Rancid

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风格: #朋克
地区: United States of America 美国

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当英国的Punk音乐在80年代纷纷转向post-Punk、Goth的时候，北大西洋西岸的Punk之火却愈烧越烈。美国原本有Hardcore音乐的传统，其发源地是加州旧金山海湾区。所以当英国Punk遇到美国hardcore时，海湾区便在80年代后期成为连英国也自叹弗如的punk音乐的胜地。其繁荣吸引全美的Punk乐手聚集于此，甚至还有从英国转移而来的。Rancid便是其中非常出色的一支punk乐队。这支乐队1991年成立于加利福尼亚的贝克雷。《… And Out Come The Wolves》是乐队的第一张专辑，1995年发行。尽管Rancid玩的是传统的punk音乐，但该专辑与20年前的英国punk相比毫不逊色。一方面，Rancid的音乐很有旋律性，朗朗上口；另一方面，其节奏紧密，令人感到冲力十足。毫不夸张地说，该专辑集合了Sex Pistols、Clash和Remones三位punk大师的优点，19首歌曲皆为精彩之作。由于20年来音乐的发展，专辑的音乐在配器上思路更开阔，当然也更具现代色彩，这也是这张传统punk音乐专辑的新意之所在。他们直接带动了美国西海岸地区的Ska朋克复兴。正是因为Rancid的带路，后来Green Day、The Offspring这些朋克乐队才取得了历史上最辉煌的商业成功，最终让朋克音乐在九十年代前期进入了主流摇滚。

Rancid的灵魂人物Tim Armstrong一直是硬核朋克的坚决拥护者，最初他在八十年代就和好朋友Matt Freeman组织了地下Ska朋克乐队Operation Ivy，开始在Gilman Street酒吧表演并发行许多单曲唱片。1989年，乐队制作的专辑《Energy》从各方面来说都是失败的，这也给Operation Ivy以致命的打击，乐队在不久之后解散。但Tim Armstrong和Matt Freeman并没有因此而丧失信心，又组织了新的乐队The Dance Hall Crashers，之后的一段时间里，这对搭档又尝试了许多不同的乐队，但依然没有起色。灰心的Tim Armstrong开始借酒消愁，不能自拔。但在Matt Freeman不断的热情鼓励下，Tim Armstrong重新振作了起来，1991年，Rancid成立，除了Tim Armstrong和Matt Freeman以外，还有鼓手Brett Reed。1993年，乐队在著名的独立厂牌Epitaph里发行了他们的首张专辑《Rancid》，而UK Subs乐队的吉他手Lars Frederiksen也加入了进来。1994年Rancid推出的第二张专辑《Let's Go》在单曲《Salvation》的宣传带动下终于取得了突破。此时朋克潮流也逐渐开始形成，众多的唱片公司开始抢着和乐队签约，但Rancid并没有因此而离开Epitaph。1995年，Rancid又发行了专辑《And Out Come the Wolves》，单曲《Time Bomb》和《Ruby Soho》反响热烈。值得一提的是，Tim Armstrong在2002年的时候还跟Blink-182乐队的鼓手Travis Barker与Rob Aston一起组织了个朋克乐队Transplants，同样获得了歌迷的认可。

假如你不熟悉Rancid又很想接触一下他们的音乐，那Rancid在03年8月份发行的新专辑《Indestructible》完全合你的要求。听《Indestructible》过瘾的程度好象听精选辑一样过瘾。甚至于《Ivory Coast》这首被我们忽视的歌曲都有它独特的一面。虽然整张专辑的所有作品都无可挑剔，但感觉Rancid似乎也不是从前那个纯粹的朋克了，加入了电子元素的《Indestructible》应该看成是乐队之前的专辑《And Out Come the Wolves》的突破。

专辑内的第一首单曲《Fall Back Down》流畅的节奏与许多人热闹的和声增添了几分年轻阳光的气息。《Red Hot Moon》和《Memphis》带着美妙的旋律，很明显继承了The Clash的风格。《Arrested in Shanghai》、Ska风格的《Back Up Against the Wall》是标准的流行朋克。《Out of Control》以及《Born Frustrated》是Rancid从前激进风格的回归。他们的政治观点、自然毫不修饰的声音完全体现在了《Ivory Coast》和凶猛残忍的《Spirit of '87》当中。《Otherside》和《Roadblock》都是Rancid招牌式狂放的朋克风格，而且都在两分钟不到的很短的时间里结束，给人留下了回味的余地。

《Indestructible》全部将近20首作品都是朋克摇滚的标准典范，刚劲、时髦、带有政治色彩。尽管没有人把Rancid当作吉他乐队，但他们的吉他部分的确相当精彩，比如精致而且带有回授效果的反复段，独奏部分和强烈的带着硬核色彩的凶猛节奏。

Rancid表达的是对现实和社会体制的不满，如果我们埋怨朋克运动没有带来什么实质性的改变，只不过让我们穿着更破烂的衣服招摇过市还沾沾自喜的话，这实在是不应该怪罪于Rancid，他们做的只是一种令人震撼的摇滚音乐，而不是武装起来的激进分子。

事情可以非常简单，Rancid之于你，就要看你的音响有没有无线遥控器？如果有的话，说明你生活富足衣食无忧，你根本不适合听Rancid的音乐。这张专辑为没有方向的年轻人勾勒了一个美丽的新世界，那里没有种族歧视，没有饥荒、没有战火、没有恐惧，《Indestructible》完全就是Rancid音乐天赋和冲劲活力的再现.

One of the cornerstone bands of the 90s punk revival, Rancids unabashedly classicist sound drew heavily from the Clashs early records, echoing their left-leaning politics and fascination with ska, while adding a bit of post-hardcore crunch. While some critics dismissed Rancid as derivative, others praised their political commitment, surging energy, and undeniable way with a hook. And, regardless of critical debate over their significance, the bands strengths made them perhaps the most popular neo-punk band after Green Day and the Offspring. Their third album, 1995s ...And Out Come the Wolves, made them a platinum-selling sensation and an inescapable presence on MTV and modern rock radio. While they never translated that success into an enormous blockbuster record (like the aforementioned bands who hit the mainstream first), that wasnt necessarily their ambition, choosing to stay with the independent punk label Epitaph and the creative freedom it allowed them. That decision helped them retain a large, devoted core audience as revivalist punk-pop began to slip off the mainstreams musical radar.

Rancid were formed in 1991 by San Francisco Bay Area punk scenesters Tim Armstrong (guitar/vocals) and Matt Freeman (bass). Lifelong friends and longtime punk fans, the two had grown up together in the small, working-class town of Albany, near Berkeley; theyd also played together in the legendary ska-punk band Operation Ivy, Armstrong as Lint and Freeman as Matt McCall. After Op Ivy disbanded in 1989, Armstrong and Freeman spent a few weeks in the ska-punk outfit Dance Hall Crashers, as well as Downfall; Freeman later briefly joined the hardcore band MDC. Meanwhile, Armstrong was waging a battle with alcoholism (but, fortunately, winning), and to help keep his friend occupied, Freeman suggested they escape their day jobs by forming a new band, which became Rancid. The duo added drummer Brett Reed, Armstrongs roommate and a familiar presence on the Gilman Street scene where Operation Ivy had cut their teeth. Just a couple of months later, Rancid were performing live around the area, and in 1992 they released a five-song debut EP on Lookout! Records.

The EP caught the attention of Brett Gurewitz and his well-respected Epitaph label, which signed Rancid to a highly favorable contract guaranteeing them a generous amount of creative control. The bands eponymously titled, first full-length album arrived in 1993, pursuing an up-tempo, hardcore/skatepunk style with few hints of early British punk. Rancid had been seeking a second guitarist, and Green Days Billie Joe Armstrong even played live with the group at one show. They pursued Lars Frederiksen, a Bay Area resident whod joined a later incarnation of U.K. Subs and was performing with the band Slip; Frederiksen initially declined Rancids invitation to join, but when Slip disbanded, he quickly changed his mind and came along on Rancids first tour. Frederiksen made his recording debut on the early-1994 EP Radio Radio Radio, a side dalliance on Fat Wreck Chords. Released later that year, Lets Go was the album that made Rancids name in the punk underground. It marked the beginnings of their fascination with the 1977-era London punk scene, particularly the Clash, and it also provided their first widespread exposure when MTV picked up on the video for the single Salvation. Lets Go quickly went gold, and with the breakout mainstream success of Green Day and the Offspring that year, major-label interest in Rancid quickly escalated into a full-fledged bidding war (even Madonnas Maverick imprint got in on the action). Ultimately, Rancid decided that no major could offer them the level of decision-making power that Epitaph had given them, and stayed right where they were.

Rancid scored a major success with their next album, 1995s ...And Out Come the Wolves, whose title was a reference to the near-predatory interest in signing the band. The Clash fetish was even more pronounced, augmented with a greater interest in the original Two-Tone ska revival the Clash had helped influence (bands like the Specials). Ruby Soho was a major MTV and radio hit, and Time Bomb and Roots Radicals were hits in their own right. The album went platinum and made Rancid one of the most visible punk bands around. They played the 1996 Lollapalooza Tour, and afterward took a short break, their first since becoming a quartet. During that time, Freeman played with former X singer Exene Cervenka in Auntie Christ, while Armstrong set up the Epitaph subsidiary Hellcat; he and Frederiksen both began doing production work for other bands they hoped to spotlight.

Rancid returned in 1998 with the even more ska-heavy Life Wont Wait, a guest-star-loaded affair that featured members of ska bands the Specials and Hepcat, Dicky Barrett of the Mighty Mighty Bosstones, dancehall reggae star Buju Banton, and Agnostic Front vocalist Roger Miret. While it didnt cross over on the level of ...And Out Come the Wolves, it demonstrated that Rancid retained a substantial fan base. For the 2000 follow-up, their second self-titled release, the group largely scrapped its ska-punk side, recording a visceral, hardcore-influenced album that blasted through 22 songs in under 40 minutes (in contrast to its two lengthy predecessors). Perhaps for that reason, Rancid received a highly positive response from the punk community. The bands installment in the BYO split series arrived in March 2002 alongside NOFX, each band covering six of the others songs. Rancids next full-length, Indestructible, followed a year later; though technically released through Hellcat, the album was their first that got additional support from a major label via Warner Bros. The highly personal album (songs were inspired by the deaths of family and friends, and Armstrongs bitter 2003 divorce from Distillers frontwoman Brody Dalle) hit number 14 on the Billboard charts, as Fall Back Down did well on radio and MTV.

Following the records release, Rancid went on something of a hiatus, its members working on various side projects: Armstrong continued work with the Transplants, his band with Rob Aston and blink-182 drummer Travis Barker, and collaborated with various artists, including Pink; Frederiksen further played with his side band Lars Frederiksen and the Bastards; Freeman briefly joined Social Distortion from 2004-2005. By the spring of 2006, a revitalized Rancid regrouped; they toured worldwide starting that summer to the delight of fans. Several shows, however, had to be postponed and rescheduled after Frederiksen collapsed on-stage in Montreal, apparently suffering a seizure. Soon enough, though, he was back and the band continued on. Rancid promised a new record for the following year, and Armstrong released his first solo album, A Poets Life, that fall through Epitaph by releasing songs online for free download over the course of several months. With the band getting back on track, it then came as a shock in November 2006 when Reed announced he was leaving Rancid after 15 years; the split appeared to be amicable and he was soon replaced behind the kit by ex-Used drummer Brandon Steineckert.

Rancid

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