Ryuichi Sakamoto / Thousand Knives
Формат записи/Источник записи: [SACD-R][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 1978/2016
Жанр: Jazz fusion, Modern Classical, Experimental, Electroacoustic, Electronic,
Издатель(лейбл): Nippon Columbia (Japan)
Продолжительность: 00:45:44
Наличие сканов в содержимом раздачи: Да (сканы)Треклист:
1. Thousand Knives 09:35
2. Island Of Woods 09:50
3. Grasshoppers 05:16
4. Das Neue Japanische Elektronische Volkslied 08:06
5. Plastic Bamboo 06:31
6. The End Of Asia 06:26Контейнер: ISO (*.iso)
Тип рипа: image
Разрядность: 64(2,8 MHz/1 Bit)
Формат: DSD
Количество каналов: 2.0
Доп. информация: Columbia COGQ-87
Released October 25, 1978
Recorded 10 April-27 July 1978 Columbia Studios 1, 2 & 4 Tokyo
Producer Ryuichi Sakamoto
Источник (релизер): pssacd (PS³SACD) http://www.amazon.com/THOUSAND-KNIVES-HYBRID-BOOKLET-remaster/dp/B0188G0BGU
Об альбоме (сборнике)
Thousand Knives (千のナイフ Sen no Naifu?) (also known as Thousand Knives of Ryuichi Sakamoto) is Ryuichi Sakamoto’s first solo album. The album is named after Henri Michaux’s description of the feel of using mescaline in Misérable Miracle. It was recorded in about 500 hours, and Sakamoto would spend whole days without sleeping working on it.
Allmusic Review
Ryuichi Sakamoto’s first solo album appeared before he formed Yellow Magic Orchestra in late 1978, after the young keyboardist had earned his M.A. in music from Tokyo University. Six long instrumentals make up this CD, but apart from a taste for Asian-sounding synth lines, they hint at very little of what was to come in YMO. “Thousand Knives” is a long disco-lite jazzy workout with a very un-synthesized guitar solo by Kazumi Watanabe (who would later join YMO on tour and have his solo album produced by Sakamoto). Side two’s “Da Neue Japanische Electronische Volkslied” and “The End of Asia” (later revamped in YMO) are closest to the new wave of Japanese electronic music that he would spawn. “Island of Woods” and “Grasshoppers” trade in rhythm for sound landscapes, and the sort of cheeriness that would pop up later in Sakamoto’s childrens movie scores. Harry Hosono turns up on one track, and generally the album is a pleasant, if unadventurous, listen.
/1 
发表于 2020-10-29 21:31:16
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