纪录片自媒体解说素材-新闻动态参考-埃德加·赖特（Edgar Wright）选择了他最喜欢的五张火花专辑，因为梅尔兄弟（Mael Brothers）回忆起50年的大胆选择/Edgar Wright Picks His Five Favorite Sparks Albums, as the Mael Brothers Recall 50 Years of Bold Choices
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0508/1705jmnfljbugnd.jpg埃德加·赖特（Edgar Wright）选择了他最喜欢的五张火花专辑，因为梅尔兄弟（Mael Brothers）回忆起50年的大胆选择
Edgar Wright Picks His Five Favorite Sparks Albums, as the Mael Brothers Recall 50 Years of Bold Choices
电影制片人埃德加·赖特（Edgar Wright）求助于罗恩（Ron）和罗素·梅尔（Russell Mael） - 任何人都可以在Zoom电话中转向另一个人 - 笑着笑着说：“我不得不说，这对我来说很奇怪，但是我很喜欢它，等级您的专辑在您面前。”请注意，您没有要求赖特（Wright钟。我们只要求新纪录片“ Sparks Brothers”的导演命名他最喜欢的五张专辑，并通过Zoom手头，提供了自己对经典和新鲜LP的回忆，这并不是一个大的。赖特（Wright）跳起来以逐个专辑的基础来考虑乐队的职业生涯，因为他的纪录片在去年冬天的圣丹斯电影节之后在全国范围内在全国剧院开幕，实际上是设法解决所有25张专辑，至少是简短的，并制作制作它们与手头的叙述相关，因为每个人都与其他叙述不同，并且代表了某种新的创意飞跃。当它探索兄弟的整个唱片时，它无穷无尽的“ Sparks Brothers”从未被陷入困境：在摇滚文档中，它几乎是一个孤独的人，因为他的合理信念，每张专辑都讲述了一个故事。我应该从专辑开始吗？'事实是，没有一个专辑可以定义整个故事。因此，这证明了罗恩和罗素 - 这并不是您只能从一张专辑中获得整个火花的量度。因此，我通常将其归结为五个，至少要得到一些工作。”他的五个选秀权，所有人都肯定地在天堂和他的图书馆中排名第一：1。“和服我的房子”（1974年）赖特：这是一张专辑，经常被培养为最好的专辑之一有史以来的专辑。实际上，Rolling Stone最近更新了其“有史以来500张最伟大的专辑”（来自FALL 2020）在该名单中有“和服我的房子”，我认为Sparks以前从未列入该名单。因此，它也吸引了新的粉丝，这是1974年的专辑。这张专辑与我一样古老！品种：很多人都喜欢许多不同的专辑，但是对“和服My House”的热爱很友善通用。罗恩（Ron）和罗素（Russell），您很清楚粉丝对这张专辑的崇拜。如果有一张专辑会制作“有史以来最出色的专辑”列表，那么您就可以了吗？那个人花了50年的时间才使他们（滚石）的顶级名单。所以，我们是耐心的人。其他人会跟随。获得英国支持乐队，与Island Records制作专辑。也许罗恩和罗素可以说这是回合，但我觉得它可能是最后一张机会专辑，因为他们有机会制作第三张专辑，并且标签让他们再做一张。罗恩（Ron）和罗素（Russell）用双手抓住了机会，因为专辑既充满了想法，也是如此有趣和凶猛。我觉得有时候，当我拍摄电影时：您拍的每部电影，就像是您的最后一部电影一样。因为您不知道是否会。因此，我觉得，如果您可以制作专辑，那么您最好还是去做。 “和服我的房子”只有这种感觉像罗恩和罗素一样，抓住了在英国用双手制作一张专辑的机会，只是做出了永恒而令人难以置信的东西，而且也非常有影响力。它不是朋克专辑，而是人们使用“ Proto-Punk”一词，因为它具有这种能量，这与同时发行的其他专辑不同。然后，很多人继续成为大型朋克禁令DS都是这张专辑的粉丝。《 Variety：这张专辑》在欧洲的热门歌曲巨大，“这个小镇对我们俩都不够大”仍然是一首招牌歌曲，即使在美国，它已经被过滤了。但是您是否有这种感觉可能是您的最后机会？罗恩：我们当时没有意识到我们承受的压力，这是一件幸运的事情。我们以前在70年代初期在美国发行了两张专辑，但没有做任何事情，我们被Island Records带到了英格兰，没有歌曲。他们只是对我们作为一个通用实体的信心。Russell：我们很高兴制作了专辑的Island和Muff Winwood确实具有这种信念，即会出现的事情。我们真的很敬畏，被邀请来英国，使我们的梦想实现了现在几乎是英国乐队。而且我认为我们只是盲目地说明了这种选择的方法不如它的作用。2.“不。1在天堂”（1979）赖特：下一个是我进来的地方，因为“不。 1在天堂”标志着我5岁那年在电视上看到火花的第一次。我没有专辑，但是我确实有（单曲）在黑胶唱片上，因为我的父母曾经给我和我的兄弟这些K-Tel/Ronco图表汇编。我认为我在音乐方面的折衷品味在很大程度上是由于它们。我实际上重新养了一个我所拥有的。我在盘子上发现了它，并重新折腾了10磅。而且这张专辑的排序很疯狂 - 它将从像美元到火花到三度到公共图像有限公司。但是小时候，我会重复一遍“击败时钟”，然后就像后来我听到了完整专辑。 1979年。就显然如此有影响力而言，这是一张非凡的专辑，不仅在声音中，而且是罗恩和罗素有勇气完全改变他们的一切的事实正在做：在70年代，停止成为摇滚乐并成为一种电子行为。这似乎是70年代80年代的声音。这是一张令人难以置信的大气专辑，今天确实站起来。您会看到有些人听了那张专辑的声音 - 来自2000年代初的许多艺术家 - 他们采用了这种声音。您知道，您对LCD Soundsystem进行了“为人类的选拔赛”，即使它是30年前，它仍然存在自己的自我。也许这是一个愚蠢的问题 - 您不可能。Russell：是的，我们很有意识。在事实之后，当我们阅读新闻界时……[笑声]……告诉我们我们做出的改变有多激进。自发行时，这张专辑已经被重新评估了，这确实具有讽刺意味并在真正贬义的意义上使用“迪斯科”一词。实际上，我们从来没有想过专辑是迪斯科唱片。它具有有节奏的养育元素，但是要说“迪斯科”是有人指责您来自摇滚乐队时做的最烦人的事情。我们只是以为是Wasa Bold Giorgio Moroder做的事情来做一些事情。他以前没有做过，这是与乐队一起工作的。他主要是像唐娜·萨默（Donna Summer）一样塑造他的艺术家职业生涯 - 她是一位了不起的歌手，但他正在以某种方式塑造她的音乐形式 - 但现在他正在与来自乐队敏感的人们一起工作他的技巧和对歌曲的电子知识仍然保持罗恩的歌词和旋律的个性，然后在其中唱歌，并将其置于不同的框架中。这很大胆，但我认为我们三个人真的以这种天真的精神进入了该项目：“好吧，我不知道它会成为什么，但是它是什么我们希望会很有趣。” 3.“我的裤子里的焦虑”（1982）赖特：对我来说，下一个对我来说是许多粉丝，是他们最喜欢的火花专辑之一，但我承认这对我来说是一个更新的专辑。我认为“我的裤子里的焦虑”是80年代的新浪潮阶段的峰大的。在这一点上，罗恩（Ron）和罗素（Russell）试图破解各州，并在现场音乐会上取得了很大的成功，并参加了“ SNL”并在排行榜上。但是这些专辑在英国不太闻名，在我制作这部纪录片之前，当我在伦敦和洛杉矶之间分散时间时，我与Sparks粉丝交谈，在英国，人们会谈论岛屿专辑或“ No. 1在天堂”或《 6音乐》电台音乐中的最新内容。但是在美国，人们说：“’在我的裤子里，‘哦，天哪，我最喜欢的专辑之一。”这是一张我不像Fami的专辑骗子。但是现在我是！ [笑。]就像：“哦，所以我一直在我最喜欢的Sparks专辑中错过了。”在上一张专辑“ Whomp That Sucker”中，他们带来了整个乐队Bates Motel，成为支持乐队。但是随后在“我的裤子里的焦虑”上，我认为罗恩和罗素的综合以及乐队的其他成员实际上只是着火了。与“和服我的房子”类似，整张专辑中没有Duff曲目，而且感觉很旺盛。我也认为这不是真的约会。您会听标题曲目，但听起来仍然很棒。这是我真的可以感觉到罗恩和罗素真的像某事一样击中的另一件事，因为这是一张完美的专辑 -11首曲目，它们都是很棒的。一定年龄的粉丝会告诉您，这是他们真正爱上Sparks的专辑 - 无论他们已经了解了一点还是是多数职业人士的一部分可以认为他们是一个全新的乐队。因此，我们以为这张专辑在英格兰都变得更大。仅在一个区域。我的意思是，这有点领先，但是“免费的萨克斯和毫无意义的小提琴”是1994年德国的第一张播放专辑，但在美国，可能不会有很多人知道它。洛杉矶的事情，其中\u200b\u200b很多源于广播电台KROQ，这确实为我们发挥了作用。关于那的一件奇怪的事情是“不。 1在《天堂》专辑中，听起来（如果有的话）在洛杉矶录制了，但“惠普那个吸盘”和“我的裤子里的焦虑”都在某种意义上录制在乔治的《我的裤子》中，这听起来更美国人。慕尼黑工作室。 4.“ Lil’Beethoven”（2002）Wright：向“无偿萨克斯和S”道歉无声的小提琴，”我必须跳到“ Lil’Beethoven”。因为我觉得在2003年，这是Sparks职业生涯的阶段的开始，我认为发生了平衡，Ron和Russell正在做他们完全没有考虑的事情（命中）。我不确定您是否曾经考虑过市场力量，但肯定是在“ Lil’Beethoven”中，它只是在做您想做的事情，而不必担心它是谁。我认为，您可以创建Sparks的当前阶段，这完全是毫不妥协的，而观众就在那里。 “ Lil’Beethoven”是一张非常引人注目的专辑，因为它就像纪录片《五个障碍》，您可以在其中拿走了Sparks的大元素，并创造了真正新鲜的东西。我觉得作为英国人。当“ Lil’Beethoven”出来时，英国的音乐出版社确实在船上。这对我来说是非凡的：我认为火花一直被视为持续的关注，而不是传统行为。我认为“甜菜Hoven”正是大胆地做一些事情开箱即用的事情，这是不可分类的，然后永远赢得了您的粉丝。因为我们写了一张整张专辑，这些歌曲是我们以前所做的。如果我们只是决定按照以前录制的方式录制这些歌曲，我们将无法使自己感到兴奋，也不会激发其他人。因此，我们取消了这些歌曲，只是决定制作一张专辑，而没有我们以前使用过的元素 - 没有鼓或低音，甚至没有从电子元素开始。它确实试图剥夺流行音乐的所有传统元素，并看到我们想出的内容。 5.“稳定的滴水，滴水，滴水”（2020年）赖特：杰特，因为我想继续论文，即Sparks的黄金时期正在进行中，让我们来做T他最后一张最近的专辑：“稳定的滴水，滴水，滴水”。因为我认为在与弗朗兹·费迪南德（Franz Ferdinand（Franz Ferdinand）（2015年的合作努力“ FFS”）一起制作专辑之后 - 微小的流行歌曲。我认为，只要他们看到流行歌曲像下面的流行歌曲一样，许多艺术家可能已经持续了很长时间。我一直对罗恩（Ron）和罗素（Russell）的欣赏是他们没有，并且对那首歌非常真诚。因此，对我来说，在“自我露面”的“自我效果”中，我第一次听到它，我就像是一首经典的Sparks歌曲，没有其他人可以做到这一点。它完全可以充当流行歌曲，但在任何方面也不令人尴尬。我觉得你们已经找到了一种做到这一点的方法，而没有完全诚意，这完全奏效。而且我想不出其他乐队，只要您拥有这种oF设法找到了继续写流行歌曲的秘方。令人难以置信。我们对流行音乐作为一种形式有这样的尊重，我们仍然认为其中还有很多要探索的东西。而且我们很幸运能够做到这一点，而不会感到自己陷入困境。“我们真的很想提升流行音乐，而不是通过进行动作来击败音乐。“火花兄弟”本周末在剧院上映。仅乙烯基的四LP原声带，其中包含42条曲目（包括出现在纪录片中的尼尔·盖曼（Neil Gaiman）的《业余时间》的新抒情性阅读），刚刚从蜡像唱片记录中进行预订，预计交付了。秋天。
Filmmaker Edgar Wright turns to Ron and Russell Mael — inasmuch as anyone can turn to another in a Zoom call — and laughs about the task at hand: "I have to say, it's very strange for me, but I kind of love it, rating your albums in front of you."
Mind you, Variety has not asked Wright to run through the entire discography of 25 Sparks studio albums from the last 50 years in order of preference, an exercise in which there would be no possible way to beat the clock. We only asked the director of the new documentary "The Sparks Brothers" to name his five favorite albums by the brother duo, with the Maels on hand via Zoom to offer their own recollections of the classic and fresh LPs under discussion.
It's not a big jump for Wright to consider the band's career on an album-by-album basis, since his documentary — opening in theaters nationally this weekend after a Sundance Film Festival bow last winter — actually manages to address all 25 albums, at least briefly, and make them relevant to the narrative at hand, since each one differs from the others and represents some sort of new creative leap. The endlessly entertaining "Sparks Brothers" never gets bogged down as it explores the brothers' entire discography: It's almost alone among rock docs in its justified belief that every album tells a story.
Says Wright, "I get asked a lot, 'What Sparks album should I start with?' And the truth is that there's no one album that defines the whole story. So that's a testament to Ron and Russell — it isn't like you can get the entire measure of Sparks from just one album. So I usually boil it down to five to at least get a bit of a breadth of work." His five picks, all of them assuredly tied for No. 1 in heaven as well as in his library:
1. "Kimono My House" (1974)
WRIGHT: This is an album that kind of gets frequently brought up as one of the best albums of all time. And in fact, Rolling Stone’s recent update of its "500 Greatest Albums of All Time" (from fall 2020) had “Kimono My House” in that list, and I don't think Sparks had ever been on that list before. So it's gaining new fans as well, and this is an album from 1974. This album is as old as I am!
VARIETY: A lot of people latch onto a lot of different albums, but the love for "Kimono My House" is kind of universal. Ron and Russell, you're well aware of fans' adoration of this album. If there's one album that's going to make "greatest albums of all time" lists, are you all right with it being this one?
RON: Yeah, as long as a few others seep into the a top 500 over time. It took 50 years for that one to make their (Rolling Stone's) top list. So, we're patient people. The other ones will follow.
WRIGHT: “Kimono My House” is a breakthrough album in the sense that it was a big hit in the U.K. It also marked kind of the second phase of the band, when Ron and Russell went back to London to get a British backing band to make an album with Island Records. Maybe Ron and Russell can speak about this, but I feel like there was probably an element of it being a last chance album, in terms of that they got a chance to do a third album and the label let them do another one. Ron and Russell grabbed the opportunity with both hands, because the album is so exploding with ideas and so fun and ferocious at the same time. I feel that sometimes when I make films: Every film that you make, you're making it like it's your last. Because you don’t know whether it will be. So I feel like, if you get to do an album you may as well just go for it. And “Kimono My House” just had that feeling of like Ron and Russell grabbing the opportunity to make an album in the U.K. with both hands and just making something timeless and incredible — and also very influential. It's not a punk album, but people use the word "proto-punk" because it's got this energy to it which is different from other kinds of albums that came out at the same time. And a lot of people who then went on to be the big punk bands were all fans of this album.
VARIETY: The album was a huge hit in Europe, and "This Town Ain't Big Enough for the Both of Us" is still a signature song even in America, where it sort of filtered back. But did you have that sense that it might be your last chance?
RON: We didn't realize the pressure we were under at that time, which is a fortunate thing, I think. We had had two albums out previously in the States in the early '70s that did nothing, and we were brought over to England by Island Records, with no songs. They just had faith in us as a general entity.
RUSSELL: We were just happy that Island and Muff Winwood, who produced the album, really had this faith that something would emerge. We were really in awe of the situation, being invited to come to England, having our dream fulfilled to be now virtually a British band. And I think we just had blinders on as to what the options may have been had had this not worked out as well as it did.
2. "No. 1 in Heaven" (1979)
WRIGHT: The next one is where I come in, because “No. 1 in Heaven” marks the first time that I saw Sparks on TV, when I was 5 years old. I didn't have the album, but I did have (the single) “Beat the Clock” on vinyl, because my parents used to buy me and my brother these K-Tel/Ronco chart compilations. I think my eclectic taste in music is in large part due to them. I actually rebought the one that I had; I found it on Discogs and rebought it for 10 pounds. And the sequencing on this album is crazy — it would go from like Dollar to Sparks to the Three Degrees to Public Image Limited. But as a kid, I would listen to “Beat the Clock” on repeat, and then like later I heard the full album.
This is the album that Ron and Russell did with Giorgio Moroder in 1978, though it didn't get released until 1979. It's an extraordinary album in terms of being obviously so influential, not just in the sound, but also the fact that Ron and Russell had the courage to completely change what they were doing: to stop being a rock act and be sort of an electronic act — in the ‘70s. It seems to be the sound of the ‘80s in the ‘70s. It's an incredibly atmospheric album and really stands up today. You can see that there are people who listened to that album — a lot of artists from, like, the early 2000s — who sort of adopted that sound. You know, you put “Tryouts for the Human Race” up against LCD Soundsystem, and it holds its own, even though it's from 30 years before.
VARIETY: Ron and Russell, were you even conscious of how radical a shift it was? Maybe that's a silly question — you couldn't not have been.
RUSSELL: Yeah, we were conscious. Maybe more so after the fact, when we read the press... ... telling us just how radical a change we had made. it's really ironic that the album's been kind of reassessed, since at the time of its release, especially in the U.K., we had lots of reviews saying we were blasphemous to our rock roots, and how we went against guitar tradition, and using the term ”disco” in a really pejorative sense. We actually never thought of the album being disco anyway. It had rhythmic-danceable elements, but to say “disco” was the nastiest thing that someone could accuse you of doing when you're coming from a rock band.
We just thought it wasa bold kind of experiment with Giorgio Moroder to do something that he hadn't done before, which was work with a band. He’d been mainly shaping his artists' careers, like Donna Summer, even – she’s an amazing singer, but he was shaping the form of her music in a certain way — but now he was working with people coming from a band sensibility and applying his technique and his electronic knowledge to the songs, still keeping the personality of Ron's lyrics and melodies, and then my singing within that, and putting it in a different framework. It was pretty bold, but I think the three of us went into the project with really this naive spirit: “Well, I don't know what it's going to end up being, but it'll be something interesting, we hope.”
https://youtu.be/JoMCip83GZ4
3. "Angst in My Pants" (1982)
WRIGHT: The next one for me is, for a lot of fans, one of their favorite Sparks albums, but I'll admit that it was a newer one to me. “Angst in My Pants" I think is the peak of the ‘80s sort of new wave phase, those albums — “Whomp That Sucker,” “Angst in My Pants" and “In Outer Space” — that in the U.K. were not as big. At this point, Ron and Russell were trying to crack the States and having a lot of success in terms of the live concerts and being on “SNL” and being on the charts. But these albums were lesser known in the U.K. And before I made this documentary, when I was splitting time between London and Los Angeles, I talked to fellow Sparks fans, and in the U.K. people would be talking about the Island albums or “No. 1 in Heaven” or the more recent stuff that was on Radio 6 Music. But in the States, people say, “’Angst in My Pants,’ oh my God, one of my favorite albums.” It was an album that I was not as familiar with. But now I am! And it’s just like, "Oh, so I've been missing out on one of my favorite Sparks albums."
On the previous album, “Whomp That Sucker,” they had brought in an entire band, Bates Motel, to be the backing band. But then on “Angst in My Pants,” I think the synthesis of Ron and Russell and the rest of the band is really just on fire. And similar to “Kimono My House,” there's not a duff track on the entire album, and it just feels so exuberant. I also think it doesn't really date. You listen to the title track and it still sounds great. It's another one of those things where I can really feel that Ron and Russell have hit on a really like deep vein of something, because it's a perfect album — 11 tracks and they're all great.
VARIETY: Here in California, probably 90% of fans of a certain age would tell you this was the album where they really fell in love with Sparks — whether they already knew them a little bit or were part of the majority probably thinking they were a brand new band. So we'd have assumed the album was that much bigger in England.
RON: No, it's really peculiar, and that’s something that is really consistent for us: The perception in one area is “That must have been massive everywhere,” and it was only in one area. I mean, this is getting ahead of ourselves a little bit, but “Gratuitous Sax and Senseless Violins” was the number one airplay album in Germany in 1994, but in the States, probably there wouldn't be all that many people that know about it. The Los Angeles thing, a lot of it was rooted in the radio station KROQ that really played us a lot. One strange thing about that is that the “No. 1 in Heaven” album which sounds, if anything, more Germanic, was recorded in Los Angeles, but both “Whomp That Sucker” and “Angst in My Pants,” which are thought to sound more American in some sense, were recorded at Giorgio's Munich studio.
https://youtu.be/TH5USLpPa_0
4. "Lil' Beethoven" (2002)
WRIGHT: With apologies to “Gratuitous Sax and Senseless Violins,” I have to jump to “Lil’ Beethoven.” Because I feel like in 2003, it’s the start of a phase of Sparks’ career where I think an equilibrium happens, where Ron and Russell are doing something where they completely are not thinking about (hits). I'm not sure that you've ever thought about market forces, but certainly with “Lil’ Beethoven,” it's just doing what you want to do and not worrying about who it's for. You sort of create, I think, the current phase of Sparks, which is totally uncompromising, and the audience is there for that. “Lil’ Beethoven” is a really striking album because it's like that documentary “The Five Obstructions,” where you take away big elements of the Sparks sound and create something that's really fresh.
And I felt that as a Brit. When “Lil’ Beethoven” came out, the music press in the U.K. were all really on board. It was extraordinary to me: I think Sparks have always been treated like a going concern, not a legacy act. And I think “Lil’ Beethoven” is exactly the bold move to do something out of the box, that's uncategorizable, that then wins you fans forever.
VARIETY: Did that seem like the turning point that Edgar is describing to you guys, as well?
RON: It did. Because we had written a whole album of songs that were in the vein of what we had done previously. And had we just decided to go through the motions and record those songs in the way that we've recorded before, we wouldn't be able to pull ourselves into being excited, and it wouldn't have motivated other people as well. So we scrapped those songs and just decided to do an album without the elements that we had used before — without drums or bass, and without even starting off with the electronic element. It really was trying to strip away all of the traditional elements of doing pop music and seeing what we came up with.
https://youtu.be/A-ONRt9ER6Y
5. "A Steady Drip, Drip, Drip" (2020)
WRIGHT: Jut because I want to continue the thesis that Sparks' golden period is ongoing, let's make the last one the most recent album: “A Steady Drip, Drip, Drip.” Because I think in the wake of doing the album with Franz Ferdinand (2015's collaborative effort, "FFS"), the last two Sparks albums, “Hippopotamus” and “A Steady Drip, Drip, Drip,” have been a return to doing three-minute kind of pop songs. I think a lot of artists that have been maybe going for as long as they have see making pop songs as beneath them. And what I've always appreciated about Ron and Russell is that they don't, and that they're very sincere in that songcraft. So for me, on “A Steady Drip, Drip, Drip,” the song “Self-Effacing,” the first time I heard it, I was like, that is a classic Sparks song, and nobody else could do that. It totally works as a pop song, but it also is not embarrassing in any way. I feel like you guys have found a way to do it without it being beneath you, with utter sincerity, and it totally works. And I can't think of any other band who have been going as long as you have that kind of have managed to find that secret recipe of continuing to write pop songs. It’s incredible.
RON MAEL: Yeah, we've never felt that we needed to outgrow pop music. We have such respect for pop music as a form, and we still feel that there's so much more to explore within that. And we're just lucky that we can do that without feeling like we're slumming. "We really want to elevate pop music, not take it down by just going through the motions.
"The Sparks Brothers" is in theaters this weekend. A vinyl-only, four-LP soundtrack containing 42 tracks (including a new lyric reading of "Amateur Hour" by Neil Gaiman, who appears in the documentary), has just gone up for pre-order from Waxwork Records, with delivery expected in the fall.
https://youtu.be/dLxPIOxgkM0
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非常不错，感谢楼主整理。。 谢谢更新，天天学习，天天向上！ 谢谢更新，天天学习，天天向上！
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