊造、四六歳で死没   

3月21日 第一高等学校(東京大学教養学部等の前身)合格発表

4月 第一高等学校文科丙類(文学)入学。野球部入部後、すぐ退部。マンドリンクラブ結成   

10月 盲腸周囲炎と神経症のため休学   



9月1日 神田須田町❸で関東大震災に遭遇  

9月6日 船と徒歩で鎌倉に療養中の母に会いに行く


2月? 母と妹の三人で豊多摩郡杉並村馬橋226番地❹に転居  

6月10日 「一ツの脳髄」を書き上げる  


3月 第一高等学校卒業     

4月 東京帝国大学文学部仏蘭西文学科入学

この頃か   神田の本屋でランボオの「地獄の季節」に初めて出会ふ

4月初め 富永太郎を通じて中原中也を知る  

9月 中原中也の帰郷中に長谷川泰子に会う     

10月8日 大島に旅行(泰子は待ち合わせに間に合わず)、帰京後盲腸炎(腸捻転?)で入院・手術 

11月下旬 杉並町天沼❺に長谷川泰子と同棲  



2月 「佐藤春夫のヂレンマ」を文藝春秋に発表(初の商業誌掲載)

10月 「ランボオI」を「仏蘭西文学研究」に発表


5月 初めての単行本『エドガー・ポー』を新しき村出版部より刊行

8月3日 大阪毎日新聞・東京日日新聞主催の第一回全国都市対抗野球大会が神宮球場で開催され、後の巨人の水原監督らとともに神奈川代表で出場。台湾の台北チームと戦う。(→「スポーツ」1959年1月)  

9月? この頃目黒❼に住む  


2月 豊多摩郡中野町谷戸(東中野)❽に転居     

3月 東京帝国大学卒業           

5月25日 長谷川泰子と別れ、関西へ向かう❾


6月   京都奈良市の割烹旅館江戸三に宿泊、奈良市幸町の志賀直哉邸に出入り

9月 妹、富士子が高見澤(田河水泡)と結婚     

10月20日 母が関西へ     

11月17日 西村孝次と二月堂へ           

1929年 (昭和4) 27歳

1月末 奈良より帰京し、東京府下滝野川町田端155番地➓に住む

4月 「改造」の懸賞論文のため「様々なる意匠」執筆、改造社社員の深田久弥に渡す                 9月 「改造」の懸賞評論で「様々なる意匠」が第二席に

10月~ 『文学』(第一書房)同人に、ランボオ「地獄の季節」を創刊号から訳載  


4月 『文藝春秋』で「アシルと亀の子」発表、以後文芸時評の連載開始


*この頃、母とともに鎌倉町佐介通二〇八番地に転居    (11)

# by ichiro_ishikawa | 2019-07-04 21:26 | 文学 | Comments(0)  

年代別 小林秀雄の足跡まとめ

































# by ichiro_ishikawa | 2019-07-04 00:25 | 文学 | Comments(0)  

長渕剛1989シークレットライブ at 天河大弁財天

長渕は「LIVE'87 LICENSE」の真っ最中の1987年9月17日、奈良県天川村の天河大弁財天社にて挙式。その天河大弁財天社の新築奉納祝いにて、シークレットライブを行つた。


1.巡恋歌 2.He・La-He・La 3.花菱にて 4.とんぼ 5.いつかの少年 6.乾杯 7.祈り 8.Never Cheange 9.明け方までにケリがつく 10.Stay Dream 11.昭和

「昭和」を披露していることと、そのルックスから、1989年と言はれてゐる、知る人ぞ知るこのシークレットライブは、「LIVE'86 - '87 STAY DREAM」、前述の「LIVE'87 LICENSE」、「LIVE'89 昭和」、「LIVE'90 - '91 JEEP」、「LIVE'92 JAPAN」といつた神懸かり的カリスマ期のものだけに、超絶モノである。オフィシャルリリースが期待される。

# by ichiro_ishikawa | 2019-07-03 23:05 | 音楽 | Comments(0)