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我相信，来这里的朋友大多都是听英式摇滚很长时间的，对于Brit-pop早已了然于胸。我想有这么一篇介绍性的东西还是有一定价值的。这是AMG给Brit-pop下的定义，应该有一定的权威性。其实，“音乐风格”这种东西并没有严格的概念和界限，一切还是基于听觉的某种连续性和相似性。给音乐下定义，更多的是乐评家赖以生存的把戏，以及乐迷之间侃大山的谈资。
希望我们大家不要被“音乐风格”限制，各种风格的音乐都有伟大作品的存在！
Brit-pop
The Beatles established a long-running British tradition of tuneful, guitar-driven pop bands, a tradition that was refreshed and updated every so often by new musical movements. Britpop, however, refers to the legion of ''90s bands who drew more consciously from that tradition than ever before. Although the movement originated in the U.K. indie scene, Britpop was unabashedly commercial - its bands prized big, shiny, catchy hooks, as well as the glamour of mainstream pop stardom and the sense that they were creating the soundtrack to the lives of a new generation of British youth. And it was very definitely British youth they were aiming at; Britpop celebrated and commented on their lives, their culture, and their musical heritage, with little regard for whether that specificity would make them less accessible to American audiences. Britpop''s youthful exuberance and desire for recognition were reactions not only against the shy, anti-star personas of the early-''90s shoegazer bands, but also the dourness of American grunge and the faceless producers behind the growing electronic-dance underground. Musically, Britpop drew from the Beatles, of course, but also from the pastoral sound of late-''60s Kinks, the mod movement (the Who, the Small Faces), ''70s glam (David Bowie, T. Rex, Roxy Music), punk and new wave (the Jam, the Buzzcocks, Wire, Madness, XTC, Squeeze, Elvis Costello), and the alternative guitar-pop of the Smiths. All those artists were quintessentially British — they crafted their images, lyrics, and sounds from a distinctly British frame of reference, which was why few of them became anything more than cult artists in the U.S. (and why Britpop functioned much the same way). Apart from those influences, Britpop had its most immediate roots in the Madchester scene, whose emphasis on good times and catchy tunes pointed the way around the shoegazer aesthetic. The Stone Roses'' effortless pop hooks and rock-star attitude were the most important part of the foundation, but the true founding fathers of Britpop were Suede. Released in 1993, their self-titled debut became an unexpected smash with its fusion of glam-rock majesty and Smiths introspection. Suede opened the doors for even bigger breakthroughs in 1994 by Blur (Parklife) and Oasis (Definitely Maybe), who quickly became Britpop''s two most popular superstars. With their success came a giddy explosion of similarly inspired bands; Elastica, Pulp, Supergrass, and the Boo Radleys were among the biggest. In 1996, Oasis became the only Britpop band to become genuine mainstream stars in the U.S. 1997 brought the first signals that the Britpop boom was beginning to run out of steam, namely Oasis'' poorly reviewed third album and Blur''s move toward American indie rock. Yet even after the movement''s star began to fade, several individual bands kept going strong, and the less youth-oriented British trad rock movement kept its classicism alive.
The Beatles 的吉他乐队流行曲，长期以来形成了英国音乐的传统。这种曲调优美的音乐形式，随着每一次新音乐运动而不断更新。然而，英伦摇滚借鉴了大批90年代乐队，这些乐队比之前的其他乐队更加有意识的延续了The Beatles的音乐传统。尽管(Brit-pop)这种音乐形式起源于英国音乐独立时期，然而英伦摇滚音乐却不加掩饰的商业化了---这些乐队被高度重视、身上布满光环，像主流音乐的流行明星一样的吸引大众。并且他们为新一代英国年轻人的生活创造了新的精神环境。毫无疑问，英伦乐队瞄准的是英国的年轻一代——他们唱出了英国年轻人的生活、文化和音乐追求，而很少关心他们的这种针对性很强的音乐是否为美国听众所接受。英伦摇滚年轻的活力和渴望被认可的特点不仅是对90年代早期低调shoegazer风格乐队的回应，而且是对美国阴沉的Grunge音乐以及在新崛起的地下电子舞曲背后搞创作的乐手的回应。从音乐上来看，英伦摇滚沿袭了the Beatles，当然也融合了60年代晚期Kinks的田园之声，中速音乐（the Who, the Small Faces），70年代的迷幻（David Bowie, T.Rax, Roxy Music），朋克和新浪潮（the Jam, the Buzzcocks, Wire, Madness, XTC, Squeeze, Elvis Costello），还有the Smiths的另类吉他流行。所有的这些乐手都是英国音乐的精髓---他们用明显的英国思维极大的发挥想象，作词和谱曲，这也是他们几乎无法在美国成为偶像艺人以及造成英伦摇滚形式单一的一大因素。除受以上乐队影响外，英伦摇滚在曼彻斯特拥有最直接的根基，那里强调无忧无虑的美好时光，偏重于shoegazer的美学——曲调优美易记。The Stone Roses的颓靡流行风格和摇滚明星的姿态是英伦摇滚创立的主要部分，但是真正意义上的英伦摇滚之父应当属于
Suede。在1993年他们以同名专辑第一次发行唱片时，他们那融合了迷幻摇滚的华丽和Smiths的内省的音乐，使他们获得了意想不到的巨大成功。Suede为之后1994年Blur（Parklife）和Oasis（Definitely Maybe）更强烈的突破开启了大门，使他们很快地成为了英伦摇滚的两大最流行的巨星。通过前两者成功，其他风格相似的乐队纷纷涌出——Elastica, Pulp, Supergrass, the Boo Radleys也同样并列于巨星行列。到了1996年，只有Oasis真正成为了美国乐坛主流音乐的明星。1997年英伦摇滚盛行的光环逐渐消失，也就是Oasis第三张专辑表现不佳和Blur转向美国独立摇滚的时期。然而就在巨星们的光辉慢慢暗淡之时，仍有些独立乐队继续保持强大的势头，英伦传统摇滚的运动继续保持活跃。
[Translated by ChooseLife]
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AMG连接 >>>britpop |
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发表于 2005-4-2 13:29
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