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Bettye LaVette -《The Scene of the Crime》[MP3!]

专辑介绍: 不像摇滚乐，蓝调歌手在一甲子年纪的风霜过后，总还是可以一再带来惊奇。出身美国密西根州，本名Betty Haskin的Bettye LaVette在15岁左右的年纪便在芝加哥的酒馆引起很大的话题。16岁他就被当地厂牌签下录制试唱带，随即获得大厂Atlantic的兴趣，后来还加入60年代一时风骚的蓝调双人组合Don Gardner & Dee Dee Ford参与他们巡回的客席歌手。她在70年那段走过百老汇的黄金年代，也在80年当过迪斯可场景争相邀唱的灵骚女声。60年代就登上节奏蓝调金榜的往事对她来讲似乎不算什么，中间连著好几年忙于现场演出，80年代和90年代几乎都在现场演出中度过，一直到2000年发行一张于费城的现场专辑《Don Gardner & Dee Dee Ford》叫好叫座，她重新考虑了以录音创作发行唱片的型式，接连于'03到'06年间，年年都有水准以上的佳作。有点忘记上一回听起蓝调歌手会感动是什么时候的事了，我更差点忘了去连结蓝调和爵士、摇滚、节奏蓝调的同宗脐带关系。但听了Bettye LaVette的＜Jealousy＞、＜You Don't Know Me at All＞、＜Before the Money Came＞，才晓得这三、四十年来Bettye还保留著蓝调最纯粹的一面，不觉那声音随著她年龄老化，反觉力道慑人无比。前一阵子看见本地的品味取向书店刊物，试图将60嬉皮情节从当红的唱作人再制造成另一种「台湾Janis Joplin」产品，其实令人不禁皱眉。与60年代迷幻摇滚、蓝调摇滚分道扬镳的蓝调酒馆歌手，从这么长的时间回顾，同样的文化根基，是不用制造和强调的。也许是种补偿它地无法亲临现场的乐迷们，Bettye这几年花了很大的心思在录音作品上，颠覆了许多上了年纪的歌手「现场到位，则录音水到渠成」的想法。Bettye LaVette绝对是新世纪之初透过唱片发行影响最力的蓝调女伶之一，入秋的新作《The Scene of the Crime》在节奏蓝调浮滥化（现在多数的R&B，可说是既没节奏又没灵魂）的当头，无疑是个最好的启示。(借鉴转自网络，文／ouch) "I've got my mem-mor-eehees," sings Bettye LaVette at the chilling finale of her version of Elton John and Bernie Taupin's obscure "Talking Old Soldiers," holding the last syllable as it fades into a hum while Spooner Oldham's ghostly piano underpins the pain. The singer's whiskey-stained voice infuses those words with a fierce mix of pride, hurt, resignation, sadness, strength, and humility--traits that make her one of the finest R&B singers of her generation. There are other riveting moments rivaling that from this deeply moving set that finds her recording once again at Muscle Shoals' FAME Studios, the same place she created an album in 1972 that Atlantic inexplicably never released. Accompanied by Oldham and the swampy, tightly wound Drive-by Truckers, LaVette digs into material from John Hiatt, Willie Nelson, Frankie Miller, Eddie Hinton, and Don Henley, among others, finding the hidden soul in songs as she rips them apart from the inside out. It's a magnificent performance from a singer who shoots straight, especially on her autobiographical "Before the Money Came (The Battle of Bettye LaVette)," this disc's sole original. The Truckers dial down their raunchy Southern rock, concentrating instead on rugged R&B and creating a greasy collaboration that's as inspired as it is unlikely. Lavette grinds out the intensity, alternating between ballads and roots rockers on a set that never lets up for 40 passionate minutes. Soul music just doesn't get any more fiery, as Bettye Lavette creates indelible images of loves and lives with the voice of one who has walked the talk. --Hal Horowitz Her 2005 acclaimed release, "I've Got My Own Hell To Raise", brought well-deserved recognition to this R&B maverick who's been recording since the early 60s. Now comes the almost autobiographical "Scene Of The Crime". To make music this raw and direct, Bettye enlisted "dirty south" rockers The Drive By Truckers as her backup band. With swampy guitars, slippery Wurlitzer piano, and a driving backline, this record conjures up the spirit of great loose 70s bands like the Faces while offering Bettye an urgent, vital setting for her razor-sharp vocals. Recorded in Muscle Shoals, AL, where she recorded "Child Of The Seventies" in 1972 - a masterpiece that was shelved then released 30 years later. Returning to Muscle Shoals was like returning to the scene of a crime; thus the album title, and the intense, personal music within.