[翻譯] 評四鞭經典，看美鞭興衰（一）：Master …

看板RockMetal作者coolfly (早安，黑色星期五)時間13年前 (2010/11/28 13:36)推噓17(17推 0噓 6→)

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譯者廢話：雖然本文作者將系列標題定為「鞭笞金屬興衰史」，但基本上這四篇文章還是以樂評為主，僅略為提及美四鞭的團史背景。如果要了解美國鞭笞金屬的興衰起落，還是比較推薦之前翻譯的「美國鞭金史」。專輯的中文譯名，有唱片公司官方中譯者依官方不知道或沒有官方中譯的我就自己隨便翻了（炸）翻譯上若有錯誤或建議，請不吝指教m(_ _)m ============================================================================== Metallica Master of Puppets 金屬製品《傀儡大師》作者：Matthijs van der Lee 來源：Sputnikmusic（http://ppt.cc/D,qj） Once Upon a Time... there were Four bands with an ambition. An ambition to reign supreme over the world of heavy metal. Whence they came, Who they were, What they were going to achieve, How they were going to do it, Why they found it necessary, no one did not yet know. Their impact became big, and their power great. This... is their story. 很久很久以前……有四個樂團，懷著相同的抱負，這個抱負就是稱霸整個金屬樂界。他們從何而來？何許人也？將有何成就？又打算怎麼做？為什麼覺得有這個必要？無人不知，無人不曉。他們影響廣泛，他們勢力龐大。這……就是他們的故事。 The Rise & Fall of Thrash Metal: The Four Horsemen 鞭笞金屬興衰史：天啟四騎士 The Four Horsemen. The Big Four of Thrash. We’ve all undoubtedly heard of them. Four American bands, formed in the early 80’s. Together, they created and popularized the thrash metal genre. Fast and aggressive, this spawned forth from a combination of influences from the New Wave of British Heavy Metal and punk rock. It took the typical riffing, shredding and tempos from the NWOBHM, and the rawness and aggression from punk. One of its main purposes was to countermeasure the rising of glam/hair metal in America. Bands such as Bon Jovi, Poison and Mötley Crüe were topping the charts in the USA, but their success was not even thrash’s main concern. These bands were, according to them at least, blaspheming and commercializing what was once a pure genre. What key artists such as Black Sabbath, Judas Priest and Iron Maiden had help to set up, was not to go to waste. 這四位啟示錄騎士──鞭笞金屬四天王，無疑地我們都聽過他們的大名。四個美國樂團，成軍於1980年代初期，一起聯手創造並推廣了鞭笞金屬。這個受到英國重金屬新浪潮（ NWOBHM）和龐克搖滾兩者影響所衍生的流派，既快速又充滿侵略性。它汲取了NWOBHM的 Riff形式、吉他速彈，以及節奏；和龐克搖滾的生猛勁道與侵略性。它的一個主要訴求就是與當時美國興起的華麗／髮型金屬對抗。如Bon Jovi、Poison和Mötley Crüe這類樂團，在美國唱片市場攻城掠池。但鞭笞金屬在意的不是他們的成功，而是這些樂團──至少在鞭團的眼中是如此──褻瀆了這個原本純淨的音樂類型，使它變得商業化。這個由 Black Sabbath、Judas Priest和 Iron Maiden這些重要音樂家所幫忙建立起的類型，不容如此遭到踐踏。 And there they came to fulfil that ambition. Anthrax, Megadeth, Metallica and Slayer. Though each of them had a unique approach to the genre, and incorporated many different elements in each of their respective unique styles , their goal was the same. It is with good reason they are referred to as the Big Four, as they literally, though apart from each other, created the genre. All of them fell into eventual demise, some more than others, at some point, but their legacy had been set long ago. 於是他們來實現這個抱負了：Anthrax、Megadeth、Metallica和Slayer。每團都在這個類型中獨開蹊徑，而結合他們各自風格中的不同元素，他們有著相同的目標。這就為什麼他們被稱為「四大天王」，因為儘管風格各異，他們卻是共同創造了這一個派別。而四團也都在最終走向墜落，有些團在某些方面比其他團墮落得更明顯，但他們的傳奇早在久遠之前便已建立。 Though all formed in the early 80’s, each of the Four spent a few years before finally finding perfection of style. And as if it was simply meant to be, all four of them recorded/released what is considered by many the peak in their discography in the year of 1986. In chronological order, these records are Master of Puppets by Metallica, Reign in Blood by Slayer, Peace Sells… But Who’s Buying? by Megadeth, and Among the Living by Anthrax. Seen as the cornerstones of thrash metal, they are essential to get to know what thrash metal was in fact all about. 雖然都成立於80年代初期，這四個樂團都花了幾年時間才各自找到完美的風格。而彷彿是有意的一般，四團都在1986這一年錄製／發行了他們公認的顛峰之作。按推出順序排列，這四張專輯分別為：Metallica的《Master of Puppets》、Slayer的《Reign in Blood》、Megadeth的《Peace Sells… But Who’s Buying?》，以及Anthrax的《Among the Living》，皆被認為是鞭笞金屬的奠基之作，是認識鞭笞金屬究竟為何物的必備教材。 Part I of IV: Master of Puppets, by Metallica 四之其一：《傀儡大師》──金屬製品專輯 Prologue 前言 Metallica were formed in Los Angeles, California in early 1981. Drummer Lars Ulrich posted an advertisement in LA newspaper The Recycler, stating simply he was looking for a band. James Hetfield, having previously played in a number of unstable and unknown bands, was introduced to the band as vocalist and rhythm guitarist. After finding their name in Metallica, the band’s initial composition was completed by lead guitarist Dave Mustaine and bassist Ron McGovney. Metallica在1981年初期，成立於加州的洛杉磯。鼓手Lars Ulrich在地方報紙The Recycler上刊登徵人廣告，簡單敘述他想組一個團。曾待過幾個短命、不知名樂團的 James Hetfield，加入他的行列，成為該團的主唱和節奏吉他手。在各個人選敲定之後， Metallica的初期陣容組成，包含了主奏吉他手Dave Mustaine和貝斯手Ron McGovney。 This would not last, however. When Metallica saw Cliff Burton play in his previous band Trauma, they were so sure about his superiority to McGovney they decided to replace him. Mustaine would not last for too long either, being kicked out for drug and alcohol abuse, along with violent behaviour. Kirk Hammet of Exodus quickly replaced him, and has remained with Metallica ever since. Mustaine, feeling angered and betrayed (for he felt Hammet was stealing the riffs he wrote), would continuously feud with Metallica. 這個陣容維持不久。當Metallica看到Cliff Burton在他的前一個團Trauma中的表演，馬上確定他比McGovney優秀得多，隨即決定更換貝斯手。Mustaine也不會待得太長，他後來因為喀藥和酗酒，以及暴力問題，而被踢出樂團。Exodus的Kirk Hammet很快取而代之，並從此留在Metallica。Mustaine則感到憤怒和遭背叛（他覺得Hammet等於是偷了他寫的 Riff），此後長年與Metallica為敵。 When all tensions were settled, a now finally stable line-up went on to record three albums: The very raw and badly-produced debut Kill ‘Em All in 1983, the slightly more refined but still under-produced Ride the Lightning in 1984, and this in 1986: Master of Puppets. The album was recorded in Copenhagen, Denmark in 1985, and released on March 3, 1986. It was not only the first of the famous 1986 albums, but also the most popular (though its popularity rose only in truly great amounts after the release of The Black Album). 當大勢底定，這個穩固下來的陣容陸續錄製了三張專輯：粗糙生猛、製作不良的處女作《 Kill ‘Em All》（1983）、製作上較為進步，但仍嫌不夠精良的《Ride the Lightning 》（1984），以及現在要談的《Master of Puppets》（1986）。這張專輯1985年在丹麥的哥本哈根錄製，並於1986年3月3日推出。這不但是1986年第一張聲名大噪的專輯，也是最受歡迎的一張（在黑專輯發行後人氣更是扶搖直上）。 Master of Puppets 正文：《傀儡大師》 Master of Puppets’ Metallica was: 本專輯中，樂團陣容如下： - James Alan Hetfield ~ Lead Vocals, Rhythm Guitar - Kirk Lee Hammett ~ Lead Guitar - Clifford Lee Burton ~ Bass Guitar, Backing Vocals - Lars Ulrich ~ Drums Artwork by Don Brautigam 美術設計：Don Brautigam The eventual success of MoP in the musical, and especially heavy metal world, is stunning to say the least. Many critics have cited it as one of the finest metal albums ever released, and so have fans. The band repeats this opinion, seeing their third as their very best album ever. 《MoP》在音樂上，尤其是在金屬樂這塊領域上的成功，真是好到沒話說。很多樂評將它評為史上最優秀的金屬樂專輯之一，歌迷也一樣。樂團也重複這樣的觀點，認為他們的第三張專輯是自己最棒的專輯。 So what makes Master of Puppets all that attractive? In order to find that out, one would have to look further back, and to take in mind the environment that was all around at the time of release. Fans of classic heavy metal pioneered in Britain were getting bored with the all too often commercial approach America liked to take, and saw thrash metal as a salvation, as mentioned before. Rough, angry, and ranting against the rules and problems of society was a style of music a large crowd all easily identified with. 那麼，是什麼令《Master of Puppets》具有如此魅力？要發現這個答案，你必須回首過去，注意專輯推出時的整個時空背景。如前所述，喜愛英國所開拓出的那些傳統重金屬風格的樂迷，對於金屬樂在美國往往變得商業取向這點已感到厭煩，而將鞭笞金屬視為救星。它草莽、憤怒，吶喊著對抗體制以及社會問題的音樂風格，讓大批群眾很輕易就能與它產生共鳴。 But it mustn’t be that easy a reason for MoP’s enormous success, must it? After all, Metallica’s first two were also very much pioneering the thrash metal genre, with about the same approach as their third. Still, there are quite a few things that elevate Master of Puppets above its predecessors. The most important of these factors is focus. Focus to create an unified album. Not just a collection of thrashing about, no, but an album that felt as a complete experience. And this is exactly what Metallica achieved in 1986. Master covers just about every famous thrash topic, keeping the subject matter diverse, and yet making sure it all fits together. Addiction (Master of Puppets), war (Disposable Heroes) and religion (Leper Messiah) jump out as most effective. While the lyrics are not the most poetic to come up with, they match the attitude of thrash metal completely. Or, better said, they are the attitude of thrash metal. Detractors of the lyrics, describing them as dumb and/or uninspired, seem to forget that the way they were written is one of their strengths, and a key feature that contributed to the audience’s identification with thrash in the first place. 但《MoP》能如此成功的原因必然不會這麼簡單，對吧？畢竟，Metallica的頭兩張專輯同樣也是鞭金開疆之作，他們的第三張專輯也是延續同個路線。然而，有許多因素讓《 Master of Puppets》超然於它的兩張前輩。其中最重要的一點就是「集中」，集中去創作一張統一的專輯，不僅僅是一張鞭金作品的集合而已，不，遠不止於此，而是一張完整的體驗；這就是Metallica在1986年所辦到的。《Master》幾乎涵括了每個知名的鞭金歌詞主題，令歌曲主旨多樣化，但同時確保他們彼此契合，尤以毒癮（〈Master of Puppets〉）、戰爭（〈(Disposable Heroes〉））和宗教（〈Leper Messiah〉）三個主題發揮得最為搶眼。雖說歌詞寫得不算優美，但與鞭金所代表的態度非常相配。或者，更適切地說，它們就是鞭金所代表的態度。貶低其歌詞者斥之為愚蠢又／或平庸，似乎忘了這種寫作風格正是它們的一個優點，是讓聽眾能立即認同鞭笞金屬的一個關鍵。 Structurally, Metallica seemed to be ripping off their own ideas. Just compare Master of Puppets to its predecessor Ride the Lightning. Both contain fast-paced openers with an acoustic intro (Fight Fire With Fire/Battery), 8 minute instrumental tracks towards the end (Call of Ktulu/Orion), a ballad in the fourth spot (Fade to Black/Welcome Home), and also the title tracks are among the longest offerings on both albums. The band must have liked the structure, otherwise they wouldn’t have copied it, but a much better production and more focused and unified song writing make for a largely superior second try, and arguably each of the comparable tracks has the winner on Master of Puppets. If looked at carefully, the album is actually far more of an intelligent affair compared to Ride the Lightning. 在結構上，Metallica似乎是自我抄襲。將《Master of Puppets》和上張專輯《Ride the Lightning》拿來相比，兩者都以前奏是空心吉他的快節奏歌曲作為開場（〈Fight Fire With Fire〉／〈Battery〉），接近結尾前也都出現了長達8分鐘的樂器演奏曲（〈 Call of Ktulu〉／〈Orion〉），在第四首歌的位置也都安插了抒情歌（〈Fade to Blac 〉／〈Welcome Home〉），並且兩張專輯的同名曲也都是專輯中最長的歌曲之一。該團一定很喜歡這樣的結構安排，不然也不會又照抄一遍。但更良好的製作品質，以及更集中、統一的寫作風格，使得第二次嘗試的成果大幅超越了上一次，而且恐怕前面每首拿來比較的作品，都是《Master of Puppets》勝出。如果再仔細一點審視，這張專輯其實比《 Ride the Lightning》更加經過精心策劃。 However positive all the above may be, Master of Puppets has one undeniable flaw: the musicianship. It is not bad per se, but lack of variety is of more concern. The distorted, chunky riffs that form the backbone of every song are too often played in the same key, at the same pace, and continued for too long, making for a repetitive experience. Burton gets enough time to shine in these riffs, as his distorted bass sound is easily distinguished in the mix. Hammet, however, comes across as too uncreative and slightly unoriginal for a too great part of the album. With moments such as the melodic part of the title track, the more emotional guitar work on Welcome Home, and solos such as the one on Disposable Heroes, he shows his chops like he should, but the problem is that he doesn’t show them enough. Also, the band tends to continue the same regular thrashing pattern for too long in a song, which may come across as rather bland. This is one thing which inevitably drags the album down. With addition of more originality and creativity in the song writing department, Master of Puppets might well have been a masterpiece. 然而雖然有上述的優點，《Master of Puppets》有著一個無可否認的缺陷：音樂才華。專輯本身不差，但未免缺乏變化。厚實的破音Riff是每首歌的骨幹，但太常以同樣的調子、同樣的速度演奏，而且也太長、太囉唆了。Burton在這些Riff中有足夠機會一露身手，而他破音的貝斯聲在混音中聽來獨特可辨。但在整張專輯中份量頗重的Hammet，其表現很不巧地太沒創造力，並且有點缺乏創意。在同名曲的旋律段落、〈Welcome Home〉較抒情的吉他編曲，以及〈Disposable Heroes〉等歌曲的Solo上，他都按本分展現了吉他本領，但問題是，表現得不夠。此外，樂團不斷重複同樣的段落也太久了，幾乎讓人感到煩悶，這不可避免地拖累了整個專輯的水準。假如他們在歌曲寫作上能多展現一點創意和創造力，《Master of Puppets》應該會成為一張不世出的傑作。 That doesn’t say every song sounds the same. If that would be true, the album would have been rather poor. The Thing That Should Not Be, for instance, is often underappreciated for being too slow. Being slower is instead what makes it rather interesting instead. The build-up in the verses, both vocally and instrumentally, is very well-carried out, and definitely a highlight. Battery and Damage, Inc. manage to both open and close off the album with fiery madness, and Welcome Home is a well-performed ballad with Hetfield attempting actual singing (and pulling it off, too) instead of the often angry shout that early Metallica and thrash in general are often associated with. The revered instrumental Orion is also an essential piece. Although it also continues the same pattern for too long in parts like other tracks, it features more creativity and flows better than any of the others. Its lead/rhythm guitar interplay is more notable than on any other song , the bass work really stands out in a few places (fade-in at the beginning, plus a solo), and Ulrich’s overly simple drumming actually adds something to the track, especially in the beginning. This all makes for the musically most interesting piece on MoP. 這並不是說每首歌都聽起來如出一轍，這樣的話，這張專輯將會令人不忍卒聽。舉例而言，〈The Thing That Should Not Be〉常因速度太慢而被低估，但速度慢正是令它耐人尋味之處。正歌的砌疊，無論是演唱上或演奏上，都實踐得很好，絕對是首佳作。Battery 和Damage, Inc.這兩首歌，賦予專輯熾烈狂熱的開場與收尾。〈Welcome Home〉是首演繹優秀的抒情歌，Hetfield在此試著真正地去「唱」歌（並且頗收成效），而非以 Metallica早期以及鞭金常見的嘶吼方式演唱。〈Orion〉這首可敬的樂器曲，也是一首經典之作。雖然它也像專輯中的其他作品一樣，重複同樣的段落太久，但它比其他歌表現得更有創造力也更加流暢。主奏／節奏吉他間的互動比其他歌更加顯著，貝斯的編曲在某些地方實在出色（開頭的淡入，另外還有一段solo）。而Ulrich過度簡單的打鼓風格，事實上替本曲增添了某種韻味，尤其是在開頭之處。這一切創造出這首在《MoP》中，音樂最富興味的作品。 So HOW good does that make Master of Puppets, adding that all up? It is, like the other 3 Big Thrash Albums, an excellent piece of work, thematically more unified than Metallica’s earlier work, and also much better produced. Although repetitive at times, the musicianship is still of enough quality to carry out the goal set by the album. You’ll have to properly see it in the environment it was released, and it will definitely make more sense to you, especially if it might have seemed rather average at first. Though one of the most influential albums of all time in (thrash) metal, (one of) the other three may just be more appealing, depending on your preference. Read, listen, and find out. 那麼，綜合上述種種，《Master of Puppets》到底好到什麼程度呢？就像其他三鞭的那三張專輯一樣，它是張傑出的作品，歌曲主題比Metallica早期的作品更加統一，而且製作更為精良。雖說在創作上有時顯得嘮叨，但其音樂才華仍足以實現專輯所想要達到的目標。你必須要把這張專輯放在它所推出的那個時空背景下去看，這一切才會更具說服力，尤其乍聽之下，它似乎稀疏平常。作為（鞭笞）金屬史上最有影響力的專輯之一，其他三張（之一）可能顯得更吸引人，端看你的喜好。去看、去聽、去找到那個答案。 Essential listening: 推薦聆聽： Battery Master of Puppets Welcome Home (Sanitarium) Orion Epilogue 結語 Metallica were the first of the Four to fall into demise, at least concerning the style they helped to pioneer. The most talented bassist they would ever have died in a bus accident while on tour to promote the album. Their next and fourth album, ...And Justice for All, would be hung down by unfocused and overlong song writing. What followed was Metallica’s dive into the mainstream with The Black Album, a venture into a hard rock-ish style on Load and Reload, and more unwanted experimentation on St. Anger. Their recent album Death Magnetic was hailed as a return to their thrash roots, but was, unsurprisingly, nowhere near early glories. What they achieved with Master of Puppets, they would certainly never achieve again. Metallica是四天王中第一個「駕崩」的，至少在他們開疆闢土幫忙建立起的這個流派中是如此。該團團史上最才華洋溢的貝斯手，將在這張專輯巡迴的途中，不幸死於巴士意外。他們的下一張也是第四張專輯，《...And Justice for All》，將會被它冗長失焦的歌曲寫作拖累。再下一張則是Metallica投身主流的「黑專輯」，接著是投機走硬搖路線的《Load》和《Reload》，和眾所不樂見的實驗風格的《St. Anger》。他們的最新專輯《 Death Magnetic》雖然以回歸鞭金本色之姿受到高度喝采，但毫不意外地，完全難見往日榮光。他們曾以《Master of Puppets》所達到的那個成就，將再也不會重現。 To be continued in Part II: Reign in Blood... 下一回：超級殺手《血腥國度》（高仕艷　譯） -- I had nothing but the embittered sun... 我一無所有，除卻那怨毒的太陽…… -- ※ 發信站: 批踢踢實業坊(ptt.cc) ◆ From: 114.38.119.217

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