Primus

中國(guó)的搖滾愛(ài)好者認(rèn)識(shí)Primus也許是在94年Woodstock音樂(lè)節(jié)上，全長(zhǎng)中表演最激動(dòng)人心的可能就當(dāng)書(shū)Primus和Red Hot Chill Peppers了。其實(shí)Primus的激動(dòng)不安早從91年就開(kāi)始了，這一年里他們發(fā)表了首張專(zhuān)輯&Sailing The Seas Of Cheese&。這支三人組合已出現(xiàn)就震動(dòng)了舊金山城，狂野不羈的嬉皮風(fēng)格與當(dāng)時(shí)席卷全國(guó)的西雅圖風(fēng)潮實(shí)在是太背道而馳了。主音Les Claypool也許是90年代以來(lái)最不可思議的歌手和創(chuàng)作歌手，他與他的同伴們?cè)谶@張唱片里對(duì)陳腐的傳統(tǒng)搖滾樂(lè)著實(shí)作了一次徹底的大手術(shù)。他們?cè)诒砺蹲孕诺耐瑫r(shí)也沒(méi)忘記自嘲。專(zhuān)輯第二首&Here Come The Bastards&就是Primus亮出的第一面旗幟。 而他們的具體行動(dòng)就是樂(lè)器演奏上的毫無(wú)章法。Les同時(shí)也是貝斯手，因此可以猜到Primus 與一般搖滾樂(lè)隊(duì)結(jié)構(gòu)上的差別。在Primus的一出出音樂(lè)劇中，貝斯扮演的不再是一個(gè)模糊的配角，反之成了樂(lè)團(tuán)表達(dá)自己情感旗幟火力最強(qiáng)的一劑彈藥。唱片中的一首&Fish On& 就是一次長(zhǎng)達(dá)7分40秒的樂(lè)器革命。樂(lè)團(tuán)吉他手也彈奏班卓琴，這為Primus的情感表達(dá)提供了一個(gè)更寬容的管道，不能不提的是Les的演唱，更多的時(shí)候你感覺(jué)自己聽(tīng)到的更像是滑稽劇中小丑干巴巴的獨(dú)白。
 
兩年后，正當(dāng)Interscope公司的奇兵4 Non Blonders震懾全球時(shí)，他們的同門(mén)師兄Primus又精神抖擻的制作了第二張大作&Port Soda&。這三位怪人更加變本加厲地實(shí)踐這個(gè)革命方針；旋律和節(jié)奏則早已被他們?nèi)缘脽o(wú)影無(wú)蹤，因此很多作品呈現(xiàn)出的是由一個(gè)個(gè)碎片構(gòu)成的塊面；最領(lǐng)唱人無(wú)法容忍的是他們往往會(huì)樂(lè)此不疲的對(duì)一個(gè)最簡(jiǎn)單的音節(jié)做無(wú)休止的重復(fù)。Les的唱腔也依舊陰陽(yáng)怪氣，毫不該色。在一首&The Air Is Getting Slippery&中，Les手中的曼陀林則變成了一支漫畫(huà)筆，一副副生動(dòng)有趣的畫(huà)面便躍然眼前了。專(zhuān)輯的最后一首是音樂(lè)版的&Hail Santa&，但Primus的演奏與歌名是自相矛盾的，無(wú)精打采的走音吉他勾線與有氣無(wú)力的鈴聲對(duì)應(yīng)著這一年最后的燭光晚餐。
 
在92年，初露鋒芒的Primus曾不甘寂寞的發(fā)表過(guò)一張EP&Miscellaneous Debris&，三杰這次選擇了前輩藝人的原材料來(lái)表現(xiàn)自己的膚色和智慧。如Peter Gabriel的&入侵者&， The Residents樂(lè)團(tuán)的&不幸的夸張者&，The Meters樂(lè)團(tuán)的&搖搖晃晃的腳趾&，甚至Pink Floyd的&叼一支雪茄&。他們用仿舞曲的套路重新演習(xí)了搖滾史上的經(jīng)典動(dòng)作，精湛的演技令主流非主流界目瞪口呆。在&不幸的夸張者&中，Les變成了一只邪異的夜貓像傳統(tǒng)的搖滾發(fā)出了最富戲虐感的嘲笑，儀表堂堂的搖滾建筑從這時(shí)起正式走入了崩塌時(shí)代。Primus顯然已成為革命隊(duì)伍中的一名堅(jiān)定的勇士。
 
1995年，煤油爐又一次點(diǎn)燃了火焰。人們又一次被他無(wú)窮的能量與動(dòng)力震懾了，樂(lè)談很就沒(méi)有出現(xiàn)一樣像&Tales From The Punchbowl&這樣具有豐富內(nèi)涵與幽默性的唱片了。至此，這群怪杰的本色一覽無(wú)遺了；Primus讓有心人感到欣慰的就是他們把即興視成了音樂(lè)的命脈，相信很多功成名就的藝術(shù)家面對(duì)這兩個(gè)字是不能不汗顏的。而Primus在音樂(lè)世界里所做的一切都是在盡情嘲笑兩個(gè)字，這就是修飾。因此，Primus在搖滾大軍中流露出的優(yōu)越感是十分自然的。
 1996年，Primus參加了Interscope旗下獨(dú)立的灌錄。共由21支樂(lè)壇著名的重型機(jī)械參與組合。令人吃驚的是樂(lè)團(tuán)核心Les在同年發(fā)表了一張個(gè)人專(zhuān)輯&High Ball With The Devil&。蛻變后的Les面對(duì)惡質(zhì)的處境顯得更鎮(zhèn)定自若了，以往Primus的那種狂散步羈消失了，代之的是一份迷亂幽深的氣質(zhì)；然而，Les&不正經(jīng)&的怪人本色始終在一路延續(xù)著，這吸引了一些德高望重的老前輩前來(lái)助陣。在&Delicate Tendrils&中，70年代Punk樂(lè)隊(duì)Black Flag 的主音Henry Rollins與Les進(jìn)行了一次忘年合作，Henry冷感的獨(dú)白配合著Les雷打不動(dòng)的軍樂(lè)式演奏，映射了現(xiàn)代生活殘忍的人性廢除。換血后的Les依然沒(méi)有忘記摯愛(ài)的樂(lè)器試驗(yàn)，&Calling Kyle&，&Delicate Tendreils&，&The Awakening&，&Carolina Rig&都是貝斯與鼓搭檔演出，這些也都是音樂(lè)家最原始直覺(jué)的濃縮。此外，Les的詞也離歌曲越來(lái)越遠(yuǎn)，反而更像寓言詩(shī)了，這時(shí)我們會(huì)清楚的發(fā)現(xiàn)Les與他周?chē)牟柯淙后w是多莫的格格不入。這讓人們漸漸產(chǎn)生了一個(gè)疑問(wèn):像Les這樣脫離公眾軌道獨(dú)自運(yùn)行是離搖滾更遠(yuǎn)還是更緊了呢?
 
就在我們以為Primus快成為記憶時(shí)，他們又給了我們一則讓人驚喜的消息:他們剛推出了第六張專(zhuān)輯&Brown Album&。盡管我們還沒(méi)來(lái)得及仔細(xì)聽(tīng)聽(tīng)這張唱片，但依然能感受到這張唱片復(fù)雜的風(fēng)格，F(xiàn)unk，Jazz，F(xiàn)usion，Country甚止30年代的Big Band，最重要的是Primus 并沒(méi)有背叛自己和人群。他們毅然堅(jiān)守者初衷，但出招卻越來(lái)越迅猛，以至于你不敢相信這個(gè)腐朽的年代，還有這樣一群革命者依然在堅(jiān)守著一種寧死不屈的姿態(tài)。你看，他們又開(kāi)始變形了，頓足爵士舞曲，軍樂(lè)進(jìn)行曲，東倒西歪的卡通，昂首闊步的隊(duì)列曲……最終你會(huì)明白他們對(duì)前景無(wú)休止的欲望已超越了開(kāi)拓新路本身。他們就像三個(gè)來(lái)自遠(yuǎn)方的古怪男子，一路沿街叫賣(mài)者荒誕的偏方和苦悶的解藥；當(dāng)他們招搖者呼嘯著肆笑著與你擦健而過(guò)時(shí)，你會(huì)突然感到那并非是一種無(wú)聊消極的生命方式，而在這面不規(guī)則形的鏡子里， 你會(huì)照見(jiàn)自己的身影。
 
Primus is all about Les Claypool; there isn't a moment on any of their records where his bass isn't the main focal point of the music, with his vocals acting as a bizarre side-show. Which isn't to deny guitarist Larry LaLonde or drummer Tim &Herb& Alexander any credit; no drummer could weave in and around Claypool's convoluted patterns as effortlessly as Alexander, and few guitarists would willingly push the spotlight away, like LaLonde does, just to can produce a never-ending spiral of avant-noise. All of this means that they are miles away from being another punk-funk combo like the Red Hot Chili Peppers; Claypool may slap and pop his bass, but there is little funk in the rhythm he and Alexander lay down. Instead, they're a post-punk Rush spiked with the sensibility and humor of Frank Zappa. Primus' songs are secondary to showcasing their instrumental prowess. Their music is willfully weird and experimental, yet it's not alienating; the band was able to turn their goofy weirdness into pop stardom. At first, the band was strictly an underground phenomenon, but in the years between their third and fourth albums, their cult grew rapidly. 1991's Sailing the Seas of Cheese went gold shortly before the release of Pork Soda. By the time of the album's 1993 release, Primus had enough devoted fans to make Pork Soda debut in the Top Ten. After touring for a year — including a headlining spot on Lollapalooza 1993 — Claypool revived his Prawn Song record label in 1994 and released a reunion record by Primus' original lineup under the name Sausage. In the summer of 1995, Primus released their fifth album, Tales From the Punch Bowl. It was another success, going gold before the end of the year. In the summer of 1996, Primus announced they were parting ways with their drummer, Tim Alexander. He was replaced by Brian &Brain& Mantia, who made his debut on The Brown Album, which was released in the summer of 1997. The covers EP Rhinoplasty followed in 1998, and a year later, Primus returned with Antipop. Antipop was a departure from previous Primus albums, as different producers were used on almost each track (including such notables as Rage Against the Machine's Tom Morello, Limp Bizkit's Fred Durst, Tom Waits, South Park creator Matt Stone, and former Police drummer Stewart Copeland) and it featured such guest artists as Metallica's James Hetfield and former Faith No More guitarist Jim Martin. After a supporting tour wrapped up in 2000, Mantia left the band to join Guns N' Roses. Claypool talked about reuniting with former drummer Tim &Herb& Alexander in the press, but shortly afterward announced that Primus was going on indefinite hiatus. During the ensuing break, Claypool focused on recording the debut album by his side project, Oyster Head (who also included Copeland and Phish guitarist Trey Anastasio), as well as releasing his two-part solo outing, Live Frogs: Set 1 and Set 2.