Tag Archive: folk


有这么一段旋律,我最先在Guns N’ Roses的反战歌曲Civil War中听到,由Axl Rose的口哨吹起,动听得撩人;随后在老Bruce Willis的电影“虎胆龙威3”中,出现在具有德国军队背景的反面角色抢夺地下金库时的场面;在我最新看过的“奇爱博士”中,这段旋律又反复出现在美军轰炸机向苏联投掷原子弹的路上,显得振奋而激昂。这应该是与军队有关的曲子,但究竟是什么呢?最终找到原来名为When Johnny Comes Marching Home。(Thanks Google!)

但When Johnny Comes Marching Home也并非源头,其改编自另一首Johnny I Hardly Knew Ye。Johnny I Hardly Knew Ye是一首爱尔兰反战歌曲,产生于19世纪早期英国的东印度公司在爱尔兰征兵去锡兰作战的背景下,描述战士带着残缺不全的身体从战场返回家乡的情景,著名民谣女歌手Joan Baez曾翻唱过Johnny I Hardly Knew Ye,很幽怨;之后到了美国的南北战争时期,爱尔兰裔的Patrick Gilmore改写了Johnny I Hardly Knew Ye的歌词和伴奏来用以鼓舞士气,在改编后的描述中,Johnny从战场完好无损的凯旋,回到了家乡亲人和朋友的身边。蝴蝶效应阴暗与阳光版的两个结局。

以下是有代表性的版本(没找到Joan Baez翻唱的):

爱尔兰民谣Johnny I Hardly Knew Ye,清新甜美,歌词略有差异但大致相同

Johnny I Hardly Knew Ye
While goin’ the road to sweet Athy, hurroo, hurroo
While goin’ the road to sweet Athy, hurroo, hurroo
While goin’ the road to sweet Athy
A stick in me hand and a tear in me eye
A doleful damsel I heard cry,
Johnny I hardly knew ye.

With your drums and guns and guns and drums, hurroo, hurroo
With your drums and guns and guns and drums, hurroo, hurroo
With your drums and guns and guns and drums
The enemy nearly slew ye
Oh my darling dear, Ye look so queer
Johnny I hardly knew ye.

Where are the eyes that looked so mild, hurroo, hurroo
Where are the eyes that looked so mild, hurroo, hurroo
Where are the eyes that looked so mild
When my heart you so beguiled
Why did ye scadaddle from me and the child
Oh Johnny, I hardly knew ye.

Where are your legs that used to run, hurroo, hurroo
Where are your legs that used to run, hurroo, hurroo
Where are your legs that used to run
When you went to carry a gun
Indeed your dancing days are done
Oh Johnny, I hardly knew ye.

I’m happy for to see ye home, hurroo, hurroo
I’m happy for to see ye home, hurroo, hurroo
I’m happy for to see ye home
All from the island of Sulloon
So low in the flesh, so high in the bone
Oh Johnny I hardly knew ye.

Ye haven’t an arm, ye haven’t a leg, hurroo, hurroo
Ye haven’t an arm, ye haven’t a leg, hurroo, hurroo
Ye haven’t an arm, ye haven’t a leg
Ye’re an armless, boneless, chickenless egg
Ye’ll have to put with a bowl out to beg
Oh Johnny I hardly knew ye.

They’re rolling out the guns again, hurroo, hurroo
They’re rolling out the guns again, hurroo, hurroo
They’re rolling out the guns again
But they’ll never will take my sons again
No they’ll never will take my sons again
Johnny I’m swearing to ye.

改编后的When Johnny Comes Marching Home,带视频的伴奏与演唱

When Johnny Comes Marching Home
When Johnny comes marching home again, Hurrah! Hurrah!
We’ll give him a hearty welcome then, Hurrah! Hurrah!
The men will cheer and the boys will shout
The ladies they will all turn out
And we’ll all feel gay when Johnny comes marching home.

The old church bell will peal with joy, Hurrah! Hurrah!
To welcome home our darling boy, Hurrah! Hurrah!
The village lads and lassies say
With roses they will strew the way
And we’ll all feel gay when Johnny comes marching home.

Get ready for the Jubilee, Hurrah! Hurrah!
We’ll give the hero three times three, Hurrah! Hurrah!
The laurel wreath is ready now
To place upon his loyal brow
And we’ll all feel gay when Johnny comes marching home.

Let love and friendship on that day, Hurrah, hurrah!
Their choicest pleasures then display, Hurrah, hurrah!
And let each one perform some part
To fill with joy the warrior’s heart
And we’ll all feel gay when Johnny comes marching home.

还有意外收获,来自爵士大师Jimmy Smith的When Johnny Comes Marching Home,不一样的口味。爵士真的是无处不在啊。

同样的旋律在不同的伴奏编曲下表达的意思截然不同,音乐的魔力。

最初听说Leonard Cohen这名字是从Nirvana的歌词中,Cobain在Pennyroyal Tea中唱到:”Give me a Leonard Cohen afterworld”,随后在铁血摇滚的合辑中听了第一首Leonard Cohen的歌曲的处女听—-Waiting for the miracle,当时的感觉是原来歌也可以唱得这么低。

在铁血摇滚中这首歌是作为天生杀人狂的OST选择的,在歌曲的最后几秒为了引出大开杀戒的血腥场面还加入了一声变态诡异的尖笑,配合着铁血摇滚小册子中下一首歌的演唱者Lou Reed病态哥特的黑眼圈照片,这几个形象叠加出了我对Leonard Cohen的最初印象:绝望,阴暗却又饱含爆发的力量。而随后买了张The Best Of Leonard Cohen的CD证明我最初的印象完全是错的,那张专辑里Cohen的音乐完全没有爆发没有高潮而是感觉相当的沉闷,何况这还是张精选辑。

毕竟我和states主流大众的品位还基本保持一致:),当Cohen在60年代发行处女专辑时,并没引起美国市场太多的注意,而时隔多年之后直到九十年代Cohen才在美国乐坛迎来了人品的大爆发。而对于我来说,那张沉闷的The Best Of Leonard Cohen已被尘封多年,直到随着09年下载了当时感觉可有可无的Cohen的新演出现场专辑Live In London,Leonard Cohen的音乐才又被我重新认识,不由得感叹险些错过了如此珍宝。Leonard Cohen的音乐仿佛是一本书,而书的第一页我才刚刚打开。

视频中的Waiting for the Miracle似乎是完整版,但从视频上看又仿佛是后配的,总之感觉比天生杀人狂里的还要苍凉许多。

Elliott Smith

在Elliott Smith的第二张同名专辑Elliott Smith中(专辑的封面让人感觉很不安),电声乐器和鼓依然只是点缀。第二首Christian Brothers是专辑中为数不多的在四个小节之后就就出现了鼓声的歌曲,也是在这张专辑中最吸引我的歌曲。除了录音质量外,Christian Brothers找不出其他任何的缺点,Elliot Smith柔弱的声音和木吉他营造出的恢宏大气的渐进式的和弦进程混合在一起,使我感觉像是来到了爱伦坡小说中即将倒塌的厄歇尔府,正如歌词中唱到的”Nightmares become me, it’s so fucking clear.”

搜索Christian Brothers,在不同的国家地区有不同的含义:学校、宗教组织,Elliot Smith歌中的Christian Brothers更有可能是一种廉价白兰地的牌子,而无论Christian Brothers中唱的是他对酒精的信任依赖还是引申到他那糟糕的青春期,似乎和远在半个地球外的听者关系不大。能由一首歌产生点感性的感觉,似乎能进入某种意境,也就够了。用句自以为是音乐圈的人会说的一句恶心装逼的话说:音乐是无国界的。

Christian Brothers

No bad dream fucker’s going to boss me around
Christian Brothers going to take him down
But it can’t help me get over

Don’t be cross, it’s sick what I want
I’ve seen the boss blink on and off

Fake concerns is what’s the matter, man
And you think I ought to shake your motherfucking hand
Well, I know how much you care

Don’t be cross, it’s sick what I want
I’ve seen the boss blink on and off

Come here by me, I want you here
Nightmares become me, it’s so fucking clear
Nightmares become me, it’s so fucking clear

grammy97

第一次听Give Me One Reason是在10年前,我和老哞儿还都是刚接受了一点真正音乐启蒙的小屁孩,拿着攒好的钱去音像买磁带听。那时候正是懵懂装蛋的时期,大概是因为曾买过几盘Disney电影原声带后尝到了甜头,因此说好此后只买英文的磁带,但除了在“狮子王”的封皮中提到的艾尔顿强之外,什么都不知道。老哞儿之前曾在什么地方听说了“葛莱美”这个词,便一厢情愿的认为凡是占“葛莱美”边的歌都是特别好听的歌,我敢打赌他当时除了能叫出这三个字来之外就再不能说出关于葛莱美的什么了。正好音像店里有盘葛莱美的磁带,我至今能清晰地记得其全称是”1997葛莱美的喝彩“,于是他顿下决心说要买这个,而我找了找其他的磁带但没发现什么称心的,于是也想买这盘97葛莱美,因为封面看着更好看一些,但无奈这次是轮到了老哞儿有优先选择权,后来不太情愿的买了Def Leppard的Hysteria,最终的造成的影响是Def Leppard始终也没进入我喜爱的乐队行列,除了那首Two Steps Behind。

交钱之前试试磁带,Give Me One Reason是97葛莱美的第一首,前奏吉他响起来时,老板赞叹到:听,外国音乐多他妈讲究!我猜他并没什么由衷的感情,只是炫耀他的磁带加上促销而已。但那段洋气的前奏吉他和Tracy Chapman浑厚的嗓音却深深的嵌入进我脑中,10年的时间再遥远的门外汉都会步伐或大或小地踏入所感兴趣的世界,我今天也终于知道了Give Me One Reason之所以带来那种奇妙的快感的根本原因实际上就是布鲁斯,一切难以模仿的千变万化的根源也只是简单的五声音阶。如果音乐能够物质化,这首歌肯定是精雕细琢使人爱不释手的珠宝,但就向在MTV中表现的那样,一切又是那样的自然而简单。Tracy Chapman和她的民谣依旧,而10年时光去转瞬即逝。

Roman Candle是Elliott Smith个人名义发行的第一张专辑,与其说是专辑不如说是小样更为准确,其中的几首歌曲甚至没有名字,而仅仅以No Name #1, No Name #2等等来代替。专辑中的所有歌曲是Elliott Smith使用四轨机在地下室录制完成的,录音质量也确实是家庭级的low-fi水平。

最初听到Elliott Smith的声音立刻使我想起“了不起的盖茨比”的开头自述时的一个词:vanerable。Elliott Smith在Roman Candle中给人的感觉是脆弱和敏感,甚至有点使人感到压抑。但从剥离了嗓音和音乐的歌词上来看,倒有那么点朋克的感觉。

给我印象最深的是专辑第一首的同名歌曲,在Roman Candle中,声音幻化成了高速旋转的轮盘,”I’m a roman candle, my head is full of flames”,尽管包含着愤怒和痛苦,但也巧合地预示了Elliott Smith其后不到十年的生命,就象焰火一样爆发出异样的光辉。

其他:
No Name #3出现在电影Good Will Hunting中
Kiwi Maddog 20/20是一种Elliott Smith喜欢的葡萄酒的名字

Roman Candle

He played himself
Didn’t need me to give him hell
He could be cool and cruel to you and me
Knew we’d put up with anything
I want to hurt him
I want to give him pain
I’m a roman candle
My head is full of flames
I’m hallucinating
Hallucinating
I hear you cry
Your tears are cheap
Wet hot red swollen cheeks
Fall alseep
I want to hurt him
I want to give him pain
I’m a roman candle
My head is full of flames
I want to hurt him
I want to hurt him
I want to hurt him
I want to give him pain
And make him feel this pretty burn

又一首纯真的情歌,单凭歌曲本身就能把人带到一个优美的爱情电影中,这次搜到的offical video中的情景仿佛和之前对这首歌情景的想象相差不远,有点“情归阿拉巴马”的感觉,但相比Lynird Skinird的”Sweet Home Alabama”中的欢快,”Harvest Moon”的温馨感更重一些。

贯穿歌曲始终的沙沙声,我以为会是某些在jazz中使用的神秘打击乐器,但一次看Neil Young的现场时,这声音竟然是一个很像印第安人的家伙自始至终用一把扫帚在地上扫而发出,这一次的offical video也再次证明了这声音的出处。

when we were strangers, I watched you from afar…