◆Kind of Blue is the fifth studio album released on Columbia, and twenty-eighth overall, by the American jazz musician, trumpeter, composer, and bandleader Miles Davis. It was recorded on March 2 and April 22, 1959, at Columbia's 30th Street Studio in New York City, and released on August 17 of that same year by Columbia Records. For the recording, Davis led a sextet featuring saxophonists John Coltrane and Julian "Cannonball" Adderley, pianist Bill Evans, bassist Paul Chambers, and drummer Jimmy Cobb, with new band pianist Wynton Kelly appearing on one track – "Freddie Freeloader" – in place of Evans.
Influenced in part by Evans, who had joined the ensemble in 1958, Davis departed further from his early hard bop style in favor of greater experimentation with musical modes, as on his previous album Milestones (1958). Basing Kind of Blue entirely on modality, he gave each performer a set of scales that encompassed the parameters of their improvisation and style, and consequently more creative freedom with melodies; Coltrane later expanded on this modal approach in his own solo career.
Kind of Blue is regarded by many critics as Davis's masterpiece, the greatest jazz album ever recorded, and one of the best albums of all time. Its impact on music, including jazz, rock, and classical genres, has led writers to also deem it one of the most influential albums ever made. The LP was one of fifty recordings chosen in 2002 by the Library of Congress for the inaugural year of the National Recording Registry, and in 2003 it was ranked number 12 on Rolling Stone magazine's list of the 500 greatest albums of all time. In 2019, Kind of Blue was certified 5× Platinum by the Recording Industry Association of America (RIAA) for shipments of at least five million copies in the United States.
Background
By late 1958, trumpeter Miles Davis employed one of the most acclaimed and profitable hard bop bands. Bassist Paul Chambers had been with the band from its beginning in 1955; alto saxophonist Julian "Cannonball" Adderley joined in late 1957, and tenor saxophonist John Coltrane returned in early 1958. Drummer Jimmy Cobb replaced Philly Joe Jones in May 1958, and pianist Wynton Kelly replaced Bill Evans in November 1958.
The Davis band played a mixture of pop standards, blues, and bebop originals by composers such as Charlie Parker, Thelonious Monk, Dizzy Gillespie, Davis, and Tadd Dameron. As with all bebop-based jazz, Davis's groups improvised on the chord changes of a given song. Davis was one of many jazz musicians growing dissatisfied with bebop, however, and saw its increasingly complex chord changes as hindering creativity.
In 1953, the pianist George Russell published his Lydian Chromatic Concept of Tonal Organization, which offered an alternative to improvisation based on chords. Abandoning the traditional major and minor key relationships, his concept introduced the idea of chord/scale unity and was the first theory to explore the vertical relationship between chords and scales. These insights helped lead the way to modal jazz. Influenced by Russell's ideas, Davis implemented his first modal composition with the title track of his studio album Milestones (1958). Satisfied with the results, Davis prepared an entire album based on modality. Evans, who had studied with Russell but had left the Davis group to pursue his career, was drafted back into the project.
Recording
Kind of Blue was recorded on three-track tape in two sessions at Columbia Records' 30th Street Studio in New York City. On March 2, 1959, the tracks "So What", "Freddie Freeloader", and "Blue in Green" were recorded for side one of the original LP, and on April 22 the tracks "All Blues" and "Flamenco Sketches" were recorded, making up side two.
As was Davis's penchant, he called for almost no rehearsal and the musicians had little idea what they were to record. As described in the original liner notes by pianist Bill Evans, Davis had only given the band sketches of scales and melody lines on which to improvise. Once the musicians were assembled, Davis gave brief instructions for each piece and then set to taping the sextet in studio. While the results were impressive with so little preparation, the persistent legend that the entire album was recorded in one pass is untrue. Only "Flamenco Sketches" yielded a complete take on the first try. That take, which is not the master, was added to the 1997 CD reissue of the album as a bonus track. The five master takes issued were the only other complete takes; an insert for the ending to "Freddie Freeloader" was recorded, but was not used for release or on the issues of Kind of Blue prior to the 1997 reissue.
Pianist Wynton Kelly may not have been happy to see the man he replaced, Bill Evans, back in his old seat. Perhaps to assuage the pianist's feelings, Davis had Kelly play instead of Evans on the album's most blues-oriented number, "Freddie Freeloader". The live album Miles Davis at Newport 1958 documents this band. However, the Newport Jazz Festival recording on July 3, 1958, reflects the band in its hard bop conception, the presence of Bill Evans only six weeks into his brief tenure in the Davis band notwithstanding, rather than the modal approach of Kind of Blue.
Production credit
Kind of Blue was produced by Columbia staff producer Irving Townsend. However, over the years there has been confusion, with Davis's subsequent producer Teo Macero getting partial or full credit. "In the case of Kind of Blue there were two producers: Teo Macero and Irving Townsend", said jazz historian Eric Nisenson. "Macero's role, however, was clearly that of an apprentice and observer." The recording session was also cited by Nisenson as Macero's first experience with "the highs and lows of working with Miles." From Macero's own recollection, his involvement in the recording included "box[ing] everyone in so that there would be a physical closeness among the musicians, not like today when the musicians are spread all over the place." According to High Fidelity, "though his role in Kind of Blue has been disputed", the recording was "made under the auspices" of Macero. However, it is Townsend's voice heard on the session tapes, who became Davis's producer after the departures of George Avakian and Cal Lampley. Macero did not produce Davis until after Townsend took over West Coast production duties for Columbia Records, when Macero took his place. Macero's first Davis production was his next record, Sketches of Spain.
The original LP did not credit a producer. The first release with a producer credit was the 1987 CD, which credited only Macero. However, this was in error; Macero only produced that reissue, not the sessions for the original album. The 1997 MiniDisc reissue credited both Townsend and Macero, but the subsequent 1997, 1999, 2004, 2008, and 2015 reissues all correctly credit only Townsend.
Composition
Kind of Blue is based entirely on modality, diverging from Davis's earlier hard bop style of jazz with its complex chord progression and improvisation. The entire album was a series of modal sketches, with each performer given a set of scales that encompassed the parameters of their improvisation and style. This recording style contrasted with the typical preparation of providing musicians with the complete score or, for improvisational jazz, providing the musicians with a chord progression or series of harmonies.
Modal jazz was not unique to this album. Davis himself had previously used the same method on his 1958 Milestones album, the '58 Sessions, and Porgy and Bess (1958), on which he used modal influences for collaborator Gil Evans's third stream compositions. Modal composition, with its reliance on scales and modes, represented, as Davis called it, "a return to melody". In a 1958 interview with Nat Hentoff of The Jazz Review, Davis elaborated on this form of composition in contrast to the chord progression predominant in bebop, stating
No chords ... gives you a lot more freedom and space to hear things. When you go this way, you can go on forever. You don't have to worry about changes and you can do more with the [melody] line. It becomes a challenge to see how melodically innovative you can be. When you're based on chords, you know at the end of 32 bars that the chords have run out and there's nothing to do but repeat what you've just done—with variations. I think a movement in jazz is beginning away from the conventional string of chords ... there will be fewer chords but infinite possibilities as to what to do with them.
Bill Evans wrote in the LP liner notes, "Miles conceived these settings only hours before the recording dates." Evans continued with an introduction concerning the modes used in each composition on the album. "So What" consists of two modes: sixteen measures of the first, followed by eight measures of the second, and then eight again of the first. "Freddie Freeloader" is a standard twelve-bar blues form. "Blue in Green" consists of a ten-measure cycle following a short four-measure introduction. "All Blues" is a twelve-bar blues form in time. "Flamenco Sketches" consists of five scales, which are each played "as long as the soloist wishes until he has completed the series".
The liner notes list Davis as author of all compositions, but many scholars and fans believe that Bill Evans wrote part or the whole of "Blue in Green" and "Flamenco Sketches". Bill Evans assumed co-credit with Davis for "Blue in Green" when recording it on his Portrait in Jazz album and the Davis estate acknowledged Evans' authorship in 2002.
Reception and legacy
Since its release on August 17, 1959, Kind of Blue has been regarded by critics as Davis's greatest work. It is his most acclaimed album, and became, along with Davis's 1970 album Bitches Brew, his best-selling record, cementing him as one of the most successful jazz artists in history. Music writer Chris Morris cited Kind of Blue as "the distillation of Davis's art." Cobb said the album "must have been made in heaven".
Kind of Blue has been lauded as one of the most influential albums in the history of jazz. One reviewer has called it a "defining moment of twentieth century music". Several of the songs from the album have become jazz standards. Kind of Blue is consistently ranked among the greatest albums of all time.[citation needed] In a review of the album, AllMusic senior editor Stephen Thomas Erlewine stated:
Kind of Blue isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence. Why does Kind of Blue possess such a mystique? Perhaps because this music never flaunts its genius. ... It's the pinnacle of modal jazz — tonality and solos build from the overall key, not chord changes, giving the music a subtly shifting quality. ... It may be a stretch to say that if you don't like Kind of Blue, you don't like jazz — but it's hard to imagine it as anything other than a cornerstone of any jazz collection.
In 1959, the arrival of Ornette Coleman on the jazz scene via his fall residency at the Five Spot club, consolidated by the release of his The Shape of Jazz to Come LP in 1959, muted the initial impact of Kind of Blue, a happenstance that irritated Davis greatly. Though Davis and Coleman both offered alternatives to the rigid rules of bebop, Davis would never reconcile himself to Coleman's free jazz innovations, although he would incorporate musicians amenable to Coleman's ideas with his great quintet of the mid-1960s, and offer his own version of "free" playing with his jazz fusion outfits in the 1970s. The influence of Kind of Blue did build, and all of the sidemen from the album went on to achieve success on their own. Evans formed his influential jazz trio with bassist Scott LaFaro and drummer Paul Motian; "Cannonball" Adderley fronted popular bands with his brother Nat; Kelly, Chambers and Cobb continued as a touring unit, recording under Kelly's name as well as in support of Coltrane and Wes Montgomery, among others; and Coltrane went on to become one of the most revered and innovative of all jazz musicians. Even more than Davis, Coltrane took the modal approach and ran with it during his career as a leader in the 1960s, leavening his music with Coleman's ideas as the decade progressed.
Kind of Blue has appeared on professional listings of the greatest albums. In 1994, it was ranked number one in Colin Larkin's Top 100 Jazz Albums. Larkin described it as "the greatest jazz album in the world". In 2002, it was one of 50 recordings chosen for the very first year of induction by the Library of Congress to be added to the National Recording Registry. In selecting the album as number 12 on its 2003 list of the 500 greatest albums of all time, maintaining the rating in a 2012 revised list, Rolling Stone magazine stated: "This painterly masterpiece is one of the most important, influential and popular albums in jazz". The rating descended to number 31 in Rolling Stone's revised list in 2020. On December 16, 2009, the United States House of Representatives passed a resolution honoring the 50th anniversary of Kind of Blue and "reaffirming jazz as a national treasure". It is included in the 2005 book 1001 Albums You Must Hear Before You Die, described by reviewer Seth Jacobson as "a genre-defining moment in twentieth-century music, period".. It was voted number 14 in Colin Larkin's All Time Top 1000 Albums 3rd Edition (2000). The Penguin Guide to Jazz Recordings lists the album as part of its suggested "core collection", and also awards it a crown, indicating a recording of particular merit.
Kind of Blue remains popular with listeners. Between 1991 (when Nielsen SoundScan started tracking sales) and 2016, the album sold 3.6 million copies in the US. In 2019, the Recording Industry Association of America (RIAA) certified the album five-times platinum, indicating five million units recorded there.
Influence
The album's influence has reached beyond jazz, as musicians of such genres as rock and classical have been influenced by it, while critics have written about it as one of the most influential albums of all time. Many improvisatory rock musicians of the 1960s referred to Kind of Blue for inspiration, along with other Davis albums, as well as Coltrane's modal records My Favorite Things (1961) and A Love Supreme (1965). Guitarist Duane Allman of the Allman Brothers Band said his soloing on songs such as "In Memory of Elizabeth Reed," "comes from Miles and Coltrane, and particularly Kind of Blue. I've listened to that album so many times that for the past couple of years, I haven't hardly listened to anything else." Pink Floyd keyboardist Richard Wright said that the chord progressions on the album influenced the structure of the introductory chords to the song "Breathe" on the album The Dark Side of the Moon (1973). In his book Kind of Blue: The Making of a Miles Davis Masterpiece, writer Ashley Kahn wrote "still acknowledged as the height of hip, four decades after it was recorded, Kind of Blue is the premier album of its era, jazz or otherwise. Its vapory piano introduction is universally recognized". Producer Quincy Jones, one of Davis's longtime friends, wrote: "That [Kind of Blue] will always be my music, man. I play Kind of Blue every day—it's my orange juice. It still sounds like it was made yesterday". Pianist Chick Corea, one of Miles's acolytes, was also struck by its majesty, later stating "It's one thing to just play a tune, or play a program of music, but it's another thing to practically create a new language of music, which is what Kind of Blue did."
Gary Burton, of Berklee College of Music, noted the consistent innovation present throughout the album, stating: "It wasn't just one tune that was a breakthrough, it was the whole record. When new jazz styles come along, the first few attempts to do it are usually kind of shaky. Early Charlie Parker records were like this. But with Kind of Blue [the sextet] all sound like they're fully into it." Along with Time Out by the Dave Brubeck Quartet (1959) and Coltrane's Giant Steps (1960), Kind of Blue has often been recommended by music writers as an introductory jazz album, for similar reasons: the music on both records is very melodic, and the relaxed quality of the songs makes the improvisation easy for listeners to follow, without sacrificing artistry or experimentation. Upon the release of the 50th anniversary collector's edition of the album, a columnist for All About Jazz stated "Kind of Blue" heralded the arrival of a revolutionary new American music, a post-bebop modal jazz structured around simple scales and melodic improvisation. Trumpeter/band leader/composer Miles Davis assembled a sextet of legendary players to create a sublime atmospheric masterpiece. Fifty years after its release, Kind of Blue continues to transport listeners to a realm all its own while inspiring musicians to create to new sounds—from acoustic jazz to post-modern ambient—in every genre imaginable." Renowned hip-hop artist and rapper Q-Tip reaffirmed the album's reputation and influence when discussing the significance of Kind of Blue, stating "It's like the Bible—you just have one in your house." The singer Bilal names it among his 25 favorite albums and "an important record" for him. The 2014 album Blue by Mostly Other People Do the Killing is a note-for-note reproduction of Kind of Blue.
The Kind of Blue musicians appeared together in further recorded ventures through the 1960s. Davis had made a rare post-1953 sideman appearance in 1958 on Adderley's Somethin' Else album; Evans and Adderley collaborated on the latter's LP Know What I Mean? from 1961. Kelly and Chambers backed Hank Mobley on Soul Station in 1960, and Evans and Chambers played on the sessions for The Blues and the Abstract Truth by Oliver Nelson in 1961. The rhythm section of Kelly, Chambers, and Cobb backed Coltrane for Coltrane Jazz and one track on his landmark Giant Steps, which featured Chambers throughout. That trio stayed with Davis for the recordings Someday My Prince Will Come and the live sets at the Blackhawk and at Carnegie Hall.
Davis in retrospect
Late in his life, from the electric period on, Davis repeatedly disregarded his earlier work, such as the music of Birth of the Cool or Kind of Blue. In Davis's view, remaining static stylistically was the wrong option.
"So What" or Kind of Blue, they were done in that era, the right hour, the right day, and it happened. It's over .... What I used to play with Bill Evans, all those different modes, and substitute chords, we had the energy then and we liked it. But I have no feel for it anymore—it's more like warmed-over turkey.
— Interview with Ben Sidran, 1986.
When Shirley Horn insisted, in 1990, that Davis reconsider playing the gentle ballads and modal tunes of his Kind of Blue period, he demurred: "Nah, it hurts my lip."
Release history
Kind of Blue was released as a 12-inch vinyl record, in both stereo and mono. There have been multiple reissues of Kind of Blue, with additional pressings throughout the vinyl era. On some editions, the label switched the order for the two tracks on side two, "All Blues" and "Flamenco Sketches". The album has been remastered many times during the compact disc era, including in 1982 by CBS/Sony Japan catalog number 35DP 62 and the 1986 Columbia Jazz Masterpieces reissue. The significant 1992 remaster corrected the original recording speed for side one, which had caused all prior releases to be slightly off-pitch. The 1997 reissue added the alternative take of "Flamenco Sketches". In 2005, a DualDisc release included the original album, a digital remastering in 5.1 Surround Sound and LPCM Stereo, and a 25-minute documentary Made in Heaven about the making and influence of Kind of Blue. Kind of Blue was re-issued on a rare 24-carat gold CD collectors version. A two-disc CD box set "50th Anniversary Collector's Edition" was released on September 30, 2008, by Columbia and Legacy.
The album was released in other audio formats, which are only available second hand.
・Two-track open-reel tape (US only), Columbia GCB 60, from which "Freddie Freeloader" and "Flamenco Sketches" were omitted to reduce cost. This release was on the market less than a year and was discontinued some time after July 1961, after Sketches of Spain had been released as four-track only. Sonically, it was reportedly better than the four-track counterpart that replaced it. The rumor that the two-track version was the only one to be issued at correct speed for the tracks from the first album side is false. It was not issued at the correct speed.
・Four-track open-reel tape (US only), Columbia CQ 379, as the complete five-track album. This release replaced the two-track release and remained in the Columbia catalog for a few years. Some tracks are available on other reel tapes issued current at the time of or following the original release of the album, as by Various Artists. None issued were at the correct speed. "All Blues" is included on the Greatest Hits album.
・Armed Forces Radio and Television Service 16-inch transcription discs. These are monaural and the track on side P-6925 marked "Flamenco Sketches" actually holds "All Blues". None issued were at the correct speed.
・Philips Compact Cassette versions of the original album prior to the Jazz Masterpiece remaster, and of the 1987 Jazz Masterpiece remaster. Neither are at the correct speed.
・MiniDisc, Columbia CM 40579 (US) from a master prior to 1997, but not the Jazz Masterpiece remaster. It was unavailable by the end of the 1990s when production of Jazz Masterpiece series had ceased. It was not issued at the correct speed.
"09 Concierto De Aranjuez, Pt. 1 (Adagio) (Alternate Take)"
"10 Concierto De Aranjuez, Pt. 2 (Adagio) (Alternate Take)"
"11 Concierto de Aranjuez (Adagio) (Alternate Ending)"
"12 The Pan Piper (Take 1)"
"13 Song of Our Country (Take 9)"
"14 Song of Our Country (Take 14)"
"15 Saeta (Full Version of Master)"
"16 Concierto de Aranjuez (Adagio) (Live)"
"17 Teo"
◆Sketches of Spain is an album by Miles Davis, recorded between November 1959 and March 1960 at the Columbia 30th Street Studio in New York City. An extended version of the second movement of Joaquín Rodrigo's Concierto de Aranjuez (1939) is included, as well as a piece called "Will o' the Wisp", from Manuel de Falla's ballet El amor brujo (1914–1915). Sketches of Spain is regarded as an exemplary recording of third stream, a musical fusion of jazz, European classical, and styles from world music.
Background
Davis's wife Frances Davis insisted he accompany her to a performance by flamenco dancer Roberto Iglesias. Inspired by the performance, Davis bought every flamenco album he could get at Colony Records shop in New York City.
The album pairs Davis with arranger and composer Gil Evans, with whom he had collaborated on several other projects, on a program of compositions largely derived from the Spanish folk tradition. Evans explained:
[We] hadn't intended to make a Spanish album. We were just going to do the Concierto de Aranjuez. A friend of Miles gave him the only album in existence with that piece. He brought it back to New York and I copied the music off the record because there was no score. By the time we did that, we began to listen to other folk music, music played in clubs in Spain... So we learned a lot from that and it ended up being a Spanish album. The Rodrigo, the melody is so beautiful. It's such a strong song. I was so thrilled with that.
The folk songs in the album were inspired by recordings made by Alan Lomax in Galicia and Andalusia, which were released in 1955 by Columbia Masterworks.
Concierto de Aranjuez
The opening piece, taking up almost half the record, is an arrangement by Evans and Davis of the adagio movement of Concierto de Aranjuez, a concerto for guitar by the contemporary Spanish composer Joaquín Rodrigo. Following the faithful introduction of the concerto's guitar melody on flugelhorn, Evans' arrangement turns into a "quasi-symphonic, quasi-jazz world of sound", according to his biographer. The middle of the piece contains a "chorus" by Evans unrelated to the concerto but "echoed" in the other pieces on the album. The original melody then reappears in a darker mode.
Davis plays flugelhorn and later trumpet, attempting to connect the various settings musically. Davis commented at rehearsal, "The thing I have to do now is make things connect, make them mean something in what I play around it". Davis thought the concerto's adagio melody was "so strong" that "the softer you play it, the stronger it gets, and the stronger you play it, the weaker it gets", and Evans concurred.
According to Davis' biographer Chambers, the contemporary critical response to the arrangement was not surprising, especially given the scarcity of anything resembling a jazz rhythm in most of the piece. Martin Williams wrote that "the recording is something of a curiosity and a failure, as I think a comparison with any good performance of the movement by a classical guitarist would confirm". The composer Rodrigo was also not impressed, but royalties from the arrangement brought him "a lot of money", according to Evans.
Critical reception
In a contemporary review for DownBeat, Bill Mathieu hailed Sketches of Spain as one of the 20th century's most important musical works so far and a highly intellectual yet passionate record. He found Evans's compositions extremely well crafted and Davis's playing intelligently devised, concluding in his review, "if there is to be a new jazz, a shape of things to come, then this is the beginning." Replying to suggestions that Sketches of Spain was something other than jazz, Davis said "it's music, and I like it." In The Rolling Stone Album Guide (2004), J. D. Considine called it "a work of unparalleled grace and lyricism," while Q magazine said it "took orchestral jazz in a new direction." Robert Christgau was less enthusiastic about the record and recalled being a young listener when it was released: "In 1960 [it] catapulted Davis into the favor of the kind of man who reads Playboy and initiated in me one phase of the disillusionment with jazz that resulted in my return to rock and roll."
For Sketches of Spain, Evans and Davis won the 1961 Grammy Award for Best Jazz Composition of More Than Five Minutes Duration. The album was ranked number 358 on Rolling Stone's list of the 500 greatest albums of all time.
Track listing
Side one (No./Title/Writer(s)/Length)
1. "Concierto de Aranjuez (Adagio)" Joaquín Rodrigo 16:19
2. "Will o' the Wisp" Manuel de Falla 3:47
Side two (No./Title/Writer(s)/Length)
1. "The Pan Piper (Alborada de Vigo)" Traditional, Gil Evans 3:52
2. "Saeta" Traditional, Gil Evans 5:06
3. "Solea" Gil Evans 12:15
・Sides one and two were combined as tracks 1–5 on CD reissues.
6. "Song of Our Country" Heitor Villa-Lobos; arranged by Gil Evans 3:23
7. "Concierto de Aranjuez" (alternative take; part 1) Joaquín Rodrigo 12:04
8. "Concierto de Aranjuez" (alternative take; part 2 ending) Joaquín Rodrigo 3:33
Song title meanings
1. Concierto de Aranjuez was written about the gardens at the Royal Palace of Aranjuez.
2. El amor brujo is often translated as "The Bewitched Love." It is a ballet by Spanish composer Manuel de Falla.
3. "The Pan Piper" refers to the instrument (pan flute) played by a pig's castrator and knife grinder and the melody he used to play when arriving to villages in Galicia. "Alborada" is a traditional folk style from Galicia.
4. "Saeta" is a type of religious song mostly sung during the Semana Santa (Holy Week) processions in Spain.
◆Graffiti Bridge is the twelfth studio album by American recording artist Prince and is the soundtrack album to the 1990 film of the same name. It was released on August 20, 1990, by Paisley Park Records and Warner Bros. Records.
The album was much better received in sales than the film. It reached number 6 in the United States and was his third consecutive chart-topper (following Lovesexy and Batman) on the UK Albums Chart. Nearly every song on the record was written by Prince despite the handful of artists performing, including Tevin Campbell, Mavis Staples, and the Time. The album produced the hit singles "Thieves in the Temple" and "New Power Generation", an anthem in two parts celebrating Prince's newly created backing band, the New Power Generation. "Can't Stop This Feeling I Got" was released in the Philippines only. The band would get its first official outing on Prince's next album, Diamonds and Pearls.
Evolution of the album
The concept for the album and film began as early as mid-1987, but experienced delays for various reasons. The title track was originally recorded during this period, hence the liner notes listing Sheila E. and Boni Boyer as performers on the track. In fact, nearly the entire album is composed of previously recorded sessions that were updated for this release.
"Tick, Tick, Bang" was originally from 1981 during the sessions for the Controversy album. Written by Prince, it was originally a more punk rock song with a bass synthesizer; the update of the song includes an uncredited drum sample from Jimi Hendrix's "Little Miss Lover". "Can't Stop This Feeling I Got" was from 1982, but later updated in mid-1986 during sessions for aborted album Dream Factory, before further updating. "We Can Funk" was first recorded in 1983, originally titled "We Can Fuck", before Prince re-recorded the song in 1986 with the Revolution (under the title "We Can Funk"), before further updating to 1983 version took place. A melody similar to that of "Purple Rain" can be heard during the bridge of "Can't Stop This Feeling I Got". The three tracks were drastically updated in 1989 for release on Graffiti Bridge.
"The Question of U" was recorded in 1985 during sessions for Parade with little updating added to the original version. "Joy in Repetition" was first included on the Crystal Ball unreleased album in late 1986, and the same recording was used for this album (the track was not updated further for release, unlike the other "old" songs). Prince also kept the original segue of party noise at the start of the song (this time segueing from "We Can Funk" on this album instead of "The Ball" when "Joy In Repetition" was placed on Crystal Ball in 1986) which is also heard at the end of "Eye No", leading into "Alphabet St." on Lovesexy. The title track (from 1987) was updated for the album as well as "Elephants & Flowers" (from the 1988 unreleased Rave Unto the Joy Fantastic album) and "The Latest Fashion" (later given to the Time for "Corporate World" album). "Melody Cool" and "Still Would Stand All Time" were intended for Rave Unto the Joy Fantastic album and were later performed in some Lovesexy aftershows. "Still Would Stand All Time" was later considered for Batman, but was replaced by "Scandalous". The four tracks featuring the Time were originally going to be on their unreleased Corporate World album, recorded in 1989, though "The Latest Fashion" reuses music from "My Summertime Thang" from their album Pandemonium. "New Power Generation" was originally recorded in 1982 as "Bold Generation".
The only truly "new" compositions recorded for the album were "Round and Round" and "Thieves in the Temple". The latter song was the final track recorded for the album, recorded in early 1990. The B-side "Get Off" would soon be incorporated into Gett Off the following year.
Critical reception
Graffiti Bridge received positive reviews from contemporary critics, who praised Prince's songwriting and the variety of the music while deeming it an improvement over 1988's Lovesexy. Time magazine hailed the record as a "groovable feast", while Q claimed it was "practically impossible to choose anything that doesn't deserve to be there. How long is it since that can honestly be said about a Prince album?" In Entertainment Weekly, Greg Sandow said the album was likely a "masterpiece" that found Prince rediscovering his ability to cover different styles effortlessly. Rolling Stone reviewer Paul Evans credited him for lending a "sharper focus", "harder groove", and emphasis on funk and rock rather than "the feckless genre dabbling" of albums such as Lovesexy and Around the World in a Day (1985). Evans also believed Prince's catchy compositions helped make the "omnivorous mysticism" of his lyrics "newly convincing — convincing, but still startling, sensual and freeing". Greg Kot, the Chicago Tribune's chief music critic, called the album "a sprawling, wildly diffuse statement on love, sin, sex and salvation that ranks with his best work", as well as "perhaps his most complex and, dare we say, mature exploration" of those themes.
In The New York Times, Jon Pareles believed Graffiti Bridge would perhaps give Prince a success on both commercial and artistic terms, although he lamented some of the lyrics: "Verbally, he's no deep thinker; when he's not singing about sex, his messages tend to be benevolent and banal." Robert Christgau was less impressed in his consumer guide for The Village Voice. He applauded the guest artists, particularly the Time, and some of Prince's own half of songs, but said most of them were "overly subtle if not rehashed or just weak: title track, generational anthem, and lead single all reprise familiar themes, and the ballads fall short of the exquisite vocalese that can make his slow ones sing." At the end of 1990, Graffiti Bridge was voted the tenth best album of the year in the Pazz & Jop, a nationwide poll of American critics, published by The Village Voice.
In a retrospective review for AllMusic, Stephen Thomas Erlewine called Graffiti Bridge an "often very good" album whose best songs were those performed by Prince, with the exception of the Time's "Release It" and Tevin Campbell's "Round and Round". Michaelangelo Matos was more critical in The Rolling Stone Album Guide (2004), finding the record "interesting primarily for its guest stars" and "for the fact that it now sounds as dated as the new jack swing it apes".
Track listing
All songs written by Prince, except track 3, co-written with Levi Seacer, Jr., track 7, co-written with George Clinton, and track 9, co-written with Levi Seacer, Jr. and Morris Day.
1. "Can't Stop This Feeling I Got" Prince 4:24
2. "New Power Generation, Part 1" Prince and the New Power Generation 3:39
3. "Release It" The Time 3:54
4. "The Question of U" Prince 3:59
5. "Elephants & Flowers" Prince 3:54
6. "Round and Round" Tevin Campbell 3:55
7. "We Can Funk" Prince feat. George Clinton5:28
8. "Joy in Repetition" Prince 4:53
9. "Love Machine" The Time feat. Elisa Fiorillo 3:34
10. "Tick, Tick, Bang" Prince 3:31
11. "Shake!" The Time 4:01
12. "Thieves in the Temple" Prince 3:19
13. "The Latest Fashion" The Time feat. Prince 4:02
14. "Melody Cool" Mavis Staples 3:39
15. "Still Would Stand All Time" Prince 5:23
16. "Graffiti Bridge" Prince 3:51
17. "New Power Generation, Part 2" Prince and the New Power Generation 2:57
Personnel
Credits from Benoît Clerc, Duane Tudahl, Guitarcloud and Prince Vault
・Prince – lead and backing vocals, electric and acoustic guitars, Roland D-50, E-mu Emax, Fairlight CMI, Oberheim OB-8, synthesizers, bass guitar, drums, LinnDrum, Linn LM-1, Dynacord ADD-One, Publison IM90 Infernal Machine
・Morris Day – drums (2, 17), lead vocals (3, 11), co-lead vocals (9, 13)
・Joseph "Amp" Fiddler – additional synthesizers and backing vocals (7)
・Boni Boyer – Hammond organ (16), backing vocals (16)
・Levi Seacer, Jr. – bass guitar (16), backing vocals (16)
・Sheila E. – drums (16), backing vocals (16)
・Candy Dulfer – saxophone (3, 9, 13)
・Eric Leeds – saxophone (7)
・Atlanta Bliss – trumpet (7)
・Wendy Melvoin - electric guitar (7), backing vocals (7)
※ちなみに、熊谷駅から真っすぐ、たぶん17号線に突き当たったトコの左側のビルの２階にあったレンタルCD屋さんで何気なく買った(レンタル落ちの)このアルバムが、俺が初めて買ったプリンスさんのアルバム(天才と世評が高かったので聴いてみようと・渋谷さんの『ロック名盤アルバムガイド』とかを読んで、聴くよりもまず、必死に勉強してた時期です・笑)。それと当時、布袋さんのラジオのフェードアウトする最後の曲か、その１曲前かで、"The Question of U"がかかり、"あ、布袋さんもこの曲が好きなのか"と、ちょっと自分のロック分ってるレベルが上がった気がして、何となくうれしかった思い出があります(そういう時期でした・笑)。2023052411:56(日本時間)。
◆Come is the fifteenth studio album by American recording artist Prince. It was released on August 16, 1994, by Warner Bros. Records. At the time of its release, Prince was in a public dispute with Warner Bros. A lack of promotion from the label and Prince himself resulted in Come under-performing on American record charts, stalling at No. 15, and becoming his first album since Controversy (1981) to not yield any top 10 singles in the US. However, it was more successful overseas, reaching the top 10 across Europe and topping the UK Albums Chart.
The album would be Prince's final Warner Bros. album under his name. For the remainder of his contract with the company, his name would be represented by the unpronounceable "Love Symbol", and he would be referred to in the media as "The Artist Formerly Known as Prince".
Evolution of the album
Most of the songs from the Come album were recorded in early 1993 during a highly prolific time for Prince. An early collection of single word-titled tracks included: "Come", "Endorphinmachine", "Space", "Pheromone", "Loose!", "Papa", "Dark", and "Poem". It was unknown at this time if these tracks were indeed intended for an album. In late May 1993, Prince's then-band member, Mayte Garcia, sent a letter to a Prince fanzine listing the above tracks, plus a few others: "Interactive", "Peach", "Pope", "Solo", and "Race". Most of these songs were newly written, except "Peach" (written in 1992), and "Race" (written in 1991 during the Love Symbol Album sessions—it uses a scratching sound effect similar to Love Symbol Album's "The Continental").
After Prince's name change to an unpronounceable symbol, he intended to release new songs under that moniker in formats other than albums. He would fulfill his contract to Warner Bros. by delivering unreleased material from his music vault. Prince conceived an "interactive musical experience" called Glam Slam Ulysses—a musical loosely based on Homer's Odyssey. Thirteen tracks were selected and premiered as the first new material from Prince. These songs and many others would travel back and forth between different concepts of albums in a relatively short frame of time. The Dawn was a triple-album concept. The track listing is unknown, but the idea was scrapped for single album releases. Some of these ended up on Come, and some on a new album called The Gold Experience. There was also an idea floating around for The Beautiful Experience that took on various forms before its final release as a maxi single.
On March 6, 1994, Prince submitted a tape of eight songs to Dutch radio stations which included the song "Pheromone". Five days later, he submitted the first version of the Come album to Warner Bros. The album consisted of: "Poem", "Interactive", "Endorphinemachine", "Space", "Pheromone", "Loose!", "Papa", "Race", "Dark", "Solo", and "Strays of the World". This version of the album is exactly 45 minutes in length, has been leaked, and is known as the Come Test Pressing. The title track was absent. Warner Bros. rejected this version, and asked for the title track along with some other new material, such as the recent hit "The Most Beautiful Girl in the World". Prince went back into the studio and tooled with the title track, creating an 11-minute horn-boosted sexual romp. He added it to the album and resubmitted it to Warner Bros., and they agreed to it.
Prince changed the album once again, removing the more rock-oriented tracks "Interactive", "Endorphinemachine", and "Strays of the World". He broke up "Poem" into segues throughout the album, with the remainder retitled as "Orgasm", and also included the newly written track "Letitgo". This final version was submitted to Warner Bros. on the same day as a configuration of The Gold Experience. Prince wanted them to release both albums simultaneously, so the Prince material would compete with the one released under the symbolic moniker in the charts (with the latter having more commercial material). Warner Bros. accepted both albums, but refused to release them both at the same time fearing the market would have too much Prince material in stock.
The guitar sound on "Orgasm" is a sample of a feedback guitar solo from a previous Prince track, "Private Joy" from his 1981 album Controversy. The moaning on "Orgasm" is that of Vanity, recorded in 1983 for the unreleased track "Vibrator". In the liner notes, Vanity is credited as "she knows".
Upon release, Come received little support from Prince, who derided the album as "old material", despite the fact that many of the tracks had been recorded during the same sessions that produced The Gold Experience. Since Prince placed the more up-tempo and commercial material from these sessions on The Gold Experience, the overall tone of Come is somewhat dark and experimental in nature. Despite Prince's apparent marketing neglect, Come performed moderately well, reaching number 15 in the United States, going gold and receiving heavy R&B airplay with the single "Letitgo". In the United Kingdom, the album was a huge hit, debuting at number 1. Prince also released two maxi singles in support of the album.
In 1993, a funkier instrumental version of the song "Pheromone" was used as the theme music for the BET music video program, Video LP.
The album cover proclaims "Prince: 1958–1993", indicating that Prince had "died" in 1993, and was reborn under his Love Symbol alias. The church depicted in the background of the record's cover is the Sagrada Família in Barcelona. The outtakes from the photoshoot for the cover of the album were released a year before in The Sacrifice of Victor, Prince's first book.
Track listing
All songs written by Prince, except "Solo", music composed by Prince and lyrics written by David Henry Hwang.
1. "Come" 11:13
2. "Space" 4:28
3. "Pheromone" 5:08
4. "Loose!" 3:26
5. "Papa" 2:48
6. "Race" 4:28
7. "Dark" 6:10
8. "Solo" 3:48
9. "Letitgo" 5:32
10. "Orgasm" 1:39
Promotional vinyl bonus tracks:
11. "Space" (Universal Love Remix) – 6:10 (singing different lyrics than the album track)
12. "Space" (Funky Stuff Remix) – 5:42
13. "Letitgo" (QDIII Instrumental Mix) – 5:00 (retitled "Instrumental" for single release)
14. "Letitgo" (J-Sw!ft #3 Instrumental) – 5:43 (retitled "(-) Sherm Stick Edit" for single release)
Personnel
・Prince – lead vocals and various instruments
・Tommy Barbarella – keyboards (2, 7)
・Mr. Hayes – keyboards (2, 7)
・Sonny T. – bass (2, 5, 7)
・Michael B. – drums (2, 5, 7)
・Brian Gallagher – tenor saxophone (1, 6, 7, 9)
・Kathy J. – baritone saxophone (1, 6, 7, 9)
・Joseph Robinson – trumpet (1, 6, 7, 9)
・Steve Strand – trumpet (1, 6, 7, 9)
・Dave Jensen – trumpet (1, 6, 7, 9)
・Michael B. Nelson – trombone (1, 6, 7, 9)
・Ricky Peterson – keyboards (9)
・Eric Leeds – flute (9)
・Mayte – backing vocals (6)
・Kathleen Bradford – backing vocals (9)
・Jearlyn Steele Battle – "Face the music" looped sample (6)
Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, commenting, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
The Sasakawa Peace Foundation was thrilled to welcome the Honorable Hillary Rodham Clinton, former U.S. Secretary of State, world leader, and steadfast advocate for women’s rights, for a conversation with Ms. Izumi Nakamitsu, Under-Secretary-General and High Representative for Disarmament Affairs.
In other words、"Suicide Club". I always write such an abusive phrase here. Sorry. Just to be sure、I can not speak English and I can not write it. ごめんね、トランプくんと愉快な仲間たち。 and more、and coming soon. stay tuned! oh、it is not here. bycha.
10月 23, 2018 Although I'm not being forced anything by anyone、but currently my only time is when I take a walk in the morning (while conscious of the eyes of the public・lol).
"what doing now" In this sense、Japanese language can various expressions as well as other languages、one of them is "nani shitenno?". By the way the joker is Japanese in "baba". "Baka バカ” is "idiot"、"fool"、"stupid" and more.
Ｍy literal translation of "baka nuki" is "excl idiot、fool、stupid and more". Ｏf course the most important thing is to judgment on their own.
◆釜〔金部2画〕⇒父部 ◆釜〔父部6画／10画／1988・3378〕〔音〕フ〔訓〕かま 煮たきに使うなべ。かま。「釜中の魚(うお)」（死地に追いつめられた人）中国で春秋戦国時代には、容積の単位として用いた。一釜は約一二リットル。 もと、金部２画。［釡］は異体字。 ◆釜中魚を生ず（ふちゅううおをしょうず）［後漢書［独行伝、范冉］］久しく釜を用いなかったので、釜の中にぼうふらがわく。きわめて貧乏なさまをいう。[広辞苑第六版より] ◆釜茄での刑 execution by boiling a convict to death in a cauldron.[新和英中辞典第５版より]
◆If you can’t stand the heat, get [keep, stay] out of the kitchen. 《諺》 熱いのが我慢できないなら台所から出て行け[台所に近寄るな] 《困難やプレッシャーに耐えられないなら身を引くがよい; Truman大統領の辞任演説 (1952) から》.
amaterasu kingdom dimensionsⅣ‐7-5-そう言えば、It's No Game (Part 1)の日本語の女性の声(kimono my houseのジャケット写真の方でしたか)、ショッカー怪人(定岡さん回？笑)の方に声似てますね何となく(笑)。※そうそう、俺は読んで心から共感したのは"裸眼で"です。2024020907:14(日本時間)。
(V)o￥o(V)
ブヒブヒズラタクズラタクズラズラタクタクズラちゃんズラズレカワイイつんく♂３猫ひろし"後輩"偽物＆家族陰間に処刑ズ&フワちゃん(餓死)明石家さんま(頭後部に銃弾3発)ラジオ同類項(頭後部に銃弾3発)大森靖子(破砕機)富野喜幸(青酸カリ圧着)同類項ありぼぼ同類項(青酸カリ)偽鞘師里保出演ドラマ偽工藤遥出演ドラマライブ出演者(ハンマー)モーニング女学院出演者(ハンマー)含佐久間宣行同類項(ハンマー)ラベンダー演パクバンド(後ろから後頭部にボーガン)同類項(後ろから後頭部にボーガン)Matt(脳内臓爆弾爆裂死)木村拓哉(轢死)加藤浩次(Sliced Minced Sausages)佐藤浩市(コンテナで海中吐く)つんく♂さんズ(被爆実体験伝承者気化爆弾死)TOKIO(チェーンソー)沢田研二(ガソリン草刈り機)松浦亜弥(圧死)三浦知良(焼死)中川翔子(バール)ナンチャラ流星(バール)小野伸二(煮て焼いた)長嶋敏夫松浦鉄道運転手(銃殺)中村法道前長崎県知事(煮て焼いた)田上富久前長崎市長(焼いて煮た)宮島大典現佐世保市市長(焼いて煮た)玉木雄一郎(女好き野口聡一に突っ込みつつ焼死)野口聡一(女好き玉木雄一郎に突っ込まれつつ焼死)高橋良輔(コンテナ出航)吉永小百合(キュ！)スカトロバアサン小池百合子(キュ！)ユニコーン(水死)グレイ(ガス中毒死)TMレボリューション(電気椅子死)ムロツヨシ(ビルの15階から転落)堺雅人(ビルの31階から転落火葬)小泉純一郎(轢死)山崎育太郎(切断死)菅義偉(左顎から右頭頂部へ銃弾通過)松本人志(日本国内焼却処分)忌野清志郎(日本国内焼却処分)浜田雅功(日本国内で焼却処分)ココリコ(日本国内で焼却処分)庄司智春(縦に二分割)前原ナンチャラ(横に二分割)近藤真彦(ジッポライター引火で焼死)田原俊彦(フルスイング)野村義男(フルスイング)あべこうじ(炭疽菌)安倍昭恵(サリン)十三代目市川團十郎(13階から地獄にお引越)草彅剛(同類抗)城島健司(ケツから串刺)松井秀喜(口から串刺)香取慎吾(火葬)山本太郎(火葬)れいわ新撰組(火葬)山口智充(水葬)甲本雅裕(火葬)中村獅童(火葬)宇梶剛士(水葬)ささきいさお(水葬)ビビる大木(土葬)木村祐一(土葬)三谷幸喜(圧着土葬)加山雄三(君はミキサー)谷村新司(君はミキサー)雲南内村ナンチャラ(君はミキサー)吉田拓郎(君はミキサー)吉田栄作(君はミキサー)モモクロ(みんなミキサー)宇多田ヒカル(君はミキサー)松本(切断)哉&同類工(引き延ばし切断)頁出川哲郎(水没49秒10秒インターバル6回目のチャレンジ直前に頓死)内山信二(水没49秒10秒インターバル6回目のチャレンジ中に頓死)あおい輝彦(脳脊髄液垂れ流し)真野恵里菜(脳脊髄液垂れ流し)ジミー大西(縦分割)村上ショージ(縦分割)ドリカム(横分割)aids中山雅史(横分割)北澤豪(横分割)キンキキッズ(心臓爆裂)小泉進次郎(血液何リットル抜けるだろう)茂木敏充(日本時間2025100919:5742秒命乞い開始28.5秒後おケツに大穴終了)大野雄二(焼死)宮崎駿(焼死)細野晴臣(焼死)上祐史浩(サリン)佐藤優(サリン)ジャニーズニュース(圧縮)片山さつき(1体5分割)栗山茂樹(頭部粉砕)B'z(首切断)習近平(出し汁)西島秀俊(SMS)TAO(釜茹)TKO(茹で缶)泉健太(脳に新種のカビ)河村勇輝(コーラ)藤井聡太(お茶)藤井フミヤ(8分割の7分割)井萩麟(田楽)馬飼野康二(田楽)串田アキラ(狭間)邪禿巣嵐(皮剥き)久石譲(轢死)押井守(糞死)橋下徹(緑茶ぐり深蒸し100g1000円)内田樹(1分3秒水泳大会)ブライアンフェリー(熊)所ジョージ(熊)ルナシー(瀘亡)ミスターチルドレンゴミ処刑済(エイズ発症屑)エアロスミス(1K備蓄米1/24円 of K￥2000也)グレン的ロック(🎯)イギーポップ(🐗)キンクス(蛆虫百万匹)ブラー(生ごみの火)ボブデュラン(吊)中島みゆき(刺身)サザンオールスターズ(蒲鉾)仲井戸麗市(日本国内焼却処分)川田龍平(ぶらんにゅーAIDS)原田知世(緊縛失態)渡辺謙(轢死)渡辺杏(轢死)餓鬼(轢死)チャー(ぐりキロ4000円)ニューエスト系(飯核)キースエマーソン(クリスタルナハト)バービーボーイズ(機雷)すかんち(地雷)ストリート・スライダース(ポン酢)玉川徹(蒲鉾)大島優子(箱)遠藤遼一(羊羹)横川さつき(ビルの31階から転落火葬)小池恋(ビルの31階から転落火葬)田中和夫(ビルの31階から転落火葬)斉藤由貴(ビルの31階から転落火葬)同類項(ビルの31階から転落火葬)志田未来(汚染水)佐橋佳幸(鮫)クラッシュ(🚙)南原清隆(あーよく寝た五反田アンジェリーク20251224心臓大静脈GPS付小型爆弾搭載含)シブがき隊(Interligensia264)木村マモル(串)中田敦彦(キャノーラ油)藤森慎吾(サラダ油)小栗旬(2025112715:19/日本時間カルピス含放射性重金属粒子)星山博之(総括)堀江貴文(コンテナ)ひろゆき(コンテナ)℃-ute(前３人後２人銃殺)雨上がり決死隊(乾燥機)モリッシー(AIDS大腸癌)＆ザスミス(AIDS大腸癌)斉藤由貴(コンテナ詰)つぶやきシロー(コンテナ詰)劇団ひとり(コンテナ詰)ゆず(偃月殺法且コンテナ詰)はなわ(鼻輪)ヒロミ(菌垉)南野陽子(鼻輪)スキマスイッチ(36.395884, 135.220422-410人)細野晴臣(焼死3分21秒)高橋幸宏(チェーンソー横3分21秒)坂本龍一(寒中潜水3分21秒)モッズ(バンドチェーンソー横3分21秒)亀井理那(窒息死)上戸彩(釘が飛び出た金属バットでナンバーズ一人あたり顔面2回フルスイング)AKB峰岸ナンチャラ(釘が飛び出た金属バットでナンバーズ一人あたり顔面2回フルスイング)スピッツ(30°59'42.6"N 130°42'32.7"E)矢島舞美(AIDS大腸癌喉頭癌)岡井千聖(AIDS大腸癌喉頭癌)萩原舞(AIDS大腸癌喉頭癌)クレバ(低回転)山下達郎(沈下トラック)ストーンローゼ巣(期待のニュー罐)竹内まりや(強制ハンガーストライキ13日48秒0046)ナンチャラ狩るティエイト(バー蚊)と愉快な統一教会(気苦労ご苦労)被害者(バー貨)ビースティボーイズ(🚊)BAD2(🚙)かまいたち(ナイフ)ナイツ(チェーンソー)C-C-B(醢z)浅井健一(🚊)チバユウスケ(油)松任谷由実(洗)麒麟 (オワコン癩鼻)山田悠介(節黍卯化)U2(ira)綾瀬はるか(すり身)中島みゆき(すり身)渡辺岳夫(斜め下り45度)エアロスミス(吸えロ馬水)石原さとみ(headhunting)ミッキー吉野(音痴)&ゴダイゴ(３台目)尾藤イサオ(0.1mmで死ぬまで毎日1回同じ所スライス)壇ふみ(0.1mmで死ぬまで毎日1回同じ所スライス)ジョンウィリアムズ(左利き下段からのひねり上げ)渡辺岳夫(急がず焦らず正確に)松田聖子(ちゃんカット)石原良純(細菌兵器tawo4-2)古田敦也(ズラタク)加山雄三(キムタク)長渕剛(ゆず)同類項ゴミ処刑済含処刑済。
amaterasu kingdom dimensionsⅣ‐3-8-1-◆『五分後の世界』（ごふんごのせかい）は、村上龍の小説。幻冬舎から1994年3月に刊行された。第二次世界大戦から現代に至るまで米軍を中心とする連合軍と戦争を継続している平行世界の日本を描くことで、現代日本に対する強烈なメッセージを秘めた作品である。村上龍はあとがきにおいて「最高のものになった」としているように、作者の代表的な「看板作品」である。作品中の日本国土の分割統治については、日本の分割統治計画をベースとしていると思われるが、中国とイギリスの支配計画地域が変更（イギリスが四国地方、中国が西九州）されている。あらすじ。箱根でジョギングをしていたはずの小田桐はふと気がつくと、どこだか解らない場所を集団で行進していた。そこは5分のずれで現れた「もう一つの日本」だった。「もう一つの日本」は地下に建設され、人口はたった26万人に激減していたが、第二次世界大戦終結後も民族の誇りを失わず、駐留している連合国軍を相手にゲリラ戦を繰り広げていた。from wiki.で、密出国さておき、言葉を知ってると聞き取れるはあるね(笑)。※今の日本国の首相は？2023012617:40(日本時間)。４:40"そんなことより、岸田総理"(笑)。2023080115:15(日本時間)。1月 15, 2024 amaterasu kingdom dimensionsⅢ‐5-4。1月 27, 2023 で。2023012617:21(日本時間)。 『オーガロイド』の格闘とはドッグファイトという認識でしょうか？5月 25, 2019 Tuesday, 2 July 2013 annual income From 1695 to the Meiji Restoration in 1868、nine "KOBAN" recasts were carried out. Most of them (seven times)、it was to reduce the content. As result、when the last recast in 1860、1 ryō became the weight of one-fifth on first. And gold content was als...
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"歌川広重 東都名所 御殿山花見品川全図"
"歌川貞秀 東海道高輪風景"
"歌川広重 東海道五十三次之内 品川 日之出"
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"joe the lion・lol"..png)
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『タクテクス 1985 No.22 ゲーム情報満載 特集 すばらしき戦術級の世界 第2回トラベラー創作シナリオコンテスト 1-59ページ』.png)
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若宮二本の抜き十字、右を安倍穴上の嵌込みに立て、両の十字透かし見るとき、道現われり
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