大神让我务必要翻译一下他的这篇乐评，因为“it's one of the best mellotron driven prog albums ever made”，这是最棒的mellotron驱动的前卫专辑。Mellotron - Wikipedia 是一种键盘，具体可见@周宇航专栏的介绍：鱼缸讲故事--一场“平凡”的演唱会 - 知乎专栏
Quarteto 1111《Onde Quando Como Porque Cantamos Pessoas Vivas》试听：虾米音乐
Quarteto 1111 is a very special and important Portuguese progressive rock band, and their second and last album "Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas", or third if you also want to consider the album "Bruma Azul Do Desejado" recorded with Frei Hermano Da Câmara in 1973, is, in my humble opinion, a very special album and a truly landmark in the Portuguese progressive rock musical scene. I believe that it's perhaps the best Portuguese progressive rock album of the 70's, even superior to "10.000 Anos Depois Entre Vénus E Marte", the solo work of Cid.
Quarteto 1111是非常特殊和重要的葡萄牙前卫摇滚乐队，他们的第二张也是最后一张专辑《Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas》（或者你认为他们和Frei Hermano Da Câmara一起录制的1973年的专辑《Bruma Azul Do Desejado》算是第三张的话）在我看来是在葡萄牙前卫摇滚乐中很重要的作品，是一个真正的里程碑。我相信它或许是葡萄牙前卫摇滚在70年代的最佳作品，甚至要优于Cid的个人作品《10.000 Anos Depois Entre Vénus E Marte》。（José Cid《10.000 Anos Depois Entre Vénus E Marte》）
The line up on this album is José Cid, António Moniz Pereira, Mike Sergeant and Vitor Mamede.
专辑的制作人员是：José Cid, António Moniz Pereira, Mike Sergeant and Vitor Mamede.
As I wrote before, when I reviewed their debut album, Quarteto 1111 was formed in the late of the 60's and included some of the earliest recorded output from Cid. Their music didn't exactly pleased to the Portuguese dictatorships of the time of Salazar and Caetano, and so, a lot of their music was naturally banned by the regime. However, by 1974, the Caetano regime was over and in that year Quarteto 1111 released their final album, "Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas". If you're a fan of Cid's "10.000 Anos Depois Entre Vénus E Marte", you're going to need this album. It's basically the starting point of Cid's exploration of the progressive rock music. Certainly it doesn't have the spacey cosmic overtones of "10.000 Anos Depois Entre Vénus E Marte". This isn't properly a science fiction conceptual album, as the other album is. Anyway, "Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas" is also a conceptual album where the poetic, the musical and the instrumental ideas are totally from Cid. Lyrically, this is essentially an album of poetry. It uses a poem of José Jorge Letria, a Portuguese poet and musician, very well known at the time.
就像我在评论他们的首张专辑中写的那样，Quarteto 1111组建于六十年代末，最早是由Cid写了一些录音作品。他们的音乐却不能令当时的萨拉萨尔和卡泰诺政权的葡萄牙独裁者满意，所以他们的一些音乐理所当然地被政府所取缔。不过到1974年，卡泰诺政权倒台，也就在这一年，Quarteto 1111发行了他们的最后一张专辑《Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas》。如果你是Cid的 《10.000 Anos Depois Entre Vénus E Marte》的粉丝，你会需要这张专辑的。它基本上是Cid探索前卫摇滚音乐的起点。当然，它不是《10.000 Anos Depois Entre Vénus E Marte》那样的宇宙色彩的音乐。它不像其他专辑一样是一个科幻概念的专辑。《Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas》依然是一张概念专辑，其诗歌、音乐和器乐上的电子都是出自于Cid。歌词，从本质上来说它们是诗歌。它运用了在葡萄牙广为人知的诗人和音乐家José Jorge Letria的诗歌。
"Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas" is a very different album of their previous eponymous debut, especially in terms of musicality. It tends to more emphasize on symphonic progressive ballads, but not unlike the Moody Blues, with tons of mellotron. And it's the mellotron very much noteworthy on the album. Cid absolutely plasters the entire album with it, more so than on "10.000 Anos Depois Entre Vénus E Marte", tons of mellotron strings and flute. But the mellotron choir so dominate on "10.000 Anos Depois Entre Vénus E Marte" it's not present here. The album is basically one cut that takes up both sides and it goes through several changes, from romantic balladry, to more acoustic passages, and some more rocking passages. The album consists of two short side-long tracks, with side one fading out and the flip fading in at the same point. It would be nice that in the future, on an official CD release, the two sides could be correctly joined. It's precisely the same thing that happened with "Thick As A Brick" of Jethro Tull.
相比他们之前一举成名的首专来说，《Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas》是很不同的，特别是在音乐性上。它更倾向于交响前卫的歌曲，很像the Moody Blues（忧郁蓝调首先大面积使用了mellotron），运用了一大堆mellotron。在专辑中mellotron的运用是值得注意的。Cid把它用到整张专辑上，比之《10.000 Anos Depois Entre Vénus E Marte》更多，大量的mellotron弦乐和长笛的使用。但是在《10.000 Anos Depois Entre Vénus E Marte》里占主导的mellotron合唱在这里不存在。专辑被切成两面（其实是整张专辑是一首歌，30分钟），经过了许多变化，从浪漫的民谣到更原声乐器的段落，以及更摇滚的段落。专辑由两碟轨道构成，碟一淡出后碟二在同一段音乐淡入。在未来的官方CD发行中它就不是这样了，两段被完好地组合起来。同样的事发生在Jethro Tull的《Thick As A Brick》上。
"Onde Quando Como Porquê Cantamos Pessoa Vivas" offers a pretty typical southern symphonic progressive rock music as it was at the same time also produced in Italy and Spain. The album often was compared to Pulsar and other French progressive rock bands of the time, except the vocals which are in Portuguese. Another band that they can be compared with is the German band Eloy, with their similar spacey synthesizers. But the main characteristic of the album is the massive use of the mellotron. Here begins the comparisons with the first phase of King Crimson. Cid goes completely overboard here, with swathes of strings underlain by cellos with considerable quantities of flutes, too. There's a nice moment about a minute into side two, where he suddenly switches from strings to flutes which isn't really a bad moment on the album. The only other keys on the album are an unidentified mono synthesizer which gets used a bit, a smattering of piano on side two, and even less string synthesizers at one point. So, I think it's safe to say, that this is a "mellotron album" in every sense of the word. You really like and want a mellotron? So, you've got it here.
《Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas》提供了一个吸引人的典型南方交响前卫摇滚乐，可以类比的是同一时间在意大利和西班牙诞生的音乐。专辑经常被拿来和Pulsar和其他法国前卫摇滚乐队比较，不过人声是葡萄牙的。另一支可以比较的乐队是德国的Eloy（熊猫哥哥多次介绍过Eloy，他们的新专辑跳票后据称要在八月发布，呵呵。），他们有类似的太空摇滚合成器。但是专辑的主要特征是大量使用mellotron。我可以比较他们和King Crimson的第一阶段。Cid全情投入于此，用大提琴的弦乐包裹着音乐，以及大量的长笛演奏。有一个很不错的时刻是从碟一转到碟二的一分钟，那里他突然从弦乐器转到长笛，这真的是专辑中不错的一刻。另一个专辑的关键是一个不确定的mono合成器，它也用了一会儿，还有碟二的一些钢琴演奏，以及在某一时刻的少量弦乐合成器。所以，我想可以有把握的说，在每一个意义上它都是一张“mellotron”专辑。你真的喜欢mellotron，想要一个吗？所以，可以在这张专辑里拥有它。
Conclusion: I agree with José Cid when he says that this is an album that represents a rupture and at the same time a leap forward in the work of Quarteto 1111. This is a conceptual album where the poetic, the musical and the instrumental ideas are totally from him. Lyrically, I think this is essentially an album of poetry and musically, it's a symphonic progressive album, essentially "acoustic". Like many, I also think this is probably, in some way, superior to "10.000 Depois Entre Venus E Marte". It's most original, audacious, pure, simple, naïve and poetically superior to that album. I even can see on it, influences from King Crimson, Renaissance and Camel. Anyway, this is mainly an album with Portuguese features. If we could define the Portuguese progressive rock, we could say that their main features are on it. As Erik Neuteboom, I'm also a "tronmaniac". I think that many of us, especially those of my generation, learned to love the sound of the mellotron, especially with the first two albums of King Crimson and even today we are still delighted with the sound of the mellotron, for instance, on the albums of the Swedish band Anekdoten. So, I sincerely think this album is an icon of the mellotron sound and is also one of the best progressive rock albums from the 70's.
结论：我同意José Cid说这张专辑代表着Quarteto 1111的破裂，但同时也代表着Quarteto 1111作品的飞跃。这是张无论歌词、音乐还是器乐都由他主导的概念专辑。歌词上，从本质上来说是诗歌，音乐上，它是交响前卫专辑，本质上是“原声乐器”。也许在某些方面，它是要优于《10.000 Anos Depois Entre Vénus E Marte》的。它比《10.000 Anos Depois Entre Vénus E Marte》更原始，无畏，纯粹，简单，天真和诗意。我甚至可以感受到King Crimson，Renaissance和Camel的影响。无论如何，它有着葡萄牙的特色。如果我们可以定义葡萄牙前卫摇滚，那么它的主要特征都在这张专辑上。就像Erik Neuteboom（PA上另一个乐评家）所说，我也是一个“tronmaniac”（我不知道这是啥意思，应该是tron+maniac的意思，Tron狂人？）。我想我们当中许多人（特别是我们这一代）都热爱mellotron的声音，特别是伴随着King Crimson的前两专辑。甚至时至今日，我们依然对mellotron的声音感到高兴，比如瑞典乐队Anekdoten的专辑。所以，我真诚地认为这张专辑是mellotron声音的标志，也是70年代的最佳前卫摇滚专辑之一。
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