[翻譯] 美國鞭金史（二）

[coolfly (早安，黑色星期五)]

Part II: Impact Is Imminent
其二：衝擊就在眼前

Recorded in just two weeks on a shoestring budget, 1983’s Kill ‘Em All
threw down the spiked gauntlet for thrash metal in America. Not only did the
album prove that U.S. bands could play as fast and heavy as their NWOBHM
heroes but its success also demonstrated that there was a greater demand for
this music than anyone had imagined. From 1983 to 1986, thrash (or “speed
metal,” as many called it) evolved at a dizzying pace; every time you went
into a record store, it seemed as if new bands, new albums, and new subgenres
had sprung up overnight. Meanwhile, major labels were raking in the cash with
spandex-clad “hair metal” bands like Quiet Riot and Ratt and didn’t yet
know what to make of thrash—which, of course, only amplified thrash’s
credibility among young headbangers.
在預算吃緊的情況僅僅花了兩週錄製，1983年的《Kill ‘Em All》為美國的鞭金拋出開
路的刺釘護腕。不僅僅是因為這張專輯證明美國樂團也能像他們的NWOBHM偶像彈得一樣快
，也顯示了大家對這種音樂的需求遠超出任何人的想像。自1983年到1986年，鞭金（或者
像那時很多人所稱呼的，「速度金屬」）飛快地成長，每當你踏入唱片行，好像就有新的
樂團、新的專輯、新的流派在一夕之間蹦出來。同時，唱片大廠正靠著穿著緊身衣的「髮
型金屬」樂團如Quiet Riot和Ratt賺進大把大把鈔票，還不知道他們可以從鞭金這裡賺到
什麼──這，當然，使得鞭金在年輕金屬頭間更深得人心。

HAMMETT After we recorded Kill ‘Em All and we came back to the Bay Area,
there seemed to be 10 or 12 newer bands who were playing faster, really
aggressive beats. Bands like Possessed—they were one of the great, unsung
metal bands of the Bay Area. They were uber-satanic, and they were all still
in high school, which I thought was the greatest thing—the youth corrupting
the even younger!
當我們錄完《Kill ‘Em All》，回到灣區，那兒差不多有十還是十二個新團，彈著更快
、更具侵略性的歌。像是Possessed這樣的團──他們是那些被忽略的灣區偉大樂團之一
──真是惡魔似的，而且他們都還是中學生，我想這點是最棒的──年輕的一輩帶壞更年
輕的一輩！

JONNY Z Launching Megaforce was a trip, because we didn’t know what we were
doing. But we just learned real fast. We printed up 1,500 copies of Kill ‘Em
All, and they went in five seconds. We printed another 3,500, and they went
in a week. We just kept on building it and building it, and there was no
stopping it. And then Elektra picked [Metallica] up on Ride the Lightning.
創立Megaforce唱片公司是場冒險，因為我們根本不知道自己在幹嘛。但我們學得很快，
我們發了1500張的《Kill ‘Em All》，大概五秒鐘賣完；我們又加發了3500張，一星期
內就賣光了。我們不斷努力去建設它，從不停下腳步。然後Elektra在聽了《Ride the
Lightning》後，看上了Metallica。

FERRERO The most important night in thrash history, I think, was September 3,
1984, when we signed Anthrax to Island, Raven to Atlantic, and Metallica to
Elektra, all at one show at the Roseland Ballroom.
鞭金史上最重要的一晚，我想是1984年9月3日，我們把Anthrax簽給了Island，Raven簽給
Atlantic，Metallica簽給Elektra，全部就在Roseland Ballroom的一場表演之中。

IAN We definitely felt that what we were doing was better than everything else
—certainly better than the hair-metal stuff coming out of L.A. It’s like,
the hero is only as good as the villain he’s gotta fight, and our enemy was
that L.A. scene. It was such a catalyst for us to be more in-your-face, more
aggressive, and just the polar opposite of what was selling millions of
albums at the time. We took that shit serious back then, which seems
ridiculous now. I mean, when Paul Baloff from Exodus would say, “Kill posers,
” that wasn’t a joke! Like, for real—I’m convinced that he probably threw
a couple of posers off a bridge at some point! 
我們當然覺得自己在做的東西比其他的都棒──肯定比洛杉磯那些髮型金屬的玩意兒好。
感覺就像，英雄和他必須對抗的反派實力相當，而我們的敵人就是洛杉磯的華麗金屬。這
真的刺激我們變得更加直來直往、更有侵略性，更往當時那些賣了好幾百萬張唱片的音樂
的對立面發展。我們那時候是很認真的，不過現在看起來很荒唐。我是說，Exodus的
Paul Baloff會說，「殺死poser！」這可不是開玩笑的，說真的──我相信在某些時候他
可能真的有把一些poser丟到橋下過。

HOLT Paul lived and breathed for metal more than anybody I’ve ever known in
my life. Nobody was ever more down for the cause. There were many times where
he and I would go up to some guy wearing a Ratt shirt and demand that he let
us cut it to pieces with our pocket knives—or we’d do it while he wore it.
We would cut these little shreds of cloth off and tie ‘em around our wrists,
kind of as a badge of honor. If you look at some of those old photos of Paul,
he’s got six inches of cloth shreds tied around his left arm—those are all,
like, Mötley Crüe T-shirts.
Paul比我這輩子認識的任何人都更為金屬樂而活，沒人比他更投入。很多次我跟他會走到
某個穿著Ratt團T的人面前，要求對方脫下來讓我們用摺疊刀把它切碎──不然我們就在
他穿在身上時切！我們會把這些衣服割成長條，綁在手腕上，像是種榮耀的象徵。如果你
看Paul的一些舊照片，他左手上纏著這些衣服碎片有六呎長──全都差不多是Motley
Crue的團T之類的。

KING That Bay Area scene was crazy. They were way more into it as a whole. I
remember playing shows with Exodus where they had guys walking across the
crowd on other people’s heads!
灣區這群人很瘋狂，他們更加像是全體都投入了這股風潮。我記得有晚和Exodus一起表
演，居然有人就踩著觀眾的頭在上面走！

HOLT That was just your typical Exodus show in the Bay Area. The first time
we played at Ruthie’s Inn in Berkeley, the band that played before us had
their mothers there to see ‘em. They’d been up at the front, and they left
their drink glasses sitting there. Well, we come on, and all the glasses get
broken. There are people just banging their arms on ‘em, and there’s blood
all over the front of the stage. There was some girl in the front row who
wasn't that hip to what was going on, but she was really digging the show.
Paul put his hand into this puddle of blood and just wiped it on her face.
This girl screamed, turned, and ran through the crowd. It was the funniest
thing I'd ever seen.
那是你在灣區的Exodus表演中典型會看到的。我們第一次在Berkeley的Ruthie's 旅館表
演時，在我們之前的那個團，他們的媽媽有來看他們表演。她們坐在前面，飲料瓶就留在
那邊。然後輪我們表演時，瓶子都打破了，有些人的手臂撞了上去，舞台前面全都是血。
某個坐前排的女生不太喜歡發生的事，不過她很喜歡這場表演。Paul用手沾了血就往她臉
上抹，那個女孩大叫轉身，衝到群眾裡。那真是我看過最有趣的景象了。

IAN Of all the debut albums—Kill ‘Em All, [Anthrax’s] Fistful of Metal,
[Slayer’s] Show No Mercy, [Megadeth’s] Killing Is My Business…, and [Exodus
’] Bonded by Blood—I still think Bonded by Blood is the best. Exodus were
the shit, man! To me, they were the epitome of a thrash band.
在這些出道作──《Kill ‘Em All》、（Anthrax的）《Fistful of Metal》、（Slayer
的）《Show No Mercy》、（Megadeth的）《Killing Is My Business…》，和（Exodus
的）《Bonded by Blood》──之中，我依然認為《Bonded by Blood》是最棒的，Exodus
讚翻了！老兄！對我來說，他們就是一個鞭金樂團該有的樣子。

HOLT While Kill ‘Em All’s a brilliant album, you listen to what bands are
doing now, and I hear far more Bonded by Blood influence. Kill ‘Em All was
still very Diamondhead, very Motörhead. There was zero melody on the album,
no guitar harmonies whatsoever. We had full-on melody and harmony going on,
as well as all the mayhem. Aside from bands like ourselves, Metallica,
Slayer, Megadeth, and Anthrax, the U.S. bands playing metal at the time just
seemed tired to us. There just wasn’t any energy, compared to what all of us
were putting out. 
雖然《Kill ‘Em All》是張優秀的專輯，你可以聽到現在很多樂團在玩的東西，而我聽
到更多的是一張影響《Bonded by Blood》的作品。但《Kill ‘Em All》聽起來依然很
Diamondhead、很Motörhead。整張專輯毫無旋律可言，沒有吉他和聲什麼的。我們有很
強的旋律和和聲，也不乏攻擊性。除了那些和我們一樣的團，像Metallica、Slayer、
Megadeth和Anthrax，那時其他的美國金屬樂團對我們聽起來覺得都很疲軟，跟我們大家
推出的作品相比，他們一點活力都沒有。

DAVE MUSTAINE When I started Megadeth, people called us a heavy-metal band.
And then they started calling us a speed-metal band. “Hey, we’re not
speed-metal!” “Well, then you’re thrash-metal!” “No, we’re not
thrash-metal—we’re Megadeth!” If anything, the one name Megadeth should
have gone under is jazz-metal. But then we would have had to stand there in
one spot, doing heroin all night. Oh, wait, didn’t we do that? I think some
of us did do that!
當Megadeth開始之初，大家叫我們重金屬樂團，接著他們開始說我們是速度金屬。「嘿，
我們才不是速金！」「噢，那你們是鞭笞金屬！」「不，我們不是鞭金──我們就是
Megadeth！」假如Megadeth那時玩的東西一定要有個名字的話，那應該是爵士金屬。不過
這樣的話我們就要站在一個地方，整晚吸海洛因。噢，等等，我們不就是那麼做的嗎？我
想我們真的就是這樣！

ERNST Dave Mustaine’s fingerprints are definitely all over thrash metal.
He's important beyond what words can even say. Not only was there the Dave
connection with Metallica, but Kerry King of Slayer also played in Megadeth
for a short time. With Megadeth, Dave took his guitar playing to heights that
had just never been seen before. Killing Is My Business… And Business Is
Good was so fast—his rhythm playing was like the lead playing of most other
guitarists.
毫無疑問Dave Mustaine的指紋遍及整個鞭金，他的重要性難以言喻。Dave不只和
Metallica很有淵源，Slayer的Kerry King也曾在Megadeth演奏過一段短暫的時間。在
Megadeth，Dave將他的吉他演奏帶到前所未見的高峰。《Killing Is My Business…
And Business Is Good》超快的──他的節奏吉他就像是大多數其他吉他手的主奏吉他。

KING If I’m not mistaken, I played the first five Megadeth shows. To this
day, I’m a Mustaine fan. I don’t really care for the guy, but I will never
take anything away from his playing, and I was flattered that he would even
think of me in the same fucking terms to play onstage with him. I had fun,
and I think Dave would have liked me to leave Slayer, but I never really
thought about it. I mean, while I was playing with Megadeth, I remember
hearing [Slayer guitarist] Jeff [Hanneman] working on the riff to “At Dawn
They Sleep,” and I’m thinkin’, Man, I can’t wait to be workin’ on this
shit! I was so excited about what was gonna be [Slayer’s 1985 album] Hell
Awaits.
如果沒記錯，Megadeth最早的五場表演都是和我一起演出的。時至今日，我是Mustaine
的粉絲。我真的不在乎這個傢伙，但我也絕不會去貶低他的吉他。他認為我有資格與他
同台演奏吉他讓我感到受寵若驚，我很愉快，而且我想Dave希望我離開Slayer，但我
從來沒有過這樣的念頭。我是說，當我跟Megadeth一起表演時，我記得自己聽說（
Slayer吉他手）Jeff (Hanneman)在寫〈At Dawn They Sleep〉的riff，然後我想，「天
，我等不及要彈它了！」我對將要錄在（Slayer 1985年專輯）《Hell Awaits》上的東西
感到興奮極了。

CHRIS ADLER I love Metallica, but in the early days, metal was so
competitive: You picked a band, and that was your band, and fuck all the
other bands—and I was definitely on Team Megadeth. I just identified with
the speed and technicality of the Megadeth stuff. That’s who I wanted to be.
我愛Metallica，不過在早期，金屬樂的競爭意識很重：你選一個團，那就是你的愛團
，幹他娘的其他團──而我選的絕對是Megadeth這一邊。我對Megadeth作品的速度性和技
術性很有共鳴，我想玩的團就是這樣子。

HAMMETT After Kill ‘Em All came out, we got into this whole wave of more
extreme punk bands like Charged GBH and Discharge. One day, Cliff Burton
walked in and was like, “Hey, man, there’s this band called the Misfits!”
Earth A.D. is a total thrashed-out album, and it came out the same year as
Kill ‘Em All. They were coming from a completely different place, but
somehow we both met in the middle. 
在《Kill ‘Em All》推出後，我們迷上更那些極端的龐克樂團，像是Charged GBH 和
Discharge。有天Cliff Burton走進來說，「嘿，這裡有個叫Misfits的團！」《Earth
A.D.》是張很鞭的專輯，它跟《Kill ‘Em All》同年推出。他們來自一個完全不同的地
方，但我們的音樂卻在某一點交會。

IAN At this point, moshing and stage diving at the metal shows was already
happening. I had already been going to New York hardcore shows, and I would
invite all my friends from bands like Murphy’s Law and Agnostic Front to
come down to the Anthrax shows, and slowly but surely that “crossover”
thing started. 
在那時候，在金屬樂表演中已經有衝撞和舞台跳水（stage diving）了。我一直都有在看
紐約的硬蕊龐克表演，而且我會邀所有那些玩團的朋友像是Murphy’s Law和Agnostic
Front來看Anthrax的演出，那些「跨界」的事就自然而然慢慢地發生了。

JEFF KITTS For a while there, the hardcore and metal scenes in New York
started merging in a weird way. CBGB started having metal matinees, even
though that was the punk capital of the world. And then you had the crossover
bands like D.R.I. and C.O.C., who were really exciting to us.
有一段時間，紐約的硬蕊龐克和金屬樂以一種奇怪的方式融合在一起。作為世界的「龐克
之都」，CBGB開始有金屬樂的午場表演。然後像是D.R.I.和C.O.C.這類跨界樂團出現了，
真的令我們很興奮。

ERNST I think S.O.D. is right up there with Suicidal Tendencies, D.R.I., and
C.O.C. in terms of introducing hardcore to metal kids. That one album, 1985’
s Speak English or Die, had enough metal in it and enough hardcore in it to
please both sides of the fence. It was just incredibly heavy. None of those
other crossover bands were as heavy as S.O.D. Them, Nuclear Assault, and
Anthrax were the three bands that said, “Metal isn’t the only thing out
there—there’s hardcore, too!”
我想S.O.D.和Suicidal Tendencies、D.R.I.和C.O.C.一起把硬蕊龐克介紹給了金屬樂迷
，1985年的《Speak English or Die》那張專輯夠金屬也夠哈扣，足以取悅兩方的歌迷。
而且它重得不可思議，那時沒有其他跨界樂團像S.O.D.這樣重。他們、Nuclear Assault,
和Anthrax三團向大家說明，「不是只有金屬樂最棒──還有硬蕊龐克！」

IAN [1985’s] Spreading the Disease was taking forever to finish, and I had a
lot of down time, so I started drawing this comic-book strip about a zombie
who hates everybody because he’s dead. I started writing songs based on some
of the comic-strip ideas, these crazy 90-second songs like “Kill Yourself.”
 After about nine or 10 songs, I called [original Anthrax bassist Dan]
Lilker. I was like, “Hey, I’m up in Ithaca doing a record, and I’ve been
writing these weird fucking hardcore songs!” Danny came up to Ithaca, we
wrote 10 more songs in two or three days, and that’s how S.O.D. was born.
（1985年的）《Spreading the Disease》好像永遠都無法做出來，我感到很沮喪，所以
開始畫這個殭屍的漫畫，他恨世界上所有人，因為他死了。我開始根據這些漫畫的點子寫
些歌，像是〈Kill Yourself〉等等一分半鐘長的瘋狂歌曲。等到累積了差不多九或十首
之後，我打電話給（Anthrax原始的貝斯手）(Dan) Lilker。我說，「嘿，我正在綺色佳
做一張專輯，我一直在寫這些怪怪的硬蕊龐克作品！」然後Danny來到綺色佳，我們在兩
三天內寫了十首以上的歌，S.O.D.就這樣誕生了。


（待續）

--
      I had nothing but the embittered sun...
      我一無所有，除卻那怨毒的太陽……

--
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◆ From: 114.38.107.97
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推 timmyen:未看先推
推 bachi95:push!!!!!!!
推 trendnomore:push
推 tom7943beep:           Thrash Metal is Krieg!!!!
推 edisonwu39:舖許~
推 psyclone:未看先推!!!!!
推 MostAlone:棒
推 nanocing:推
推 miabcd199:推!!!!!
推 psyclone:看完再推!!!!
推 c20001222:第八頁的Kerry King到底是不是Dave的粉絲啊? 那句話是中
→ c20001222:文對還是英文對? 還是我看錯什麼了＠＠?
推 Gotthard:金凱瑞：我是Mustaine低粉絲~
眼殘看錯XDD 感謝狗踏大指正^^

趁機又看了一次那一段
發現I will never take anything away from his playing這句之前翻錯XDD
兩個地方都一起改了

推 bloodblood:喔喔喔喔喔!!!!這篇好爽!!!!!!!!!                      02/27 15:33
推 kopfschuss:啊啊啊！！！
推 c20001222:酷飛大辛苦了,請問這系列開放轉錄至個板嗎?
當然可以啊^^
推 knight00931:@@@@@@@
→ xxxxxx631:等我CD完再來推  酷飛姐最高啦
※ 編輯: coolfly         來自: 114.38.106.103       (02/27 17:22)
推 pklouie2000:酷飛原來是姐(羞)
推 visualrock:金凱瑞是唐老鴨的粉絲沒錯. 他自己在日本節目上也說過.
推 RLIF:酷飛大一定要推
推 marspooh:酷飛是個鞭妹!!
推 pklouie2000:(伸圖)
推 frankofranko:推一個囉!!
推 Mayhem:補推啊！我對您的景仰有如長江之水滔滔不絕...(再來是啥?)
推 vul3G:                     又如黃河氾濫一發不可收拾
推 storyn67957:推！！
推 garytony1:感謝翻譯
推 Adorse:推~~速度金屬這個名稱果然是種過渡性的名字
推 Mayhem:速金確實是只存在八零年代的過渡性名詞，以前就討論過啦ㄆ
→ Mayhem:精華區Z-1-14-2-1有過去的討論，雖然有些內容我並不認同ㄎ
推 Adorse:ㄆ.裡面我有貢獻一篇.我個人認為歸認為.要有文獻佐證才好呀
推 Mayhem:不用到那麼嚴肅啦，音樂聽久了自然會對整個脈絡稍有概念ㄆ
推 gundam0079:Push!
推 esp0213:推!!!
推 windgodvocx1:本篇也借轉個板收藏  感謝!!
推 kaederock:PUSH~!
推 xxxxxx631:我來推啦!
推 beerfish:推推
推 jarvik7:Oh,wait,didnt we do that?Ithink some of us did do that
→ jarvik7:some of us 感覺又再偷婊XD
推 dtrock:第二推，鞭金萬歲！
推 psyclone:沒事再推!!!!
推 biffyclyro:push!
推 IStrikeBack:KILL'EM ALL必推 什麼過渡性名詞根本不重要
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推 morlboro:推推推阿~~~
推 Gotthard:原來SOD是這樣誕生的啊~(筆記)
推 nella:看到Impact Is Imminent先推再說  ㄆㄆ
推 SakuTomoya:推呀~
推 Mayhem:第50推能不能領到愛的抱抱呢？
推 Gotthard:版主直接去領老人黏金比較快~ㄆㄆ~
推 Mayhem:我比較需要女人黏莖 (奇怪我的自然注音都會亂選字 @@a)
推 xxx438:爽啦!!!