Primitive Cool＜Black Vinyl＞

ミック・ジャガー ソロ・アルバム LPリイシュー

ユーリズミックスのデイヴ・ステュアート、キース・ダイアモンドを共同プロデューサーに迎えてつくられたソロ第2弾。ジェフ・ベック、ダグ・ウィンビッシュ、サインモン・フィリップスらを核に多彩なメンバーを呼び寄せて、ザ・ローリング・ストーンズとはまた違う"バンド・サウンド"を追求した作品。アルバム発表後の88年3月にはジョー・サトリアーニらを擁するバンドを率いて初来日公演も行なった。全英26位/全米41位。
(1987年発表)

●180g重量盤ブラック・ヴィニール
●ハーフ・スピート・マスタリング・システムによるアナログ・テープ・トランスファーから新しくリマスター&カッティング

For his second solo album, Mick Jagger teamed up with producer Dave Stewart (Eurythmics), turning in a more adventurous and ambitious record. Of course, "adventurous" and "ambitious" are relative terms. In comparison to the carefully constructed, state-of-the-art pop/rock of She's the Boss, Primitive Cool sounds lively, as Jagger puts some genuine conviction behind the funky "Peace for the Wicked" and the country stylings of "Party Doll." Nevertheless, the album, like She's the Boss before it, is designed to establish Mick Jagger as a solo star in his own right, and Primitive Cool is filled with attempts at contemporary rock and dance-pop. The nadir of his stabs at modern pop is the appalling single "Let's Work," where the rock star tells his fans to get off their asses and start working, all to a bouncy, aerobicized beat. However, most of the album is more appealing than the single, even if Jagger's writing seems forced on the numbers designed with the Top 40 in mind ("Shoot Off Your Mouth," in particular). Not surprisingly, the best moments on Primitive Cool occur when he stops seeing the album as a way to jump-start his solo career and he concentrates on the music. While his emotionally unguarded songs ("War Baby" and "Party Doll") are the most affecting tracks on the record, songs like "Let's Work" are more indicative of Jagger's true feelings. ~ Stephen Thomas Erlewine