利用者:Bonoxylove/sandbox

「アイ・スティル・ハヴント・ファウンド・ホワット・アイム・ルッキング・フォー (終りなき旅)」
U2 のシングル
初出アルバム『ヨシュア・トゥリー』
B面	Spanish Eyes ; Deep In The Heart
リリース	1987年5月
規格	7インチ・シングル; 12インチ・シングル; CDシングル
録音	1986年ダブリン
ジャンル	ロック
時間	4分37秒
レーベル	アイランド・レコード
作詞・作曲	作詞ボノ　作曲U2
プロデュース	ブライアン・イーノ、ダニエル・ラノワ
ゴールドディスク
	カナダ：ゴールドディスク;
チャート最高順位
	アイルランド1位; UK4位; US13位; カナダ6位; オーストリア17位; ニュージーランド2位; フランス37位; オランダ6位; スウェーデン11位;
U2 シングル年表
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「アイ・スティル・ハヴント・ファウンド・ホワット・アイム・ルッキング・フォー (終りなき旅)」（I Still Haven't Found What I'm Looking For）は、U2の「The Joshua Tree」からの

解説

Rattle And Humヴァージョン

「Rattle And Hum」にはニューヨークの聖歌隊New Voices Of Freedomとの共演ヴァージョンが収録されている。

NVOFの指揮者は、当時、既にDoug E. Freshというヒップホップアーチストのデビューアルバム「Oh, My God!」をヒットさせていた、ニューヨーク在住のジャズ、R&B畑の音楽プロデューサー・デニス・ベルである。^[1]彼が所用でアイランド・レコードのオフィスに赴いた際、そのキャリアに聖歌隊の指揮者があるのに目をつけたとあるA&Rから、「『I Still Haven't Found What I'm Looking For』のゴスペル・ヴァージョンをレコーディングしないか？」と持ちかけられた。U2のことをあまり知らないデニスだったが、折角のメジャーレーベルからの申し出ということで、その仕事を引き受け、件の聖歌隊は既に解散していたので、急遽、自分が音楽を教えている高校の聖歌隊に所属している生徒と知り合いのプロのミュージシャンからなる聖歌隊を結成し、スタジオに入って、レコーディングした。デニス曰く「あまり複雑な曲ではない」ので、レコーディングは4時間ほどで終わったのだという。ちなみにリードヴォーカルを務めているリネット・ワシントンはデニス・ベルの妻の妹で、現在はジャズシンガーとして活躍している。

デモは好評で、デニスはアイランドからアルバムをリリースする契約を交わし、改めて聖歌隊をNew Voices Of Freedomと命名した。デニスの妻がVoices Of Freedomという名前の聖歌隊を持っていたので、それにNewをつけたのだ――が、レコード契約の話は流れた。というのもアイランドの社長・クリス・ブラックウェルがU2を商業利用しているみたいだと難色を示し、企画の中止を命じたからである。が、このまま曲をオクラ入りするのは惜しいと考えたデニスは、自腹を切って再レコーディングし、Doc Recordsというレーベルの協力を得て流通網を確保し、自ら立ち上げたレーベルからシングルをリリースした。^[2]

その後、U2のツアー・マネージャーのデニス・シーハン（15年5月26日死去^[3]）から電話がかかってきて、U2がデモを気に入ったので、今度、マディソン・スクエア・ガーデンでライブをやる際、一緒に歌ってくれないか？　と頼んできた。デニスはこれを快諾、ハーレムにあるGreater Calvary Baptist Churchという教会でリハーサルをすることになった。が、リハーサル当日、U2のメンバーだけではなく、映画「U2/魂の叫び」を撮影中だったカメラクルーも現場にやって来た。何も知らされていなかったデニスは驚いたが、結局、撮影しながらリハーサルをすることになった。リハーサルの間、ボノとエッジは熱心に聴いていたが、ラリーは気のなさそうにコンガを叩いており、アダムはぼっーと

we played our version again for Bono and The Edge. They were more concerned with how we were going to do it than Adam and Larry were. Larry just picked up a conga drum on the side --

Edge brought his guitar and an amp, and that was it. We used the church microphone. Larry saw a conga drum in the corner. Adam just sat down and watched everything.

We went to soundcheck in the afternoon before the concert. Usually I hate soundchecks, but this was really good. They set up the risers on the stage and went through our soundcheck and decided that the drums were really gonna drown out the choir -- so that's one of the reasons that you hear a lot of stuff drop out during the song on the album, so that you can hear the choir.

We came back later for the concert and sat backstage. We had a whole routine worked out for how we were gonna run on the stage -- we worked on that during the soundcheck.

MM: What was it like being on stage for the live performance that night?

DB: We started doing the song and I've never heard -- I mean, I've performed in Madison Square Garden before that -- but I'd never heard a whole 22,000-seat place sing at the same time you were. The sound was absolutely immense. Everybody was singing along with us. It takes a lot for me to get chills, but I had chills running up and down my spine because of the interaction that was going on there. You had to be there to really feel it ... it was an unbelievable musical experience.

Bono & Dennis BellBack in the dressing room afterward, the band came in and hung out with us a little bit. At one point, Bono asked me if I could take this unknown song that they had -- "The Sweetest Thing" -- which was a b-side, and he said, "I want you to listen to this and see what you can do with it."

The next day I get a call from Joel and he says that Chris Blackwell was in the audience at the concert and went nuts when he heard it, and now he wants to do it [the "I Still Haven't Found..." single]. I told him, "You've gotta be kidding me! I've already made this deal with the distributor to release my own version of it. And I'm not the kind of person to go back on my word."

So we ended up not signing with Island Records because they came too late to the party, which was probably one of the worst career mistakes I've made. I should've said forget the other deal and taken the Island Records deal. We wound up releasing the single on Doc Records. It got some nice reviews and notoriety, but we didn't have the marketing power that Island would've had. It just faded real quickly.

MM: What did you think when you saw the movie?

DB: We went to the premiere in New York -- very interesting. I think it was just me, my son, my wife and my sister-in-law. Just the four of us. We enjoyed it. I remember when we left the theater, there were people in the streets yelling at us like we were some kind of stars or something! [laughs] That was kind of funny. We went to the after-party. Keith Richards was there ... a lot of celebrities. That didn't really interest me, but it was fun.

MM: You said earlier that you thought the concert footage would be in the movie, not the Harlem rehearsal?

DB: I was surprised because the Madison Square Garden performance was so dynamic, but I guess the intimacy of the rehearsal is probably what they were looking for. Because when you watch Rattle And Hum, a lot of it is very intimate -- you know, Bono talking to B.B. King. I think Phil [Joanou] was looking for that kind of flavor of personal contact, and I think the church rehearsal gave that to him as opposed to the big concert footage.

MM: So Bono asked you and the choir to do "The Sweetest Thing." How did that end up on the Scrooged soundtrack?

DB: I was out in California doing a show with my hip-hop artists at Universal Studios and I contacted Jimmy Iovine, who was working with U2 in the studio out there. I brought them our demo and they were all like, "This is great" and all that. But they didn't know what we were gonna do with it as far as a release. Jimmy said he was music director of a new Bill Murray movie, Scrooged, and that he'd put it on the soundtrack.

A&M Records offered us a record deal after hearing "The Sweetest Thing." They wanted to sign New Voices Of Freedom and the lead singer to two separate record deals. But the whole thing just dragged on, and the negotiations fell apart after six months.

We never got a record deal out of any of this. We were close, but I think we were ahead of our time. This was before the gospel surge came in the '90s and 2000s. Stuff happens too soon, and I think that's what happened with us. We started in 1987, and I think I finally shut the door around 1991 on New Voices, except for an occasional commercial and an appearance at the MTV Video Music Awards in 2002 with Jimmy Fallon and James Brown.

We did a lot of stuff, though -- we did some music videos with Lenny Kravitz and Sean Lennon and others. We did commercials with Aretha Franklin and others. We did a lot of shows around New York. We did guest appearances on other artists' albums, and on a few TV shows. We were fairly well known for what we were doing, but without a record deal, we were never gonna go anyplace.

BellWhat you hear on Rattle And Hum is kind of a bastardized version of it. It's partially the arrangement that I had, and partially U2's because Bono and I really knocked heads in rehearsals -- not in a negative way, we were just trying to figure out a way to fit the two pieces together. If you want to hear the original version, it's on iTunes on an album called Rockspel -- it was combining gospel and rock. Later on, I took all the demos we did after that and put it together into an album that's on iTunes. [Ed. note: The album also includes a cover of U2's "Mysterious Ways" that was done years later.]

B面

収録曲

"I Still Haven't Found What I'm Looking For"
"Spanish Eyes"
"Deep In The Heart"

PV

サウンドトラック

カバー

サンプリング

評価^[4]

イヤーオブ

オールタイム

脚注

[1] ttp://www.discogs.com/artist/207085-Dennis-Bell

[2] ttp://www.discogs.com/New-Voices-Of-Freedom-I-Still-Havent-Found-What-Im-Looking-For/release/1510990

[3] ttp://ro69.jp/news/detail/124769

[4] ttp://u2achives.exblog.jp/22802302/

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