Shapeshifting

ジョー・サトリアーニ
2年ぶり通算17枚目のスタジオ・アルバム『Shapeshifting』(シェイプシフティング)

ジョー・サトリアーニの2年ぶり、通算17枚目のスタジオ・アルバム『Shapeshifting』(シェイプシフティング)が発売される。『Shapeshifting』はサトリアーニとジム・スコット(フー・ファイターズ、レッド・ホット・チリ・ペッパーズ、トム・ぺティ&ザ・ハートブレイカーズ)による共同プロデュースで、ジョン・クニベルティがマスタリングを担当。サトリアーニは曲に息吹を吹き込むため、新旧ともに幅広い層のコラボ相手に協力を求めたという。

ドラムのレジェンドであるケニー・アロノフ(ジョン・フォガティ)、ベースのクリス・チェイニー(ジェーンズ・アディクション)、キーボードのエリック・コデューがアルバムの中核をなす一方、リサ・コールマン(ザ・レヴォリューション)と俳優・映画監督・脚本家のクリストファー・ゲストも作品に貢献している。レトロ感のあるサウンドのファースト・シングル「Nineteen Eighty」では、サトリアーニが初めて組んだバンド、ザ・スクエアズ時代をスピリチュアルな意味で再訪している。

彼はキャリア初期の頃に「ギター・ソロや芝居がかった演奏を抑えて、よりクールでニュー・ウェイヴ的なヴァイブを作ろうとした」という。それらの目標から離れて何十年も経った今、彼は1980年当時に思い描いていたものを再度形にするという試みを行なったのだ。当時の音に忠実にするために、彼はヴィンテージのフェイザー「MXR EVH」まで用いたという。「俺は昔からエディ・ヴァン・ヘイレンの大ファンでね」とサトリアーニは語る。「俺の中では、彼はあの時代を結晶化した張本人なんだ。'70年代終わりから'80年代にかけて、彼はロック・ギターの救世主みたいなものだった。そんな感じのことを自分もやってみたかったんだ」。

Alongside his formidable guitar playing chops, Joe Satrianis recordings continue to sound fresh 18 albums in. This is largely due to an innate yet sophisticated songwriting prowess (verses, choruses, and bridges) rather than stacked tracks of technically proficient riffs and solos. Satriani possesses a gift for combining and recombining styles, dynamics, and various strains of lyricism from a nearly astonishing variety of genres. The Satch sound is iconic; this is due in large part to the fact that the guitarist continually seeks to reinvent himself. Each of his albums is a reaction to its predecessor, not an exercise in repetition. Shapeshifting was co-produced by Satriani and Jim Scott (Tom Petty, Widespread Panic, Foo Fighters). His drummer is Kenny Aronoff who played with him on the Chickenfoot and the Ultimate Hendrix Experience tours. Janes Addiction bassist Chris Chaney is here, as is keyboardist Eric Caudieux, rounding out the core musicians. The title-track opener twins his guitar leads in the verse atop a funky bassline and popping snare and kick drum. In Big Distortion, the melody line and bridge are so catchy harmonically you may find yourself humming it. Satriani can deliver a fine ballad, too, as evidenced by Big Love, with its nods to Roy Buchanans The Messiah Will Come Again in the bridge atop a processional bass-and-drum shuffle. As Caudieuxs synths wash the backdrop with shades of gray, Satriani offers a superb, emotional solo that nearly sings. Ali Farka, Dick Dale, An Alien, and Me is almost self-explanatory. The guitarist goes for modal tunings and droning distortion; simultaneously, he channels the hard-edged surf plectrum picking of Dales later years, combined with some wild knob twisting to give the jam a real space/alien feel. Bass and synth offer countering pulses, with the drums offering a Malian rhythm. Teardrops is a slow blues with Satrianis leads entwined in the bridge. The playing is slow and dreamy, dripping with emotion. Certain lines get repeated throughout as if the guitarist is trying to come to grips with their interior meanings. The choogling boogie Perfect Dust almost sounds like a ZZ Top instrumental until it reaches the bridge, where Tangerine Dream-esque synths create a diversion before boogie returns with call-and-response from the rhythm section. Guest Lisa Colemans (Wendy & Lisa, Prince and the Revolution) lithe piano graces Waiting, an atmospheric ballad with gorgeous interplay between pianist and guitarist; its framed by organ, reverbed tom-toms, and a lilting bassline. Here the Blue River is deep, dubwise reggae with Satrianis rhythm playing holding down the beat with the rhythm section as he grinds out chords, riffs, and vamps to accompany his melody. Writer, director, and actor Christopher Guest (Nigel Tufnel from Spinal Tap) adds his acoustic mandolin to closer Yesterdays Yesterday, a back porch acoustic jam complete with multi-tracked whistling. While Satrianis large catalog boasts a remarkable level of quality and consistency, Shapeshifting stands out for its imagination, lyricism, and infectious musicality. ~ Thom Jurek