今日から弥生、早くも3月。この間、新年を迎えたばかりのように思うのに。
急に世間も春めいてきた。梅も花開きふきのとうやチューリップの芽も伸びてきた。
このひと、ローウェルジョージの娘さんだとか。ヴァンダイクパークスにすれば今は亡き旧友の娘さん
ということか。それで(かどうかは知らないが)実現した本作のコラボレーションは
流麗で凝ったアレンジに包まれながら、穏やかな風の如く響いて春の女神のハミングのよう。
天気の良い日曜日の昼下がりにゆったりとした気分に浸れる作品。
きっとCFのBGMなんかに使われたらブレイクするんだろうに。
Invitation
¥2,550 ¥2,550 税込
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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 | Overture |
2 | Right As Wrong |
3 | Accidental |
4 | Bomb |
5 | Duet |
6 | Dirty White |
7 | Idaho |
8 | Rough Design |
9 | Tell Me That You Love Me |
10 | Don't Let It Get You |
11 | Oh My Love |
12 | Family Tree |
13 | Night Happens |
商品の説明
AN INVITATION is an intimate collaboration between Inara and legendary arranger Van Dyke Parks. The result is a lush, elegant, fully orchestrated song cycle, a catalog of experiences equally inspired by the sophistication of Frank Sinatra and the storied, cinematic wonder of Richard Sherman's oeuvre.
登録情報
- メーカーにより製造中止になりました : いいえ
- 製品サイズ : 14.2 x 1 x 12.5 cm; 100 g
- メーカー : Everloving
- EAN : 0181220100128
- 商品モデル番号 : CD-EVE-024
- オリジナル盤発売日 : 2008
- レーベル : Everloving
- ASIN : B001B0H7CM
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 283,080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)
- - 20,152位ポップス (ミュージック)
- - 56,876位ロック (ミュージック)
- - 78,482位輸入盤
- 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。
2009年3月1日に日本でレビュー済み
Amazonで購入
2008年11月1日に日本でレビュー済み
デビューアルバム「
All Rise
」では、良質なポップスを聴かせてくれたInara.
そのセンスあるメロディラインは変わらないながら、今作は音楽家Van Dyke Parksを迎えての全編オーケストラ演奏という、ちょっと意外な方向性に。
(とはいえ、もともと交流があったよう)
若い彼女のみずみずしい内面を映しだした音は、終始穏やか。
春のワルツのような、優しさに満ちあふれた音に、かなり和まされる。
同じVanプロデュースでも、Joanna Newsomのような凄みはないが、アーティストの資質を生かした作品作りの結果だと思われる。
温もりある歌声は、発音も明瞭で聴いていて心地よい。
慈愛に包まれた、Inaraからの素敵な招待状。
そのセンスあるメロディラインは変わらないながら、今作は音楽家Van Dyke Parksを迎えての全編オーケストラ演奏という、ちょっと意外な方向性に。
(とはいえ、もともと交流があったよう)
若い彼女のみずみずしい内面を映しだした音は、終始穏やか。
春のワルツのような、優しさに満ちあふれた音に、かなり和まされる。
同じVanプロデュースでも、Joanna Newsomのような凄みはないが、アーティストの資質を生かした作品作りの結果だと思われる。
温もりある歌声は、発音も明瞭で聴いていて心地よい。
慈愛に包まれた、Inaraからの素敵な招待状。
他の国からのトップレビュー
Brian Hiltz
5つ星のうち3.0
Relentless (and not in a good way)
2017年10月16日にカナダでレビュー済みAmazonで購入
I think Inara George is one of this generation's great vocalists and love her work with The Bird and The Bee. Van Dyke Parks' great work on the Beach Boys' Smile album cannot be under rated; he is a true American original in a class with Stephen Foster and Mitchell Parish. Put these two unique talents together and you might expect a modern classic. Unfortunately, that is , in my humble opinion, not the case. The songs are relentlessly dull. The arrangements sound so similar that it begins to feel like one long song. The string quartet sound is passable for one or two tracks but grates on your senses as the album progresses. The project sounds like it was recorded in one long session and then hurriedly mixed the same day. Maybe they ran out of money. Maybe they ran out of ideas. Whatever the reason, I'm glad that I only paid $1.96. Get out your cd's of "Song Cycle" (Parks) and "Ray Guns Are Not Just the Future" (Bird and the Bee) instead and enjoy these artists creating interesting and dynamic music.
M. A. Fraser
5つ星のうち3.0
lush orchestral pop
2008年10月21日に英国でレビュー済みAmazonで購入
Having enjoyed Inara's All Rise previously, I've been eagerly awaiting her collaboration with the godfather of baroque pop, Van Dyke Parks.
Does it disappoint? Initially yes. The songs are hard to distinguish, being cossetted in an over-attentive and lush orchestral backing.... but that was the first few listens. Gradually the orchestral blur becomes more focused, and the songs more individual, the musical flourishes more distinct. Inara's voice is one of my current favourites, beautifully soft and full, with a delectible west-coast accent.
Recommended for fans of Burt Bacharach, Joanna Newsom (if you enjoyed VDP's orchestrations on Ys), and absolutely essential if you've already a fan of Clare and the Reasons' wonderful orchestral pop.
Does it disappoint? Initially yes. The songs are hard to distinguish, being cossetted in an over-attentive and lush orchestral backing.... but that was the first few listens. Gradually the orchestral blur becomes more focused, and the songs more individual, the musical flourishes more distinct. Inara's voice is one of my current favourites, beautifully soft and full, with a delectible west-coast accent.
Recommended for fans of Burt Bacharach, Joanna Newsom (if you enjoyed VDP's orchestrations on Ys), and absolutely essential if you've already a fan of Clare and the Reasons' wonderful orchestral pop.
John W. Dunner
5つ星のうち2.0
forgettable flittery
2010年8月15日にアメリカ合衆国でレビュー済みAmazonで購入
Daughter of Little Feat's Lowell George, Inara has established herself as a quietly cool pop vocalist on her solo projects (e.g., All Rise ) and as one half of The Bird and the Bee. An Invitation is clearly a stretch for her. George relies solely on strings to bring the songs across. Parks' busy chamber orchestrations dance and flitter around George's uncharacteristically meandering material, giving the vocals a careless, improvised quality. Listening to this is like trying to traverse a stream by crossing its slippery rocks (George's vocals) while being entranced by the natural beauty of the surrounding woods (Parks' string arrangements). You're gonna fall down. You're gonna get wet. And you're not gonna remember a thing. **1/2
Cotton Mather
5つ星のうち4.0
Interest and Intrique over emotional involvement...
2014年5月11日にアメリカ合衆国でレビュー済みAmazonで購入
and what is wrong with that? Absolutely nothing. So, here is what you get:
-melodies that fall several quavers and quirks short of chance. I don't mean to suggest any similarity to the dizzying interval exchanges of John Cage, but often, these melodies seem to go some place other that what you might anticipate. Musicians--think of the circle of fifths in the hands of a mischievous demon who loves melody, but can't tolerate the quotidian world of expectations.
-harmonies that are rich in early 20th century influences like rag and stride--think of the tri-tones you might expect from Scott Joplin and Jelly Roll Morton rendered through the sweep of orchestration that leads as often as it follows. Van Dyke Parks likes the same "Americana" movement of harmony employed by Randy Newman in much of his film music. However, Parks arrangements and orchestrations whip around like the American flag on a windy July 4th--threatening, on occasion, to shut down the picnic, or a roller-coaster that dips and rolls often enough to delight any kid. These harmonies are like agitating train cars locked to a locomotive on serious speed. Frankly--I love the feeling that the train could leap the tracks at any moment--though I can imagine that others might experience this as vertigo.
-lyrics that are more head than heart--and wonderfully so. These lyrics are not especially interested in rhyme, but don't ignore the aural need for a satisfying couplet. More often than not, the lyrics are simple and expressive of desire--but not always of the romantic kind. Here and there, you will come across an elusive and mystifying idea--and it is difficult to know if the lyric has run into a corner and cannot negotiate its way out, or ifthat corner actually is the way out (if you find this implausible, then you have just gotten a sense of George lyrics)
I am a sucker for Van Dyke Parks and consider "Orange Crate Art" a landmark cd, worthy of wide praise and affectionate allegiance (much like the Beatles Sergeant Pepper album). Aside from his palette of compositional colors, Parks is a first-rate arranger and orchestrator, but--he likes to bring the orchestra up close--sometimes, to the point of overwhelming the arc of melody. He doesn't do that in "Orange Crate Art" because that arc is always controlled by Brian Wilson's rich and dominant harmonies. However, Inara George, when confronted with this Parks tendency, can be reduced, just occasionally, to a footnote.
Don't allow this cd's near-aleatory presentation of melody and Godzilla-like proportion of orchestration to isolate you from the satisfactions of the George/Parks collaboration. They have fashioned an original contribution to American pop--dig into it, and you will find a pleasure chest full of riches.
-melodies that fall several quavers and quirks short of chance. I don't mean to suggest any similarity to the dizzying interval exchanges of John Cage, but often, these melodies seem to go some place other that what you might anticipate. Musicians--think of the circle of fifths in the hands of a mischievous demon who loves melody, but can't tolerate the quotidian world of expectations.
-harmonies that are rich in early 20th century influences like rag and stride--think of the tri-tones you might expect from Scott Joplin and Jelly Roll Morton rendered through the sweep of orchestration that leads as often as it follows. Van Dyke Parks likes the same "Americana" movement of harmony employed by Randy Newman in much of his film music. However, Parks arrangements and orchestrations whip around like the American flag on a windy July 4th--threatening, on occasion, to shut down the picnic, or a roller-coaster that dips and rolls often enough to delight any kid. These harmonies are like agitating train cars locked to a locomotive on serious speed. Frankly--I love the feeling that the train could leap the tracks at any moment--though I can imagine that others might experience this as vertigo.
-lyrics that are more head than heart--and wonderfully so. These lyrics are not especially interested in rhyme, but don't ignore the aural need for a satisfying couplet. More often than not, the lyrics are simple and expressive of desire--but not always of the romantic kind. Here and there, you will come across an elusive and mystifying idea--and it is difficult to know if the lyric has run into a corner and cannot negotiate its way out, or ifthat corner actually is the way out (if you find this implausible, then you have just gotten a sense of George lyrics)
I am a sucker for Van Dyke Parks and consider "Orange Crate Art" a landmark cd, worthy of wide praise and affectionate allegiance (much like the Beatles Sergeant Pepper album). Aside from his palette of compositional colors, Parks is a first-rate arranger and orchestrator, but--he likes to bring the orchestra up close--sometimes, to the point of overwhelming the arc of melody. He doesn't do that in "Orange Crate Art" because that arc is always controlled by Brian Wilson's rich and dominant harmonies. However, Inara George, when confronted with this Parks tendency, can be reduced, just occasionally, to a footnote.
Don't allow this cd's near-aleatory presentation of melody and Godzilla-like proportion of orchestration to isolate you from the satisfactions of the George/Parks collaboration. They have fashioned an original contribution to American pop--dig into it, and you will find a pleasure chest full of riches.