吉他英雄

Music keeps progressing and moving forward and people come up with the new ideas, new trickes and new ways to tell the same story in a different way.

It can do whatever you want and it reveals a complex emotion you have but you haven't concerned about.

So I love music very much, I love guitar every much. I am usually alone in my dormitory playing guitar to myself, making some sole and writing some music maybe, if I have inspiration at that time. It is really interesting. Just like relax myself haha...

So music is also one of my dreams, which I have cherished and it do change my life. To be honest, I prefer to perform to myself and people who I love, rather than show from the front of people around me, arguing that, in the long run, for most amatures just like me, music is serve as a sanctifier to sanctify our souls, while for the artists or maybe guitarists, music just as a implement to release most people's souls.

So I will still be perseverance to pursue for my dream, which contain so many stuffs, such as my plan, my music, my website, my company and so forth.

I always convince that people who have dreams will have perfect lives.

Alvin

《搖滾青春夢》（ㄟˇ金ㄘㄚˋ喔） It Might Get Loud
美国2009年著名纪录片导演Davis Guggenheim（《不愿面对的真相》）全新力作！值得期待，美一区12月22日发行，国内D版最快12月7日发行，考虑到字幕问题，预计12月12日左右可见D版。

简介：
这部音乐纪录片以三位吉他手的音乐生涯及自述作为主轴。他们分别是活跃于1970年代的英伦摇滚乐团Led Zeppelin（齐柏林飞船）的吉他手Jimmy Page，在1980、1990年代扬名立万的爱尔兰乐团U2的吉他手The Edge（猴鳃雷）以及近年以堪称蓝调文艺复兴之姿震撼美国乐坛的姐弟双人组The White Stripes（白线条）的吉他手Jack White。导演Davis Guggenheim结合三位吉他手各自的访谈纪录，以及三人聚首，谈论并且共同飙奏电吉他的片段，剪接成为一部从电吉他对于三人各自的意义出发，进而触及所谓「摇滚乐」如何定义他们的生涯，最后呈现三人以摇滚乐手的立场剖析自己的纪录片。

花絮：
Davis Guggenheim在映后座谈当中也以对于自己的剖析开场。他说自己不是以一个摇滚音乐学者的立场去拍摄〈It Might Get Loud〉；同样的，拍摄〈不愿面对的真相〉的Davis Guggenheim也不是一名环保尖兵。Davis Guggenheim只是一个「说故事的人」，一个以说好故事作为工作的人。他所以用吉他作为主轴，去说三个吉他手的故事，也说三个吉他手联系起来所衍生的故事。。然而吉他手满世界，为何偏偏是他们三人？导演Davis Guggenheim一句「人家我也想要找Jimmy Hendrix啊！」惹得全场哄笑。他掩不住得意地继续说，以一个将故事说得精彩的前提，他很喜欢Jimmy Page、猴鳃雷和Jack White联系起来产生的冲决效果。

猴鳃雷说：我永远对自己也对工作伙伴吹毛求疵地追寻更多元、更丰富的声音表现，那些追寻，那些声音，就是我。Jack White说：我只是永远想要和听众分享一些所获。三人之中，Jimmy Page超过半世纪的音乐阅历令他兀自地动人。齐柏林飞船时期的Jimmy Page及肩的长发乌黑，脸上若非群玉山头见的清新俊秀和一旦弹奏起吉他的放肆张狂令人分不清他就竟是天使抑或厉鬼。遍历综乐酒精、毒品，他的伙伴，齐柏林飞船的鼓手John Bonham死于饮酒过量引起的急性肺水肿以及更许多繁华梦幻以后的Jimmy Page，头发已经花白。他说：我只是用每天执起吉他，好让我再也无力弹奏的那一日永远在望不到尽头的天边。

简评：
齐柏林飞船最著名的作品当中用远不乏Jimmy Page长篇的吉他独奏以及主唱Robert Plant张狂也魅人的性感嗓音。猴鳃雷在动荡的爱尔兰成长，层出不穷的冲突、爆炸、死难在他心中划下的伤痕令他不得不执起吉他进行控诉。这样的猴鳃雷，反动的是齐柏林飞船兀自作乐的耽溺恣肆。猴鳃雷广泛的社会关怀令他永远在乐音当中寻求更深刻、更缜密的修辞。不断在硬件、音效合成和音像科技中实验的猴鳃雷和U2唱出许多结构严整，制做精致的歌曲有如〈Where the Streets Have No Names〉：

太严整显得虚伪，太精致不免矫饰。浸淫底特律（Detroit）非洲裔美国人社群蓝调乐音的Jack White用他的音乐当中不假雕琢的生猛节拍，发乎于心的真诚吶喊反动的正是有如U2那样深深根植于数字科技的精密算计。Jack White的白线条乐团所以只有他和鼓手姊姊Megan两人，他们以当代的不安与焦虑简洁直白地回溯摇滚发源的蓝调传统，翻出令死滞乐坛惊艳的曲调如〈You Don’t Know What Love Is （You Just Do As You’re Told）〉：

Davis Guggenheim安排三位彼此反动的音乐人会见的结果竟是一团和气。Jimmy Page、猴鳃雷和Jack White三人忘我地谈论音乐、竞飙吉他固然火花四射，却也令在场某些观众不禁质疑到：让三个反骨倨傲的摇滚乐手在音乐中爱上彼此，摇滚乐还怎么「屌」得起来呢？


摇滚乐有多屌？也许是在初衷失落复又寻回的许多过错以后，用片体鳞伤换取到一点毕竟不迟的诚实。

10几年的五道口，地铁的旁边原来是一个大的菜市场，几个广东人拿着卡口磁带，Led Zeppelin的磁带就像土豆一样放在麻袋里面，2块钱！挑出来，面带稚嫩的小店主三下五除二就把断掉的磁带接上。那时候的娱乐少得可怜，这一盘磁带可以给我带来一个学期欢乐，不知道这样的声音是如何来的，陌生却震撼。转过街角，商店里，长发的店主，拿出一样的磁带，擦得很干净，振振有词告诉我，这是Heavy Metal的鼻祖，值！40块！那个时候便知艺术的价值正比欣赏者的喜爱程度。

猜想导演选了他们三人是因为他们是三种不同的风格，来自三个不同的时代。他们又是相同的，70年代的英格兰，罢工、偿还美国巨额战后债务，经济一蹶不振，都柏林也是一片萧条，Jack成长在脏乱的墨西哥人街区，他们都需要快乐，需要表达，认真的表达。也许摇滚需要压抑的现实作为土壤。充满激情的年轻人在简陋的音乐室演出了一首首至今传唱的曲子。

多年后的今天，互联网把世界的距离拉近到了一秒以内，冬天纽约广场的国旗短裤会在北京西客站的大厅直播。如果他们生在这个时代，可能早就被父母揪着“步入正轨”，西服革履喷着香水出入现代化的办公楼，周末成群结队去工体、后海。这个时代再也没有人质疑“stairway to heaven”，也不会有人关心“where streets have no names”。谁还会因为一盘磁带欣喜若狂，吉他“大师”们的教学录像摆了整整一书架，谁还会去为了一个chord四处求学。

他们各有天分，但是时代成全了他们的成就。如今社会巨变，新的形式早已诞生，可是也许只有等到再过10年才能清晰地看出我们这个时代的成就。

I drive myself totally crazy, trying to get the sound that I can hear in my head to come out of the speakers.
As writers, we start with the feeling and everything follows from that.
We are always worried about being satisfied. When you become satisfied, it's sort of like you just die.
There is a tension in that music that you can feel. It just feels like there's this place where, you know, my soul rests and these guys were expressing it.
I got really into drumming, playing along with the records. Those rhythms got into me early. 100% only caring about music and rhythm. I had a bedroom that was about 7 by 7 feet, really small. There was so much junk I had collected. I had two drum sets in there, a guitar amplifier and a reel-to-reel, and no bed. I took the bed out. I slept on a piece of foam on an angle by the door.
...and so I found ways of playing these chords where I'd eliminate certain notes. So there's a more clear sound... Really paring it down to the absolute bare minimum. When it's so simple, you can turn it up really loud, and it's got more aggression.
Pop music was rubbish, so we weren't gonna be playing that...not going with the flow.
They thought it was going to be counterculture or something. It wasn't doing harm to anybody. Not then it wasn't.
When people take a guitar that's known for a certain sound, and throw it into a whole different context, something interesting happens.
I got this echo unit and I brought it back to rehearsal, and just got totally into playing, but listening to the return echo, filling in notes that I'm not playing, like two guitar players rather than one. The exact the same thing, but it's just a little bit off to one side. I could see ways to use it that had never been used. Suddenly everything changed.
This spoke to me in 1000 different ways. I didn't know that you could do that. Just singing and clapping. And it meant everything. It meant everything about rock'n'roll, everthing about expression and creativity and art. One man against the world in one song... I heard everything disappearing. It didn't matter that he was clapping off time. It didn't matter that there was no instruments being played. All that mattered was the attitude of the song.
Jumping off into the unknown. Hope and have faith that the next chord or the next few notes will come to you. On occasion you get nothing and you come out feeling like a complete idiot and that you don't know everything and you can't play guitar and you can't write songs.
So many lives destroyed. Perverted, distorted ideas of freedom. No life was sacred.
And I thought about it for a long time, for days. There's this whole new world that's just opened up in front of me and I have to figure out, "How do I get there?" "Am I not allowed to get there?"..."Am I a writer, or just a guitarist?"
I shed this coat off me, and then I wanted to try everthing that was breaking rules. I wanted to do things that sped up. I wanted to do things that were like playing a bow and hurting people's ears.
We're presenting ourselves in a really childish manner, almost like cartoon characters. And a lot of distractions to keep people away from what was really going on, which was we were just really trying to play this.
Total disregard for human life. We are not buying into this.
Clarity of Vision. What you've been looking at from the wrong angle and not seeing at all. You labor. You sweat to see, what you couldn't have seen from that other perspective.
I come in here and sometimes it's just not a great day. But there's always gonna be something if you just keep going.
There's a total concentration on music and creativity and writing. Pushing the boundaries. Looking over the horizon. Musicians that were absolutely on top of their game.
The biggest thrill is creating something that has the power to really connect with people.
For me it was a much bigger world. I had a voracious appetite for everything. All of it.
Music keeps progressing and moving on and people come up with new ideas and new tricks and new ways to tell the same story in a different way. We are all doing the same thing, attempting to share something with another human being. In essence, we are effectively the same band. We are a little bit more complex. But we are really still the band that's crowded into the small rooms, trying to play with each other, and find those clues that will take us somewhere new.
I loved this whole idea of, you know, getting a band together.

——简评《It Might Get Loud》
文/老丁

滚石杂志在2003年评出的百大吉他手，现年66岁的Jimmy Page排行第九，49岁的The Edge位列第二十四，最年轻的只有35岁的Jack White竟高居第十七。当然，排名更靠前的B. B. King、Eric Clapton甚至和电影关系更密切的Ry Cooder（《德州巴黎》、《蓝莓之夜》都是耳熟能详的名字）都还健在，当有西方媒体问导演Davis Guggenheim为什么偏偏挑选这三个年龄不同风格迥异但都还很帅的吉他手时，抛出了一句“我也想找Jimmy Hendrix啊”。
是啊如果这三个人是Jimmy Page、Keith Richards和David Gilmour就成了“岁寒三友”，如果是The Edge、Kirk Hammett（Metallica那位）、Eddie Van Halen就成了“三枪拍案”，而如果是Jack White、Jonny Greenwood（收音机头色盲）、John Frusciante（前一阵宣布退队的红辣椒悍将）也许会成为“三国杀”。但就像圈钱的纵贯线加进一个张震岳才算神来之笔，《It Might Get Loud》拿Jimmy Page、The Edge和Jack White糅合到一起还真是一团和气。京奥闭幕式上的伦敦8分钟让普罗百姓也见识了Jimmy Page的小辫子，U2一向是姿态高昂习惯了在大小场合抛头露面（多少也会让非乐迷见识到Bono背后这位老实巴交但技法高超的吉他圣手），Jack White看起来相对重口味一些但也相当酷毙了，他的The White Stripes可能是当今乐坛最神秘的乐队，前段他和Alicia Keys合作的007主题曲也是唱到大街小巷。回到吉他，真的有太多故事。
影片一开始先是Jack White自己做土质吉他，“Man，Who Says You Need Buy a Guitar”；然后是The Edge练一种特别的瑜伽，他对效果器的钟情到了疯狂地步，直到音箱真正发出他自己的声音；而Jimmy Page表现着从低吟到轰鸣，撩拨出让乐迷欣喜若狂的代入感。然后他们三人彼此分享，从创作到演奏，从录音室到现场，征服与被征服，控制与被控制，每一次技术的提升，时代的演进，吉他直接指引着音乐的走向。刚开始的时候激情就是动力，到后来成为一种战斗，一种习惯，一种生活方式和一种有意识无意识的历练。
“科技是真理和情感的破坏者，投机取巧对创造力的提升没有任何意义，科技让一切变得简单，所谓的现代技术分散了人们的注意力。”所以最年轻的Jack White最复古，他要寻找和把握那些瞬间的自然的东西，所谓灵光消逝之前的灵光；Jimmy Page保有着他的热情、坦率和能力，他的最早启蒙是噪音爵士，饱餐哺育摇滚乐的乳汁；而The Edge则经历了祖国爱尔兰最死气沉沉的时代，所幸被赋予的不仅仅是萧条，还有痛苦、反抗和自我意识，吉他当然是一把利器，但他并没有丢失自己的自省，他甚至提起《This Is Spinal Tap》这部充满了讽刺意味的摇滚电影，“我没笑，我哭了，它太过现实”。
《It Might Get Loud》并不是三人简单的回忆录，还直接把镜头带进了Jimmy Page的藏满了唱片的房间，老先生很陶醉的分享着每一个颤音，他仔细地纠缠于每一个自己钟意的音色，想象音符是怎样通过前辈或者朋友的手跳出来。而弹吉他究竟有什么意义呢？每个人都在忙碌，为了竞争，为了生存，那些浩如烟海的节奏和复调和谐，大家又都不想千篇一律，“只要你坚信自己想要的一切，演奏得好坏就显得不再重要。”因为简单而特别有力量，The Edge开始把自己创造出来的绝活儿奉献出来，和一老一少一起切磋一个C的和弦，并直接发现最老的Jimmy Page最蕴藏朋克的虚无主义。而谈到朋克，Jack White开始回想起自己在底特律的童年时代，“那时候，玩吉他一点都不酷，摆弄乐器是最尴尬的事。”因为大家都在咬紧牙关讨生活，即使有音乐，也是黑人的Hip-Hop和House，风光的是DJ和说唱歌手，是环境和时代逼得你不得不朋克。
每个人都有一个艺术家的梦，无论是最早想研究生物的Jimmy Page还是做过童工学徒的Jack White。吉他是他们的桥梁，是他们的筷子，是他们的画笔和话筒。Jimmy Page因为在课间练习吉他遭遇没收，因为当时吉他被看成是反主流文化的标志；Jack White则是帮朋友搬运冰箱，被当做一种补偿。The Edge最早也是和刚刚试图自己造一个，第一次走进琴行的时候，感觉吉他在向自己招手，“当一个人把一把拥有特定音色的吉他，放到一个与之风格迥异的环境中，就会有奇迹发生”。Jimmy Page造访一个曾经在海军服役的吉他师，为的就是演练吉他的延音，而让声音过载，听上去就会更加狂暴，这正是当时的重金属需要的。The Edge在意新的即兴重复段，Jack White则沉醉于自己改造和改装吉他。
The Edge带着音箱对着大海弹奏，因为回声让他感觉到是两把吉他而不是一把，他回到当年录制《The War》的地方，感悟另一种空茫。Jimmy Page以一个学徒的身份走进录音棚，只是将写好的东西演奏出来，这种方式让他发狂，他要属于自己的东西，用琴弓去破坏听众的耳朵去破坏规则，从而成为传奇的一部分。Jack White重拾黑胶唱片，当他听到Son House的时候，尽管没有一件乐器伴奏，但他感觉到是在用1000种不同的方式诉说，从而虔诚地期待着下一个挑战向自己走来，用兄妹、红色和薄荷糖塑造乐队的形象，用一种很天真的方式帮助人们逃离生活。
他们三个都基于一个布鲁斯的架构，只是立足点不同，观察世界和生命的方式也各有不同，The Edge说：“当你路过一片森林，你可以看到那一行行的树，从一个特定的点去看，会发现他们完美的排成了一排，那样清晰，视野开阔。如果你站在一个错误的角度，就什么都看不到，你努力寻找，汗流浃背，可就是什么都看不到。而你只记得，急于想找到它，在那一刹那消失之前。方法只能是——拿起吉他。”而Jack White则这样记载：“如果你的身边或者内心，没有一种抗争，那你就需要去创造一个，每天的那些小事，极端情绪，那些让你愤怒的、失望或嫉妒的事。”Jimmy Page说起《The Stairway to Heaven》，“当创作歌词或者音乐的时候都是从一件事转换到另一件，是不由自主的灵光一现，不由自主的，而我们的目的和全部理由也就是捕捉那个瞬间。然后再去完善而已，用木吉他还是电吉他，在舞台上怎么做，可以用12弦还是Solo，逐渐提速到高潮。律动，动力，力量和能量的起伏，明暗，为什么我不去演奏呢？一些东西在持续积累，从开始到结尾不断的架构，提速，像性高潮。火花迸发为火焰，火焰在熊熊燃烧。”
三个人一起合飙《In My Time Of Dying》，“音乐创作或者写作，都需要全神贯注，推动极限，超越地平线，而吉他手是这场游戏的焦点。有一种能量，将人们联系在一起，最大的激情就是创作。音乐促使人们前进的脚步，虽然会有新的方式讲述老的故事，但吉他是分享这一切的根基，因为灵光和启示就附着在上面。总有一天你会拿起吉他，脑海里空空如也，没有新作品，没有新思路，每个搞创作的人都需要一种天赋，但总有那样一天……我们努力使那一天，离得越远越好，最好是永远停在望不到尽头的天际。”
导演Davis Guggenheim拍电视剧出身，早先最让人称道的是拍了《An Inconvenient Truth》（不愿面对的真相）获颁奥斯卡最佳纪录片，但他否认自己是环保先锋，这次拍了《It Might Get Loud》他也否认自己是摇滚乐迷，更否认自己是以一个摇滚乐研究者的角色去拍摄，只承认自己是一个说故事的人，只是用三个人各自的访谈、聚首、谈论、碰撞，最后呈现三个人以吉他手的身份剖析自己。这种说法相当朴实，而影片呈现出来的镜像也是朴素而平实的，只有一开始Jack White手工造琴的惊艳和几个简洁的动画设计，还有就是三个吉他英雄间或的追忆，或诉说，或交叉，或Solo或重奏，或个人或乐队，或曾经或当下，或人声或乐声，或唱片或琴弦。但面朝大海吉他花开的The Edge和末端Jimmy Page逐渐远去的背影还是很有戏剧性和象征意义，就如同本雅明《迎向灵光消逝的年代》，“时空的奇异纠缠——遥远之物的独一显现，虽远，仍如近在眼前。静歇在夏日正午，沿着地平线那方山的弧线，或顺着投影在观者身上的一节树枝，真到‘此时此刻’成为显像的一部分——这就是在呼吸那远山，那树枝的灵光。”片子本身并没有“乐声喧天”，也不是抽象到离谱的“摇滚青春梦”，却是吉他英雄对灵光的瞬间捕捉，灵光消逝在吉他上的最好注释。

I find this "documentary" to be dull. I had to fast forward to select the part where they really talk about their music.
Let me make it short, Jimmy page might have done way too many interviews, I totally understand, I mean if I were him, I would have run out of things to say, or just simply hate to repeat things I have told millions of times.
and I am not very into Jack White. I find his music too raw and moody. It's just me. But Tom Waits is raw and moody, but he makes a lot sense to me. Jack white definitely experiments with many ways to play a guitar, but that's nothing new, I think he just does it wrong.
 The edge, on the other hand, is pretty amazing, The edge is underrated, his guitar playing is quite simple but amazing. He doesn't "borrow" from anyone else, but create a whole new way to playing.I like the way he always puts on this big smile to others.
The film-photography is beautiful. that's it. there's nothing else worth mentioning.