ショッピングカート
Soul/Club/Rap
LPレコード
A Seat at the Table (Anniversary Edition)<Red Vinyl/完全限定生産盤>
★★★★★
★★★★★
0.0

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商品の情報

フォーマット

LPレコード

構成数

2

国内/輸入

輸入 (ヨーロッパ盤)

パッケージ仕様

-

発売日

2019年08月16日

規格品番

88985479131

レーベル

Saint Records/Columbia

SKU

889854791315

作品の情報
メイン
アーティスト
商品の紹介
2016年リリース、ソランジュ8年ぶり、3枚目としてリリースされた『A Seat at the Table』は、全米初登場2位、米iTunesチャート1位を記録。"Empowerment/女性の社会的地位の向上"、"Independence/自立"、"Grief&Healing/悲しみと癒し"をコンセプトとし、強いメッセージを内包しながらも、新しい響きを湛えたしなやかでソフトなサウンドが強い印象を残した。世界中で美しい復活劇を遂げたこのアルバムを、限定シリアル・ナンバー入り、赤いカラーVinylでリリース。
発売・販売元 提供資料 (2017/09/19)
Rolling Stone - 4 stars out of 5 -- "[A] fantastic-sounding LP that takes sonic cues from dusty soul sides while sounding as timely as a freshly sent tweet." Mojo (Publisher) - Ranked #22 in Mojo's 'The 50 Best Albums Of 2016' -- "Anger manifested softly...[she] projected a hope for redemption." Pitchfork (Website) - "[I]t already seems like a document of historical significance, not just for its formidable musical achievements but for the way it encapsulates black cultural and social history with such richness, generosity, and truth." Clash (Magazine) - "Solange fully embodies the educator on A SEAT AT THE TABLE, a role she personifies with a gusto so rarely seen in popular music....An expertly-curated, a near-perfect record..."
Rovi
収録内容

構成数 | 2枚

合計収録時間 | 00:00:00

Solange Knowles started writing her third album in New Iberia, Louisiana, a town where her maternal grandparents lived until a Molotov cocktail was thrown into their home. That setting helps explain how A Seat at the Table turned out drastically different from Knowles' previous output. There's no revisitation of beachy retro soul-pop and new wave akin to "Sandcastle Disco" or "Losing You." Nothing has the humor of "Some Things Never Seem to Fucking Work" or the bluntness of "Fuck the Industry." There certainly aren't any love songs in the traditional sense. Instead, surrounded by a collaborative throng that includes Raphael Saadiq, Dave Longstreth, and Adam Bainbridge, Knowles composed and produced alleviating pro-black reflections of frustration and anger. They regard persistent dehumanizing burdens dealt to her and other persons of color in a country where many are hostile to the phrase "Black Lives Matter" and the equality-seeking organization of the same name. Remarkably, tender elegance is the mode for much of the album's duration, as heard in the exquisitely unguarded "Cranes in the Sky" and dimly lit left-of-center pop-R&B hybrids "Don't You Wait" and "Don't Wish Me Well." Those songs crave release and reject character assassination and stasis while hinting at inevitable fallout. Their restrained ornamentation and moderate tempos are perfectly suited for Knowles, an undervalued vocalist who never aims to bring the house down yet fills each note with purposeful emotion. When the rhythms bounce and the melodies brighten, as they do during a short second-half stretch, the material remains rooted in profound grief and mystified irritation. In "Borderline," a chugging machine beat and a lilting piano line form the backdrop of a scene where Knowles and her partner tune out the world for the sake of their sanity. Then, after Nia Andrews and Kelly Rowland's half minute of proud harmonic affirmation, along comes "Junie," a squiggling jam on which Andre 3000 makes like the track's namesake (Ohio Players and Parliament legend Junie Morrison), where Knowles delivers a sharp metaphorical smackdown of a cultural interloper like it's merely an improvised postscript. All of the guests, from Lil Wayne to Kelela, make necessary appearances. The same goes for Knowles' parents and Master P, who are present in the form of short interludes in which they discuss segregation, self-reliance, cultural theft, and black pride. These segues shrewdly fasten a cathartic yet poised album, one that weighs a ton and levitates. ~ Andy Kellman

    • 1.
      [LPレコード]
      DISC 1:
      • 1.
        Rise
      • 2.
        Weary
      • 3.
        Glory Is in You, The (Interlude)
      • 4.
        Cranes in the Sky
      • 5.
        Dad Was Mad (Interlude)
      • 6.
        Mad - (featuring Lil Wayne)
      • 7.
        Don't You Wait
      • 8.
        Tina Taught Me (Interlude)
      • 9.
        Don't Touch My Hair - (featuring Sampha)
    • 2.
      [LPレコード]
      DISC 2:
      • 1.
        This Moment (Interlude)
      • 2.
        Where Do We Go
      • 3.
        For Us by Us (Interlude)
      • 4.
        F.U.B.U. - (featuring The-Dream/BJ the Chicago Kid)
      • 5.
        Borderline (An Ode to Self Care) - (featuring Q-Tip)
      • 6.
        I Got So Much Magic, You Can Have It (Interlude) - (featuring Nia Andrews/Kelly Rowland)
      • 7.
        Junie
      • 8.
        No Limits (Interlude)
      • 9.
        Don't Wish Me Well
      • 10.
        Pedestals (Interlude)
      • 11.
        Scales - (featuring Kelela)
      • 12.
        Closing: The Chosen Ones
レビュー
  • 8年ぶりとなる3枚目のフル・アルバム。デヴ・ハインズ関与のEPや自主レーベル製コンピの流れを汲む越境感覚、〈Black Lives Matter〉的な動きに呼応しつつ黒人ルーツや女性の自立にまで拡げた壮大なテーマを姉ビヨンセの最近作と重ね合わせたくもなるが、音の感触はスウィートで優しい。制作ではラファエル・サディークが主導権を握り、ソウル/ファンクのオーガニックな質感と80sポップ的なソリッドな風合いを交配。先行カットの"Cranes In The Sky"をはじめ、リル・ウェイン、Q・ティップ、サンファらを招いて、控えめに声を添えるトゥイートのように艶やかな声で歌い舞う尖った美曲は、過去最高に彼女の真価が発揮されたと言っていい。頻出するインタールードにはマスター・Pやケリー・ローランドらを起用。NOLAセカンドラインを採り入れつつ、BJ・ザ・シカゴ・キッドやドリームと相見えれば、鬼才ジュニー・モリソンに捧げた曲も披露。この大作感はケンドリック・ラマーの〈TPAB〉にも匹敵する。全米1位にも納得だ。
    bounce (C)林剛

    タワーレコード (vol.397(2016年11月25日発行号)掲載)

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