Month: April 2005

大部份改編作品也是我的all time favourite!!期待收到CD,6月31日出版.

Albert Kuvezin ­ Kyzyl 領隊,主唱和結他

Radik singts wth the IGIL

Moscow, August 2004. Albert Kuvezin has just checked into a hotel having spent 24 hours on a train from Budapest as the result of having been forcibly deported from Hungary along with the rest of his band. Their passports had been stolen from the dressing room of the gig the previous day. Their plea for help from the Russian Embassy resulted in them being frog-marched to the railway station and sent home. Before he can relax he receives a phone call from his co-singer Radik Tiuliush telling him that he has had enough of the rigours of travelling backwards and forwards from Tuva (a 3-day journey just to get to Moscow before an international flight takes them to start a tour). There are only 2 days to find new passports and a new singer before they are due to begin a US tour. This proves impossible and Albert retreats to Kazyl where he is immediately hassled by mobsters and corrupt government officials. He then crashes his car and ends up in hospital.

Whilst convalescing Albert ponders his band’s future and listens to his record collection. Having spent many years being persecuted under the Soviets for listening to and playing rock’n roll he contemplates the long journey that his love of both Tuvan Folk Music and Western Rock has resulted in. He had toured the world many times playing at some of the great festivals such as Glastonbury, Roskilde, Bloomington, Monterey, Transmusicale, and Sziget. He had played hundreds of club shows and listened to and met some great bands along the way. Bands like his thrash heroes Slayer and folk heroes such as the Chieftains and contemporary artists such as Billy Bragg and many more.

And now Yat-Kha was due to travel to London in October 2004 to record a new album that Albert had been busy writing earlier in the year. As he lay there with music from all around the world blaring out from his newly- acquired PA system Albert decided that he would commit his musical and spiritual journey to tape instead of his new songs. His new album would reflect how music took him from one of the world’s more remote regions to international recognition. Remote, yes, yet central enough to pick up the currents of international music, even if the international music scene was not yet hip to the growling waves coming from Tuva. He would revitalise himself by re- engaging with his loves of country, blues, rock and just all things music. Although he was due to self-produce his new album Albert made a last minute phone call to the legendary world music producer Ben Mandelson who immediately made time to take over production duties. Justin Adams, producer of Tinariwen, joins him on a couple of tracks.

The band began by jamming many of Albert’s favourite tunes and from this came the new album reCOVERy

This is what Albert has to say about the album.

“ The influence of rock on my music and life is obvious but anyway I’ll try to explain a bit more why I have chosen these songs for the covers album. Actually they are relatively to what I try to do for long time since I began to mix Tuvan music and my singing with Western rock.

1. When The Levee Breaks (Led Zeppelin). It is just on of my favourite band of the all time and I wanted to record more of them though who can compare with them even today?

2. Man Machine (Kraftwerk). Remember that time? They were very fresh and unusual between the dominance of rock and punk. Plus very progressive. It is about our relationship with machine world. Almost Folkloric.

3. Ramblin’ Man (Hank Williams). I don¹t like when there is too much text in songs but this one is just about my self and my brothers – musicians. It is very close to our souls and spirit of freedom. Actually we are all the travellers on this planet.

4. In-A-Gadda-Da-Vida (Iron Butterfly). Great song because it is simple ­ I respect talented simplicity. Good voice and a guitar riff which always make me interested as a guitarist my self.

5. Love Will Tear Us Apart (Joy Division). This band wasn¹t well known in Russia but some band made big name and good career during USSR time copying and imitating the likes of JD. I like the mood and guess our manager Jim likes them very much.

6. Her Eyes Are A Blue Million Miles (Captain Beefheart). Of course, 20 years ago I didn¹t know about this man but when got listen it for the first time I thought that it could be me if I was born in USA at that time. But luckily I live in Siberia and like to say: ³Hello! ² back to those
funny days.

7. A Song About A Giraffe (Vladimir Vysotskiy). The cult figure of Soviet Culture. The actor, poet, and singer he died in 1989 but is still very popular in Russia. His songs are full of sarcasm and humour. They are about the defects of human society and full of love and pain when about native
land. This song is just one of hundreds he wrote.

8. Orgasmatron (Motorhead). I always liked music full of energy. Years ago I liked such kind of lyrics and wrote such my self. Also this is good possibility to remind to politicians who they are.

9. WillYou Go, Lassie, Go? ( Mc Peake Family ) When I played with the great Chieftains I began to like Irish music and found some similarity with some Siberian people¹s music.

10. Toccata (Paul Mauriat).When I was little boy this melody by the French composer and conductor was played by his orchestra on Soviet t.v. and radio every Sunday and that gave us a very clear and nice holiday emotion for the whole day. This is a kind of connection to that happy time.

11. Black Magic Woman (Carlos Santana version). One more my favourite artist. This song is somehow connected to Siberian black shaman women whom I like very much.

12. Exodus (Bob Marley). Again, I love freedom and independence which are also possible through the movement and travels. I love to read about historical peoples movements. Plus I like Bob and reggae.

13. PlayWith Fire (Rolling Stones). I never liked very much RS and even less The Beatles. In this song I got good motion that gave me feeling to play such riff in the style what I like.

14. The Song of Mergen (Alexei Tchyrgal-ool). The composer Alexei Baktaevitch Tchyrgal is a great of Tuvan Symphonic music but he also wrote a number of nice songs for different ensembles and bands I am lucky enough to have been working with him and living in his neighbourhood. This song was written for the first movie about Tuva ­ ³People of Blue Rivers.²

Albert Kuvezin ­ Kyzyl , Tuva Feb 2005

什么样的智慧

—-张楚访谈录

“张楚，笑啊！装出幸灾乐祸的样子！”

张楚又一次用样带从唱片公司老板手中换来一叠钞票，有些不知所措地在那儿数着。他听到摄象机后人们急切的提示，但脸上仍弥漫着大惑不解的神情……不过，这次他总算是想通了：脸上突然绽开了天真烂漫的笑容，象是孩子得到了渴望已久的玩具。在大人们的夸奖叫好声中，那首《卑鄙小人》仍和烟幕一起飘着──在一个阴雨的秋日，北京珠市口的一幢废楼里，张楚和剧组完成了这首新歌MTV的摄制工作。

“这是首自责的歌。”张楚说。他在MTV中扮演一个用样带从唱片公司骗钱的歌手。“他得了钱，但还是不高兴，因为他觉得出卖了自己的纯洁。”同时，他一个正直的朋友（由一身“保尔”穿着的周韧扮演）也在一边谴责他。此外，剧中人还包括一对无所事事但仍十分快乐的情侣和一个爱用手电筒探寻好奇的孩童般的人物。有趣的是，张楚把两位老板（由染了头发粘了胡须架了眼镜的“地下婴儿”哥儿俩扮演）设计成了热爱音乐的人。他们将样带拿到摆满各式仪器的实验台上“分析”，不料拍摄这一镜头时，由于道具装药过多，把“老板”和摄制组炸了个人仰马翻……在众人的忙碌中，张楚就象局外人一样东张西望或是出会儿神，只在拍摄间隙听从指挥，摆好姿势，拿块水果什么的笑容可掬着让闪光灯一阵乱舞。这天，他学会了用气罐喷火，于是便喷个不停，其乐融融。

剧情的收尾，自然是张楚早年习惯的“出走”：他带领好友和情侣驾车离去──这是个颇具象征意义的选择。当一辆黑色伏尔加载着这伙奇特的乘客于子夜二时飞驰在西客站前灯火辉煌的地下通道中时，人们才复想起，作为1997年乐坛最重要的专辑之一，张楚新专辑《造飞机的工厂》之发行已如箭在弦上。

其实，张楚动荡的生活早已远去，而除了新专辑的推出，97年他的又一大事便是结婚（这一消息早已被关心他人生活的媒体宣布过）。新专辑中确实有首叫《结婚》的歌──它其实是张楚十年前最早的作品《太阳车》，只是少了一句“那个天边独行的旅人，行囊里还存有醉了的梦想。”耐人寻味的是，张楚竟然碰巧忘了这局歌词，几经提醒才才恍然想起。“挺巧的，”他说，“真没故意去删。”《结婚》对他来说，有在情感方面告一段落的意思。“现在写爱情好象没法写出首歌，就把原来特别向往爱情时写的这首再唱一遍，情绪肯定会不一样。”

从上张专辑推出后，张楚就和女友生活在一起，因此生活状态总会有些变化。一方面他与朋友相聚和夜不归家的机会少了，而另一方面他又特别热爱家庭生活。“它是一种最基本的生活状态，直接关系到个人生活。家庭与自我在其中的位置，还有我对它的理解，于我而言都是至关重要的。”

张楚近年来一年中差不多有半年是独自在家的──他不再飘泊，却仍有一种孤独感。“但我觉得这种孤独是比较好的……以前飘泊时，人在走，东西在变，感觉也在变，这种变化是正常的。而现在人很稳定了，但幻觉在变，思想在变。……最近几年的生活中有种特别的感觉，那就是我甚至分不清现实与虚幻了。人可能有只幻觉的眼睛……可能从小就这样，读书会产生幻觉，把文字看成画面……。我为这种感觉特别痛苦，有时为辨别真假需要情感，而情感本身有时又是虚幻的。”新专辑中，《吃苹果》就代表了这种感觉。
“它体现了一种精神恍惚，而且是挺高兴的恍惚。”对此，张楚唯一的解决办法是依靠小时所受的一些基本教育。“比如，眼睛是眼睛，要做眼保健操；耳朵和美没关系……小时受的教育是正常的，挺有效，能帮我找到真实。在社会里，就会接受社会资讯，长期看书看电视，就会觉得人的眼睛是关于漂亮的──总是被这些所影响。在古典、现代和后现代小说中，对桌子的理解作者都有各自的，甚至是矛盾的概念，而小时的教育是，它是给人用的。有时我会出于偏爱去理解一种事物，所以思维恍惚……我想回到小时‘桌子’的概念。”

近两年，张楚的另一种思维状态是自闭。“有段时间，自闭到分不清宗教和迷信。觉得自己不能承担很多责任，追求完美而不能如愿，彻底挫败，然后就开始自闭—自己都觉得自己不完美，于是放弃与自己交流，用别人的语气来指责自己。人自闭后总要进入宗教或迷信的状态，如果他是特完整的自闭，很自我，那就是宗教的，如果还有怀疑，那就是迷信的。我就介于两者之间。”

恍惚的感知和自闭的思维，或许与张楚在创作中对现实的疏离是相关的。“仍然在注意别人，但理解力已经下降，没那么透彻了。人大了以后常常不是真的理解……这可能与我太爱家庭生活，不爱和朋友呆在一块儿有关。”张楚承认新专辑在思想性方面较上张专辑有所减弱。“我已经丧失了对一种东西特别的热爱。上张专辑有对现实的关注、热爱和自我的折磨，从所谓思想性角度提供出来，而这张什么也没提供。因为我对现实喜欢的角度已经没有了，只能回到自己的内心，提供出自己比较纯朴，比较孩子气的单纯的一面，或是象《老张》和《混》那样把自己的生活作一个简单的描述。只能做到这一点。”

其实，单纯的特质一直在张楚内心存在着。“只是要去面对世界里特别现实的东西，比如因为喜欢音乐而做音乐，但为了生活又要追求成功，为了成功而要放弃喜欢音乐的一部分初衷。喜欢音乐是很单纯的，但为了成功需要技巧来弥补或掩盖什么。”从另一个角度来说，张楚认为自己“自然的”、“小孩恶作剧式的野性成分”太多了，所以才“不幸地拥有理性”，要赋予自己特多的理性才能把自己控制住。

近年，张楚对这种本源的单纯的需要在增长。“特别年轻的时候贪婪地吸收资讯、教育及美好的东西，不喜欢的也要用思辩去理解它，后来这种东西造成了特多混乱……现在开始热衷于了解自己，了解人是怎么样的。”张楚说，“在大学时有很多很好的朋友，关注生活、现实和未来，后来一个人时就开始面对问题。那时特单纯，大了以后一些事需要成熟的理解力，但我缺乏这种理解力，我采用的办法就是身体的本能。”

这时，张楚对音乐的理解也发生了转变。“以前理解摇滚乐，带着一种挺理念的概念。自己长大了以后，对音乐的认识渐渐放弃了理念，用自己身体的本能—不是头听到音乐，而是身体听到音乐后产生的情感。这种激情，自然和自由，是音乐里真实的概念，去掉了摇滚乐与别的音乐区分的概念。”

在这些前提下，理所当然地，张楚认为新专辑给他唯一的感觉就是更直白，更多地放弃了思想与方法的影响。“也许有些话说得很笨，那就笨吧，可能我应该笨点儿才对。”在新专辑中，描述一个简单动作的《跳》便是首极尽单纯的歌，而《混》则是首“透明到极点”的歌—“把自己特别傻的东西全流露出来了。”张楚认为，这种自然流露的东西越来越多了，因为生活中这些正是最美好，最纯洁的。专辑同名曲《造飞机的工厂》是张楚把与情绪有关的事用想象力写成的故事。“‘飞向月亮’代表一种更强大更进步的梦想，但其中也会有金钱的事，还会有小孩和马儿一样用好奇心去看着这一切。最后，梦想并未实现，引发了主人公内心另一些痛苦的事，他碰巧输了牌又被凳子绊倒，肉体又疼心灵又疼……这仅仅是个故事，没有任何含义。”值得注意的是，这首歌中的“马儿”，是张楚追索孩童之心的又一体现。他认为，成人有自己的生活态度，有自己的各种理解，而儿童很接近于动物，它被成人世界关住之后，就把动物的本能丧失掉了，变成了一个“象人一样盲目的人”—这也正是《动物园》中的隐义。

事实上，从《造飞机的工厂》和《动物园》来看，无论专辑整体还是部分作品自身都呈现了一种扭曲。张楚认为它在表现上是自我遏制的结果。“这种遏制来自于自闭，它能展示我人性的两方面。一方面是温暖、质朴的一面，如《棉花》、《结婚》，另一方面则是觉得要抛弃，自己无法达到却仍要去释放的一面—既想要放弃自我，责备自己，又不甘心被彻底承认就是这么个人，但又无法用特别正常的、自信的方法表现‘我真的不是这么个人’，于是就开始小孩发脾气使坏的那种—互相遏制着。《造飞机的工厂》和《动物园》就属于这一类。”

除了歌词创作外，张楚这张新专辑的音乐也是新颖别致的，比如，其中出现了许多亮耳的电声音色。张楚认为自己的音乐并不是基于民谣和箱琴的。“新专辑的制作人工作主要在后期，前期是我和乐手们自己做的，自由度比较大，而以前或许是被制作所框住了。也许那时的概念就停留在风格要统一上。要说我音乐上有什么弱点，可以说是我不擅长乐队编制的作法。”

“以前我有个想法就一定要那样做出来，后来发觉这样行不通。现在觉得许多想法这样合适那样也合适，就让乐手都做出来，或许他们会提供一个更好的。”不过，他觉得与乐手“没有真正的交流”。“在唱片体制里，唱片公司的介入，出唱片这件事本身会导致一些事必须做成，也会导致一些想法的牺牲，而一些本来做不成的事也做成了。”张楚认为这种行为是“一个不正确的实验，为做一件事而促成的，而非孩子的天性。”

张楚原先想写首歌叫《七种人》，包括一些电视剧音乐在内，描写七种人的生活态度，每段音乐代表一种人。后来没成功，最后完成的歌，是因为其本身是“特别轻松地取得了一个……特没意义的东西”，所以叫《轻取》。
“生活在唱片公司就是这样，”张楚说，“为什么会有那么多垃圾音乐？这种体制会产生象《轻取》这样的歌，而唱片公司会出它。”

张楚自认为在音乐上并不缺想法，只是想法没有以前那么容易实现了。“做起来很累，主要与体力有关，还有就是这些情绪与想法的不能持久。”他承认，在新专辑中有一种衰老的气息。“因为我自己就是这样的。不知从哪天起，我的绝望是不可能再有希望的绝望了。”不过，他对这种绝望是坦然的。“我不知道将来会不会对这种绝望有新的认识理解。一个人从小把一生的愿望、希望得到的东西和情感都用在一个什么上头，没有留任何余地地去做，然后失败了，这个人肯定就绝望了。”

张楚认为《棉花》传达的是一种温暖的感觉。“一个人在找自己的生活，他会觉得很徒劳，一无所获，然后就会被别人的东西所困扰—‘被这些给害了’，但他没有屈服—‘别扯他，你这卑微的习惯’。”张楚有时走在街上突然会有一种泯灭，衰老的感觉，但他又有自己的希望。“其实我一点儿也不老。按正常的说法，我是个大龄青年。”他希望有所改变，从对自己的由许多东西泯灭而生出的对自己的不信任中摆脱出来。“如果还有可能的话，还有几年时间可以找到比较正常的生活，然后在某一方面开始承认自我，那还有可能找到另一个自我，表达一种比较好的音乐。如果不能成功的话，那就全部完结了。年纪再大就没力气再去找了，而且时间越长就越不容易摆脱出来。”

张楚觉得自己对现状有一种依赖性，这使他依靠它去生活，而不愿放弃它。比如，对人们授予他的“诗人”一职，他认为“诗人什么的是小时学了点什么，喜欢……按中学简历就是一种特长。”张楚认为他的这种能力越来越退化了。“特长多了的话可以利用它去生活，但利用它时它实际上在妨碍你去爱什么。”张楚现在宁愿放弃一些狂野的东西，虽然他认为那些对音乐特有帮助。

近来，张楚又突然回到那种无拘无束的生活，比如尝试一支不录唱片的乐队，去酒吧演出，过真正的音乐生活。但在内心深处，张楚认为音乐对他而言并非首要的—他自认为是一个太渴望生活，渴望自我在生活里有个位置的人，渴望自我对生活中答案的理解。“如果我去做一个木匠，觉得它对我很合适，我也会满足。”

胡凌云

11/1997

原载于《音像世界》杂志， 以上文字来自互联网。

@论张楚歌词的民间理想 作者：杜鹃草

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