2007-10-21 16:56:14
来自: 保护羊
(北京)
Orphans: Brawlers, Bawlers & Bastards的评论
翻来覆去地把Tom Waits的新专辑《Orphans》听了六、七次，且不说去都江堰那一路上听的也是它。整张专辑总共有56首曲目。老Tom疯了，我也跟着疯。可以说热爱这个老男人，或则说绝对信任他，信任他的音乐。
想到他，眼前会浮现一个不修边幅的老男人形象，他吊儿郎当而又雄赳赳地打量着你。他打的呵欠会有酒气。他的音乐与本人气质吻合，嗓音和胡子一样粗砺。您还可以用大烟囱里冒出来的滚滚黑烟形容他的破嗓子，或则干脆说是一辆老式的蒸汽机。这些本含贬义的词组放在老Tom身上就成了褒义。
Tom音乐的意义在音乐以外，音乐只是他表达自己的方式。可以说他描绘的是社会低层，呛俗、混乱、孤独，种种鲜明而微妙的刺激。又可以说他是在癫狂地歌咏着流浪者的生活，那是宿命。
躺在床上听老Tom的音乐，我的床就变成了廉价旅馆的十元床。那时候我还没有自己的睡袋，每次独自旅行，晚上基本上都躺在这种床上。我唯一的念头是：入睡，入睡，赶快入睡！但这往往无法如愿。记不得入睡前具体想了些什么，只记得很多次醒来后不知自己身在何方。那是一种让人愉快的茫然。
写这些不相干的，一方面是因为Tom勾起了我的回忆，另一方面，我想说自己能懂他的音乐。当然相辅相成的还有杰克.凯鲁亚特的《在路上》，艾伦.金斯伯格的《嚎叫》。我无缘经历的绚彩年代通过音乐和书籍诡异地渗透皮肤，在血液里不引人注目地流淌。我的脉搏里跳动的不是我自己……
坦白说来，我还是没有搞清楚为何“Orphans”（孤儿），是复数，而不是单数形式？
在国外网站上搜到的Tom写的一篇话。翻译未果……
When I was small I always thought that songwriters sat alone at upright pianos in cramped smoky little rooms with a bottle and an ashtray and everything came in the window blew through them and came out of the piano as a song…and in a weird way that is exactly what happens.
What’s Orphans? I don’t know. Orphans is a dead end kid driving a coffin with big tires across the Ohio River wearing welding goggles and a wife beater with a lit firecracker in his ear.
At the center of this record is my voice. I try my best to chug, stomp, weep, whisper, moan, wheeze, scat, blurt, rage, whine, and seduce. With my voice, I can sound like a girl, the boogieman, a Theremin, a cherry bomb, a clown, a doctor, a murderer…I can be tribal. Ironic. Or disturbed. My voice is really my instrument.
Kathleen and I wanted the record to be like emptying our pockets on the table after an evening of gambling, burglary, and cow tipping. We enjoy strange couplings, that’s how we got together. We wanted Orphans to be like a shortwave radio show where the past is sequenced with the future, consisting of things you find on the ground, in this world and no world, or maybe the next world. Whatever you imagine that to be.
If a record really works at all, it should be made like a homemade doll with tinsel for hair and seashells for ears stuffed with candy and money. Or like a good woman’s purse with a Swiss army knife and a snake bite kit.
Orphans contains songs for all occasions. Some of the songs were written in turmoil and recorded at night in a moving car, others were written in hotel rooms and recorded in Hollywood during big conflamas. That’s when conflict weds drama. At any rate these are the ones that survived the flood and were rescued from the branches of trees after the water’s retreat.
Gathering all this material together was like rounding up chickens at the beach. It’s not like you go into vault and check out what you need. Most of it was lost or buried under the house. Some of the tapes I had to pay ransom for to a plumber in Russia. You fall into the vat. We started to write just to climb out of the vat. Then you start listening and sorting and start writing in response to what you hear. And more recording. And then you get bit by a spider, go down the gopher hole, and make a whole different record. That was the process pretty much the last three years.
Then we met Karl Derfler, a wizard engineer who works at Bay Side Studios in Richmond, CA, in the science fiction part of town. A battlefield medic, he did a Lazarus on a number of the songs and recorded all the new material.
On Orphans there is a mambo about a convict who breaks out of jail with a fishbone, a gospel train song about Charlie Whitman and John Wilkes Boothe, a delta blues about a disturbing neighbor, a spoken word piece about a woman who was struck by lightening, an 18th century Scottish madrigal about murderous sibling rivalry, an American backwoods a cappella about a hanging. Even a song by Jack Kerouac and a spiritual with my own personal petition to the Lord with prayer…There’s even a show tune about an old altar boy and a rockabilly song about a young man who’s begging to be lied to.
I think you will find more singing and dancing here than usual. But I hope fans of more growling, more warbling, more barking, more screeching won’t be disappointed either.
Tom Waits
August 2006
“在我很小的时候，认为音乐创作人是那种独坐在房间里，抱着竖琴，夹着香烟，旁边放着啤酒瓶和烟灰缸的人。所有的事物从窗户里飘进来，然后通过一种不可思议的方式，变成了琴声……这就是所发生的一切。”
(旧文）
> 我来回应
Orphans: Brawlers, Bawlers & Bastards的评论
翻来覆去地把Tom Waits的新专辑《Orphans》听了六、七次，且不说去都江堰那一路上听的也是它。整张专辑总共有56首曲目。老Tom疯了，我也跟着疯。可以说热爱这个老男人，或则说绝对信任他，信任他的音乐。
想到他，眼前会浮现一个不修边幅的老男人形象，他吊儿郎当而又雄赳赳地打量着你。他打的呵欠会有酒气。他的音乐与本人气质吻合，嗓音和胡子一样粗砺。您还可以用大烟囱里冒出来的滚滚黑烟形容他的破嗓子，或则干脆说是一辆老式的蒸汽机。这些本含贬义的词组放在老Tom身上就成了褒义。
Tom音乐的意义在音乐以外，音乐只是他表达自己的方式。可以说他描绘的是社会低层，呛俗、混乱、孤独，种种鲜明而微妙的刺激。又可以说他是在癫狂地歌咏着流浪者的生活，那是宿命。
躺在床上听老Tom的音乐，我的床就变成了廉价旅馆的十元床。那时候我还没有自己的睡袋，每次独自旅行，晚上基本上都躺在这种床上。我唯一的念头是：入睡，入睡，赶快入睡！但这往往无法如愿。记不得入睡前具体想了些什么，只记得很多次醒来后不知自己身在何方。那是一种让人愉快的茫然。
写这些不相干的，一方面是因为Tom勾起了我的回忆，另一方面，我想说自己能懂他的音乐。当然相辅相成的还有杰克.凯鲁亚特的《在路上》，艾伦.金斯伯格的《嚎叫》。我无缘经历的绚彩年代通过音乐和书籍诡异地渗透皮肤，在血液里不引人注目地流淌。我的脉搏里跳动的不是我自己……
坦白说来，我还是没有搞清楚为何“Orphans”（孤儿），是复数，而不是单数形式？
在国外网站上搜到的Tom写的一篇话。翻译未果……
When I was small I always thought that songwriters sat alone at upright pianos in cramped smoky little rooms with a bottle and an ashtray and everything came in the window blew through them and came out of the piano as a song…and in a weird way that is exactly what happens.
What’s Orphans? I don’t know. Orphans is a dead end kid driving a coffin with big tires across the Ohio River wearing welding goggles and a wife beater with a lit firecracker in his ear.
At the center of this record is my voice. I try my best to chug, stomp, weep, whisper, moan, wheeze, scat, blurt, rage, whine, and seduce. With my voice, I can sound like a girl, the boogieman, a Theremin, a cherry bomb, a clown, a doctor, a murderer…I can be tribal. Ironic. Or disturbed. My voice is really my instrument.
Kathleen and I wanted the record to be like emptying our pockets on the table after an evening of gambling, burglary, and cow tipping. We enjoy strange couplings, that’s how we got together. We wanted Orphans to be like a shortwave radio show where the past is sequenced with the future, consisting of things you find on the ground, in this world and no world, or maybe the next world. Whatever you imagine that to be.
If a record really works at all, it should be made like a homemade doll with tinsel for hair and seashells for ears stuffed with candy and money. Or like a good woman’s purse with a Swiss army knife and a snake bite kit.
Orphans contains songs for all occasions. Some of the songs were written in turmoil and recorded at night in a moving car, others were written in hotel rooms and recorded in Hollywood during big conflamas. That’s when conflict weds drama. At any rate these are the ones that survived the flood and were rescued from the branches of trees after the water’s retreat.
Gathering all this material together was like rounding up chickens at the beach. It’s not like you go into vault and check out what you need. Most of it was lost or buried under the house. Some of the tapes I had to pay ransom for to a plumber in Russia. You fall into the vat. We started to write just to climb out of the vat. Then you start listening and sorting and start writing in response to what you hear. And more recording. And then you get bit by a spider, go down the gopher hole, and make a whole different record. That was the process pretty much the last three years.
Then we met Karl Derfler, a wizard engineer who works at Bay Side Studios in Richmond, CA, in the science fiction part of town. A battlefield medic, he did a Lazarus on a number of the songs and recorded all the new material.
On Orphans there is a mambo about a convict who breaks out of jail with a fishbone, a gospel train song about Charlie Whitman and John Wilkes Boothe, a delta blues about a disturbing neighbor, a spoken word piece about a woman who was struck by lightening, an 18th century Scottish madrigal about murderous sibling rivalry, an American backwoods a cappella about a hanging. Even a song by Jack Kerouac and a spiritual with my own personal petition to the Lord with prayer…There’s even a show tune about an old altar boy and a rockabilly song about a young man who’s begging to be lied to.
I think you will find more singing and dancing here than usual. But I hope fans of more growling, more warbling, more barking, more screeching won’t be disappointed either.
Tom Waits
August 2006
“在我很小的时候，认为音乐创作人是那种独坐在房间里，抱着竖琴，夹着香烟，旁边放着啤酒瓶和烟灰缸的人。所有的事物从窗户里飘进来，然后通过一种不可思议的方式，变成了琴声……这就是所发生的一切。”
(旧文）
> 我来回应
本评论版权属于作者保护羊，并受法律保护。除非评论正文中另有声明，没有作者本人的书面许可任何人不得转载或使用整体或任何部分的内容。
Orphans: Brawlers, Bawlers & Bastards
表演者: Tom Waits
唱片数: 2
条型码: 0045778667727
发行时间: 2006
唱片名: Orphans: Brawlers, Bawlers & Bastards
版本特性: Box set
出版者: Anti
介质: Audio CD
2008-01-21 20:22:28 boogie
坦白说来，我还是没有搞清楚为何“Orphans”（孤儿），是复数，而不是单数形式？-----------------
三类orphans,分别是brawlers,bawlers和bastards.