Against the Clock
仕様 | 価格 | 新品 | 中古品 |
CD, オリジナルレコーディングのリマスター, インポート, 2005/8/2
"もう一度試してください。" | オリジナルレコーディングのリマスター, インポート |
—
| — | ¥1,600 |
CD, 2005/4/21
"もう一度試してください。" | 1枚組 |
—
| — | ¥2,771 |
CD, オリジナルレコーディングのリマスター, リミックス含む, 2005/5/24
"もう一度試してください。" | オリジナルレコーディングのリマスター, インポート |
—
| — | ¥2,780 |
CD, SHM-CD, 2014/7/16
"もう一度試してください。" | SHM-CD | — | ¥3,680 |
CD, CD, インポート, 2011/3/11
"もう一度試してください。" | CD, インポート |
—
| — | ¥4,000 |
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ページ 1 以下のうち 1 最初から観るページ 1 以下のうち 1
曲目リスト
ディスク: 1
1 | Tokyo Dream (Japan Version) |
2 | Sphere of Innocence |
3 | Rukukha |
4 | Low Levels High Stakes |
5 | How Deep Is The Ocean |
6 | Nuages |
7 | Devil Take The Hindmost |
8 | Home |
9 | Peril Premonition |
10 | The Sixteen Men of Tain |
11 | Mr. Berwell |
12 | Looking Glass |
13 | Pud Wud |
ディスク: 2
1 | Spokes |
2 | Distance vs. Desire |
3 | MacMan |
4 | Against The Clock |
5 | Eeny Meeny |
6 | Secrets |
7 | BoPeep |
8 | Postlude |
9 | All Our Yesterdays |
10 | Eidolon |
11 | Sundays |
12 | Let's Throw Shrimp (bonus track) |
13 | Shenandoah (bonus track) |
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トップレビュー
上位レビュー、対象国: 日本
レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。
2016年8月7日に日本でレビュー済み
Amazonで購入
アラン・ホールズワースの音楽は聴けば聴く程、謎が深まるばかり…。それは砂漠の砂の風紋がどうしてそんな模様になるのか…雪の結晶がなんでその形で完成されるのかが説明できない感覚と似ています。なんでギターでそんなフレーズを弾くのか…その曲は決してコマーシャルなものではなく、時に難解なものもありますが、聴きこむ程にその世界観に引き込まれます。このアルバムは2枚組で、1枚目がギターの曲を、そして2枚目が世界で彼しか使いこなせなかった楽器、シンタックス(リー・リトナーとゲイリー・ムーアも所有していたが)の曲をまとめた構成となっております。選曲は彼自身が「メタル・ファティーグ」以降の作品から選んだということで、「トウキョウ・ドリーム」が別ヴァージョンで新曲が2曲あります。あらためて聴くとそのシンタックス編もホールズワースの音楽の世界観の中で重要で聴きごたえがあります。かつてはやはりエレキギターを縦横無尽に弾きまくる様子がとにかく爽快で、どうもシンセサイザーチックなシンタックスの曲を敬遠していましたが、別々に分けて提示されると、各々の魅力を合わせて理解を深められる…しかし謎は謎のまま…エリック・クラプトンをギターの神様と呼ぶのを聞きますが、ホールズワースの演奏こそ神そのものかと思ってしまいます。
2005年4月1日に日本でレビュー済み
Amazonで購入
彼のオフィシャルサイトでも宣伝が始まったけど、彼の長い歴史の中でもしかしたら初めてとも言えるベスト。昔ジムコよりベストが出たが内容的にはジムコでリリースした彼関連のCDのベストでまたベストとは言え趣旨が違う気がする。
こちらは彼のソロ時代の内容と言った所で未収録曲が2曲収録されている。更に1枚目はギターで2枚目がシンタックスをメインにした内容で作られている。昔からのファンには不評なシンタックスですが、僕の様に昔から聞き続けた訳ではない人にはシンタックスを使った楽曲のクオリティーの高さには驚く所である。色んなバンドを渡り歩いた時代のベストが出るとまた良いのだろうけど、それは多少無理があるな。このベストは少ないながらも13枚もあるスタジオアルバムのどこから買っていいか分からないファンや未発表曲目当てのファン、色んな人に重要なアルバムとなるでしょう。ロード・ゲーム買った後にシンタックス時代を買うか迷ってる方には特に良いのではなかろうか?どちらにせよ入門者から玄人までどちらにも重要なベストってのはなかなか無い物だ。
こちらは彼のソロ時代の内容と言った所で未収録曲が2曲収録されている。更に1枚目はギターで2枚目がシンタックスをメインにした内容で作られている。昔からのファンには不評なシンタックスですが、僕の様に昔から聞き続けた訳ではない人にはシンタックスを使った楽曲のクオリティーの高さには驚く所である。色んなバンドを渡り歩いた時代のベストが出るとまた良いのだろうけど、それは多少無理があるな。このベストは少ないながらも13枚もあるスタジオアルバムのどこから買っていいか分からないファンや未発表曲目当てのファン、色んな人に重要なアルバムとなるでしょう。ロード・ゲーム買った後にシンタックス時代を買うか迷ってる方には特に良いのではなかろうか?どちらにせよ入門者から玄人までどちらにも重要なベストってのはなかなか無い物だ。
2014年1月8日に日本でレビュー済み
Amazonで購入
Covers many years of this humble but great man's work. Needless to say that, if you're into Fusion, and AH in particular, you'll love it.
2005年3月19日に日本でレビュー済み
ソロになってからの本人プロデュースによるベスト。本人の選曲なので通常のベスト盤と違い、聞き入ること必至です。1枚目がギターによる演奏。2枚目がシンタックスによる演奏となっているようです。アランの名前を知っていてアルバム揃えるのはちょっと...と思っていらっしゃる方、是非このアルバムをお奨め致します。リリースされたばかりなので頑張って探してみては?
2017年5月4日に日本でレビュー済み
英国出身のジャズ~プログレ系ギタリスト,2005年発表の2枚組ベスト盤.Metal Fatigue 以降のアルバムから選曲.CD1(76分)にはギター,CD2(52分)にはギター型インターフェースのシンセサイザー SynthAxe による演奏を集め,各盤のトーンが統一されている.
ボーナス2曲は未発表曲.Shenandoah は SynthAxe をバックにギターが乗る,雄大な流れのアメリカ民謡.Let's Throw Shrimp は心太(トコロテン)ギターが炸裂するライブ感溢れるリズム・セクションとの共演.
ボーナス2曲は未発表曲.Shenandoah は SynthAxe をバックにギターが乗る,雄大な流れのアメリカ民謡.Let's Throw Shrimp は心太(トコロテン)ギターが炸裂するライブ感溢れるリズム・セクションとの共演.
他の国からのトップレビュー
Virtuoso Fan
5つ星のうち5.0
Bonus Track 'Shenandoah' Worth the Price Alone
2018年10月27日にアメリカ合衆国でレビュー済みAmazonで購入
I already owned 'Eidolan' and all of Allan's solo albums (as well as a bunch of his sideman project albums and early works with the likes of Tempest, Soft Machine and Tony Williams' Lifetime) but recently discovered that this compilation album contains the bonus track 'Shenandoah' and I had to get the album since I couldn't find the track anywhere else.
I've written a lengthy review for 'Eidolan' here on Amazon so I won't copy-and-paste that here. Overall, I feel that 'Eidolan' is a better compilation album as Allan himself picked out all of his favorite tunes on it but this is an excellent retrospective of Allan's solo career as well and, for me, the bonus track 'Shenandoah' is worth the price of it alone.
Holdsworth is well known and extremely admired in the guitar circles for his unbelievable technique and advanced musical knowledge but he was also an amazingly expressive and sensitive player that people often do not give enough credit for. His phrasing, touch, subtlety, and his ability to make guitar notes "breathe", I believe, is as unparalleled as his mind-blowing over-the-top technique.
'Shenandoah' displays this overlooked part of Allan's artistry as well as anything I've heard from him. I was quite surprised to hear him do a rendition of an old American folk song. Listening to this, I wonder what else he may have recorded that are similar to it and that may be in his vault. He is not known for playing melodic guitar ballads like 'Shenandoah'. When you think of lyrical guitar ballads, you think of players like Jeff Beck, Gary Moore and Santana - not a terrifying monster jazz-fusion player who unleashes a torrent of notes with such graceful ease.
I love Jeff Beck. He's certainly one of my all-time favorite players along with Jimi, Guthrie Govan, Pat Metheny, SRV and Michael Landau but, to me, Allan seems to be on a class, a level, a sphere, a world of his very own. The expressiveness, the subtle touch, tone and phrasing on this tune become more evident with repeated listenings. There's an exquisite beauty in what he does that is hard to describe.
I never thought that he could actually equal someone like Jeff Beck in terms of subtle inflections and touch in his phrasing but I actually prefer what Allan does on this tune and other ballad-like tunes like 'San Michele' on the 'Blues For Tony' album. It is no wonder that Gary Moore named Holdsworth and Beck as his top two favorite players that he admires the most. I remember Moore saying that in an interview many years ago and thought, "Really? Holdsworth? You don't do anything that resembles what he does." Now I understand.
Then, there is his TONE... Very imitated by virtually every modern rock/fusion type of player over the past 4+ decades but never equalled. He has changed guitars, amps, and all kinds of other gear numerous times over his career but he always sounds the same, i.e. himself. He had such a unique sound and style of his own that he essentially transcended the instruments and the gear that guitar players tend to obsess over. It was all in his hands, mind, spirit and soul.
I can go on and on about how great Holdsworth is but one simply has to sit down and take the time to listen to him with an open mind. As I once heard a great guitar player say regarding Holdsworth, there is just so much "information" in his music that it's a real challenge to absorb it all. He mentioned that some hardcore AH fanatics would go to his shows and walk out after 3~4 tunes because they're too overwhelmed by all the musical information that was thrown at them.
Getting back to this album, I already owned all of the tracks in 'Eidolan' and all of his solo albums but, to me, 'Shenandoah' is what makes it worth every penny as it's probably the only recorded example of him playing in such a beautifully lyrical and wistful manner with a simple well-known melody. Overall, it's a great compilation album and the audio quality of the remastered tracks is superb. It's a difficult choice between this and 'Eidolan' if you had to choose only one. For me, it was easy to get both because of 'Shenandoah'. Either way, one can't lose with Holdsworth.
I've written a lengthy review for 'Eidolan' here on Amazon so I won't copy-and-paste that here. Overall, I feel that 'Eidolan' is a better compilation album as Allan himself picked out all of his favorite tunes on it but this is an excellent retrospective of Allan's solo career as well and, for me, the bonus track 'Shenandoah' is worth the price of it alone.
Holdsworth is well known and extremely admired in the guitar circles for his unbelievable technique and advanced musical knowledge but he was also an amazingly expressive and sensitive player that people often do not give enough credit for. His phrasing, touch, subtlety, and his ability to make guitar notes "breathe", I believe, is as unparalleled as his mind-blowing over-the-top technique.
'Shenandoah' displays this overlooked part of Allan's artistry as well as anything I've heard from him. I was quite surprised to hear him do a rendition of an old American folk song. Listening to this, I wonder what else he may have recorded that are similar to it and that may be in his vault. He is not known for playing melodic guitar ballads like 'Shenandoah'. When you think of lyrical guitar ballads, you think of players like Jeff Beck, Gary Moore and Santana - not a terrifying monster jazz-fusion player who unleashes a torrent of notes with such graceful ease.
I love Jeff Beck. He's certainly one of my all-time favorite players along with Jimi, Guthrie Govan, Pat Metheny, SRV and Michael Landau but, to me, Allan seems to be on a class, a level, a sphere, a world of his very own. The expressiveness, the subtle touch, tone and phrasing on this tune become more evident with repeated listenings. There's an exquisite beauty in what he does that is hard to describe.
I never thought that he could actually equal someone like Jeff Beck in terms of subtle inflections and touch in his phrasing but I actually prefer what Allan does on this tune and other ballad-like tunes like 'San Michele' on the 'Blues For Tony' album. It is no wonder that Gary Moore named Holdsworth and Beck as his top two favorite players that he admires the most. I remember Moore saying that in an interview many years ago and thought, "Really? Holdsworth? You don't do anything that resembles what he does." Now I understand.
Then, there is his TONE... Very imitated by virtually every modern rock/fusion type of player over the past 4+ decades but never equalled. He has changed guitars, amps, and all kinds of other gear numerous times over his career but he always sounds the same, i.e. himself. He had such a unique sound and style of his own that he essentially transcended the instruments and the gear that guitar players tend to obsess over. It was all in his hands, mind, spirit and soul.
I can go on and on about how great Holdsworth is but one simply has to sit down and take the time to listen to him with an open mind. As I once heard a great guitar player say regarding Holdsworth, there is just so much "information" in his music that it's a real challenge to absorb it all. He mentioned that some hardcore AH fanatics would go to his shows and walk out after 3~4 tunes because they're too overwhelmed by all the musical information that was thrown at them.
Getting back to this album, I already owned all of the tracks in 'Eidolan' and all of his solo albums but, to me, 'Shenandoah' is what makes it worth every penny as it's probably the only recorded example of him playing in such a beautifully lyrical and wistful manner with a simple well-known melody. Overall, it's a great compilation album and the audio quality of the remastered tracks is superb. It's a difficult choice between this and 'Eidolan' if you had to choose only one. For me, it was easy to get both because of 'Shenandoah'. Either way, one can't lose with Holdsworth.
enrico
5つ星のうち3.0
geniale esecutore
2013年11月27日にイタリアでレビュー済みAmazonで購入
"scoperta" molto interessante. chitarristicamente parlando, un genio. compositivamente, a parte alcune eccezioni, non è nelle mie corde: troppo "leccato" e cerebrale.
Raj Manoharan
5つ星のうち5.0
The RajMan (Fan) Review
2018年12月28日にアメリカ合衆国でレビュー済みAmazonで購入
So why get this 2-CD artist-curated compilation from 12 years earlier when the 2-CD retrospective, Eidolon: The Allan Holdsworth Collection, just came out in 2017 and features late guitar great Allan Holdsworth’s most recent selection of favorite tracks?
Well, for starters, even though Against the Clock has two fewer tunes than the 28 compositions on Eidolon, Against the Clock has two exclusive bonus recordings unique only to this release, “Let’s Throw Shrimp” and “Shenandoah” (one of Holdsworth's most beautiful, majestic, and epic pieces, right up there with "Endomorph").
In addition, each of the album’s two CDs is devoted to a specific, distinct instrument that Holdsworth plays. The first disc is “Volume One: Guitar” and focuses primarily on the standard six-string. The second, “Volume Two: Synthaxe,” features the guitar-synthesizer hybrid, plus the aforementioned bonus tracks, which are performed on regular guitar.
What this neat delineation means is that Against the Clock has nearly four times as many synthaxe numbers as Eidolon, which concentrates for the most part on Holdsworth’s electric guitar highlights. As a result, there is 50 percent overlap and contrast between the albums. Most of the songs on “Volume One: Guitar” are available on Eidolon; most of the songs on “Volume Two: Synthaxe” are not.
The main appeal of Against the Clock is having all of Holdsworth’s favorite synthaxe performances in one place, which is a real draw for those like myself who enjoy Holdsworth’s eclectic musical musings.
Holdsworth had often gotten grief for his infatuation with the synthaxe. However, those who open their minds and ears to his explorations on this instrument will find a testament not only to his compositional brilliance, but to his masterful guitar virtuosity as well.
Well, for starters, even though Against the Clock has two fewer tunes than the 28 compositions on Eidolon, Against the Clock has two exclusive bonus recordings unique only to this release, “Let’s Throw Shrimp” and “Shenandoah” (one of Holdsworth's most beautiful, majestic, and epic pieces, right up there with "Endomorph").
In addition, each of the album’s two CDs is devoted to a specific, distinct instrument that Holdsworth plays. The first disc is “Volume One: Guitar” and focuses primarily on the standard six-string. The second, “Volume Two: Synthaxe,” features the guitar-synthesizer hybrid, plus the aforementioned bonus tracks, which are performed on regular guitar.
What this neat delineation means is that Against the Clock has nearly four times as many synthaxe numbers as Eidolon, which concentrates for the most part on Holdsworth’s electric guitar highlights. As a result, there is 50 percent overlap and contrast between the albums. Most of the songs on “Volume One: Guitar” are available on Eidolon; most of the songs on “Volume Two: Synthaxe” are not.
The main appeal of Against the Clock is having all of Holdsworth’s favorite synthaxe performances in one place, which is a real draw for those like myself who enjoy Holdsworth’s eclectic musical musings.
Holdsworth had often gotten grief for his infatuation with the synthaxe. However, those who open their minds and ears to his explorations on this instrument will find a testament not only to his compositional brilliance, but to his masterful guitar virtuosity as well.
Watcher
5つ星のうち3.0
Guitar Hero
2012年4月24日に英国でレビュー済みAmazonで購入
Having seen Alan Holdsworth Live at the Mick Jagger Centre in Dartford and enjoying his work with the POrogressive Rock band UK I looked forward to this CD. However I was disappointed, especially as I paid over £20.00.
Without doubt Holdsworth is an excellant guitarist and his use of modern technology makes the instrumnet sound like a keyboard. Yet rather than produce tunes the band go for constant noddling and jamming, cramming more notes than is absolutely necessary, in lieu of a good tune or melody.
If the Jazz Rock style of John McLaughlin is you cup of tea it's likely you will find this enjoyable. I will not be buying any more Holdsworth CD's based on this compilation.
Without doubt Holdsworth is an excellant guitarist and his use of modern technology makes the instrumnet sound like a keyboard. Yet rather than produce tunes the band go for constant noddling and jamming, cramming more notes than is absolutely necessary, in lieu of a good tune or melody.
If the Jazz Rock style of John McLaughlin is you cup of tea it's likely you will find this enjoyable. I will not be buying any more Holdsworth CD's based on this compilation.
John Terry
5つ星のうち5.0
Maybe The Best
2005年12月29日にアメリカ合衆国でレビュー済みAmazonで購入
You just might be able to get me to say that Allan Holdsworth is the best there is. Yesterday, today and probably tomorrow too. Yes, I know about Jimi and Stevie Ray, B.B. and Duane. I don't know, I've just never heard anything quite like Allan. Why isn't he better known? It seems like it's just other guitarists who know him and they're frustrated because they try to reproduce the same sounds and can't. I'm sure being regarded as a "jazz fusion" player doesn't help either. Maybe if we called it "instrumental rock", it would draw a bigger crowd? Probably not. Allan may be doomed to be revered by other musicians and guitarheads like me while the rest of the world gets it's fill of the teenaged sensation of the week or the flavor of the month rap star. Record comapnies really don't have a clue as to why sales are down, do they? Could it be the crap they try to force down the throat of the general public?