カテゴリ:音楽( 675 )

 

【転載】Morrissey: The Last Unwoke Pop Star


c0005419_10144579.jpg
Morrissey: The Last Unwoke Pop Star

Culture

Morrissey: The last unwoke pop star 


There was always only one Morrissey. But in 2019, this matters more than it ever has. All intelligent people know that we must separate the art from the artist. In our culture, this results in disallowing an artists’ real-life actions to affect the perception and appreciation of their art. It’s harder to apply this basic rule to Morrissey. That’s because, more than any other artist, Morrissey is his art.

The concept of an individual artist embodying their art to the point where they are indistinguishable from it is as 20th century a phenomenon as new wave. Musicians who appear to be what they present themselves as have been lauded and worshipped. So, what is Morrissey? As an artist who has maintained an elevated sense of mystery about his work, his sexuality, and his political perspectives, he continues to make music that calls directly to the hearts of his fans.  

The political will amongst the elites to take him down for his provocative gestures is strong. Bolstered by a fan base that just can’t quit him, he soldiers on. Instead of cowing to political pressure, he doubles down, often trolling those who would seek to do him damage. As long as Morrissey keeps crooning, he will be okay. 

The authors of this essay are diehard fans and outspoken writers; thoroughly advocating for artists to speak their minds, stray from the fold, and not give in to pervading views. We won’t do it, and whether in agreement with Steven Patrick Morrissey or not, we are in favour of his right to free expression, artistically and socially. Morrissey has carved his own path through pop culture and the music industry, and as the last, seriously independent thinker on the pop scene, he keeps his cool, and fans stick with him, despite the persistent apology culture of wokeness that has taken hold of virtually every aspect of mainstream, western culture. 

With this in mind, we attended the first two sold-out concerts Morrissey performed on his truncated spring Canadian tour. What we found was a very engaged crowd, and an artist who performed with grateful love for his fans. Those who crowded Sony Centre were expectant and even a little surprised to find themselves searched, and confronted with petitions to sign.

Morrissey survived libel and smears throughout the first wave of political correctness in the 1990s. No doubt he will survive the current one. He has been betrayed by fawning journalists too many times to mention. As Russell Brand recently put it on The Joe Rogan Experience, “[Modern journalists] change what you say, and then you have defend what they said you said.”

Morrissey is perhaps the only pro-Brexit pop star who still has a career. Like Kanye West with his MAGA moment in America, Morrissey has kicked against the pricks of the ruling class and revealed the convenient lies they rely upon and the inconvenient truths they are desperate to conceal. Morrissey on the media post-Brexit: “I am shocked at the refusal of the British media to be fair and accept the people’s final decision just because the result of the referendum did not benefit the establishment.” Kanye on the media post-MAGA: “That sounds like control to me. They will not program me.” Are Kanye and Morrissey the last living punks? Morrissey, certainly, was invented by punk and his own punk fandom. Now, in his later years, he has embraced the defiant gestures of the genre.

In a world of fearful compliance, Morrissey stands apart. Whether in agreement with his views or not, we need contrarians. We need people who will not bow down to the approved messages. Media-approved art is not art but propaganda. As Morrissey croons in “My Love, I’d Do Anything For You,” “Teach your kids / to recognize / and despise / all the propaganda / filtered down / by the dead echelons mainstream media.” 


Many of the messages Morrissey coveys are particularly pertinent to our times. “WHAT WOULD YOU DO IF YOU WEREN’T AFRAID?” was projected on the backdrop on the second night as he launched into the Viva Hate classic “Dial-a-cliche” Our social media-obsessed culture has reduced us to cliches and made us afraid of each other and real life. Morrissey’s altered the lyric slightly, as he did with a few of his older songs, and instead of simply “dial a cliche,” he sang “be a cliche.” Isn’t this what social media reduces us to? The yen to be a cliche instead of an individualist is strong on platforms where relevancy = likes, and unrelatability = obscurity.

So many people want to be the thing that most people will like, whether it is representative of their true selves or not. Instead of revealing themselves, they connect with identifiers that are broad enough to buffer them from having to attend to their inner lives. Morrissey and his fans inherently buck this, because so many of them began to express their individuality against a backdrop of normative expectations, and it was Morrissey’s lyrics and sound that gave them the understanding that life didn’t have to be like that. 

Speedway” takes on media mobbings. As the song reaches its crescendo, he croons “I could have mentioned your name / I could have dragged you in / guilt by implication / by association / I’ve always been true to you.” It makes sense; Morrissey was mobbed and shamed before it was an everyday occurrence. He’s been called every progressive slur in the book before progressivism was even a thing.


In the US, and online, there is a growing concern among artists that art should contain political activism within it. Morrissey is a peculiar case study in that he has always been political yet embodies the spirit of aestheticism almost perfectly. He exists within the realm of the sublime, a beauty through pain of sadness that speaks to his fans, refugees from mainstream pop joy.

He has disdain for any of those men and women who aspire to lead nations. One of his many concert backdrops featured Margaret Thatcher about to be whacked with a baton by an officer astride his horse. Those who take his unapologetic free speech advocacy as some sort of right-wing dog whistle should take note that this is still the man who proclaimed that the Queen was dead, called for Margaret on the guillotine, and claimed in song, “We won’t vote conservative!”  

The political songs are often the ones that miss the mark in an emotional context, precisely because his ability to connect on the heartfelt songs is so stellar. But they bring weight to this tour that marked the end of Morrissey’s personal boycott of Canada over barbaric seal hunting practices. In coming back, he said, “My stance was ultimately of no use and helped no one. My voice was drowned out by the merciless swing of spiked axes crushing the heads of babies. On my return to Canada I feel that I can be of more use by making sizeable donations to animal protection groups in each city that I play.”

Morrissey has the most intense fandom ever. For most, it’s a lifelong love affair that began with songs heard in early teenage years that carried them through those difficult years. The feeling that an artist truly understands the pain of growing up from a shy child into a miserable adult cannot be underestimated.

We listen to Morrissey because he speaks to that part of us that we don’t readily share. To recapture feelings of love and red wine on lazy summer afternoons, to live the songs of our hearts, the places where shame keeps us from expressing true desire, true loss, true hopeless expectation. But unlike so many of his peers in alt rock, Morrissey does it with both a deep reservoir of artistic knowledge and a sense of humour, like Oscar Wilde, James Joyce, Dorothy Parker. The smirk that plays at the edges of his mouth, at the edges of his verse, give us the feeling that no matter how miserably we have failed, it doesn’t matter if we rise again, because rising is not the goal, laughing at our tears is.

A mass of vulnerability crams into the theatres where he plays, and while we yearn for the old songs, he gives us something better. New ideas and perspectives that we weren’t expecting, that jar our realities and keep us from sinking into the peevish darkness. We can fight him, debate him, feel antagonized and betrayed as though by a lover we have loved more than he has loved us. Because despite his love for his fans, it’s we that keep reaching out for more of this fascinating artist, who, decades into his career, continues to deliver a vulnerable, expressive distance.


On the way to Toronto, the tiny, flimsy airplane was dotted with Morrissey shirts. A few hours before the first concert, the cafe girl asked us what we were doing in town; she had never heard of Morrissey. In that moment, it was inconceivable to us that one could ask such a question. It was also true of the customs guy, the hotel clerk, and for sure the kids in the hotel lobby watching the new Taylor Swift video on their iPhones. But for us—as well as thousands of jean-jacketed, rockabilly Betties and Quiffed-up, tattooed Latino fanboys—in the hours leading up to the first show, Morrissey was the world.

Security stood at the ready on the edge of the stage to push back worshippers. When fans jumped up on stage, as they have been doing for decades, Morrissey reached out for them, allowed them human touch. Other fans simply bowed their heads in appreciation, wanting to acknowledge what he’s given. We all felt the joy of a fan recognized by the man himself. The best artists know that their careers are held aloft by the experience the fans have with the work. The art is neither the object nor the man, but the moment in between the expression and the individual who craves what is expressed.

The joy of the crowd at the first licks of “How Soon Is Now” has been holding strong since its release. We know all the words, and we’re thrilled to have our outsider lonely lovelessness acknowledged. Could it be that we all stood at the edges of dance floors in the all-ages clubs of our youth, wishing for the DJ to play tracks we could sway and cry to, and that if we’d only looked into each others’ eyes we would have connected like we yearned to? Together we press toward the stage and toward each other. It’s our hearts reaching out and finding camaraderie. How can it be that so many controversial outsiders find a home in this music? We feel a kinship with each other despite our unwillingness to admit it, acknowledge it, or speak to each other. We’re still too shy. 


Adding the Spanish vocals in “World Peace Is None of Your Business” is something that comes from the Latino fandom and is an acknowledgement of it. These kids carry the torch, and the merging of Mexican American Chicano culture with Morrissey’s post-punk English sound is a glorious 21st Century collaboration.

Though it’s a tour for California Son, an album of obscure covers, he only played one song from the album each night in Toronto. “Wedding Bell Blues by The Fifth Dimension, and Jobriath’s “Morning Starship.” He noted that no one has probably heard of Jobriath, and we mostly hadn’t. Bringing these nearly forgotten tracks to his fans reveals Morrissey as a fan himself. The range of Morrissey’s influence is a treasure trove of obscure 20th Century music, and fans should take the time to dig in, listen, and then attend to Morrissey’s new covers record. Standouts include covers of R&B legend Dionne Warwick, American folk singer Phil Ochs, and Canadian pacifist Buffy Sainte-Marie.

He sang “I’m Throwing My Arms Around Paris” in front of a backdrop of flames and a single “Gilet Jaunes” protester defiantly waving a French flag. A reminder that political reality is complex, no matter what the media would have you believe. A reminder, too, that Morrissey has always been with the working class, Les Miserables.


Speaking of what the media would have you believe, shortly after the Canadian stint we observed, Morrissey caught another wave of bad press. This time, he was smeared for wearing a “For Britain” badge during a performance of “Morning Starship” on The Tonight Show with Jimmy Kimmell. One of Morrissey’s oldest frenemies in media, the NME, summed it up this way: “The performance led to posters for his new album ‘California Son’ to be removed at Merseyrail stations and for his music to be banned from the world’s oldest record shop.”

Morrissey issued a statement: 

Everyone always wants to jump to conclusions. 

Morrissey has never been affiliated with any political party in the past. Morrissey has never voted in his life, and is not a member of any political party. 

Morrissey opposes racism, hatred and press censorship. Morrissey believes in free speech and free expression and opposes totalitarian regimes. Morrissey has only ever met two political figures – Ken Livingstone and Tony Blair. 

Morrissey currently wears lapel pins of James Baldwin, Malcolm X, Martin Luther King, Aretha Franklin, Oscar Wilde.

Morrissey is quite used to smear campaigns from the UK press. It is nothing new for us.

Thanks to the fans the CS record is currently # 2 at HMV today. And thanks to Merseyrail for all the extra press today!

Morrissey later clarified in an interview with Sam Esty Rayner that while he supports For Britain (it appears largely for their broad animal rights platform), the notion that he is in anyway racist is preposterous: “If you call someone racist in modern Britain you are telling them that you have run out of words. You are shutting the debate down and running off. The word is meaningless now.” The world, as ever, won’t listen. 


Back in Toronto, while belting out his recent hit, “Spent the Day in Bed” Morrissey once again turns his gaze on the media that often maligns him. In taking aim against duplicitous, fear mongering journalists, he offers a way forward by which we should all abide: “I recommend that you / stop watching the news / because the news contrives to frighten you / to make you feel small and alone / to make you feel like your mind isn’t your own.” 


This is what keeps his fans feeling connected. We don’t want to feel small and alone, even as much as we acknowledge that we do. We don’t want to feel like our minds are not our own, and we won’t. That’s the point. To feel connected to our flaws, to know what they are, and to rail against those that would define us by our flaws, our vulnerabilities, and our misgivings. It is not a weakness to laugh at ourselves, to indulge in our shyness. The weakness comes in giving over your thoughts and attention to a culture that places no value on individuality or critical thought. Morrissey is ultimately a critically thinking individual, who does not hold back his views, his heart, his art, or his love.


by ichiro_ishikawa | 2019-08-28 10:08 | 音楽 | Comments(0)  

オメガトライブ整理

YouTubeにて杉山清貴の美声に聴き入つてると、さういや、オメガトライブつてなんだつんだ? と、ふと思ひ、調べてみたら、藤田浩一がプロデューサーで、藤田は1947年生まれで、水谷公生を擁するアウト・キャストなるGSをやつてゐた人物で、その後にプロデューサーになつたといふ、「ビートルズにやられた新しい世代である団塊世代の人間が、もはや戦後ではなくなつた時期にバンドを始め、ブームが終はるとお役御免で、ニューミュージック、歌謡曲をプロデュースしていくやうになる」といふ典型的なパターンがここにもあつたことに気づき、ちよつとオメガトライブを調べたい気になつたので、大阪出張への移動中、予定してゐたゴトシの事務処理を保留し、新幹線の中、30分目処で、整理していくことにする。


オメガトライブ

プロデューサー藤田浩一1947年3月20日 - 2009年10月11日。日本のギタリス水谷公生をボーカルに擁したGSアウト・キャストのギタリストを経て、芸能事務所トライアングル・プロダクション設立。角松敏生、菊池桃子を手掛ける)の指揮のもと、作曲家林哲司並びに和泉常寛、アレンジャー新川博などの制作陣を中心とした、バンドではなくプロジェクトの総称(計3回)。


藤田が考えるオメガトライブといふプロジェクトを、林哲司主導の元で楽曲制作。レコーディングはプロのスタジオミュージシャンが演奏し、ボーカル以外のメンバーはレコーディングの収録には関はらない。他のメンバーは「オメガトライブ」を演じるバンドである。バンドは名付けられ、オリジナル作品は製作出来ず、作品は準備され、演奏はスタジオ・ミュージシャンの演奏をなぞる。ビジュアルイメージは絶えず「海」「夏」「リゾート」。


時は1980〜1年で、BOØWYと同時期。杉山は氷室の一つ上。1979年、氷室が同じくコンテストで優勝したのを機に上京して音楽事務所ビーイングに入るも、2代目ボーカルとして入れられた既成のバンド、スピニッヂパワーでの活動にに満足がゆかず、同時期に上京してゐた同郷の布袋と、独自にBOØWYを組んだことと対照的だが、杉山の場合、マリオネットとはいへバンドメンバー自体はそのままだつたから、まだ納得がいつたのやもしれぬ。




第1弾 1983〜85年

杉山清貴&オメガトライブ

杉山清貴(ボーカル、1959年7月17日生、AB型)

高島信二(ギター、1960年10月23日生、O型)

西原俊次(キーボード、1960年4月26日生、AB型)

大島孝夫(ベース、1960年12月8日生、A型)

廣石恵一(ドラムス、1960年11月15日生、A型、現クレイジーケンバンド)

吉田健二(ギター、1960年8月10日生、O型、1985年4月に脱退、愛称は「ケンタ」)


主な制作陣

プロデューサー:藤田浩一(元「アウト・キャスト」のギタリストで、トライアングルプロダクションのオーナー)

作詞家:康珍化、秋元康

作曲家:林哲司


1980年5月、前身バンド「きゅうてぃぱんちょす」が第19回ヤマハポピュラーソングコンテストに入賞。同年10月の第20回ポプコンでは落選するものの、藤田浩一の目に止まる。

この時期には現在芸術音楽の作曲家である千住明がキーボードを担当したが、プロへ直結するポプコン優勝を逃したことから、在籍していた慶応義塾大学から東京芸術大学への受験により音楽家になることを希望し、グループを離脱。キーボードには西原俊次が新たに加わり、グループとしてプロデビューを目指す。


1983年4月、プロデューサー藤田浩一の第1弾プロジェクト『杉山清貴&オメガトライブ』としてレコードデビュー。 デビューの条件としてプロによる提供楽曲の演奏を提示、バンドはこれを受ける。

名称の名づけ親はDJのカマサミ・コング。「オメガトライブ」とは、「オメガ」(Ω, ω)=ギリシャアルファベットの最後の文字(「最後」を意味する)と、「トライブ」=民族を合わせて、「最終民族」という意味。


1983年4月21日、SUMMER SUSPICION

1983年10月21日、ASPHALT LADY

1984年1月21日、君のハートはマリンブルー

1984年10月21日、RIVERSIDE HOTEL

1985年3月6日、ふたりの夏物語


1985年5月29日、サイレンスがいっぱい

1985年11月7日、ガラスのPALM TREE


1985年12月24日、プロデューサーとメンバー(与えてもらって、それを売らなきゃいけないという使命感に疲れ果て)」との方向性の違いにより横浜文化体育館のライブを最後に解散。

解散を切り出したのは杉山、解散に賛成は廣石と大島と吉田、反対は高島と西原であったが、最終的に満場一致での解散に。その後、杉山はソロへ、高島と西原は「1986オメガトライブ」の一員となる。



第2弾 1986〜1987年、1988〜1990年

1986オメガトライブ

カルロス・トシキ&オメガトライブ


主な制作陣

プロデューサー:藤田浩一

作詞家:売野雅勇、有川正沙子

作曲家:和泉常寛(元「はしだのりひことエンドレス」)

サウンドプロデュース&アレンジ 新川博 


メンバー

カルロス・トシキ(ボーカル)

高島信二(ギター)

西原俊次(キーボード)

黒川照家(ギター、1988年3月に脱退)

ジョイ・マッコイ(コーラス、1988年7月に加入)


前オメガトライブに在籍していた高島信二(ギター)、西原俊次(キーボード)に加え、新たに日系ブラジル人のカルロス・トシキと、菊池桃子のバックバンドや岩崎宏美のバックバンド(パイナップル・カンパニー)でギターを担当していた黒川照家を迎えて、プロデューサー藤田の第2弾プロジェクト『1986オメガトライブ』(ナインティーンエイティシックス - )としてデビュー。


1986年5月1日、君は1000%


1986年8月7日、Super Chance


1986年10月15日、Cosmic Love

1987年7月15日Miss Lonely Eyes

1987年11月18日Stay girl Stay pure


1988年3月、黒川がバンドを脱退。グループ名を『カルロス・トシキ&オメガトライブ』に変更。

1988年7月、レコーディングにコーラスとして参加していたジョイ・マッコイが正式に加入。

1990年、ワーナー・パイオニアへ移籍。松任谷由実が作詞・作曲した「時はかげろう」を発表後、ファイナルツアー。

1990年12月14日放送の『ミュージックステーション』にて解散発表。

1991年3月16日日清パワーステーションでのライブを最後に解散。



第3弾  1993〜1994年

ブランニュー・オメガトライブ


主な制作陣

プロデューサー:藤田浩一

作曲家:林哲司・和泉常寛

作詞家:売野雅勇

サウンドプロデュース&アレンジ:新川博


メンバー

新井正人(Vocal)


1993年、かつてパルで活動し、ソロとして『機動戦士ガンダムΖΖ』の主題歌「アニメじゃない」を歌ったことのある新井正人をボーカルに迎え、プロデューサー藤田の第3弾プロジェクトとしてスタート。

バンドの形はとらず、新井正人のソロプロジェクトであり、第1弾、第2弾制作陣が脇を固める構成。 



1993年8月2日、愛さなくていいから

1994年1月25日、Marry Me



by ichiro_ishikawa | 2019-08-24 09:40 | 音楽 | Comments(0)  

渋谷陽一×松任谷由実 1987


渋谷陽一の音楽批評、取材、インタビュー術が
見られる壮大なラジオ番組。
「松任谷由実のすべて」19870321





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

ずーつとユーミンばかり未だに聴いてゐるが、流石に淘汰されてくる。といふか、何万回でも聴ける作品は何か、を見極めるためにずーつと聴いてゐるといふ側面もある。
それが暫定的に下記の3曲なわけだが、
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。

後者2曲は、普遍的な完成度の高さを誇るため、いくらでも分析が可能と思はれるが、「雨の街を」は、困難なやうな気がしてゐる。

作曲自体は高校時代、録音は18〜19歳と思はれる。
アーティスト荒井由実はここで死んでゐる、以降は別人と言つていいほど、ここでは何かの一瞬が凝固してゐる。もう還らないし生まれない何かが。怖くもあり、最終的には美しい。
このあたりをうまく言ひたいのだが、言へぬ。


Capo:4

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


雨の街を(1973)


夕闇をひとり(1981)


DANG DANG(1982)

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)  

貴重PV 山下久美子 Single

貴重PV
山下久美子 Single
1986年10月1日リリース
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)  

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。


セットリスト

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)  

あの頃のヒップホップ


クール・ハーク Kool Herc 1955年4月16日、ジャマイカ出身



アフリカ・バンバータ Afrika Bambaataa 1957年4月17日、NY州ブロンクス区リバーサイド出身

Planet Rock (1982)



シュガーヒル・ギャング  The Sugarhill Gang ニュージャージー、エングルウッド出身

ワンダー・マイク  Wonder Mike1958年4月30日

マスター・ジー   Master Gee 1963年

ビッグ・バンク・ハンク  Big Bank Hank 1957年8月5日 - 2014年11月11日

Rapper's Deligh(1980)


Apache(1981)



グランドマスター・フラッシュ  

Grandmaster Flash 1958年1月1日、バルバドス・ブリッジタウン出身

The Message Grandmaster Flash and the Furious Five(1982)

White Lines (Don't Don't Do It)  Grandmaster Flash & Melle Mel(1983)


Run-D.M.C.

Walk This Way(1986)




ビースティ・ボーイズ Beastie Boys

Mike D(マイクD)、King Ad-rock(キング・アドロック) MCA(エムシーエー)

Sure Shot(1994)

Root Down(1994)

Three MC's and One DJ(1997)

Sabotage(1994)

Intergalactic(1998)

Body Movin'(1998)




パブリック・エナミー  Public Enemy

チャックD  Chuck D 1960年8月1日、ニューヨーク市クイーンズ区生まれ、同州ナッソー郡ルーズベルト出身

Fight The Power (1990)

Bring the Noise(1987)

Give It Up(1993)


ブギ・ダウン・プロダクションズ

Boogie Down Productions

KRS・ワン  KRS-One 1965年8月20日 Knowledge Reigns Supreme Over Nearly Everyone

My Philosophy (1988)


South Bronx(1987)



N.W.A.  Niggaz Wit Attitudes 1986年カリフォルニア州コンプトンで結成

イージー・E   Eazy-E 1964年9月7日 - 1995年3月26日

アイス・キューブ  Ice Cube 1969年6月15日、カリフォルニア州ロサンゼルス生まれ

ドクター・ドレー  Dr. Dre 1965年2月18日

Fuck The Police(1988)

Straight Outta Compton(1988)

Dr.Dre  ft. Snoop Doggy Dog  Nuthin' but a "G" Thang(1992)




ウータン・クラン  Wu-Tang Clan

RZA(リッザ)1969年7月5日、ニューヨーク州ブルックリン区ブラウンズヴィル出身

Reunited(1997)



スヌープ・ドッグ  Snoop Dogg

1971年10月20日、カリフォルニア州ロングビーチ出身

Gin & Juice(1993)




by ichiro_ishikawa | 2019-07-03 00:42 | 音楽 | Comments(0)  

長渕、ぴったんこ★カンカンでとんぼ同窓会


これはヤバい。
c0005419_19112277.jpg

30年間まつたく振り返ることのなかつた「とんぼ」が、ここにきて解禁、安売りされるのはどういふわけか。
それでゐて『昭和』、シングル「とんぼ」がいまだ配信されないのはどういふことか。
また「家族ゲーム」(1983)〜「親子ジグザグ」(1987)の家族ドラマ3部作も続くのか。




by ichiro_ishikawa | 2019-07-02 23:11 | 音楽 | Comments(0)