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Blink-182精选上市(1)

2005-11-17 00:00编辑:连庆

Greatest

  如果将Blink-182称为新朋克之王,很少有人敢对此叫板。那些很少超过4分钟的歌曲,短小又精湛动听的Riff,来源于生活的严肃歌词,同时却又包含大量的成人级笑话,构成了Blink-182长久以来的写作风格。

  在去年的同名专辑受到全世界从New School到普通大众的认可后,这帮小伙子却突然暂停了乐队的所有演艺活动,鼓手Travis专心于Transplants,而吉他手Tom也有自己的计划。

  虽然这已不是乐队成员第一次有自己的个人计划(就好像上次像自己致敬的Box Car Racer),但是这次却是正式的“暂停”。

  以许Geffen公司的这次商业性质的Greatest Hits的发行是为了给Blink-182划上一个句号?但愿不是如此,因为像我们这些在“All the small thing”,“What's my age again”,“Aliens Exist”和“Stay together for the kids”歌声中晃动着脑袋度过青春期甚至最后背起吉他的人来说,Blink-182曾经并永远定义了New School Punk的名字。

  First rule of greatest-hits albums: start things off with a bang, not a song that takes about a minute to get off the ground, and about 80 seconds before the vocals kick in. Carousel may be a chronologically accurate way to begin blink-182's Greatest Hits, yet it gets things off to a slow start — but then again, blink-182 hardly sped out of the gate themselves.

  It took them a long time to get up to speed — it wasn't until their third album, 1997's Dude Ranch, that they developed a flair for sugary pop hooks, as evidenced by that album's Dammit, not just their first big hit, but their first memorable song. It was enough to buy them a ticket to the big leagues and their next album, 1999's Enema of the State, turned into a blockbuster, thanks to the crossover Top Ten hit All the Small Things, an incessantly catchy, irresistible slice of bubblegum-pop that sounded at ease sandwiched between *NSYNC and Britney Spears on Y2K radio.

  This, as Greatest Hits proves, was both blink-182's blessing and curse: they had the ability to turn out some great pop singles, but when they missed the mark, they sounded lightweight and disposable. This wasn't just true of their defiantly stupid party songs, of which there were many; even such brooding, angst-ridden teenage melodramas as Adam's Song seem a little lightweight and transient. Of course, the band was helped neither by its crystal-clear, super-slick production — which was the antithesis of punk — or by the thin, whiny edge of vocalists Mark Hoppus and Tom Delonge — which tended to make even serious themes seem like frivolous adolescent concerns.

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