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发表于 2013-1-27 09:01:07
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刘小宝同学 发表于 2013-1-26 13:56 
香茶7 我想大家说的是后期并不比前期差，至少在我心中选不出一个最爱。不过mj后期歌曲作品比前期好，这个 ...
People often struggle with allowing artists to grow and evolve. For Bob Dylan it was considered sacrilege by many to pick up an electric guitar; for the Beatles, the shift from sentimental love songs to social statements and psychedelia caused them to lose, in some people's minds, their initial charm and mass appeal.
人们总是对歌手的成长和进步的认同充满挣扎。
比如说Bob Dylan，很多人认为他用电子吉他是一种亵渎。而关于披头士，他们唱的东西从多愁善感的情歌转变到了社会问题和迷幻主题，一些人认为，这导致他们失去了最初的魅力和大众吸引力。
For Michael Jackson, the conventional wisdom meant every album post-Thriller that didn't sound or sell like Thriller was considered a failure; this, in spite of the fact that some of his most significant and challenging work came later. Call it the curse of expectational stasis.
对迈克杰克逊来说，一般普遍都认为在thriller之后出的专辑，唱法风格不像thriller的、或者是比thriller销量差的都是失败之作。
尽管在事实上，他的一些最为重要和最具有挑战的作品是在后期创作的。
我们把这个称为期望偏差的诅咒。
Still, for those who gave Blood on the Dancefloor: HIStory in the Mix a serious listen, it was an impressive record indeed. Containing just five new songs, the album is considered an artistic breakthrough by some. "His singing on the first five tracks of new material has never been so tormented, or audacious," wrote Armond White of Village Voice.
并且，非常认真的听Blood on the Dancefloor: HIStory in the Mix之后会发现，这实际上是一张不同凡响的唱片。
虽然里面只包含了5首新歌，但这张专辑被认为突破了过去的艺术表达方式。
“他在5首新歌里有从未有过的新的东西，那是充满了痛苦与大胆的一种崭新的质感。”Village Voice的Armond White如此评价。
"'Blood on the Dancefloor' has the vitality of an intelligence that refuses to be placated. . .[It] is a throwdown, a dare to the concept of innocuous Black pop." In a 1997 review, The New York Times' Neil Strauss concurred: "There is real pain and pathos in these new songs... Jackson's pain is often the world's merriment, and this is probably true of his new songs, which fret about painkillers, sexual promiscuity and public image.
“Blood on the Dancefloor”，充满了拒绝怀柔的知性…那是对黑人流行音乐的一种无争议的彻底的冒险。
1997年的访谈中，the new york times的Neil Strauss也有相同的意见。
这些新歌充满了现实中的痛苦与悲哀…
杰克逊的痛苦常常被作为世界中的嘲笑对象，这可能就是这些新歌里，他把他对止痛药，性乱交，和公众形象的苦恼唱入歌曲中的真相。
In many of them, Jackson see***ike the elephant man, screaming that he is a human being... In keeping with Jackson's darker mood, the music has grown more angry and indignant. With beats crashing like metal sheets and synthesizer sounds hissing like pressurized gas, this is industrial funk... Creatively, Jackson has entered a new realm."
在很多歌曲中，杰克逊看起来像一个尖叫着声称自己是人类的象人…
随着杰克逊的黑暗模式，他的音乐变的越来越充满愤怒。像要把金属板破坏掉似的节拍，像是把气体压缩后发出的声音。这是工业疯克吗……
太有创造力了，杰克逊进入了一个新的领域。
In the gritty, haunting "Morphine," Jackson tackles a subject he never had before: drug addiction. To a relentless, industrial funk beat, the singer lashes out in visceral bursts of anger, aggression, and pain. "Is truth a game daddy," he screams out at one point. "To win the fame baby / It's all the same baby / You're so reliable."
在充满了砂石摩擦似的不安感的Morphine中，杰克逊涉及了一个他之前从未涉及的问题：药物上瘾。
通过不间断的工业疯克节拍，歌手把内心深处的愤怒，攻击性和痛苦爆发出来，
“真相是游戏吗？爸爸”，他在这里尖叫了。
“为了赢得名声，大家都这样。真是太值得依靠了。”
The rage and disappointment, combined with its ear-assaulting sound (music critic Tom Sinclair described it as "alternating Trent Reznor-style sturm und clang with Bacharachian orchestral pomp"), make for a jarring listening experience, particularly for those accustomed to the breezier melodic pop of Off the Wall and Thriller (though it should be noted that songs like "Wanna Be Startin' Somethin'" and "Billie Jean" were already beginning to uncover the complexity, paranoia and pain represented in these later tracks).
愤怒和失望混合在一起，形成冲击耳朵的声音（音乐评论家Tom Sinclair①将这描述为由Trent Reznor②风格的狂乱的声音和Bacharachian风格的优雅相互交替而形成的）。
对习惯了《off the wall》和《thriller》的轻松的pop音乐旋律的人来说，会感到有刺耳般的不和谐感。
（尽管“wanna be startin somethin”和“billie jean”这类曲子已经非常复杂，它们也精密的把偏执和痛苦表现出来）
①Tom Sinclair在Entertainment Weekly发表的评论
EW.com（http://www.ew.com/ew/）
②Trent Reznor是Nine Inch Nails的核心人物。是好莱坞电影《lost highway》的音乐监督。
But "Morphine" is best viewed as an experiment -- both sonically and lyrically -- in representing the experience of physical / psychological pain as well as its temporary release via narcotic pain relievers like demerol and morphine (both of which Jackson has been reportedly addicted to, on and off, since the early Nineties).
不过最好把“Morphine”看做为一个实验——音乐和歌词两方面都是——它们表现出了因为吸食demerol和morphine而导致的身体与精神上的开放感与痛苦。
杰克逊被报道从90年代初期开始对demerol和morphine这两样东西上瘾
This experience is also brilliantly conveyed in the song's form: About mid-way through the track, the grating beat subsides, symbolically representing the pacifying effect of the drug. "Relax, this won't hurt you," Jackson sings soothingly from the perspective of the drug.
这种经历通过这首曲子被精彩的表现出来。
在曲子的正中间，如同被压轧一般节拍音开始变弱。这象征着服用药物后的镇定效果。
“放轻松点。这不会伤害你的。”
杰克逊从药物的角度来唱着这首歌。
Before I put it in 在我给你打入之前
Close your eyes and count to ten 闭上眼睛数到十
Don't cry 别哭
I won't convert you 我不会把你改变
There's no need to dismay 没有必要惊恐
Close your eyes and drift away 闭上你的眼睛然后随波逐流
Demerol 杜冷丁
Demerol 杜冷丁
Oh God he's taking demerol 哦我的上帝他在用杜冷丁
Demerol 杜冷丁
Demerol 杜冷丁
Oh God he's taking demerol哦我的上帝他在用杜冷丁
He's tried 他累了
Hard to convince her 说服她太难了
To be over what he had 为了熬过他所经历的
Today he wants it twice as bad 他今天非常想用两次
Don't cry 别哭
I won't resent you 我不会憎恨你
Yesterday you had his trust 昨天你拥有他的信任
Today he's taking twice as much 今天他服用了两次之多
Demerol 杜冷丁
Demerol 杜冷丁
Oh God he's taking demerol 哦我的上帝他在用杜冷丁
Demerol 杜冷丁
Demerol 杜冷丁
Oh God he's taking demerol 哦我的上帝他在用杜冷丁
These verses are perhaps some of the most poignant (and tragic) Jackson has ever sung. Beyond the literalness of the drug itself is Jackson's persistent yearning to escape from pain, loneliness, confusion, and relentless pressure. In this brief interlude he beautifully conveys the soothing, seductive, but temporary release from reality. There is a sense of pleading, of desperation, before the high abruptly ends, and the listener is slammed back into the harsh world of accusations and anguish.
这一连串的歌词也许是杰克逊有史以来唱的歌中，最为痛苦激烈（或者悲壮）的。
除了对毒药的诠释，还有杰克逊的孤独、混乱和希望从巨大的压力解脱出来的愿望。
短暂的间奏中，他温柔的安慰、诱导。
但是，那不过是一时的解放，兴奋的状态突然变成绝望，重新回到痛苦的现实世界。
Sputnik Music described this musical sequence as a "moment of absolute genius." The song, written and composed entirely by Jackson, is one of his most experimental and brilliant creations. It is a confession, a personal intervention, a witness, and a warning.
Sputnik Music将这种表现出连续剧场景的音乐评价为“绝对天才瞬间”。
这首歌完全是由杰克逊作词、作曲，他最为辉煌、实验性的创造之一，那是对罪的告白，也是作为从个人治疗的证人，和一个警告。
［Note : This analysis of "Morphine" was written before Michael Jackson's death. It becomes all the more tragic given reports that narcotics like demerol and morphine may have contributed to his passing.]
（注：这段Morphine的分析是在MJ死亡前书写的。杜冷丁和吗啡被报道可能是他的死因之后，可以说越发悲壮）
————————翻译结束————————
Sputnik Music：英国音乐评论杂志（http://www.sputnikmusic.com/）
source：
Michael Jackson : Man in the Music, Part 2（Morphine）
Joe Vogel（Posted: June 27, 2009 03:44 AM）
（Copyright by Joseph Vogel, from Man in the Music: An Album by Album Guide to Michael Jackson）
http://www.huffingtonpost.com/jo ... in-th_b_221797.html
我的mj的读书日记，都是我自己收集并翻译的关于写mj音乐的文章。以此献给一些误会mj后期音乐是＂老鼠爱大米＂的歌迷们。
当然你们可以反驳，但也请给出证据，告诉我哪些专业音乐评论家说过mj后期的音乐比前期差了。
如果不行，那就承认这只是你们自己的个人观点，不能代表大众。
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you are the one -- Michael Jackson
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发表于 2013-1-27 19:17:01