primus -《suck on this》[APE]

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  • 时间: 2006/06/06 23:40:33 发布 | 2006/06/06 23:40:33 更新
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专辑中文名suck on this

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来自美国加利福尼亚西海岸乐队 primus 成立于1984 年,由贝司手兼主唱 les claypool倡导、吉他手 todd huth(后来由 larry lalonde 替换)和鼓手 tim alexander,这是一支怪诞、疯狂、激进而不可思议的乐队,他们音乐的特点就是没有规律和章法。
终于在1990年推出首张专辑《suck on this》,迸发出claypool的在音乐上的另类奇能。专辑收录的是他们在俱乐部的现场录音,并以他们自己的厂牌 prawn song出版发行的,歌曲中充满了轰轰的贝司和怪诞的唱法以及显示非传统的词曲创作。在一系列巡演之后他们又推出专辑《Sailing The Seas Of Cheese》,这次特别邀请了Tom Waits献声,这张专辑确定了他们的音乐轮廓。
在1993年乐队成功推出《Pork Soda》,三个怪人本着实践和打破传统的方针,玩的更加过火,旋律对于他们已经没有意义,而是被分解的支离破碎,1995年《Tales From The Punchbowl》发行,这是一张具有幽默感的蕴藏无限能量的作品。后来的《Brown Album》专辑和《AntiPop》也没有改变他们一直狂放的怪异性情,音乐更是体现出各种各样的奇异风格。Primus不管外界何种态度,忠贞不渝、视死如归的搞自己的音乐创作,实在令人佩服。



Year Of Release: 1990

Whether it was due to a special artistic wish or the lack of funds to pay for studio time, I don't know, but fact is, Primus made their debut album a live one; and huh, considering that most of the songs on here eventually made it onto subsequent studio releases, this makes up for an unprecedented situation, to my knowledge at least (sure there have been particular songs recorded live by artists who only later incorporated them into their studio output, but a whole album?).

Fortunately, it's not the only unprecedented thing for this Primus release. They are often called a "metal-funk" crew, but there were earlier metal-funk crews already (from Faith No More to Red Hot Chili Peppers); Suck On This, to me, often seems more like a "punk-jazz" record instead, which is a different - and even much more rare - category anyway. Not to mention that a live record like this one fully serves to emphasize the band's status as a "power trio". The only untouchable virtuoso on his instrument in this company is Les Claypool on bass, of course, but both Larry Lalonde on guitar and Tim "Herb" Alexander on drums are complete pros on their instruments as well. And yet, at the same time they prefer to play it dirty and squirmy, kicking ass whenever possible and never really showing off, trying to bedazzle the listener with their instruments. The music in particular often reminds one of early Eighties art-punk like the Birthday Party and stuff; it does flirt around with metal themes, of course (after all, wasn't Les a re-converted metal musician?), but whenever my attention does get attracted to some of the more complex figures the band is playing, they remind me more of fusion and avantgarde jazz than of Eighties' power metal.

So, to recapitulate - lots of funky rhythms, lots of jazzy chops, some metal insertions here and there, and the energy and stripped-down attitude of punk. That's Primus for you. Not to forget the sense of humour that permeates the record; Claypool sings in this whirly sarcastic, but inoffensive, tone (I almost end up imagining him with a superficially silly smile on his face all the time! actually, that's the way he sometimes looks on photos), and keeps letting off little self-deprecating remarks offstage all the time ('we're Primus, and we suck!' "hey! we're waiting for this bastard... everybody say 'Larry, you're a bastard'!" and the happy booze-packed audience is ready to oblige).

The lyrics throughout aren't particularly interesting - ranging from totally non-sensic to non-sensic in the specific context (what does the song about wanting to be a fisherman have to do in a Primus setlist?) to occasional character assassination stuff ('Pressman') and so on. And, to tell the truth, the songs themselves - as songs, i.e. melodic entities - aren't particularly memorable either. Most probably, you'll find certain refrains stuck in your head all the time (like the 'it's just a matter of opinion' line from 'The Heckler'), and maybe some of the riffs will strike you as exceptionally terrific, but for me this album mainly works on the "groove" level, well, pretty much in the same (actually, very different, but you know what I mean) way that Cream's live stuff can work for anyone.

All of these songs - all of them - certainly do things to your organism like nothing else can. By combining technical chops with punkish energy, these guys add up what some people thought "unaddable". As a result, the songs aren't just a bunch of messy fast noises - they have distinguishable guitar and bass lines, and not just distinguishable, but often amazingly cool: Les, as we know it, is a bass wizard, and he demonstrates his witty slapping technique on here as well as a whole series of others, while Larry's soloing (and he mostly plays lead lines around Les' tricky rhythms) is fast, fluent, and dazzling. And then on the other hand you can actually have fun with this music instead of just being amazed at the virtuoso playing - you know, some songs are even danceable. But even when they aren't, you'll still want to bop around madly and jerk your shoulders to those classy funky bass runs. And headbang to the more 'violent' guitar passages.

My personal favourites on the album are the "jerkier" numbers (that's not to say they aren't all jerky, but some are jerkier than others, you get my drift?) like, say, 'Pudding Time' where everybody goes nuts seriously, but in the most rhythmic way possible, and Les' slapping just plain drives you mad. Or 'Tommy The Cat', with its paranoid rappy chorus. Ah, if only all those alternative-schmalternative guys weren't just exploiting the "now I'm just talkin' very fast and now I'm SCREAMIN' and the whole band goes loud loud loud with me" scheme of the song, but also had its wonderful drive - so energetic, ass-kicking and yet without a single ounce of that phoney 'teen angst' that, for some reason, always serves as an excuse for lack of melody nowadays... ah uh sorry, I'm kinda digressing here again. No no, I don't wanna sound like a parody on the old toothless Stephen Stills.

A couple of the longer numbers on the record might drag a bit, but even if they do drag, like 'Harold On The Rocks', they can still surprise you - as in that middle section when the band suddenly cuts off the tricky paranoid rhythms and starts playing something that eerily resembles the intro to Led Zeppelin's 'Dazed And Confused' (as played live). And in the end, the major flaw of the album, of course, is that it all sounds the same: Les Claypool is known to be able to tap into just about any style invented, but he doesn't really show that side of his character that much on here. That doesn't mean that one should disregard the fact that 'Jellikit' is one of the greatest post-punk "energy trains" ever written. Nor does it mean that the album deserves anything less than four stars.


01. John the Fisherman
02. Groundhog's Day
03. The Heckler
04. Pressman
05. Jellikit
06. Tommy the Cat
07. Pudding Time
08. Harold of the Rocks
09. Frizzle Fry






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