Rock/Pop
CDアルバム

Side Two

0.0

販売価格

¥
3,237
税込
ポイント15%還元

廃盤

在庫状況 について

フォーマット CDアルバム
発売日 2005年07月11日
国内/輸入 輸入
レーベルSanctuary
構成数 1
パッケージ仕様 -
規格品番 SANCD386
SKU 5050159038626

構成数 : 1枚
合計収録時間 : 00:00:00
Not that he wasn't busy for the entire time, but the nearly eight years that separated Adrian Belew's solo studio recordings seem to have really recharged his batteries. Following Op Zop Too Wah, we only got the Salad Days compilation of acoustic material (already previously released in Japan and by mail order) and the odds and ends Coming Attractions compilation, which showcased all the different pies Adrian had his fingers in at the time (the Bears, more acoustic stuff, a still-forthcoming rarities box, etc.); it almost seemed like a holding pattern. Then came Side One, Belew's triumphant return to the type of experimental rock that first turned heads in his direction more than 20 years ago. Maybe it was the time away from his solo career proper; maybe it was hooking up with relative youngsters like Danny Carey and Les Claypool, but Belew seemed positively reinvigorated. That feeling continues with Side Two. No big guest stars on this one; Belew handles just about everything entirely solo. Longtime fans may be a bit surprised by the prevalence of electronic sounds, loops, and synthesized percussion, but Belew has really done a great job of incorporating them into his sound. The lyrics are deliberately sparse (inspired by Haiku), which allows for much more focus on the music and atmosphere. In fact, Belew has pretty much forsaken any "pop" aspirations here and fully pursued his more experimental muse, which will absolutely delight many of his longtime fans (and perhaps alienate the more pop-oriented ones a bit, though nothing here really qualifies as harsh or difficult listening). The album is filled with great sounds and textures, and there is plenty of ferocious guitar playing, as expected. The running time is fairly brief but there are essentially no breaks between songs, so the end of the album is like the end of a wild ride; it was a lot of fun but you're about ready for a break. However, you just might want to heed the whispered advice at the end of the album (trivia buffs take note that it's the same advice that closes Side Two of the James Gang's Yer' Album). ~ Sean Westergaard

  1. 1.[CDアルバム]
    1. 1.
      Dead Dog On Asphalt

      アーティスト: Adrian Belew

    2. 2.
      I Wish I Knew

      アーティスト: Adrian Belew

    3. 3.
      Face To Face

      アーティスト: Adrian Belew

    4. 4.
      Asleep

      アーティスト: Adrian Belew

    5. 5.
      Sex Nerve

      アーティスト: Adrian Belew

    6. 6.
      Then What

      アーティスト: Adrian Belew

    7. 7.
      Quicksand

      アーティスト: Adrian Belew

    8. 8.
      I Know Now

      アーティスト: Adrian Belew

    9. 9.
      Happiness

      アーティスト: Adrian Belew

    10. 10.
      Sunlight

      アーティスト: Adrian Belew

作品の情報

メイン
アーティスト: Adrian Belew

商品の紹介

Mojo - 3 stars out of 5 - "[The album] becomes a more palatable mix of oddly formed, yet beguiling, almost childlike melodies."
Rovi

Not that he wasn't busy for the entire time, but the nearly eight years that separated Adrian Belew's solo studio recordings seem to have really recharged his batteries. Following Op Zop Too Wah, we only got the Salad Days compilation of acoustic material (already previously released in Japan and by mail order) and the odds and ends Coming Attractions compilation, which showcased all the different pies Adrian had his fingers in at the time (the Bears, more acoustic stuff, a still-forthcoming rarities box, etc.); it almost seemed like a holding pattern. Then came Side One, Belew's triumphant return to the type of experimental rock that first turned heads in his direction more than 20 years ago. Maybe it was the time away from his solo career proper; maybe it was hooking up with relative youngsters like Danny Carey and Les Claypool, but Belew seemed positively reinvigorated. That feeling continues with Side Two. No big guest stars on this one; Belew handles just about everything entirely solo. Longtime fans may be a bit surprised by the prevalence of electronic sounds, loops, and synthesized percussion, but Belew has really done a great job of incorporating them into his sound. The lyrics are deliberately sparse (inspired by Haiku), which allows for much more focus on the music and atmosphere. In fact, Belew has pretty much forsaken any "pop" aspirations here and fully pursued his more experimental muse, which will absolutely delight many of his longtime fans (and perhaps alienate the more pop-oriented ones a bit, though nothing here really qualifies as harsh or difficult listening). The album is filled with great sounds and textures, and there is plenty of ferocious guitar playing, as expected. The running time is fairly brief but there are essentially no breaks between songs, so the end of the album is like the end of a wild ride; it was a lot of fun but you're about ready for a break. However, you just might want to heed the whispered advice at the end of the album (trivia buffs take note that it's the same advice that closes Side Two of the James Gang's Yer' Album). ~ Sean Westergaard|
Rovi

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