Rock/Pop
CDアルバム

Ultravox!

0.0

販売価格

¥
2,190
税込
還元ポイント

廃盤

在庫状況 について

フォーマット CDアルバム
発売日 2006年06月05日
国内/輸入 輸入
レーベルIsland
構成数 1
パッケージ仕様 -
規格品番 IMCD324
SKU 602498379486

構成数 : 1枚
合計収録時間 : 00:53:21
Personnel: Warren Cann (vocals, drums); Steve Shears (guitar). Recording information: Island Music Studios, Hammersmith (1976). Depeche Mode claimed to be punks with synthesizers, but it was Ultravox! who first showed the kind of dangerous rhythms that keyboards could create. The quintet certainly had their antecedents -- Hawkwind, Roxy Music, and Kraftwerk to name but a few, but still it was the group's 1977 eponymous debut's grandeur (courtesy of producer Eno), wrapped in the ravaged moods and lyrical themes of collapse and decay that transported '70s rock from the bloated pastures of the past to the futuristic dystopias predicted by punk. Epic tales of alienation, disillusion, and disintegration reflected the contemporary holocaust of Britain's collapse, while accurately prophesying the dance through society's cemetery and the graveyards of empires that were to be the Thatcher/Reagan years. "Satday Night in the City of the Dead," "Wide Boys," "The Wild, the Beautiful and the Damned," "Dangerous Rhythm," and "Slip Away" all simultaneously bemoaned and celebrated the destruction of Western culture while swaggering boldly through the wreckage; "I Want to Be a Machine" and "My Sex" warned of and yearned for technology's triumph. And it was these apposites and didactic emotions that so pierced the zeitgeist of the day, and kicked open a whole new world of synthesized music. Dangerous rhythms indeed. ~ Dave Thompson

  1. 1.[CDアルバム]
    1. 1.
      Satday Night in the City of the Dead

      アーティスト: Ultravox

    2. 2.
      Life at Rainbow's End (For All the Tax Exiles on Main Street)

      アーティスト: Ultravox

    3. 3.
      Slip Away

      アーティスト: Ultravox

    4. 4.
      I Want to Be a Machine

      アーティスト: Ultravox

    5. 5.
      Wide Boys

      アーティスト: Ultravox

    6. 6.
      Dangerous Rhythm

      アーティスト: Ultravox

    7. 7.
      The Lonely Hunter

      アーティスト: Ultravox

    8. 8.
      The Wild, the Beautiful and the Damned

      アーティスト: Ultravox

    9. 9.
      My Sex

      アーティスト: Ultravox

    10. 10.
      Slip Away

      アーティスト: Ultravox

    11. 11.
      Modern Love

      アーティスト: Ultravox

    12. 12.
      The Wild, the Beautiful and the Damned

      アーティスト: Ultravox

    13. 13.
      My Sex

      アーティスト: Ultravox

作品の情報

メイン
アーティスト: Ultravox

その他
プロデューサー: Brian EnoSteve LillywhiteUltravox

オリジナル発売日:1977年

商品の紹介

80's、ジャーマン・プログレッシブ・ロックの影響を受けながら、自らの“美学的”なサウンド世界を展開した UKニューウェーヴ/エレクトリック・ポップ・グループ、ウルトラヴォックス。ブライアン・イーノと、スティーヴ・リリーホワイトとの共同プロデュース。いわゆる“JOHN FOXX 時代”の、彼らの初期の名盤。
タワーレコード(2009/04/08)

Depeche Mode claimed to be punks with synthesizers, but it was Ultravox! who first showed the kind of dangerous rhythms that keyboards could create. The quintet certainly had their antecedents -- Hawkwind, Roxy Music, and Kraftwerk to name but a few, but still it was the group's 1977 eponymous debut's grandeur (courtesy of producer Eno), wrapped in the ravaged moods and lyrical themes of collapse and decay that transported '70s rock from the bloated pastures of the past to the futuristic dystopias predicted by punk. Epic tales of alienation, disillusion, and disintegration reflected the contemporary holocaust of Britain's collapse, while accurately prophesying the dance through society's cemetery and the graveyards of empires that were to be the Thatcher/Reagan years. "Saturday Night in the City of the Dead," "Wide Boys," "The Wild, the Beautiful and the Damned," "Dangerous Rhythm," and "Slip Away" all simultaneously bemoaned and celebrated the destruction of Western culture while swaggering boldly through the wreckage; "I Want to Be a Machine" and "My Sex" warned of and yearned for technology's triumph. And it was these apposites and didactic emotions that so pierced the zeitgeist of the day, and kicked open a whole new world of synthesized music. Dangerous rhythms indeed. ~ Dave Thompson|
Rovi

Depeche Mode claimed to be punks with synthesizers, but it was Ultravox! who first showed the kind of dangerous rhythms that keyboards could create. The quintet certainly had their antecedents -- Hawkwind, Roxy Music, and Kraftwerk to name but a few, but still it was the group's 1977 eponymous debut's grandeur (courtesy of producer Eno), wrapped in the ravaged moods and lyrical themes of collapse and decay that transported '70s rock from the bloated pastures of the past to the futuristic dystopias predicted by punk. Epic tales of alienation, disillusion, and disintegration reflected the contemporary holocaust of Britain's collapse, while accurately prophesying the dance through society's cemetery and the graveyards of empires that were to be the Thatcher/Reagan years. "Satday Night in the City of the Dead," "Wide Boys," "The Wild, the Beautiful and the Damned," "Dangerous Rhythm," and "Slip Away" all simultaneously bemoaned and celebrated the destruction of Western culture while swaggering boldly through the wreckage; "I Want to Be a Machine" and "My Sex" warned of and yearned for technology's triumph. And it was these apposites and didactic emotions that so pierced the zeitgeist of the day, and kicked open a whole new world of synthesized music. Dangerous rhythms indeed. ~ Dave Thompson
Rovi

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