原始名称
精选上位词
band on the run
简介
by Eugene Chadbourne This masterpiece of pop perversion belongs to a small but steadily-growing category of complete album remakes, in which an artist or band takes on the reinterpretation of an entire album, song by song. Not to attempt a complete list, but examples of this artistic approach to disc-napping include Pussy Galore taking on the entire Exile on Main Street opus, the French folksinger Red doing an entire Leonard Cohen album, and of course, Camper Van Beethoven recording all of Fleetwood Mac's Tusk . Now here is Paul McCartney's Band on the Run album taken on by several musicians who have long established themselves as weirdos. Don Fleming gets the nod for leadership in this venture because his name appears the most on the liner notes. He prepared the original set of vocals as well as taking part in further remixing and manipulation, plus overall production and design. Tom Smith came along for a second attack on the vocals, then did editing, further mixing, and assemblage on his own a couple of years later. Julia Cafritz, Joe Defillips, and Kim M. Rancourt are also listed, presumably for involvement in creating the original vocal tracks. Fleming has an outstanding career in a variety of exciting rock bands, while Smith's involvement with projects such as To Live and Shave in L.A. is reason enough that his name inevitably shows up on any short list of the most obnoxious, in-your-face music ever recorded. Rancourt's vocal prowess has been well-demonstrated in a group called When People Where Shorter And Lived Nearer the Water, his taste for the pop cheese wheel leading him to slice into horrifying selections by Bobby Goldsboro, for example. When it comes to creating a version of an entire album, the so-called masterpiece seems to be just as much fair game as a record that was considered total crap. And of course there are albums, such as the original Band on the Run, which have been labeled as both by critics. The approach Fleming and accomplices take can hardly be considered pop-friendly -- indeed, this is something of an all-out assault in which the recognizable aspects of the original songs bear the same relationship to everything else going on as a single band-aid does to a huge, gaping gash that is oozing blood. Despite this gross image, it should be noted that, at least by Smith's standards, this is fairly subtle noise-making. In fact, that subtlety is at the crux of what makes this such a superb recording. It is all well and good, quite fun, and quite easy to heap bizarre noise on top of McCartney ditties, but there are parts of this that have the exquisite, complex detail of some of Karlheinz Stockhausen's masterpieces of electronic music. One question that is sure to be asked in relation to this kind of project is, does the listener have to be familiar with the original album? Most film critics judging a remake would insist on having seen the original, yet many of the album remakes seem to have a much more sarcastic, surreal approach. The filmmaker's hope that the remake will match or surpass the success of the original is hardly an issue when it comes to these types of recordings. Someone who loves Leonard Cohen would no doubt enjoy the similar-sounding Red, and the same can be said for the relation between the Rolling Stones and Pussy Galore. This version of Band on the Run, on the other hand, seems designed to provide a lobotomy for fans of McCartney's style of fluffy sentimentality. From that point of view, the Fleming and Smith creation might be more enjoyable to people who don't know anything at all about the original Band on The Run. While it might be assumed that anyone who likes the original would vomit listening to Fleming's version, that assumption neglects the many fawning comments avant garde noisemakers have made about well-produced pop classics. On the other hand, despite the choking control of the pop hit parade, there are probably many listeners who have totally avoided the catalog of McCartney after he left the Beatles. Such a listener will no doubt recognize the most famous songs from the album, but will have no understanding of any "deep" artistic statement being made concerning the original sequence of songs or overall philosophy of the McCartney original. Probably both content, and enough luck to live in such a state of ignorance, that listener can still dive into this deep pool of audacious recording techniques, thrilling at the wacky editing and an influx of odd sounds that are as vast as these performers' collective experiences in being off-the-wall. The original Band on the Run seems like the legendary Blarney Stone in terms of the inspiration it has provided. The final result, strangely enough, smacks of a kind of reverence, as if McCartney's songs were rays of light breaking through a long night of lunacy.
| 发行时间 | 2007-05-22 |
|---|---|
| 名称 | band on the run |
| 唱片公司 | emi百代唱片 |
| 收藏数 | 1 |
| 歌手 | 群星 |
| 状态 | 未发布 |
| 类别 | 录音室专辑 |
| 语言 | 英语 |
| 风格 | pop |