WHO

ザ・ビートルズ、ザ・ローリング・ストーンズと共にイギリスの3大伝説のロック・バンド、13年ぶり12枚目のニュー・スタジオ・アルバム。
2019年発売50周年を迎えたアルバム『トミー』(1969)で"ロック・オペラ"というジャンルを確立し、モッズ・カルチャーの中心的存在としてイギリスのファッションや文化全般を語る上では欠かせない重要なバンド。
7月6日にはウェンブリー・スタジアムでオーケストラとの『トミー』一部再演を含むライヴを行った。
・ザ・ビートルズ『サージェント・ペパーズ・ロンリー・ハーツ・クラブ・バンド』のジャケットデザインで有名なイギリスのポップ・アーティスト ピーター・ブレイクが本作のアルバム・ジャケットのデザインを担当した。

Its not billed that way but given the Whos productivity since their initial split in 1982, its difficult not to view 2019s Who as the bands final album. Its only their second album in 37 years, and if it takes them another 13 years to complete a third -- thats the length of time separating Who from 2006s Endless Wire -- both Pete Townshend and Roger Daltrey will be well into their eighties, a seemingly unlikely age for new work by rockers. Then again, the Who have long outlived Townshends youthful desire to die before he gets old, a fact he began to contend with during the mid-70s, when he chronicled his middle-aged disappointment on Who by Numbers. Who doesnt sound much like Who by Numbers. Keith Moon and John Entwistle are long gone, Daltreys voice has been sanded away to a gravelly rumble, and Townshend found himself rejuvenated by playing with bassist Pino Palladino and drummer Zak Starkey. A different rhythm section along with the aftermath of aging does mean Who feels polished and precise, but if the group has swapped kinetic energy for professionalism, theyre not exactly settled. Much of the credit should go to Townshend, who continues to wrestle with emotions and ideas that are just outside his grasp, setting his struggle to music equal parts muscle and mark. There are a few new wrinkles, such as the smooth, soulful Ill Be Back, the albums most romantic moment. Its one thats needed. Elsewhere, Townshend attempts to find his place in a world in turmoil, coming to terms that hes fine with the passing of time, but that doesnt prevent him from throwing barbs. Daltrey responds in kind, treating the songs with care and respect. Age has diminished his range but increased his sensitivity, a combination that benefits Who, since he handles vulnerable moments like Break the News with sensitivity and mines All This Music Must Fade and I Dont Wanna Get Wise, discovering their undercurrent of defiance. After all these years, it becomes clear that the relationship between Daltrey and Townshend -- the singer serving as the songwriters best interpreter and editor -- is at the core of the Who, which is why Who feels like a Who album: The two still bring out the best in each other. ~ Stephen Thomas Erlewine

待ちに待った13年ぶり、そしてピート・タウンゼントとロジャー・ダルトリーの2人体制となってからは2枚目となる新作。ノエル・ギャラガーらを手掛けたD・サーディとピート自身による共同プロデュースで、ほぼすべての曲が2019年に書かれたもの。内容は初期のブリティッシュ・ビート風から、名作『Tommy』を彷彿とさせる美しいナンバー、お得意のシンセのシーケンスが入ったハード・ロックまでザ・フーらしい曲が並ぶ。ただアルバムの持つ雰囲気は決定的に過去作と違い、どことなく悟りを開いたかのような美しさに満ちている。音楽的ピュアネスに溢れ、瑞々しく、良い意味で枯れた感がまったくないのだ。恐らくキャリア終盤の作品になるだろうが、常にクールさを追い求めるモッズ魂が健在の一枚だ。
bounce (C)赤瀧洋二