今天凌晨的决赛,ITALY 5:4(P.K.) FRANCE

赫赫，俺们的Argentina赢球了，尽管最后看得我心惊胆战，还好还好，兔子不负众望阿科特迪瓦很强啊，其实挺同情他们的，为了自己还在内战中的国家，胜利才是他们所渴望的~

兔子~

<img alt= src=http://image2.sina.com.cn/2006/star/U370P427T23D76F390DT20060328183621.jpg>

等了好久，四年过地好快~大学能赶上个世界杯，真是个幸事，不知为何自己那么的激动~

可爱的大头如意料中的落选了~然而有点不可思议的是Zanetti,Samuel,Demichelis的落选~可怜的这几个阿根廷人啊，Demi甚至都说他不想活了，Pekerman的心挖，真是狠的那个狠。忽然想起以前那会儿的阵容~还有Rosales，Delgado…还有偶di大头~印象深的还有Luis Gonzales，不过他这个孩子才受欢迎涅一直都在队中滴还有Mascherano瓦，伤愈复出就入选，都是红人红人。Germany2006，只希望对于阿根廷的结局会好些~冠军冠军，还是要YY下。

Google搜索Bright Eyes，首先得到的检索却是 Saddle Creek，原来如此————

独立音乐厂牌Saddle Creek：地点Nebraska，美国内布拉斯加。实际上这个厂牌发展至今已经有10年之久了，在这十年间他们并没有签下太多的艺人。Saddle Creek是少年得志的音乐神童Connor Oberst(Bright Eyes的主唱)为摆脱商业束缚发行自己的个人唱片建立的，到今天它的作用还是没有什么变化，仅仅是服务的艺人多了几个而已，基本上它就是一小群很自我的人玩味音乐的地方，从不会为那些音乐理念以外的东西而改变自己。

In the past few years since the release of Bright Eyes’ fourth full-length album, Lifted or The Story Is In The Soil, Keep Your Ear To The Ground, the Bright Eyes tale has taken many unexpected twists and turns. Conor Oberst and his ever-changing line up of musical comrades appeared on “The Late Show with David Letterman,” “The Late Late Show with Craig Kilborn,” and were a prominent addition to the MTV2-televised 2003 Shortlist Awards. In October of 2004 he was invited to join Bruce Springsteen and REM on an arena tour of swing states in advance of the presidential election. His performance at those shows sealed his reputation as a creative force, able to command the attention of thousands of rock fans with, at times, just his voice and an acoustic guitar.

过去的几年中，自从Bright Eyes发行了第四张专辑后，他们象是埋在土壤中的故事，让你的耳朵贴着地面聆听。Bright Eyes的音乐发生了出人意料的转折。Conor Oberst和他的一直变化的乐队出现在The Late Show with David </span><span style=`>Letterman,The Late Late Show with Craig Kilborn上，他们2003年在MTV2台的播映的颁奖会上作为候选人也有杰出的</span><span style=`>表现。2004年在总统选举前他被邀参加Bruce Springsteen和REM的全美巡回演出。Conor Oberst在这些演出上的表演充分展现了他具有非凡创造性的一面，引起了上千摇滚乐迷的注意，就靠的是一把电吉它和他代表性声音。

Over the past two years the young musician has found himself hurled from his indie rock enclave onto the world’s stage. While reaching new heights of commercial success, he was hailed by fans as the finest songwriter of his generation. But he remained, and remains, an artist unwilling to leave his hometown label for any major label’s promises.

在过去的两年里，这个年轻的音乐家开始在独立摇滚领域拓展自己。当在商业方面达到了个新的高度后，Conor Oberst被他的歌迷誉为他这一代最好的音乐创作人。但他仍然不愿离开自己创建的厂牌而加盟其他更大的音乐厂牌。

All the while, critical acclaim has spread far and wide with Bright Eyes selling out several hugely lauded tours and finding an ever swelling and ravenous audience throughout the world. Since Lifted, Oberst has released an almost constant stream of new material for collaborative EPs, tribute albums, and charity records. He ventured into the studio with Nebraska folk-pop outfit Tilly And The Wall, co-producing their debut album Wild Like Children and then releasing it on his newly established record label, Team Love. And yet, despite all of this recording and performing, it is his songwriting that has taken unmitigated precedence.

一直以来，Bright Eyes进行了几次巡回演出在世界范围内也引起歌迷的狂热追捧，受到了广泛的好评。Oberst首先发行了一系列的新概念的EP专辑，赠送专辑和慈善唱片。他在NEBRASKAD的一个录音棚里和民谣乐队Tilly And The Wall合作发行了他们的首张专辑Wild Like Children ，随后他又重新确定了他的唱片标签，Team Love。然而不管所有的录音和表演如何，它展现了Oberst的创作才华。

Conor’s new songs are undeniably his finest to date. These new compositions have been rolled into two separate, cohesive records: I’m Wide Awake, It’s Morning and Digital Ash in a Digital Urn, which will simultaneously be released on January 24th. While a plethora of this new material was born from an early 2003 relocation to Manhattan, 2004 saw Conor’s return to Presto! Studios in Lincoln to record with long time collaborator and producer Mike Mogis.

Conor的新歌展现他不可否认的杰出，在连续两张唱片i'm wide awake,it's morninganddigital ash in a digital </span><span style=`>urn中有两种不同的元素，这两张专辑都在1月24日同时发行的。专辑中的一些歌曲重新编排于2003年的曼哈顿，我们在2004</span></span><span style=`>年见到了Conor回归到了快节奏的曲风中，是在Lincoln的录音棚，和他长期以来的制作人Mike Mogis一起创作的。

Recording since the age of 13 and tagged “rock’s boy genius” by the music press for the past few years, these two albums provide unequivocal proof that the now 24 year-old Oberst belongs to the lineage of great American songwriters. These albums are a soundly articulated slice of modern American life rolled into two very different records. The new songs are bursting with all of the heartfelt poetry for which Bright Eyes records have earned their acclaim. The rough edges are still there — the splintering of a note held too long, the crack of the voice as it reaches slightly too far, the inadvertent thump of a thumb against a fret — but there is a glorious new level of depth and texture to the writing and delivery. Recorded back-to-back and scheduled to be released simultaneously, more out of necessity than any grand art plan, the two albums work in tandem to elucidate both sides of Conor’s recent creative output.

从13岁就被音乐媒体称为“天才摇滚男孩”的Oberst，这两张专辑更加证明24岁的他属于传统的美国原创歌手，非常好的把现代美国生活的诠释融进了两张唱片。新歌靠着真挚的情感和诗般的旋律从而使Bright Eyes赢得众多喝彩。但专辑还是有些
缺憾，例如有些歌中的分隔音符太长，唱腔有时也似乎有些拉的过长，拇指拨弦过重也使人有点心烦，但不管怎样，歌曲的写作谱曲都上升了一个新的高度。而且两张唱片的几乎同时推出更加独树一帜，由此看见Conor的创作才华可见一斑。

The first (as in, the first to be laid down on tape) is titled I’m Wide Awake, It’s Morning; a country-tinged mélange of Conor’s finest acoustic songs, featuring guest vocal appearances from Emmylou Harris and Jim James (My Morning Jacket).

第一张唱片命名为i’m wide awake,it’s morning；来自Conor的具有乡村风格的声音，还有Emmylou Harris和Jim James的客串。

The second album Oberst recorded, Digital Ash In A Digital Urn, is a more produced, band-centric album featuring cameo appearances by Nick Zinner of Yeah Yeah Yeahs.

Oberst的第二张名为Digital Ash In A Digital Urn,更具乐队特色，其中也有来自Yeah Yeah Yeahs的Nick Zinner的加盟。

As has become expected of Bright Eyes recordings, the albums feature an array of talented comrades: Jesse Harris, Jason Boesel of Rilo Kiley, multi-instrumentalist and producer Mike Mogis, Nick White of Tilly And The Wall, Matt Maginn of Cursive, Clay Leverett and Andy LeMaster of Now It’s Overhead, former The Good Life member Jiha Lee, Maria Taylor of Azure Ray, Clark Beachle of The Faint, Alex McMannus of The Bruces, Jake Bellows of Neva Dinova and Jimmy Tamborello of The Postal Service.

Bright Eyes的专辑中，有多名艺人的参与，其中有：Jesse Harris，Jason Boesel(来自Rilo Kiley)，乐器演奏家兼制作人Mike Mogis，Nick White(来自Tilly And The Wall)，Matt Maginn(来自Cursive) ，Clay Leverett和Andy LeMaster(来自Now It’s Overhead)，前The Good Life乐队的成员Jiha Lee，Maria Taylor(来自Azure Ray)，Clark Beachle(来自The Faint)，Alex McMannus(来自The Bruces)，Jake Bellows(来自Neva Dinova)和Jimmy Tamborello(来自The Postal Service)

———————————————————————————————————–

Conor Oberst的乐队经过好几次的重组，下面是以前乐队的简历直到Bright Eyes。

Commander Venus
1995-1997

Ben Armstrong (drums)
Conor Oberst (guitar, vocals)
Todd Baechle (bass)
Robb Nansel (guitar)

Do You Feel At Home? Lumberjack, 1995
The Uneventful Vacation, Lumberjack, 1997

For more information:
Saddle Creek Records
Imusic Artist Showcase

The Magnetas
1996

Ben Armstrong (drums)
Todd Baechle (bass)
Chris Hughes (guitar, vocals)
Conor Oberst (guitar, vocals)

Ghostmeat Parts Compilation, Ghostmeat Records, 1996

For more information:
Ghostmeat Records

Park Ave
1996-1998

Clark Baechle (guitar, vocals)
Jenn Bernard (keyboards, vocals)
Neely Jenkins (bass guitar, vocals)
Conor Oberst (drums, vocals)
Jamie Williams (guitar, vocals)

Split 7w/ the Wrens</span><span style=`>, Saddle Creek Records, 1998
Saddle Creek Sampler, Saddle Creek Records, 1998
When Jamie Went to London… We Broke Up , Urinine Records, 1999

For more information:
Official Site
Saddle Creek Records

Desaparecidos
2001-2002

Matt Baum (drums)
Denver Dalley (guitar)
Ian McElroy (keyboards)
Conor Oberst (guitar, vocals)
Casey Scott (bass)

The Happiest Place On Earth, Saddle Creek, 2002
Read Music/ Speak Spanish, Saddle Creek, Feb. 2002

For more information:
Saddle Creek Records
Lazy-I.com Interview w/ Desaparecidos

Bright Eyes
1995-present

Main Releases:
A Collection of Songs Written and Recorded 1995-1997 , Saddle Creek Records, 1997
Letting Off the Happiness , Saddle Creek Records, 1998
Every Day and Every Night (EP), Saddle Creek Records, 1999
Fevers and Mirrors , Saddle Creek Records, c.2000
Oh Holy Fools, Saddle Creek Records, 2001
There Is No Beginning to the Story , Saddle Creek Records, 2002
Lifted or The Story Is in the Soil Keep Your Ear to the Ground , Saddle Creek Records, 2002
I’m Wide Awake It’s Morning , Saddle Creek Records, 2005
Digital Ash in a Digital Urn ,Saddle Creek Records, 2005

———————————————————————————————————————————-

Old soul song

lyric:

Grey like new day leaks through the window
And some old song comes on the alarm clock radio
We walk the forty blocks to the middle
Of the place we heard that everything would be
And there were barricades to keep us off the street
But the crowd kept pushing forward
‘til they swallowed the police
Yeah, they went wild, yeah, they went wild
yeah, they went wild, yeah, they went wild

We left before the dust had time to settle
And all the broken glass swept off the avenue
Ana all the way home held your camera like a bible
Just wishing so bad that it held some kind of truth

And I stood nervous next to you in the dark room
You dropped the paper in my water
And it all begins to bloom

Yeah, they go wild, yeah, they go wild
Yeah, they go wild, yeah, they go wild

And just when I get so lonesome I can’t speak
I see some flowers on a hill side
Like a wall of new TVs

Yeah, they go wild, yeah, they go wild
Yeah, they go wild, yeah, they go wild
Yeah, they go wild, yeah, they go wild
Yeah, they go wild, yeah, they go wild

明天就可以知道阿根廷参加世界杯的大名单了，也许只有奇迹偶可爱的大头才能到穿上蓝白剑条衫。虽然还是不太愿意接受这样的结果，但总是还在幻想着，无论怎样，在世界杯上还是会一如既往的支持阿根廷的。希望他们这次能一路走好，大头也会和我一样，坐在电视前为他们加油的。

Jet interview

下面是一段UNDERCOVER对Jet的一段采访.顺便学习下英语.就不用翻译了,有兴趣的筒子们可以参考参考.

Every now and then an Australia band comes along built from the hard slog of the pub and club circuit. That is how AC/DC did it, same for INXS, Chisel and Midnight Oil. The Australian pub circuit is the way you really become an Australian Idol. If you can’t make it there, you simply just can’t make it.

Now meet Jet. This is a hard working rock and roll band with true rock and roll values. Singer Nic Cester and Bass Player Mark Wilson caught up with Undercover’s Paul Cashmere.

Paul Cashmere: The difficult first album has been a long time coming for Jet.

Nic Cester: A pleasurable chore.

Mark Wilson: Indeed

Paul Cashmere: Here’s a quick summary of the band. A few mates from Melbourne form a band. You sign to Elektra Records in New York. Billy Preston plays keyboards on your record and suddenly we have the album ‘Get Born’.

NC: I like the short version.

MW: The short version is good.

PC: The condensed version makes it sound like a fairy tale but how quickly did it really happen for Jet?

NC: I wouldn’t exactly say that driving a fork-lift for 6 years exactly flashes past. We have been a band for a while but the period from when things started to happen was really quick, really really quick.

PC: One of the great things for this year was your support with The Rolling Stones. You are obviously big fans of The Stones.

MW: What makes you say that?

PC: (laughs)

NC: Exactly

PC: Was it intimidating touring with The Stones?

NC: Yeah, a little bit but I’m glad we had the chance to do something so scary so early because it is hard to get scared now.

PC: How was it meeting The Stones?

NC: It was great. I wouldn’t have been surprised if they just stuck to their rooms and we hadn’t seen them the whole time but it wasn’t like that at all. Whenever they walked past our dressing room they always made an effort to stop and say hello and have a quick chat.

MW: They are nice guys. I had heard stories that they would be arse-holes but they don’t have to be anymore. They are just a bunch of old dudes playing shows and have the family along as they go to work. They are just a bunch of lovely blokes who play in a band.

PC: They have to be nice guys, they have been Simpsons characters. That is something for you to aspire to.

NC: To be Simpsons characters?

MW: I think that would be the ultimate goal.

PC: What did you talk to The Stones about? What is small chat with Mick Jagger?

MW: Mick wasn’t into small chat. He told us stories and it was like a Mick Jagger show in the dressing room for us. He would tell stories and he was a pretty funny guy.

NC: He would tell us stories about other support acts like Oasis and generally inquire how the shows had been going so far and if we were having a good time. He was generally polite.

MW: Charlie (Watts) had a big chat with Chris (Cester) about drums.

PC: What I love about the new Jet album is you unashamedly show off your influences with the wonderful styles produced for this record. You are obviously all very big music fans and that is obvious listening to the album. When you were creating the songs did you have in mind the history of rock behind you?

NC: A song is a song and you can dress it up any which way you want but we kind of chose to dress it up in this style because that is what we like. The trick is it is just a bunch of chords and a melody. You can play it in a way that it sounds like AC/DC if you want to or you can not. You can go out of your way to make it sound a bit Beatley or you can disguise that. We like the way they sound.

PC: When I listen to the record I hear echoes of Iggy Pop or The Stones or AC/DC, even The Beatles. Is that because you are fans of all those bands?

NC: Absolutely. After listening to that stuff for years it just comes out that way as well.

PC: Because Jet was named after a Paul McCartney song wasn’t it.

NC: Yeah, off a song from Band on the Run.

PC: Why that name?

NC: We didn’t name ourselves as an ode to the song or an ode to Paul McCartney. It was just that we were familiar with all of those song-titles and we thought it would be a cool name.

MW: Also the way it is written, if you are playing with another band with 10 letters in their name and we have three, it gets stretched to take up the same amount of space.

PC: Ahh, strategy. When I listen to the album, on track four Look What You Done, I’m hearing John Lennon so it is interesting the bands name is inspired by Paul McCartney and there are influences of John Lennon in there as well.

NC: We use a lot of old effects that aren’t really used any more. They are the same effects John Lennon used to use.

PC: How do you discover those sounds? Do you take an old Lennon album to your producer and say make us sound like this?

NC: Yeah, a bit of that and a bit of just knowing.

PC: The other Beatle overlap is that you guys have the services of Billy Preston playing on your record. He is the only person ever to shall a co-credit on a Beatles song (Get Back, 1968). How familiar were you of the work of Billy Preston?

NC: Totally familiar. That is why we got him. The Beatles are my favourite band in the world. I don’t know how many times I have listened to ‘Don’t Let Me Down’. I couldn’t tell you. That was pretty special to have him there.

MW: And it was cool to watch him because he is hunched over.

NC: He had on the worst looking tracksuit I had ever seen in my life.

MW: We expected a guy with a scivvy and big Afro to come in.

PC: So the moral of the story is it doesn’t matter how rich and famous you get your dress sense won’t improve.

MW: Actually it gets worse. History has showed us that. You get to a point where you go I'm staying, this is where I'm happy.

NC: It is called the 80’s.

PC: You made the album in LA. Was it a quick process to put the songs down?

NC: No. It could have been if we wanted to. A lot of bands wear a badge of honour. We did this is three days and it cost us 20 bucks. We have never really aspired to be like that. We actually liked spending the time to get meticulous. We spent a lot of time just on sounds, like drum sounds.

MW: We spent less time on takes than we did on sounds. We just wanted everything to sound awesome to tape rather than mixing it later and fucking it more.

PC: It has been reported that you guys were given a huge advance to record not only this album but a number of albums. Is it true? Were there millions of dollars thrown at the band?

NC: We have never said how much. Not because we are trying to hide it. It was a lot of money. We think the more you talk about the money the more it detracts from the focus. You don’t ask people what they earn. It is irrelevant. Because people knew it was a lot and we never actually disclosed the figure it everyone assumes it must be something ridiculous. The $3m I keep seeing is crap. It is nowhere near that.

MW: In the newspaper the other day it said we were all millionaires.

PC: The White Stripes recorded their album for a couple of grand so why do you need so much money?

MW: I don’t believe they recorded that album for a couple of grand.

NC: I think they wear that as a badge of honour as well. I’m sure they did it cheaply but even that is exaggerated. Good on them. They do what they do and do it well. It is just not how we do it.

PC: There was a huge bidding war for Jet. What did that do to the egos in the band? Did you all get swelled heads when record execs from all over the world flew in to see you?

NC: I think when you are faced with something like that if you are an arrogant person by nature you become more obnoxious but we aren’t like that. I’m a bit shy and it made me more reserved. When you are overwhelmed with something you get nervous. One minute we are playing to a couple of hundred people at a pub and the next moment there are heads of labels ringing us up. 10 labels from America flew to Sydney to watch us. That show in itself was pretty scary knowing that that night would determine the rest of our careers.

PC: You signed with Elektra and the new head of A&R now for Elektra Records is Ric Ocasek, formerly of The Cars.

NC: Yeah, he is the head of A&R.

MW: And I’m a big Cars fan and got to meet him a few weeks ago. He is a lovely guy. He looks like Dracula. He is gaunter than ever.

PC: You are his second Australian association.

MW: Yeah, he produced Waikiki.

NC: Did he really? I didn’t know that.

PC: One of the bands you are associated with though similar management is The Vines. The Vines had a lot of trouble with the media around the world because of their antics. Have you followed that and what they have done through the press?

NC: I don’t go out of my way to read it.

MW: We’ve got the same management so we hear stories. We have the same guitar techs.

NC: Because we are overseas so much we bump into them. Not so much Craig (Nichols) but the rest of the guys we see. We saw them a few months ago in New York. They are great guys.

PC: Do you learn from their mistakes?

MW: We make our own mistakes and learn from ours.

NC: It is better to worry about yourself. You have got to make your own mistakes before you can really learn. There are some things. Now that I think about it, I suppose yeah but I wouldn’t have thought of it before. We don’t go out of our way to see what they are doing.

PC: So in the back of your mind do you have do not destroy instruments on the Jay Leno Show?

NC: I wouldn’t do that anyway. My guitar is my prize possession. It is all I have, that and a suitcase.

PC: What is the essence of a great song?

NC: Melody, for me.

PC: Is that where you start?

NC: Absolutely. If you can’t hum a tune what’s the point. That is what songwriting is, isn’t it. It is a melody through a bunch of chords.

PC: We are going to watch you later at lunch and see if you have the round meat in the square toast.

MW: I’ve seen him do that.

~~~~~~~~~

感觉一看他们就是复古派的–|||

JET…听说今年要出第二张专辑了.等了这么久希望新专辑能真正成熟起来,毕竟已不是初生牛犊了.先尝试着翻译下有关他们的东西把~

Band Members:

[Cameron Muncey - Guitar, Vocals]

[Chris Cester - Drums, Vocals]

[Mark Wilson - Bass]

[Nick Cester - Guitar, Vocals]

Band History:

Everyone talks about rock these days, the problem is, they forget about the roll. How Keith Richards- who made this comment about post 90’s rock music- must love Jet. They rock like there’s no tomorrow yet they also roll like the greats of yesterday. As their debut album ‘Get Born‘ proves, this Melbourne four piece, Nic Cester (guitar/vocals), Chris Cester (drums/vocals), Cameron Muncey (guitar/vocals), Mark Wilson (bass), stand for everything that is raw, primitive, direct and loose about rock music. Like all the best bands they trace their influences to the source. I think we were always interested in tracing the roots of this music, explains Chris. We wanted to look beyond the sixties and the seventies and find out where that music came from. That’s why we do a cover of Elvis’ ‘That’s Alright Mamma’ at the shows. It’s just a natural exploration for us.

现在每个人都在谈论rock,但问题在于,他们忘记了roll.这是滚石乐队的吉他手Keith Richards对90年代后的摇滚乐的评论,他相当的欣赏Jet.他们像似没有未来的rock着,他们又似昨天大师般的roll着,Jet的首张专辑Get Born已经证明了这一点.这个来自墨尔本的四人乐队:Nic Cester(吉他/主唱),Chris Cester(鼓/唱),Cameron Muncey(吉他/唱),Mark wilson(贝司),他们的音乐代表了摇滚要表达的一切-自然,原始,率真和狂放.像所有伟大的乐队一样,追溯他们的本质.我认为我们总对探索音乐的根源感兴趣,Chris说道,我们想放眼60年代和70年代而且找出真正的摇滚乐来自哪里.那就是我们为什么总要在音乐秀上翻玩Elvis的'That's Alright Mamma'.那对我们来说就是一次很自然的探索.

Jet are steeped in rock folklore. Like The Kinks, AC/DC and Oasisbefore them- all major influences- they feature two photogenic brothers (Nic and Chris Cester). Their name is on loan from Paul McCartney‘s frazzled post-Beatles peak from 1973, whilst their debut E.P. ‘Dirty Sweet‘ (Rubber Records) took it’s name from T-Rex, and in acoustic highlight ‘Move On’ had the song The Faces were too hungover to write. But then that’s what happens if the first album you ever heard was ‘Abbey Road.’ My parents had some bad records, explains Chris. But that one always stood out as great. I’d sit there banging on these cushions with a pair of chopsticks playing ‘Mean Mr. Mustard.’ We formed an entire imaginary band, where we’d play guitars on tennis rackets and do gigs. We were called The Boys, I think?

Jet沉浸于摇滚的文化.象之前与他们的The Kinks,AC/DC和Oasis,都有极具影响力的很上镜的两兄弟(Nic and Chris Cester).他们乐队的名字来源于1973年当时还在Beatles的Paul McCartney的巅峰作jet(呵呵,可见Beatles对Cester兄弟的影响还真大),同期他们的处女作E.P.专辑Dirty Sweet（胶木唱片）发行,其名来自T-Rex,而专辑中的Move on的声效高潮是The Faces因心理难受而没完成的.但是你听过他们的第一张专辑就知道所指的是Abbey Road(the beatles乐队在1969年中期最后一次走进了百代公司的录音室，和制作人乔治·马丁一起去录制被认为是后专辑Abbey Road).我的父母有过一些很烂的唱片,Chris说,但那是一张非常伟大杰出的唱片.我曾用筷子敲打软垫来演奏那首'Mean Mr.Mustard'.那时我们组成了个完全想象中的乐队,用网球拍弹着吉他谱和打拍子.我们管个乐队叫The Boys,我是这么认为的?

Such fantasy infuses Jet. Just as Liam Gallagher remarked that BRMC deserved their early Oasis support slots because they ‘dared to look like a rock’n’roll band’ so Jet see rock music with a clarity only available to those who grew up five thousand miles away in Australia. Where US and British bands subconsciously obey the whims of a media for whom rock’s central texts (Beatles, Stones) are somehow seen as pass? Jet bring with them a lucidity and freshness that comes from both youth and sheer Oz-centric bloodymindedness. Jet don’t know the rules, and even if they did, they’d break them.

这样的幻想鼓舞着Jet.正如Liam Gallagher评论BRMC乐队是值得他们Oasis支持的,因为他们是真正看起来象支摇滚乐队.所以Jet对于摇滚乐有着清醒的认识.在澳大利亚,他们只接受那些5000英里远来的人的采访.很多美国和英国的乐队下意识的沿袭着公众对摇滚的范本(Beatles,Stones)的理解,然而他们却不知何故的消失在人们的视野中?Jet带来了明朗清新的风格,因为他们更年轻更纯粹似乎更加的残忍.Jet不知道规则,即使他们照着做过,但也要推翻所做的.

Beginnings. Having grown up in the suburbs of Melbourne on a strict diet of classic rock, the Cester brothers (Nic is three years older at 24) found disaster looming. A terrible blight was about to hit the youth of the Melbourne suburbs. Grunge. I couldn’t stand the stuff, continues Nic. To me that was real slit your wrists music. It didn’t relate to this idea of rock’n’roll I had in my head. I’d grown up loving The Who, The Easybeats, The Faces and The Stones and these guys were taking music somewhere I didn’t want to go. They didn’t have that feeling in the music that all great bands have got. Oasis were the last ones.

Cester兄弟是在墨尔本郊区受过严格的经典摇滚熏陶长大的(已24岁的Nic比弟弟Chris大3岁).当时他们遇到过一场灾难,这对墨尔本郊区兄弟对音乐的理解将是一次深深的撞击.Grunge,它的出现使我完全改变了我对摇滚的看法.Nic说道,它真正的破坏了我当时正在学习的音乐.我是伴随着The Who,The Easybeats,The Faces和The Stones成长起来的.然而他们逐渐把音乐改变成我不想跟随模仿的风格.几乎所有伟大的乐队都是.Oasis是最后一支这样的乐队.

A long spell in the netherworld of the Melbourne live circuit followed. At the time I think we felt we weren’t ever going to break free from that scene, explains Nic. That’s why songs like ‘Radio Song’ have got that feeling of resignation about them. At the time it was unimaginable that a band like ours would get any recognition at all. As with everything, timing was all. Having recruited towering bassist Mark Wilson and sworn to get serious Jet‘s first few shows coincided with the global success of local heroes The Vines. With the A&R feeding frenzy fuelled by a breathless review in the NME of debut single ‘Take It Or Leave It’ describing it as a hybrid of the ‘Rolling Stones and the balls-out stadium rock of AC/DC‘ the band duly signed to Elektra, the very birthplace of classic American rock.

我们曾长时间的在所谓的另一个墨尔本碾转演出.在那段时间里,我以为我们不可能从那样的生活中跳出来.Nic说道那就是为什么'Radio Song'这首歌听起来有种让人放弃,失落的感觉,在那时,完全想不到像我们这样的乐队会得到任何重视,做每件事,按时完成就是我们的全部.自从有了新的贝司手Mark Wilson后,我们真正开始Jet的一些演出,为当时同世界知名的澳洲本土乐队The Vines作暖场演出,还有the A&R因NME对我们的首支单曲Take It Or Leave It的评论深受刺激,因为NME评论我们是'Rolling Stone'和'AC/DC'的混合体.

(A&R:Artists and Repertoire’ is the term for an individual or company that seeks to place new talent with a recording label and then find possible hits for them to perform. Historically, A&R bought and sold songs from songwriters for artists to perform, but now with most artists self-writing, they tend to work within record labels, and in essence get paid to make sure the record label sells hits. They can be thought of as a level of ‘talent scout’ for the industry, but are not the same as ‘Agents’.)

The result is ‘Get Born.’ Produced by Dave Sardy (Dandy Warhols, Marilyn Manson) at the legendary Sunset Sound Studios in LA, ‘Get Born‘ is a reminder of rock at its most primal, vibrant and honest. At its frantic best: ‘Get What You Need’; ‘Are You Gonna Be My Girl‘; ‘Get Me Out Of Here’; it hits you straight and deep in a manner to rival The Ramones. Elsewhere with the Nic-penned ‘Look What You’ve Done’, the elegiac ‘Radio Song’ and the ELO-ish ‘Lazy Gun’ they suggest the wistfulness of everyone from Badfinger to Todd Rundgren after he called time on The Nazz. Lyrically it’s home to an epic wantonness to match legendary Oz-rockers The Saints. When Nic growls I know we ain’t got much to say in new single ‘Are You Gonna Be My Girl‘ or Dance little deejay c’mon in ‘Rollover DJ’ you can almost hear the female knees buckle and feel ten years of club culture whither on the vine. We wanted to make a contemporary album, states Chris. We didn’t want to make a one dimensional rock’n’roll record either. Albums should be able to reflect all sides of your personality, that’s why songs like ‘Timothy’ and ‘Radio Song’ are on there. We’re trying to get the same amount of emotion you get when you listen to an album like Goats Head Soup. There are quieter moments and others where you just want to go crazy.

首张专辑Get Born发行了.专辑是由金牌制作人Dave Sardy(曾替Dany warhols,Marilyn Manson制作唱片)在洛衫机的the legendary Sunset Sound工作室操刀完成,Get Born是一张想要唤醒摇滚本质的专辑.如有着疯狂节拍的:Get What You Need,Are You Gonna Be My Girl,Get me Out Of Here等歌.在某中意义上其直率和深度能与以前的The Ramones乐队(来自NewYork的punk rock乐队,成军于1974年,1996年解散)匹敌.另外Nic还写出了Look What You Have Done,伤感的Radio Song,带有电子元素的Lazy Gun.他们使我们想起了从Badfiger到Todd Rundgren时期每个人的渴望,特别在Todd称那段时间为The Nazz时期之后.充满感情的曲子仿佛回归到从前同传奇的The Saints一起玩音乐.当Nic咆哮时我知道我们没在新单曲Are You Gonna Be My Girl达成太多的一致或在Rollover DJ中缺乏舞曲所必须的deejay效果,你总是听到歌曲中有女人膝盖上的带扣,无论到哪都能感到那是10年的俱乐部文化.我们想做一张当代的专辑.Chris说到,我们也不想做一张空洞的专辑.专辑是应该能反映出你人性的所有方面,那就是象'Timothy'和'Radio Song'这些歌存在的原因.我们努力收集到当你们听到一张专辑如'Goats Head Soup'时的同样的情感.有个更安静点的瞬间和其他那些你想去的地方

Proof of their success came with a call halfway through recording from The Stones camp offering the band the support slot on the Australian leg of The Rolling Stones world tour. Clearly, Jet have got the roll.

他们成功的证明是随之而来的一个电话,那时The Stones打给他们的,邀请他们加入The Rolling Stones世界巡演澳洲站的演出,Jet开始知名了.

I like the idea of ‘Get Born‘ having two meanings adds Chris finally. Like ‘Rubber Soul.’ It’s basically a reminder to forget your problems and celebrate the moment instead. It’s a rejection of all those feelings of negativity or depression you might get. It’s a heartfelt thing, and that’s where that primal energy comes through the music.

我喜欢'Get Born'想要表达的双重含义,Chris最后说道,像'Rubber Soul',它相当于是一个提醒者,使你忘掉你的烦恼,反而用欢庆的瞬间来代替.它拒绝了所有你可能有的消极和压抑的感觉.它是首真心真意的歌,那就是通过音乐来得到最初力量的所在.

The choice is yours. Or, as Nic puts it so succinctly on ‘Take It Or Leave It’: You better roll with whatever you know/ You better move/ If you don’t know what to do, here’s the groove.

选择权在你手上,否则,如Nic把它精简扼要的写在Take It Or Leave It这首歌中:You better roll with whatever you know/ You better move/ If you don’t know what to do, here’s the groove.

Can you resist?

你还在犹豫什么?

English Source: http://www.jettheband.com/jet/biography.php