MC5

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风格: #原型朋克　#硬摇滚
地区: United States of America 美国

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要开创一个新时代,需要一无前的勇气，MC5在六十年代末的出现决不是偶然的，他们代表了新代追求理想的年轻人，朋克也在时开始向死气沉沉的世界注入勃生机。

“你闭起眼睛听我们的音乐，会听到地球粉碎的声音”，MC5的成员这样说过。很难想象在十年代末会出现如此激烈而嗜杂音乐，MC5用空前的勇气和单纯的动向世界呐喊看：“Brothers and Sisters,it's time for revolution!”这种能够毁一切的音乐，足以在心灵中重一个理想的新世界。这张Live版专辑最大程度地传递了一种革命冲动，在那一往无前的音乐里，灵魂的呐喊、理想的火焰、死亡的沉迷都爆发出极大的能量，你感到心灵在震颤，生命在极限的边缘开始清晰和明亮。

MC5是一支行为主义乐队，他用实际行动表达着自己的革命信念。MC5认为七十年代物质膨胀的世界是个吃人的世界，他们要砸碎这个世界，后工业时代物质统治了一切，心灵化的人格到哪儿去?无可逃避，只有去抗争，MC5正是在做这样一件事，冲破物质罗网而拯救心灵。也许白豹党人辛克莱对乐队产生了很大影响，但MC5决不是一个单纯的政治工具，那些富有理想的年轻人是不会去接受一个物欲横流的世界的，这种抗争的勇气基于心灵最纯洁的渴求——我们将用博爱精神去缝合空虚。

与Beatles不同，MC5这种理想主义的冲动来自于靠近死亡与毁灭的体验。MC5并没有去勾画一个充满神性的世界，他们表达了一种真诚而又卑微的反抗。朋克精神很大程度上是平民化的，当Beatles的神话降下惟幕。打破偶像成了新时代的必需。MC5的音乐激烈，但同样也是亲切感人的。一团火在地下燃烧，引燃了同样充满渴望的心灵，MC5最终想看到一场孕育希望的熊熊大火。在《Kick out The Jams》后半段，MC5摆脱了那种外在的冲动而进入了另一种更纯粹的沉迷状态，仿佛是走进了地狱。在MC5张扬的外在行为背后，我们感到了几颗被时代误解的心。走在时代前列的人必然承担巨大的痛苦，在孤寂的灵魂荒芜之地，迎接一种感受死亡的洗礼，生命也因此被赋予更大的勇气。创造伟大的作品，需要同样伟大的体验，MC5的意义不只停留在他们行为的本身，我们应该看到冲动的本源。

乐队的首张录音室专辑《Back In the U．S．S．R》明显地失去了《Kick out The Jams》中势不可挡的锐气，音乐更靠近五十年代的Rock 'n Roll，MC5似乎开始需求一种抚慰，而使其中一部分作品充满抒情的渴望，但《Back In the U．S．S．R》更大的意义在于它完成了朋克的音乐形式，从而为New York Dolls，Ramones等铺平了道路。

如果你看过《麦田里的守望者》的话，你便会明白诚实是多么容易受到伤害，MC5被他们那个时代误解着，但他们决不会被历史抛弃，他们短暂的存在点燃了朋克的熊熊大火，同时也延续了摇滚乃至人类精神的火种。时代从没有倒退，只是大多数人在往后看，MC5是属于前方的少数人。

Alongside their Detroit-area brethren the Stooges, MC5 essentially laid the foundations for the emergence of punk; deafeningly loud and uncompromisingly intense, the group's politics were ultimately as crucial as their music, their revolutionary sloganeering and anti-establishment outrage crystallizing the counterculture movement at its most volatile and threatening. Under the guidance of svengali John Sinclair (the infamous founder of the radical White Panther Party), MC5 celebrated the holy trinity of sex, drugs, and rock & roll, their incendiary live sets offering a defiantly bacchanalian counterpoint to the peace-and-love reveries of their hippie contemporaries. Although corporate censorship, label interference, and legal hassles combined to cripple the band's hopes of mainstream notoriety, both their sound and their sensibility remain seminal influences on successive generations of artists.

The Motor City Five formed in Lincoln Park, MI, in late 1964 by vocalist Rob Tyner, guitarists Fred "Sonic" Smith and Wayne Kramer, bassist Pat Burrows, and drummer Bob Gaspar; at the time, its members were still in high school, appearing at local parties and teen hangouts while clad in matching stage uniforms. In time, however, Smith and Kramer began experimenting with feedback and distortion, a development that hastened the exits of Burrows and Gaspar during the fall of 1965; adding bassist Michael Davis and drummer Dennis Thompson a year later, MC5 landed a regular gig at the famed Detroit venue the Grande Ballroom, building a fanatical local fan base on the strength of their increasingly anarchic live appearances. Soon the band caught the attention of Sinclair, a former high school English teacher anointed the Motor City's "King of the Hippies" after founding Trans Love Energies, the umbrella name applied to the many underground enterprises he operated, including his White Panther Party, a radical political faction espousing "total assault on the culture by any means necessary, including rock & roll, dope, and f*cking in the streets."

In early 1967, Sinclair was named MC5's manager; within months they issued their debut single, "I Can Only Give You Everything." As the official house band of the White Panthers, they became musical conduits for the party's political rhetoric, taking the stage draped in American flags and calling for a revolution; run-ins with the law became increasingly common, although in the wake of the Detroit riots of July 1967, the group relocated to the nearby college town of Ann Arbor. The following summer, MC5 appeared in Chicago at the Yippies' Festival of Life, a rally mounted in opposition to the Democratic National Convention, and in the audience was Elektra Records A&R executive Danny Fields, who signed the band a few months later. Their debut album, the classic Kick Out the Jams, was recorded live at the Grande Ballroom on October 30 and 31, 1968; although the album reached the national Top 30, retailers, including the Hudson's chain, refused to carry copies due to its inclusion of Tyner's trademark battle cry of "Kick out the jams, motherf*ckers!" The controversy spurred MC5 to run advertisements in the underground press reading "F*ck Hudson's!" Against the band's wishes, Elektra also issued a censored version of the album, replacing the offending expletive with "brothers and sisters."

When the dust settled, MC5 was dropped by Elektra; when Sinclair was subsequently jailed for possession of marijuana, the band was left without their manager and without a contract. They signed to Atlantic, where producer Jon Landau was installed to helm their second album, 1970's Back in the U.S.A.; with Sinclair out of the picture, the music's political stance vanished as well, with a newly stripped-down, razor-sharp sound replacing the feedback-driven fury of before. The record's approach divided fans and critics, however, and when the 1971 follow-up High Time failed to even reach the charts, Atlantic released MC5 from their contract; in addition to filing for bankruptcy, the group was dogged by mounting drug problems and in early 1972, Davis was dismissed from the lineup as a result of heroin abuse. Bassist Steve Moorhouse stepped in as his replacement, but soon after, both Tyner and Thompson announced their retirement from active touring; on New Year's Eve of 1972, the group played their final gig, appearing at the Grande Ballroom — the site of so many past glories — for just 500 dollars.

As the years went by, however, MC5's influence expanded; punk, hard rock, and power pop all clearly reflected the band's impact and by the 1990s, they were the subject of a steady stream of reissues and rarities packages. Following the band's demise, its members pursued new projects: Tyner released several solo records and also earned acclaim for his photography before suffering a fatal heart attack on September 17, 1991. Smith, meanwhile, formed Sonic's Rendezvous with fellow Detroit music legend Scott Morgan, issuing the underground classic "City Slang" in 1977 before leaving the group; in 1980 he wed Patti Smith, dying of heart failure on November 4, 1994. After spending much of the following decades battling drug addiction — including a two-year prison stint — Kramer resurfaced in 1995 with a blistering solo album, The Hard Stuff, the first of several new efforts for punk label Epitaph. Less successful were Davis, who seemingly disappeared from sight after a tenure with underground legends Destroy All Monsters, and Thompson, whose solo ambitions went largely unrealized.

MC5

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