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David Bowie
David Bowie 「★」 LP
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【販売店・発送】 タワーレコード株式会社
商品の情報
| 発売日：2026年07月24日 / ジャンル：ROCK/POP / フォーマット：LP / 構成数：1 / 製造国：ヨーロッパ盤 / レーベル：Parlophone / SKU：5021732397669 / 規格品番：2173239766 |
商品の紹介
| David Bowie died within days after the January 8, 2016 release of Blackstar, an event that immediately shaped perceptions of his 25th album. Unbeknownst to all but his inner circle, Bowie wrote and recorded Blackstar after receiving word that he had liver cancer, so the album was certainly shaped through the prism of this diagnosis. A close listen reveals how the album is littered with references to dying -- indeed, it concludes with a note of acceptance in I Cant Give Everything Away -- but Bowies remarkable achievement with Blackstar is how its an album about mortality that is utterly alive, even playful. Unlike its predecessor, 2013s The Next Day, Blackstar doesnt carry the burden of ushering a new era in Bowies career. Occasionally, the record contains a nod to his past -- two of its key songs, Sue (Or in a Season of Crime) and Tis a Pity She Was a Whore, were even aired in 2014 as a supporting single for the Nothing Has Changed compilation (both are revamped for this album) -- but Bowie and producer Tony Visconti are unconcerned with weaving winking postmodern tapestries; now that theyve shaken free their creative cobwebs, theyre ready to explore. Certainly, the luxurious ten-minute sprawl of Blackstar -- a two-part suite stitched together by string feints and ominous saxophone -- suggests Bowie isnt encumbered with commercial aspirations, but Blackstar neither alienates nor does it wander into uncharted territory. For all its odd twists, the album proceeds logically, unfolding with stately purpose and sustaining a dark, glassy shimmer. It is music for the dead of night but not moments of desolation; its created for the moment when reflection cant be avoided. Fittingly, the music itself is suspended in time, sometimes recalling the hard urban gloss of 70s prog -- Bowies work, yes, but also Roxy Music and, especially, the Scott Walker of Nite Flights -- and sometimes evoking the drumnbass dabbling of the 90s incarnation of the Thin White Duke, sounds that can still suggest a coming future, but in the context of this album these flourishes are the foundation of a persistent present. This comfort with the now is the most striking thing about Blackstar: it is the sound of a restless artist feeling utterly at ease not only within his own skin and fate but within his own time. To that end, Bowie recruited saxophonist Donny McCaslin and several of his New York cohorts to provide the instrumentation (and drafted disciple James Murphy to contribute percussion on a pair of cuts), a cast that suggests Blackstar goes a bit farther out than it actually does. Cannily front-loaded with its complicated cuts (songs that were not coincidentally also released as teaser singles), Blackstar starts at the fringe and works its way back toward familiar ground, ending with a trio of pop songs dressed in fancy electronics. This progression brings Blackstar to a close on a contemplative note, a sentiment that when combined with Bowies passing lends the album a suggestion of finality thats peaceful, not haunting. ~ Stephen Thomas Erlewine |
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| Its difficult to separate 2016s Blackstar from The Next Day, the album David Bowie released with little warning in 2013. Arriving after a ten-year drought, The Next Day pulsated with the shock of the new -- as Bowies first album of new material in a decade, how could it not? -- but ultimately it was grounded in history, something its cover made plain in its remix of Heroes artwork. Blackstar occasionally recalls parts of Bowies past -- two of its key songs, Sue (Or in a Season of Crime) and Tis a Pity She Was a Whore, were even aired in 2014 as a supporting single for the Nothing Has Changed compilation (both are revamped for this album) -- but Bowie and producer Tony Visconti are unconcerned with weaving winking postmodern tapestries; now that theyve shaken free their creative cobwebs, theyre ready to explore. Certainly, the luxurious ten-minute sprawl of Blackstar -- a two-part suite stitched together by string feints and ominous saxophone -- suggests Bowie isnt encumbered with commercial aspirations, but Blackstar neither alienates nor does it wander into uncharted territory. For all its odd twists, the album proceeds logically, unfolding with stately purpose and sustaining a dark, glassy shimmer. It is music for the dead of night but not moments of desolation; its created for the moment when today is over but tomorrow has yet to begin. Fittingly, the music itself is suspended in time, sometimes recalling the hard urban gloss of 70s prog -- Bowies work, yes, but also Roxy Music and, especially, the Scott Walker of Nite Flights -- and sometimes evoking the drumnbass dabbling of the 90s incarnation of the Thin White Duke, sounds that can still suggest a coming future, but in the context of this album these flourishes are the foundation of a persistent present. This comfort with the now is the most striking thing about Blackstar: it is the sound of a restless artist feeling utterly at ease not only within his own skin but within his own time. To that end, Bowie recruited saxophonist Donny McCaslin and several of his New York cohorts to provide the instrumentation (and drafted disciple James Murphy to contribute percussion on a pair of cuts), a cast that suggests Blackstar goes a bit farther out than it actually does. Cannily front-loaded with its complicated cuts (songs that were not coincidentally also released as teaser singles), Blackstar starts at the fringe and works its way back toward familiar ground, ending with a trio of pop songs dressed in fancy electronics. These dont erase the heaviness of the opening quartet but such a sequencing suggests Blackstar is difficult when the main pleasure of the record is how utterly at ease it all feels: Bowies joy in emphasizing the art in art-pop is palpable and its elegant, unhurried march resonates deeply. ~ Stephen Thomas Erlewine |
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| デヴィッド・ボウイの軌跡を集大成したボックス・セットの最終章『I CAN'T GIVE EVERYTHING AWAY [2002-2016]』に収録されていた、ボウイ晩年の4枚のスタジオ・アルバムとライヴ・アルバムが、それぞれ単独作品として遂に登場! こちらは彼の69歳の誕生日となる2016年1月8日にリリースされた、長年のコラボレイターであるトニー・ヴィスコンティとの共同作業によって、アート・ロックとジャズの要素を大胆に組み合わせ、まったく新たなサウンドの地平を切り拓いた、通算26作目のスタジオ・アルバムにしてデヴィッド・ボウイ最期のスタジオ・アルバムとなった『★(ブラックスター)』(2016年作品)の180グラム重量盤アナログ! 常に時代の先端を走り続け、時代を開拓し続けた伝説、デヴィッド・ボウイ。2025年9月に、1969年から続く彼の豊潤なキャリアを総括するボックス・セット・シリーズの第6弾にして最終章となる豪華13枚組CDボックス・セット『I CAN'T GIVE EVERYTHING AWAY[2002-2016]』がリリースされた。今回、このボックス・セット最終章に収録されていた4枚のスタジオ・アルバムと1つのライヴ・アルバムが、それぞれ単独作品として登場することとなった。 今回リリースされるのは、2002年から2016年の間にボウイが発表した『HEATHEN』(2002年)、『REALITY』(2003年)、『THE NEXT DAY』(2013年)、『★(BLACKSTAR)』(2016年)という4枚のスタジオ・アルバムに加え、彼のキャリアの中でも最も愛されるツアーの一つとなった"リアリティ・ツアー"から、ダブリン公演の模様を収録した2枚組ライヴ・アルバム『A REALITY TOUR』の5作品。『HEATHEN』から『THE NEXT DAY』までのアルバムは2025年リマスター音源が採用されており、ボウイの最期のアルバムとなる『★(BLACKSTAR)』はオリジナル・マスターが採用されている。 ボウイ最期のスタジオ・アルバム『★ (BLACKSTAR)』は、2016年1月8日にリリースされた。ボウイとトニー・ヴィスコンティは、「Sue (Or In A Season Of Crime)」で共演した後、ニューヨークで行われたドニー・マッキャスリンのジャズ・カルテットのライブを聴いた。ヴィスコンティは次のように語っている。「ドニーのカルテットは普通のジャズ・バンドではなかった。彼らはトップクラスの交響楽団のクラシック音楽奏者と同等のレベルのスーパー・ミュージシャンだったんだ。デヴィッドは私に、マーク・ジュリアナ(ドラム)、ティム・ルフェーヴル(ベース)、ジェイソン・リンドナー(キーボード)からなるこのバンドが『★ (BLACKSTAR)』のレコーディングに参加する、と告げたのさ」 |
| 発売・販売元 提供資料（2026/05/22） |
収録内容
・構成数 | 11.LP
1.LP
|