Innovator
仕様 | 価格 | 新品 | 中古品 |
CD, CD, オリジナルレコーディングのリマスター, 2008/6/3
"もう一度試してください。" | CD, オリジナルレコーディングのリマスター |
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| ¥4,384 | — |
CD, インポート, 1998/6/1
"もう一度試してください。" | インポート |
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| ¥10,954 | ¥1,700 |
CD, オリジナルレコーディングのリマスター, インポート, 2008/6/3
"もう一度試してください。" | オリジナルレコーディングのリマスター, インポート |
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| — | ¥2,980 |
CD, HQCD, 2015/7/15
"もう一度試してください。" | HQCD |
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| — | — |
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曲目リスト
ディスク: 1
1 | "rest" |
2 | Strings Of The Strings Of Life |
3 | Another Chaos Beyond Chaos |
4 | Freestyle |
5 | Feel Surreal Begins |
6 | Beyond Kaos |
7 | Another "rest" |
8 | The Dance |
9 | A Little Spaced Out |
10 | Daymares |
11 | It Is What It Is |
12 | Beyond The Dance (Cult Mix) |
13 | Original Feel Surreal |
14 | r-Theme |
ディスク: 2
1 | To Be Or Not To Be |
2 | Icon (Montage Mix) |
3 | Phantom |
4 | A Relic Mix |
5 | Kaotic Harmony |
6 | More Phantom |
7 | Salsa Life |
8 | Nude Photo |
9 | The Beginning |
10 | Another Relic From the Relic |
11 | Drama |
12 | "Strings"- The Original Mix |
13 | Wiggin-Juan Atkins Mix |
商品の説明
Amazonレビュー
Thanks to legendary singles like "Strings of Life" and "Nude Photo," Derrick May is universally regarded as the definitive techno producer; by hijacking the rhythmic sensibilities of house and adding the intelligence of European electronica and the spirit of Motown, he single-handedly defined and articulated the sound of Detroit. But despite (or perhaps because of) his status as a "legend," nary a bleep had emerged from his studio since 1990 before the release of Innovator, a collection of his past work. This double CD contains the aforementioned "Strings" and "Nude Photo" singles as well as other classics like "It Is What It Is," "Salsa Life," and "The Beginning," all of which have been available only in vinyl form on May's own Transmat label. Until he reemerges from a self-imposed musical hiatus, your course in the spirit of Detroit begins and ends here. --Matthew Corwine
登録情報
- 梱包サイズ : 14.09 x 12.63 x 1.37 cm; 80.32 g
- メーカー : Transmat Records
- EAN : 0604447000427
- レーベル : Transmat Records
- ASIN : B000001HYW
- ディスク枚数 : 2
- Amazon 売れ筋ランキング: - 718,452位ミュージック (ミュージックの売れ筋ランキングを見る)
- - 2,145位ハウス
- - 7,118位エレクトロニカ
- - 57,464位ポップス (ミュージック)
- カスタマーレビュー:
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トップレビュー
上位レビュー、対象国: 日本
レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。
いろんなVersionが出ていますが、一体どういうことなのでしょう。
野田務氏が編集に係った最初の日本版、その後発売された海外版、2010年のリマスター版など。
それぞれに収録曲や曲順やトラックの切り方やミックスなどが微妙に違っています。
なんとなく、ラーズのリー・メイヴァースが1stアルバムにこだわり続けることと同じ理由があるのかとか、冲方 丁がマルドックスクランブルを何度も書き直すように、常に作品をフレッシュなものにしてクラシックとなることを食い止めようとしているのだろうかとか想像してしまいます。
まぁ作品数がもともと少ないため、再発する度に工夫しているのがホントのところなのでしょうが・・・
どのVersionに手を伸ばされたとしても、神がかったような素晴らしい作品であることは言うまでもありません。
一家に1枚。当然でしょう。
と言うことでこの二枚組ベスト盤に手を出してみた。デトロイト・テクノに特徴的な「(エレクトロ)ファンク」の要素と「ジャズ/フュージョン」的な要素、そして「宇宙」を思わせるサイエンス・フィクション/コズミック・ソウル的な要素が十分に感じられる。しかし、ホァン・アトキンスやアンダーグラウンド・レジスタンスなどの他のデトロイト勢とこのデリック・メイの音の違いは、ラテン/ヒスパニック的なリズム感・ピッチの速さ・独特のメランコリックな叙情性にあると思う。その証拠という訳ではないが、2枚目の12曲目の"Winter On The Blvd"はStingの"Fragile"のデトロイト・バージョンのようである。
後はトリビアという訳ではないが、ここに収録の「ストリングス・オブ・ライフ」は後にUKで再リリースされた際に短く編集されたバージョンで、かつオリジナルよりピッチが僅かに高い。オリジナルは"Rhythim Is Rhythim"名義で様々なコンピ盤に収録されている(長さはフルで7分23秒)。またUKではこの曲をサンプリングしたAltern 8 の"E-vapor 8"がトップ10ヒットになった。
当時はNew OrderからDepeche Mode、果てはローリング・ストーンズのミック・ジャガーまで「ストリングス・オブ・ライフ」に代表されるデトロイト・テクノのサウンドに魅せられて、こぞってその影響を自分達の音楽に取り入れようとしていた。New Orderの"Round & Round"やDepeche Modeの"Enjoy The Silence"か"World In My Eyes"、the Rolling Stonesの"Rock And a Hard Place"やSealの"The Beginning"あたりの12インチとこのベスト盤を聴き較べてみると面白いのではないだろうか。
決して音数は多くなくミニマライズされて余分な音が無いなぁと感じるのに、
そのビートはどこまでも肉感的で有機的に膨れ上がるかのようなイメージを与えてくれます。
全く空虚さが無く、血の通った音楽を聞かせてくれる傑作だと思います。
ケン・イシイのTHE BEGINNINGのリミックスが秀逸だったりします。
この2枚を聴けば、軽く宇宙へいざなってくれます
テクノをうわべだけでなく、知りたいという人がいれば、買わなければならない。聴いたことないとなると、いつまでたってもビギナーだろう。
他の国からのトップレビュー
Essentially, May invented the style known as "Detroit techno." He wasn't the first techno artist from Detroit -- his colleague Juan Atkins, for example, recorded Clear under the name Cybotron in 1983. But May was the best of his kind. If you listen to compilations that purport to give a historical overview of early techno, like Carl Craig's Abstract Funk Theory or Atkins' Wax Trax Mastermix , you might find that most of May's contemporaries sound unlistenable today. By contrast, May's work might sound a bit crude, but it survives.
At its core, May's compositional style consists of sturdy 4/4 dance rhythms on a drum machine, with synths on top. The keyboards often play catchy melodies, but sometimes they just alternate a couple of long, drawn-out notes in minor key. Then they get switched off and the drums play for a while, then the synths come back on (with no change in the melody). Keep switching in this manner, with maybe a sample or two now and again, and that's it, that's basically the Detroit sound.
It sounds primitive, but it describes a lot of techno music. May influenced nineties albums like Underworld's Dubnobasswithmyheadman (the pulsing thump in "Dark And Long" is pure Detroit). The IDM artists on Warp Records owed a lot to May; there's a reason why "Nude Photo" was featured on Warp's tenth-anniversary compilation. The same basic approach is still at work in modern albums like Luomo's Vocalcity or Burial's Untrue ("Raver" is an homage to early techno). Even Bjork's allegedly avant-garde drums-and-strings sound on Homogenic is basically Detroit with a much bigger budget.
I don't know, there's just something about that combination of hard drums and minor-key synths that hits the spot. The drums sound cold and dissonant, but the synths add a certain softness. May's first single "Nude Photo" is literally nothing more than a mechanical kick-snare pattern, a sample of a laughing woman, and a three-note keyboard line, but it still makes a strong impression. The melody sounds like it's being played on a cheap, low-quality synth. It has a straining, reedy sound, but that makes it kind of charming. The title seems to hint at some kind of adolescent sexual tension, and the sound of the song taps into that feeling perfectly: it's a bit awkward, but there's a gentleness in it as well. In its way, the song is a gem.
This really sets May apart from the rest. He nailed that delicate balance between the soft keyboards and the loud drums. Not only that, but eventually he was able to write some really indelible keyboard hooks, most famously the blaring fanfare in "Strings Of Life," the quintessential rave anthem (though I prefer the chilled remix, "Strings Of The Strings Of Life"). His rhythms also became more varied, culminating in "Salsa Life," still not quite lively enough for a genuine Latin rhythm, but with some cool production on the drums. Also, May's production became more atmospheric, on chilled-out tracks like "Beyond The Dance" and "Chaotic Harmony," and his keyboards actually started to resemble stringed instruments ("Icon").
Additionally, I'd single out the highly unusual lead melody in "Drama," which is arranged by chopping up a sample of operatic vocals (Orbital seized on that later, but it wasn't as common in 1990), and the glorious chime/horn harmonies in "R-Theme." The latter song also has a great rolling beat, which is a lot more complex than the standard 4/4 Detroit fare. No wonder Bjork adapted it for "I Miss You."
May got a lot of recognition, and his label Transmat Records was highly respected. It seemed that May could have retained his status as "innovator" throughout the nineties, especially since he did influence many nineties artists, but instead, he all but stopped writing music, and mostly concerned himself with repackaging his legacy and reasserting his significance. Two things came of that: in 1998, this double-disc compilation of May's eighties work, and in 1999, another compilation called Time: Space that featured younger artists, plus one new song from May himself ("Beforethereafter," the only new Rhythm Is Rhythm song to be released since 1990). Both are worth seeking out, but Innovator is particularly valuable, since it's the only way to get most of May's classic work without hunting down the vinyl.
Innovator is a very good listen, and contains all of the songs listed above, but it has flaws. Unfortunately, it is incomplete. It's nice to have short vignettes like "Rest" that serve as interludes between May's famous tracks, but the compilation is missing the Rhythm Is Rhythm rarities "Emanon" and "Chaos," even though there was enough space for both of them on the first CD alone. The track listing on the back of the CD is hopelessly out of order (for example, the track labeled "Beyond Chaos" is actually "The Dance"). Also, there is a really embarrassing essay in the liner notes that grandly asserts, "It has even been said that without 'Strings of Life,' the 1988 uprising of British youth known as "The Summer of Love" may never have happened."
But although May never really started an "uprising," there's no denying his talent. He views himself as primarily an "innovator," and it's true that traces of his style can be heard in many later albums. But the real reason why his music is still enjoyable and interesting, more than twenty years later, is because he was a good pop songwriter. He wrote catchy, danceable melodies that still hold up long after his production became outdated, and that, really, is what makes Innovator worthwhile.