Diamonds & Rust in the Bullring

9.5分（125人评分）

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共12首歌曲

艺人: Joan Baez
语种: 英语
厂牌: Gold Castle Records
发行时间: 1988年12月01日
专辑类别: 现场专辑

专辑介绍

琼·贝兹的声音永远是流行史上最好的之一。这是她在西班牙的一次现场演唱会的实况录音，swing Low Sweet Chariot这一段清唱将她嘹亮直接、变幻莫测的唱腔一展无遗，出众的技巧被show得一气呵成，叫人五体投地。

录音是妙手偶得的杰作。话说排演当天天空乌云密布，待录音师匆匆摆完麦克风时已下起暴雨，大家只得赶快收工，等到演出开始，录音师已没时间仔细调声，只能匆忙收录，没想到胡乱摆放的话筒，正是现场的最佳位置，与体育场的扩声系统传出的音响浑然天成，令空间感到达一流境界。奇怪的是，第二天，录音师再想在原地收录琼·贝兹的演唱，无论如何都达不到第一天的效果了。一时，这录音成为了业界的神话.

这张英语及西班牙语的经典专辑，是1988年西班牙Bilbao的斗牛场演唱会的现场录音，当时雷雨交加，但乐迷热情澎湃，完全沉醉在琼·贝兹的演唱会中，琼·贝兹优美的歌声，将歌曲中的浓浓情感淋漓尽致地表现出来，是那样的令人难以抗拒。

琼·贝兹是美国最著名的民歌手之一，也是60年代美国民歌复兴运动的中坚分子。琼·贝兹的嗓音纯正柔和，演唱吐字清晰、富有乐感。此ＣＤ也属天碟级录音．她通常用吉他自弹自唱，有时也配以乐队伴奏，舞台表演风格朴实无华。

无论歌曲所表现是是什么，琼·贝兹的歌声总是那么清澈、嘹亮；无论她是在以轻快的女高音演唱民歌或现代歌曲，还是在发表她的维护和平、建立兄弟姐妹般友情的政治观点，她的声音都是那么清澈可辩，富有说明力和感染力。她竭力把音乐和社会道德融会贯通，继承了民歌运动中旧左派的传统风格，并把这种风格传给了60年代的新左派。1959年，纽波特城举办了第1届民歌音乐节，她首次登台，一举成功。此后她便成为一名歌星，可她对娱乐界所推崇的歌星形象及风格十分淡漠，不屑一顾。她1941年1月9日出生在纽约，母亲是一位具有英格兰-苏格兰血统的戏剧教师，父亲是墨西哥-美国血统的物理学家。她的祖父和外祖父都曾任过大使。她的拉丁血统使她很容易掌握了西班牙语，可同时又早早地经历了加利福利亚州的种族歧视。由于父亲的工作变动，她们一家搬到了波士顿，那时她已高中毕业。一次偶然的机会，贝兹在哈佛广场看到了一个民歌演唱的场面，诱发了她对演唱和吉他演奏的兴趣，使她跃跃欲试。她进了波士顿大学，学了才1个月就着手从事有关音乐、民俗学以及自学的人道主义政治方面的职业。贝兹的钱几张专辑都是以传统歌曲为其特点。50年代末，她开始自己创作歌曲。贝兹的歌喉被公认为是一个奇迹。未经正规训练，朴实无华，声音高低错落有致，不时以激情传神。音质柔和，令人过耳不忘。她的演唱绝妙惊人，吐字十分清晰，让那些受过高等正规培训的音乐学院的歌手们羡慕不已。她的吉他演奏技术不断巩固，越来越轻快流畅，而且日趋精湛。她的这种别具一格似乎离了正题，但不管偏到哪儿，甚至偏向乡村音乐，她也堪称为又一代风格大师。

这一张专辑的英文名为“DIAMONDS　AND　RUST　IN　THE BULLRING”，香港烧友称之为“斗牛场”，该CD录制于西班牙毕尔巴鄂一个斗牛场的现场音乐会，当时虽然雷电交加，但当地却万人空巷，JOAN　BAEZ在西班牙的号召力可见一斑。

香港方面的介绍：相信祖安迄今为止最好的录音是这次在西班牙斗牛场的演唱会，当日行雷落大雨，观众热情不减，人声与结它声录得靓到世间罕有，HK HI END HI FI SHOW 内超过一半大家均用此碟示范。

Although she released a comeback album, Recently, in 1987 after eight years away from U.S. record stores, Joan Baez continued to be more of a force in Europe than in her homeland, and she followed Recently with what was actually her third live album to be recorded in Europe in the 1980s. Diamonds & Rust in the Bullring is not to be confused with her 1975 studio album Diamonds & Rust, of course, and it is not a live recording of the songs from that album, either, even though the song "Diamonds and Rust" itself does lead it off. So, the title is not helpful. The album chronicles a show performed by Baez, in a bullring, naturally, in Bilbao, Spain, in 1988, and it demonstrates what makes her such a draw overseas. Half of the collection (Side 2 of the LP and cassette, tracks 7-12 of the CD) consists of songs sung in Spanish, recalling her 1974 all-Spanish album Gracias a la Vida and including that LP's title song, here performed as a duet with Mercedes Sosa, "El Preso Numero Nueve" (which was also on her debut album, Joan Baez, in 1960), "Llego con Tres Heridas," and "No Nos Moveran" (aka "We Shall Not Be Moved"). Also part of the Spanish side are a translation of Sting's "They Dance Alone (Gueca Solo)," called "Ellas Danzan Solas (Cueca Sola)." (Singing in Spanish always seems to remind Baez of the bloody Chilean military coup and its aftermath.) But the song that most moves the crowd is the pretty "Txoria Txori," a song in Catalan with which they sing along. Actually, the Spanish side is more moving than the English one, in which Baez seems to be just running through some familiar material or turning in interpretations of such classics as Bob Marley's "No Woman No Cry," Leonard Cohen's "Famous Blue Raincoat," and the Beatles' "Let It Be" that have been done definitively by their originators. Diamonds & Rust in the Bullring smacks of being a placeholder in Baez's discography, which makes it an odd release for an artist willing to wait so long to return to making records.

Diamonds & Rust in the Bullring

专辑介绍

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