Plays Hawaiian Guitar, Banjo, Ukulele and Guitar
- 艺人
- Roy Smeck
- 语种
- 英语
- 厂牌
- Shanachie
- 发行时间
- 1992年01月01日
- 专辑类别
- 录音室专辑
专辑介绍
by Eugene Chadbourne
The only problem with this album is the use of the word "play" in the title. Sure, with most musicians it can be called "playing" an instrument. With Roy Smeck, what he does on Hawaiian guitar or just plain old regular guitar is more like a consecration. His banjo work is more like a reordering of molecules. "Ukulele Bounce" sounds like a man playing a ukulele, and very well at that, but creates more of a historical impact as one realizes recordings from nearly a quarter of a century are represented on this collection. Colorful lettering by none other than R. Crumb just adds to the class of the whole affair. Smeck was a technical genius of stringed instruments and also an explorer. He created sounds behind the bridge and nut, and on the body of the instrument as well. Listeners might be used to these types of techniques from avant-garde music, but the real innovators in this type of playing were musicians such as Smeck. He used these techniques in the course of so-called "normal" music, but the fact that it is neither atonal nor really weird shouldn't make one think it isn't exciting or interesting to listen to. His early pieces were pretty straight from the Hawaiian style, Smeck tinkering energetically around the edges of what might be acceptable to the "aloha" crowd while establishing his mastery of the genre's traditions. Exposure to jazz players such as Eddie Lang apparently inspired him to sit the guitar up straight in his lap and attack it with a plectrum, which is the same way he took on the banjo. The results are imaginative and frequently wild, perfect musical miniatures with such a visual presence one might think they were landscape paintings. Some of the titles add to the fun: "Tough Pickin'," "Guitarese," "Slippery Fingers," and "Nifty Pickin'." Smeck plays wonderfully whether the track was recorded in the '20s, '30s, or '40s. That's no surprise, seeing how he was the fellow who described his ascension in the music industry thusly: "I didn't play any better for 1,250 dollars than for 150 dollars." Which goes to show that even he considered what he did "playing," no matter how miraculous it sounded. Nobody ever played any better than he did, either.
最新简评（共7条）
- @总在灵魂深处藏了一些喜悲(行到水穷我才开始害怕，夕...)：-
- @真的汉子：很喜欢这位大师的歌曲风格，同时也很佩服他的高超技术。超赞
- @jamesroy(美音飞扬)：神级的演奏，虽然是老唱片的翻录，但是从演奏技巧方面，到目前为止无人能及这样的演奏，大师能将夏威夷吉他，班多琴，尤克里里和吉他玩到这样出神入化的境地，只有四个字可以形容“太震撼了”。
- @jamesroy(美音飞扬)：技巧太强了，真诚向大师致敬，到目前为止还没有人，能超越这样的弹奏技巧。绝对是大神级的演奏，虽然这个是胶木翻录，但是这样的曲风和弹奏技巧，就算放到现今也不失时尚感。
- @12213213(我还没想好要写什么...)：Roy Smeck是早期 对UKLL 吉他 巨大贡献的 大师大叔。 有生之年被JJJJJJFung 既然发了上来 美梦成真！！！！！！！！
- @12213213(我还没想好要写什么...)：JJJJJJFung 神。。。。你怎么谁的都有 太猛了 太需要了
- @鹏(一个男人)：Roy Smeck，此专辑中夏威夷吉他，班卓琴，ukulele和吉他都有演绎，不愧大师为“Wizard of the Strings”称号。专辑年代久远，音质和现在不可同日而语，但是大师的技术绝对惊为天人。