Love Goes

【輸入盤】
第57回グラミー賞にて、主要3部門を含む最多4部門を獲得したサム・スミスが還って来た!

前作『スリル・オブ・イット・オール』(2017年11月発売)は、全米&全英アルバム・チャートで1位を獲得!

昨年リリースしたデジタル・シングル「ダンシング・ウィズ・ア・ストレンジャー」は全米シングル・チャート7位を獲得!世界総ストリーミング再生回数:驚異の19億回を突破!

「ダンシング～」の後にリリースしたデジタル・シングル「ハウ・ドゥ・ユー・スリープ?」も、大ヒット。世界総ストリーミング再生回数10億回を突破!

「ダンシング～」と「ハウ・ドゥ・ユー～」は、どちらも日本でもストリーミング・ヒットとなり、2曲合わせて3,000万回ストリーミングを突破!

1st、2ndアルバムとバラードのイメージが強かったサムだが、昨年よりダンス・チューンの楽曲も発表。今作は、サムお得意のバラード・ナンバーからアップテンポな楽曲まで、様々な楽曲が期待される。

In response to the COVID-19 pandemic, Sam Smith delayed, reworked, and retitled their third album, originally planned for release in May 2020. Love Goes landed that October, and in somewhat anticlimactic fashion appends as bonus tracks most of the lead-up singles, spanning a period of well over two years, careening from the disco-house of Promises to the arena pop of Im Ready. Another throw-in is the intended title track. Relegated as it is, To Die For -- a gentle piano ballad with Smith longing for idyllic companionship as they gaze at their solo shadow on a sidewalk -- fits with the album proper, drawn from the singers first real-life heartbreak. The connection Smith makes with it and the surrounding material here doesnt sound any tighter than it did on In the Lonely Hour or The Thrill of It All, but thats less a criticism than a credit to them as a consistent performer. Smith previously had no trouble expressing romantic torment, and that continues throughout the reliably low-spirited and highly-expressive Love Goes. One divergence from the previous albums is in the way Smith handles separation, almost bursting with regret on the lean Forgive Myself, reminiscing with fondness on For the Lover That I Lost, and extending benevolent acceptance in the pulsing and swirling Another One, containing one of their most nuanced and appealing vocals. Smith elsewhere romanticizes recklessness in the acapella opener Young and the doubly wistful send-off Kids Again. Made with staunch collaborators Jimmy Napes, Stargate, and Disclosures Guy Lawrence, and a mix of other high-profile songwriters and producers, the album is a tightly hemmed and neatly pressed sequence of fairly cosmopolitan dance-pop grooves and finely measured ballads. ~ Andy Kellman