Pitchfork评测Rush经典专辑Moving Pictures（40周年纪念版）

In 1981, Rush fully transformed from a prog-rock trio to a mainstay of classic rock. A 40th-anniversary reissue of Moving Pictures captures the band at their absolute peak.

1981年，Rush从前卫摇滚三重奏完全转变为经典摇滚的中流砥柱。《Moving Pictures》40周年纪念再版捕捉到了乐队的绝对巅峰时期。

Dismissed by critics as Led Zeppelin wannabes, the Canadian prog-rock trio Rush spent the ’70s converting adolescents to bookish fancies with Alex Lifeson’s six-string runs, Neil Peart’s percussive kinetics, and a dexterousness on bass by Geddy Lee that complemented a vocal approach best described as a legible shriek. It awed kids who grew up with Rush. In 1997, Stephen Malkmus devoted a stanza to Lee in Pavement’s “Stereo.” So the Canadian trio and Zeppelin had similarities after all: Like Robert Plant, Lee sang as if he were a second guitar. Differences too: Where Zep stank of sex, Rush smelled of bookshelf dust.

被评论家视为Led Zeppelin崇拜者，加拿大前卫摇滚三人组Rush在70年代通过Alex Lifeson的六弦演奏、Neil Peart的冲击力和Geddy Lee的贝斯演奏，将青少年转化为书呆子般的幻想，这与最好被描述为清晰尖叫的声乐方法相得益彰。它让和拉什一起长大的孩子感到敬畏。1997年，Stephen Malkmus在Pavement的“Stereo”中专门用了一节来歌颂Lee。因此，加拿大三人组和齐柏林飞船毕竟有相似之处：像罗伯特·普兰特一样，Lee唱歌就像他是第二把吉他一样。也有区别：Led Zeppelin闻到了性的味道，Rush闻到了书架上的灰尘。

Gauche enough (i.e. young enough) to laud the “genius of Ayn Rand” in the liner notes to 2112 (1976), Rush flitted through the decade setting their influences to music. Now that no one younger than 50 gives a damn about why punk recoiled from prog, those albums before 1980 offer solid, stolid musical elongations on the addled fiction familiar to, say, fans of Genesis’ 1973 album Selling England by the Pound. With Rush, though, there was a turbulence, an aversion to the ornamental. When they discovered they could sound pretty on A Farewell to Kings’ “Closer to the Heart,” it was a glass of wine after years of grape juice.

在《2112》(1976)的内页注释中，Rush足够幼稚(也就是说，足够年轻)地称赞“安·兰德的天才”，他在这十年中穿梭，将他们的影响融入到音乐中。现在，50岁以下的人都不关心朋克为什么会从前卫中退缩，1980年之前的那些专辑提供了坚实的、迟钝的音乐延伸，对那些熟悉的糊涂小说来说，比如创世纪1973年的专辑“Selling England by the Pound”的粉丝。然而，对于Rush来说，有一种混乱，一种对装饰品的厌恶。当他们发现他们在《A Farewell to Kings》的《Closer to the Heart》中听起来很华丽时，酝酿多年的葡萄汁，这是一杯葡萄酒。

Touring had taught Rush the interior design of their own material. Moving Pictures is the result. Released in 1981, their eighth studio album—reissued in honor of its 40th anniversary in a sumptuous multidisc/multi-LP set—mastered concision. Instead of three- and four-minute things like “Fly By Night,” “The Trees,” and “Closer to the Heart” acting like smoke breaks between epics, the ten-minute “The Camera Eye” is the anomaly amid a suite of often severe tunes with choruses and middle-eights. Taking seriously the notions of progress espoused by their lyrics, Rush must have noticed these bright, shiny tunes on the FM dial mostly recorded by younger men whose brevity matched their hair length.

巡演教会了Rush用自己的材料进行室内设计。“Moving Pictures”就是结果。1981年发行的他们的第八张录音室专辑——为纪念其成立40周年，以华丽的多碟/多LP套装重新发行——掌握了简洁。“Fly By Night”、“The Trees”和“Closer to the Heart”等三到四分钟的歌曲就像史诗之间的烟雾，而十分钟的“Camera Eyes”则是一套通常带有合唱和八分之一音的严肃曲调中的另类。认真对待歌词中所表达的进步观念，Rush一定注意到了调频调频盘上这些明亮闪亮的曲调，这些曲调大多是由年轻男性乐手录制的，他们的简洁与头发长度相匹配。

And rhythms too! Not quite mystic ones, but Rush’s instrumental chops and charming, gawky futurism produced a supple incorporation of dub and reggae. Someone in the Rush dressing room must have loved the Police who were, at the time, three albums into a career that would turn them into the world’s biggest band and most fractious trio. To absorb Black rhythms through the filter of another white trio works as insurance: It’s less fraught to get blamed for borrowing from people who look like you. Rush experimented with a slight skank on Permanent Waves’ “The Spirit of Radio,” which might explain why it became an actual hit in reggae-drenched England than in an America that went through the trouble of keeping Black disco-tinged acts off the air. With Lifeson playing up- and downstrokes, Moving Pictures’ “Vital Signs” shows the most obvious signs of Police work, but the sequencer may bear the influence of Peart’s beloved Ultravox. After all, to quote him, “Everybody got to deviate/From the norm.”

还有节奏！不完全是神秘的，但Rush的器乐演奏是迷人的，笨拙的的未来主义使录音和雷鬼音乐的巧妙融合融合。Rush的排练室里一定有人喜欢The Police，他们当时有三张专辑，将他们变成世界上最大的乐队和矛盾最激烈的三人组。通过另一个白人三人组的过滤吸收黑人音乐的律动可以作为保险：从长得像你的人那里借钱就不那么令人担忧了。Rush在Permant Permanent Waves的《The Spirit of Radio》中尝试了一个轻微的粗鄙的人，这也许可以解释为什么它在雷鬼浸透的英国比在美国成为真正的热门，而美国却经历了让黑人迪斯科的音乐远离广播。随着Lifeson的起起伏伏，Moving Pictures的“Vital Signs”展示了受到The Police最明显的迹象，但音序器可能会受到Peart心爱的Ultravox的影响。毕竟，用他的话说，“每个人都必须偏离常规。”

To write a manifesto is folly; songs become manifestos. Such is the case with “Tom Sawyer.” Rush’s signature song embraces technology without succumbing to its dazzle. 1981’s version of Mark Twain’s 19th-century warrior with a mean, mean stride does many things that make sense only in Peart and co-lyricist Pye DuBois’ notebook, but the enthusiasm of Lifeson’s guitar fills and Peart’s nervous triplets are matched by Lee’s Oberheim-OBX solo. The simultaneous lateral and forward motion of their music matched the positivity of the lyrics. As proof they were regular dudes who like the cars that go vroom, Rush offered “Red Barchetta,” an ode to the Italian roadster that idles and revs like one; Lifeson goes from pinched intro to an interlude that cracks the song in half.

写一份宣言是愚蠢的；歌曲变成了宣言。“Tom Sawyer”就是这种情况。Rush的标志性歌曲包含着复杂的技术，而没有屈服于它的炫目。1981年版本的马克·吐温笔下的19世纪的战士，以一种刻薄、刻薄的步伐做了许多只有在皮尔特和联合作词人皮伊·杜波依斯的笔记中才有意义的事情，但Lifeson热情的吉他填音和Peart紧张的三连音与Lee’s Oberheim-OBX 独奏相融合。他们音乐的横向和向前同步运动与歌词的积极相匹配。为了证明他们都是普通人，喜欢跑得快的车，Rush献上了一首《红色巴切塔》(Red Barchetta)，这是一首对意大利跑车的颂歌，它在空转和加速时都像一辆车;Lifeson从一个简短的介绍到一个将歌曲分成两半的插曲。

As Rush matured into their Moving Pictures era, their instrumental flourishes matched their newfound plainspokeness. An inspiration for bucketloads of maudlin crap, the touring life didn’t affect a muse that had shown to this point little interest in the larger world. “Limelight” presents no complaints—advice not wisdom, remarks not pronouncements. Bands who envy Rush’s gilded cage “must get on with the fascination/The real relation, the underlying theme.” Before anyone can say, “Speak for yourselves, dorks,” the trio builds toward a break less impressive for how Lifeson outdoes David Gilmour in guitar dive-bombing than in Lee’s bass licks. That’s why they’re Rush and you’re not.

随着Rush进入他们的Moving Pictures时代，他们的乐器演奏与他们新发现的坦率相匹配。这是一桶又一桶伤感废话的灵感来源，巡演生活并没有影响到这个对大世界毫无兴趣的灵感。“Limelight”没有抱怨，没有忠告，没有智慧，没有评论，没有宣言。羡慕Rush的镀金牢笼的乐队“必须继续迷恋/真正的关系，潜在的主题。”在有人说“为自己说话吧，笨蛋们”之前，三人组开始走向一个突破，与其说Lifeson在吉他俯冲连音演奏方面胜过David Gilmour，不如说李的贝斯过门令人印象深刻。所以他们是Rush，而你不是。

And sometimes words are crap. After Hemispheres’ rather ponderous “La Villa Strangiato,” Rush present “YYZ,” an instrumental ready for new wave on which Lifeson and Lee circle each other, back off, and let Peart offer a series of rolls that are the stuff of which fanzines are made.

有时歌词是废话。在专辑“Hemispheres”相当拖殆的“La Villa Strangiato”之后，Rush推出了“YYZ”，这是一个准备迎接新浪潮的纯乐器曲，Lifeson和Lee互相盘旋和退让，让Peart提供一系列鼓的高超演奏，是制作粉丝杂志的东西。

Thanks to its tautness, conceptual integrity, and the fortuitous manner in which their career ambitions and radio programmer taste intersected, Moving Pictures functioned as much a harbinger of a new artistic era as David Bowie’s Young Americans. It peaked at No. 3 in America, their best chart position to date; the RIAA would certify it five-times platinum. “Tom Sawyer” brushed against the Top 40 gates without gaining entry. Best, Rush was constitutionally incapable of cynicism. “Alienation is the craze,” sang the Cars two years earlier, sounding neither crazy nor alienated but arch; “Put aside the alienation,” Neil Peart countered on “Limelight.” Optimism without sentimentality? In this biz? For a couple of hours, this Moving Pictures package envisages a world of love and light.

由于其紧凑，概念上的完整性以及他们的音乐野心和广播程序员品味的偶然方式交织在一起，Moving Pictures与大卫·鲍伊的“Young American”一样，成为新艺术时代的预兆。它在美国最高排名第三，是他们迄今为止最好的排行榜位置；RIAA将认证它五个白金（五百万销量）。“Tom Sawyer”进入第一次进入排行榜前40名的大门。最好的是，Rush天生就不会玩世不恭。“异化是热潮，”两年前The Cars乐队唱到，听起来既不疯狂也不疏远，而是拱形；“抛开疏远，”Neil Peart在《Limelight》中反驳道。没有多愁善感的乐观？在这个行业中？在几个小时的时间里，这个“Moving Pictures”设想了一个充满爱和光明的世界。