Live a Little
仕様 | 価格 | 新品 | 中古品 |
CD, CD, インポート, 2010/3/30
"もう一度試してください。" | CD, インポート |
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| ¥2,068 | ¥2,244 |
CD, リミックス含む, インポート, 2010/4/20
"もう一度試してください。" | インポート, リミックス含む |
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| ¥2,292 | — |
曲目リスト
1 | Automaton |
2 | Somerville |
3 | Cruelty to Animals |
4 | Zero Refills |
5 | Microscopic View |
6 | How Can I Compare |
7 | B.S. Johnson |
8 | PCH One |
9 | Conscience Clean (I Went to Spain) |
10 | Lightheaded |
11 | High As a Kite |
12 | Grudge F* (2006) |
商品の説明
内容紹介
LIVE A LITTLE is the sixth recording by The Pernice Brothers, and it marks as much a return to form as it does departure from what came before it. LIVE A LITTLE has strings and horns, which have not been part of a Pernice album since their debut. But, and this is a mighty exception, it's much more of a rock record then that was, representing the running of big fat analog tape while sweaty guys played on well-crafted instruments through amplifiers and pounded on sweet, old, drum kits.
Amazonレビュー
During and after his days as the leader of Massachusetts band the Scud Mountain Boys, which fizzled after their dazzling 1996 Sub Pop release, Joe Pernice has crafted his songs with a juxtaposed blueprint--hummable melodies and a lush pop tenor camouflaging lyrics that reek of anxiety and aggravation. "Struggling through the S's/Through the tunnels in the trees/Through the sticky optimism hardening in me," he mordantly confesses in "PCH One," among the best of the dozen songs that make up the Pernices' sixth full-length record. Backed by brother Bob and ace guitarist Peyton Pinkerton, Pernice's unblemished voice is the key instrument, whether lamenting a spurious hometown ("Somerville") or summating a breakup ("Conscience Clean") with one telltale line: "So I threw a dart at Europe/She hit Michigan." But the band saves the most poignant track for last, a remake of the Scuds' "Grudge F***," in which Pernice pleads for one last encounter with an ex-lover. It's the kind of song that once sold a million for AM radio bands like Bread, and wraps up in 4:57 what the Pernice Brothers are all about. --Scott Holter
Product Description
Live a Little is the sixth recording by The Pernice Brothers, and it marks as much a return to form as it does a departure from what came before it.
For one thing, there's the reunion of Joe Pernice and producer Michael Deming, who worked on the recordings of Joe's previous band, the Scud Mountain Boys, as well as the very first Pernice Brothers record, Overcome By Happiness. This one has strings AND horns, which has not been part of the formula (and it IS indeed a formula) since OBH. But, and this is a mighty exception, it's much more of a rock record than that was, representing the running of big fat analog tape while sweaty guys played loud rock music on well-crafted instruments through amplifiers and pounded on sweet, old, drum kits. Oh, and it marks a return to New England, having been recorded in Connecticut, which one of the band members used to disparage as nothing more than the state in his when he wanted to travel from Massachusetts to New York. He's now grown to pay it the respect it deserves as a rock mecca, hiding in plain sight.
Lyrically, it's another masterpiece, and if distinctions must be drawn, perhaps this one's a bit more literary, where the last one Discover a Lovelier You was somewhat more cinematic. "PCH One" probably could have been a Scud Mountain Boys song, and "Grudge F*** (2006) was a Scud Mountain Boys song (without the 2006), but instead of the gentle, almost lazy, plaintive plodding of the original recording, the Pernice Brothers version out-Badfingers Badfinger and that's good. You can feel its pain. It also has the trademark Pernice geography obsession. There are eleven very excellently crafted and executed new songs in all, plus the aforementioned "Grudge," which is indeed a stunner.
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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。
そこで選ばれたアルバム100枚の一番最後に彼らの1stは紹介されていました。
ペイル・ファウンテンズのネオアコを代表する1stを90年代に聴けるとは思っていなかったという絶賛でした。
実際、その後、購入して感じたのは、確かに同様の瑞々しさを湛えつつ、アメリカはマサチューセッツ州の
出身だというのも納得のカウボーイ的な男のロマンも感じさせてくれる作品でした。
ジミー・ウェッブからの影響が大きいとのことですが、そういう意味ではプリファブ・スプラウトの中期以降の
サウンドにも通じる点があると思います。
本作は2006年のおそらく6枚目の作品でして、ますます渋さも増していますが、それでいてボーカルが
蒼々としたままなので、やっぱりネオアコっぽさも残っています。
ソングライティングはパディ・マクアルーンほど複雑ではないですが、やはり「Gunman & Other Stories」の頃の
プリファブを想起させられます。半分くらいは声質かと思います。
やはり声の力というのは、本当に大きいのだなと感じます。
他の国からのトップレビュー



Put simply, it's good. I like it. It took a couple of listens for it to make an impression, and the impression it did make was mild, but it was also pleasant.
I gather, from what I've read, that this group has toyed with styles, but not excessively, swinging around between pop, rock, and the various genres between. What you've got here is one of those middle grounds, a sort of Art House Playground Pop with a little Flophouse Rock on the side. It's simple and pared down, and there are no flourishes to the music itself, which is intelligent and crafted with a close, discerning eye. I especially like the faux-slap dash fun of Automaton, the gloomy glee of Zero Refills, and, of course, the magnificent melancholy of Grudge F***. In fact, when I think of it, there are no songs on here that I feel compelled or able to complain about, and that's no mean feat.
The lyricism is by turns impressive (I love a band that can actually say something, instead of just sing it) and a little goofy. It's hard to be profound all of the time (thank you, The Shins, for propping the bar up a little higher), and occasionally I found myself raising an eyebrow at a few lines (" ... dumbfounded, like a dog that's been told to levitate ... " is one I always chuckle at, and not because it's funny).
For the most part, there is nothing wrong with this record, even if there isn't much that's exceptionally right, either. The album, in fact, is almost too slick; its glossy simplicity means its liable to slip out of the mind before it has time to stick. The notes are lush and sun-lit while the writing is dark and deep. This ironic contrast is laudable and well-played, but the words call for some measure of friction that is missing in the production. What you're left with is a fine piece of work that is more than listenable even if, ultimately, it's not that notable.


Songs sound lethargic and too similar from song to song.
Sorry, Pernice but this one is not so nice!