エイモス・リー (CCCD)
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ページ 1 以下のうち 1 最初から観るページ 1 以下のうち 1
曲目リスト
1 | ルーズ・アンド・タイト |
2 | シーン・イット・オール・ビフォー |
3 | アームス・オブ・ア・ウーマン |
4 | ギヴ・イット・アップ |
5 | ドリーミング |
6 | ソウル・サッカーズ |
7 | カラーズ |
8 | ボトム・オブ・ザ・バレル |
9 | ブラック・リヴァー |
10 | ラヴ・イン・ザ・ライズ |
11 | オール・マイ・フレンズ |
12 | モーニング (日本盤ボーナス・トラック) |
商品の説明
メディア掲載レビューほか
ノラ・ジョーンズやボブ・ディランのツアーのオープニング・アクトに抜擢された、シンガー・ソングライター、エイモス・リーのデビュー・アルバム。次世代のフォーキーソウル・ミュージックと称賛される本作は、アコースティックで落ち着いた曲調とブルージーなナチュラル・ヴォイスが全編を覆う、なんとも心地良い作品。ノラ・ジョーンズがピアノ、ヴォーカルで参加し魅惑的な共演を果たしている。 (C)RS
登録情報
- メーカーにより製造中止になりました : いいえ
- 梱包サイズ : 14.09 x 12.63 x 1.37 cm; 100.92 g
- メーカー : EMIミュージック・ジャパン
- EAN : 4988006829718
- 時間 : 40 分
- レーベル : EMIミュージック・ジャパン
- ASIN : B000803F8Q
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 148,719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)
- - 907位クラシックソウル
- - 2,254位R&B
- - 9,903位ポップス (ミュージック)
- カスタマーレビュー:
-
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。
2016年12月10日に日本でレビュー済み
Amazonで購入
"Keep It Loose, Keep It Tight"が聴きたくて買いましたが、アルバムとして雰囲気がまとまってて良かったです。
2014年5月29日に日本でレビュー済み
Amazonで購入
エイモス・リーの集大成といっても過言ではない、まず初めはこの1枚から・・・
2010年8月22日に日本でレビュー済み
Amazonで購入
アルバムの初めから最後まで全ての曲が耳に優しく残ります。
ホッとできて癒されるし、聴き終わったあと優しい気持ちになれます。
ノラ・ジョーンズが好きな人なら絶対気に入ると思います。
とにかくギターのメロディーがすごくいいんです。
寝つきが悪い夜に聴くといつの間にか寝てます。(笑)
約40分と短いので音楽に食わず嫌いのある人でも抵抗無く聴けるアルバムです。
個人的には”black river”や”keep it lose keep it tight”が好きでよくこの2曲だけ聴いているくらい!!
音楽ならなんでも聴く!という人にはまずおススメしたいアルバムのひとつです。
ホッとできて癒されるし、聴き終わったあと優しい気持ちになれます。
ノラ・ジョーンズが好きな人なら絶対気に入ると思います。
とにかくギターのメロディーがすごくいいんです。
寝つきが悪い夜に聴くといつの間にか寝てます。(笑)
約40分と短いので音楽に食わず嫌いのある人でも抵抗無く聴けるアルバムです。
個人的には”black river”や”keep it lose keep it tight”が好きでよくこの2曲だけ聴いているくらい!!
音楽ならなんでも聴く!という人にはまずおススメしたいアルバムのひとつです。
2010年10月7日に日本でレビュー済み
Amazonで購入
日本でいうなら、ハナレグミ的な感じで。
落ち着いて聞けます。
秦基弘さんも、好きだと雑誌に載ってました。
ザ・アコースティックという感じです。
落ち着いて聞けます。
秦基弘さんも、好きだと雑誌に載ってました。
ザ・アコースティックという感じです。
2012年7月18日に日本でレビュー済み
Amazonで購入
エイモス・リーを聴くきっかけは、秦基博さんが選ぶ名盤6選の1つとして、このCDが紹介されていたので、早速アマゾンで購入しました。 聴いた感じは、思っていた以上に声が高めで、少し声が軽い感じがしましたが、どこかしぶさがあり、サウンドの雰囲気は好きですね。 じっくり聴く感じではなく、例えば夜に好きな本を読みながらとか、何かしながら聴くと心地良い雰囲気で全体を包んでくれます。
2005年12月10日に日本でレビュー済み
Amazonで購入
BluesyからSoulfulまで、
引き出しの多いミュージシャン。
これまでアコースティックあまり聴かなかったのですが,
よく聴くと,
エレクトリックギターよりもダイナミズムにあふれている!
と言うことに気づかせてくれたアルバムです。
このアーティストは声がよく注目されますが,ギターもファンキーであったり,
カントリータッチであったり,ギター自体うまいし,アレンジもすごく良いです。
ライブも見ましたが,スタジオ盤はよりクリアに,よりタイトに。
と言うコンセプトがにじみ出ていて,「スタジオ盤である意義」
があるように思います。
国内盤はCCCDですから,安い上にCDの輸入盤を買いましょう。
引き出しの多いミュージシャン。
これまでアコースティックあまり聴かなかったのですが,
よく聴くと,
エレクトリックギターよりもダイナミズムにあふれている!
と言うことに気づかせてくれたアルバムです。
このアーティストは声がよく注目されますが,ギターもファンキーであったり,
カントリータッチであったり,ギター自体うまいし,アレンジもすごく良いです。
ライブも見ましたが,スタジオ盤はよりクリアに,よりタイトに。
と言うコンセプトがにじみ出ていて,「スタジオ盤である意義」
があるように思います。
国内盤はCCCDですから,安い上にCDの輸入盤を買いましょう。
2010年10月17日に日本でレビュー済み
Amazonで購入
大学時代に継父からアコースティックギターをプレゼントしてもらったそうですが、よくも短期間でこれほど味のある曲が弾ける(書ける)ようになったもんですね。すご過ぎる。また彼の声がいい。時に囁くように、時にソウルフル・・・。特に7曲目の'colors'は最高。歌詞もいい。彼の継父さんは気付いていたんだね、彼の歌声の良さを。彼の歌を聴いていると、気持ちよくなり過ぎてついつい寝てしまいます。最後まで聴くのに2、3日かかったような気がします。いつも途中で寝てしまうのです。それくらい気持ちがいいです。夜、寝る前に聴くとす〜っと眠りに入ってしまいます。不眠症の私も彼の歌を聴きながらベッドに入ると気持ちよく眠ることができます。2nd、3rd アルバムもオススメです。
2005年7月8日に日本でレビュー済み
Amazonで購入
まず、いい声ですねー。
枯れてて、ハスキーで、ファルセットを使う所なんてたまらなくセクシーです。
曲がまた、いい。
実は僕のiTunesで、再生回数トップはこのアルバムの③なんです。
シングルの⑦も、まるでいい時のBen Foldsが書いたような切ないメロディーです。
⑧はディランの様です、唄い方もちょっとそれっぽく変えてますね。
曲がいいものが揃っているので、アレンジは基本的に総てアコースティックな少ない音数で、シンプルにまとめられている印象です。
このへんは流石ブルーノート。
とにかく、いい曲+いい声+無難なアレンジ=良作 である事は間違いありません。
ただ、今後の可能性を考えたら2~3曲冒険するのも面白かったかも、というのは意地悪な見方ですかね(笑)
この人の声や曲を聴く限り、方向性としてはジャズロックやフォークよりも
所謂ソウル・ミュージックの方にシンパシーを持っている様に感じられたので。
Donny Hathawayとか通じるものがあると思うんですけどねー。
思えば近年Al GreenやAnita Bakerを復活させたブルーノートですから、
そういう方向を試してみるのも全然アリだと思うんですが、どうでしょう?
枯れてて、ハスキーで、ファルセットを使う所なんてたまらなくセクシーです。
曲がまた、いい。
実は僕のiTunesで、再生回数トップはこのアルバムの③なんです。
シングルの⑦も、まるでいい時のBen Foldsが書いたような切ないメロディーです。
⑧はディランの様です、唄い方もちょっとそれっぽく変えてますね。
曲がいいものが揃っているので、アレンジは基本的に総てアコースティックな少ない音数で、シンプルにまとめられている印象です。
このへんは流石ブルーノート。
とにかく、いい曲+いい声+無難なアレンジ=良作 である事は間違いありません。
ただ、今後の可能性を考えたら2~3曲冒険するのも面白かったかも、というのは意地悪な見方ですかね(笑)
この人の声や曲を聴く限り、方向性としてはジャズロックやフォークよりも
所謂ソウル・ミュージックの方にシンパシーを持っている様に感じられたので。
Donny Hathawayとか通じるものがあると思うんですけどねー。
思えば近年Al GreenやAnita Bakerを復活させたブルーノートですから、
そういう方向を試してみるのも全然アリだと思うんですが、どうでしょう?
他の国からのトップレビュー
Mags
5つ星のうち5.0
better than EXCELLENT
2019年12月18日にカナダでレビュー済みAmazonで購入
EXCELLENT EXCELLENT EXCELLENT CD!
better than expected!
YES I am an ADULT
I recommend this CD for purchase
better than expected!
YES I am an ADULT
I recommend this CD for purchase
Reiner Tammen
5つ星のうち5.0
Kann ich nur jedem empfehlen
2013年2月12日にドイツでレビュー済みAmazonで購入
Ich habe durch Zufall vom Amos Lee gehört und war sofort begeistert. Obwohl die Musik ein wenig anders scheint, ist sie einem doch sofort vertraut. Allerdings nichts zu feiern oder tanzen, aber zum zuhören!
J. Chasin
5つ星のうち5.0
Not faux hip; real quality.
2005年6月1日にアメリカ合衆国でレビュー済みAmazonで購入
You really do sort of want to hate Amos Lee. First, his album peers up at you from under the register of nearly every Starbucks in America; that's him right next to Antigone Rising and the four dollar gum. Then there's the Norah Jones connection; he opened for her, and they're both on Blue Note (which should generally a plus). And she plays on two songs here. And also, he's wearing a hat on the cover, and he sports a healthy dose of stubble. So yeah, the record has that "faux hip" aura all around it that generally makes me want to run for cover.
But the kid has the songs, and that makes up for a lot. The sound byte is, part James Taylor, part Donnie Hathoway; a hybrid of the seventies genres of folk rock and soul. I'm hearing an organic music; his core touring band is a quartet, with himself on guitar and vocals, plus another guitar, bass, and drums. The instrumentation on the album is similarly sparse, although many songs feature a keyboard part prominently. The songs have an easy, first-take quality that probably took endless takes to get exactly right. This is gentle music, both soulful and economical-- which is to say, nothing extra, nothing wasted.
Several songs feature the propulsion of David Greenwood's Wurlitzer or Hammond B3 to good advantage, although sadly he isn't listed on Lee's website as part of the touring band. The songs have beginnings and endings (as opposed to fades), and the album clocks in at a proper 35 minutes. I'm a big fan of albums that know when they're done; many of the classic records of my formative years had 18-minute sides, and better a tight piece of work that leaves you longing for more than an hour-long debut that has you looking at your watch after the 14th song. I've been listening to it as I've been writing, and I can't believe it just flew by. I'm tempted to play it through again.
This record has an unmistakable charm in the simplicity and directness of the songs, that bears up to repeated play. There's a difference between music that is easy to listen to, and "easy listening;" this is the former, and that is a high compliment. For nine bucks, you can't go wrong.
But the kid has the songs, and that makes up for a lot. The sound byte is, part James Taylor, part Donnie Hathoway; a hybrid of the seventies genres of folk rock and soul. I'm hearing an organic music; his core touring band is a quartet, with himself on guitar and vocals, plus another guitar, bass, and drums. The instrumentation on the album is similarly sparse, although many songs feature a keyboard part prominently. The songs have an easy, first-take quality that probably took endless takes to get exactly right. This is gentle music, both soulful and economical-- which is to say, nothing extra, nothing wasted.
Several songs feature the propulsion of David Greenwood's Wurlitzer or Hammond B3 to good advantage, although sadly he isn't listed on Lee's website as part of the touring band. The songs have beginnings and endings (as opposed to fades), and the album clocks in at a proper 35 minutes. I'm a big fan of albums that know when they're done; many of the classic records of my formative years had 18-minute sides, and better a tight piece of work that leaves you longing for more than an hour-long debut that has you looking at your watch after the 14th song. I've been listening to it as I've been writing, and I can't believe it just flew by. I'm tempted to play it through again.
This record has an unmistakable charm in the simplicity and directness of the songs, that bears up to repeated play. There's a difference between music that is easy to listen to, and "easy listening;" this is the former, and that is a high compliment. For nine bucks, you can't go wrong.
Milt M. R. Ingarfield
5つ星のうち5.0
A wonderful soulful debut...
2005年7月20日に英国でレビュー済みAmazonで購入
"Keep it loose, Keep it tight" (3.07) starts the album which begins with the sound of Amos' playing acoustic guitar and Norah Jones playing the same theme on the piano with a cello giving the theme of the song a bass background that allows Amos to sing the opening line "Well I walked over the bridge into the city where I live" the bass blends with the cello and a deep and satisfying rumble of bass gives the drum work of Dan Rieser a place to start, using brushes on the snare drum Rieser creates a counterpoint to the bass section of cello and bass guitar, this is an excellent opener for the collection as it sets the tone.
"Seen it all Before" (4.15) begins with the acoustic guitar, which plays a little bluesy sounding section along with the bass playing of Alexander providing the backbone to the sound at the back of the acoustic guitar that allows the Hammond playing of Devin Greenwood to add further melancholy to the track with gentle runs on the keys, this given further drama by the electric guitar by Adam Levy, the singing of Amos begins with the line "Go ahead baby run away again, grown tired of chasing you, I know you only have time to love me, when you got nothing better to do, who's bold enough to believe in either love or war
"The Arms of a Woman" (4.11) is a song that is the opposite to the previous track and opens with the line "I am at ease in arms of a woman although most of my days are spent alone" this line is delivered with a vocal that has an ethereal quality to it that makes the lyrics even more poignant and telling, the heartfelt nature of the song is given a lazy folksy feel that make it very easy to listen to, the easy listening nature of the song belies the feelings of loneliness and heartache that the underplaying of the rhythm section carry beautifully, the electric guitar is just gently stroked by Levy so as not to drown the playing of the acoustic guitar by Amos.
"Give it up" (2.36) has a different intro the Hammond player Devin Greenwood counts in 2,3,4 and then a flurry on the keys a pull on the bass strings and the gentle sound of the guitar of Amos which adds the sweetness in the song then he begins to sing "I been waiting a long time, I just hope I might find, the right kind of lover for me yea" a more up-beat track than previous, the rhythm is maintained on the Hammond and bass guitar as the track begins to fade Amos starts to harmonize with himself along with a chorus that is sung by Berman, Levy, James Gadson, and Chris Thomas.
"Dreamin'" (2.54) is another lazy laidback sounding song that creates a cinematic feel with just the use the electric and acoustic guitar along with the bass and drums these instruments create a warm and comforting feel that envelops the listener with their comfort and create a perfect backdrop.
"Soul Suckers" (2.49) has a melancholic atmosphere that creates a perfect soundscape of texture for the delivered lines of "Did you believe when they told you, that they discovered you and everything is free as long as you do everything they tell you" at the end of the sung line the lyrics are given more power by the use of a viola.
A folky acoustic guitar sounds and "Colors" (2.40) begins along with a 4/4 rhythm on the drums with an offbeat on the hi-hat that has at the end of the beat the keyboard playing of Norah Jones who just tickles the ivories to give a gentle counterpoint to the guitar of Amos while singing the opening line "Yesterday I got lost in the circus, feelin' like such a mess" for me this is the key song in the album, the background vocals of Norah Jones on the chorus of "But when you're gone, all the colors fade" Norah joins him on the word "gone" and they both emphasize the word by elongating it and giving it a new sound and when their voices blend together I think Norah has found her musical soul mate they repeat the effect for the rest of the track on the word "gone".
"Bottom of the Barrel" (2.00) kicks off what first comes to my mind is this sounds like the Americana of Steve Earle albums, a couple of acoustic guitars play together along with mandolin and bass and we have a roadhouse drinking song.
The resonator guitar of Kevin Breit forms the beginning of "Black River" (3.22) this has a retro blues feel that is as dark as the title with the repeating phrase "Oh" at the start of the lines of lyrics that Amos sings with a great deal of emphasis on the "O" vowel " Oh, black river gonna take my cares away, Oh, black river gonna take my cares away, gonna take my cares, gonna carry my cares, gonna take my cares away" sounds like a homage to the old delta blues tracks of yesteryear that has hints of gospel.
"Love in the Lies" (3.22) is an up-beat sounding song with a roll on the snare drum, Rieser starts the song off with what could be called a country rhythm that the picked guitar continues with the bass adding a rock steady bounce that the Hammond comes in on the end of the sung lines that begin with "I aint no white eyed rebel, but I aint no preachers son".
"All my friends" (4.16) closes the album and has an intro that reminds me of the Fleetwood Mac's instrumental "Albatross" all bass guitar and cymbals but once Amos starts to deliver his smooth warm vocals this thought disappears.
This is an excellent album for late night listening.
"Seen it all Before" (4.15) begins with the acoustic guitar, which plays a little bluesy sounding section along with the bass playing of Alexander providing the backbone to the sound at the back of the acoustic guitar that allows the Hammond playing of Devin Greenwood to add further melancholy to the track with gentle runs on the keys, this given further drama by the electric guitar by Adam Levy, the singing of Amos begins with the line "Go ahead baby run away again, grown tired of chasing you, I know you only have time to love me, when you got nothing better to do, who's bold enough to believe in either love or war
"The Arms of a Woman" (4.11) is a song that is the opposite to the previous track and opens with the line "I am at ease in arms of a woman although most of my days are spent alone" this line is delivered with a vocal that has an ethereal quality to it that makes the lyrics even more poignant and telling, the heartfelt nature of the song is given a lazy folksy feel that make it very easy to listen to, the easy listening nature of the song belies the feelings of loneliness and heartache that the underplaying of the rhythm section carry beautifully, the electric guitar is just gently stroked by Levy so as not to drown the playing of the acoustic guitar by Amos.
"Give it up" (2.36) has a different intro the Hammond player Devin Greenwood counts in 2,3,4 and then a flurry on the keys a pull on the bass strings and the gentle sound of the guitar of Amos which adds the sweetness in the song then he begins to sing "I been waiting a long time, I just hope I might find, the right kind of lover for me yea" a more up-beat track than previous, the rhythm is maintained on the Hammond and bass guitar as the track begins to fade Amos starts to harmonize with himself along with a chorus that is sung by Berman, Levy, James Gadson, and Chris Thomas.
"Dreamin'" (2.54) is another lazy laidback sounding song that creates a cinematic feel with just the use the electric and acoustic guitar along with the bass and drums these instruments create a warm and comforting feel that envelops the listener with their comfort and create a perfect backdrop.
"Soul Suckers" (2.49) has a melancholic atmosphere that creates a perfect soundscape of texture for the delivered lines of "Did you believe when they told you, that they discovered you and everything is free as long as you do everything they tell you" at the end of the sung line the lyrics are given more power by the use of a viola.
A folky acoustic guitar sounds and "Colors" (2.40) begins along with a 4/4 rhythm on the drums with an offbeat on the hi-hat that has at the end of the beat the keyboard playing of Norah Jones who just tickles the ivories to give a gentle counterpoint to the guitar of Amos while singing the opening line "Yesterday I got lost in the circus, feelin' like such a mess" for me this is the key song in the album, the background vocals of Norah Jones on the chorus of "But when you're gone, all the colors fade" Norah joins him on the word "gone" and they both emphasize the word by elongating it and giving it a new sound and when their voices blend together I think Norah has found her musical soul mate they repeat the effect for the rest of the track on the word "gone".
"Bottom of the Barrel" (2.00) kicks off what first comes to my mind is this sounds like the Americana of Steve Earle albums, a couple of acoustic guitars play together along with mandolin and bass and we have a roadhouse drinking song.
The resonator guitar of Kevin Breit forms the beginning of "Black River" (3.22) this has a retro blues feel that is as dark as the title with the repeating phrase "Oh" at the start of the lines of lyrics that Amos sings with a great deal of emphasis on the "O" vowel " Oh, black river gonna take my cares away, Oh, black river gonna take my cares away, gonna take my cares, gonna carry my cares, gonna take my cares away" sounds like a homage to the old delta blues tracks of yesteryear that has hints of gospel.
"Love in the Lies" (3.22) is an up-beat sounding song with a roll on the snare drum, Rieser starts the song off with what could be called a country rhythm that the picked guitar continues with the bass adding a rock steady bounce that the Hammond comes in on the end of the sung lines that begin with "I aint no white eyed rebel, but I aint no preachers son".
"All my friends" (4.16) closes the album and has an intro that reminds me of the Fleetwood Mac's instrumental "Albatross" all bass guitar and cymbals but once Amos starts to deliver his smooth warm vocals this thought disappears.
This is an excellent album for late night listening.