大家好 舊聞一篇(大概1個多月前) http://jarviscocker.net/ 賈伯推出個人第一本限量書籍作品, [母親, 兄弟, 愛人] 內容為個人音樂作品歌詞精選 2011/11/07 開賣(另有平裝版10/24開賣), 只限量100本, 編號1~100. 每本接有賈伯簽名及手稿留言. 每本書還會附上一張仿護照式的賈伯照片書籤 (照網頁上看, 共有56款) limited edition run of Jarvis' first book, Mother, Brother, Lover Only 100 copies will be made, numbered from 1 – 100. Each will be signed, slipcased and contain a hand-written message from Jarvis. You will also receive a unique bookmark made from individual passport-style photos of Jarvis. The limited edition book will be released Monday, 7th November 2011. 下面為一書評 http://ppt.cc/A2-1 Jarvis Cocker is one of the sharpest songwriters this country has ever produced. That doesn't stop Mother, Brother, Lover, a selection of his lyrics, from being an inherently flawed project. He admits as much in the introduction: "Seeing a lyric in print is like watching the TV with the sound turned down.” 賈伯可算是英國最鮮明的作詞人. 對於歌詞, 賈伯自有一番見解: 閱讀印刷品的歌詞就彷彿看電視時關掉聲音一般, 撇除聽覺感受, 只剩下最純粹的文字魅力 Mother, Brother, Lover by Jarvis Cocker Any Pulp fan knows that Cocker's words can't be divorced from the theatrical, sometimes hysterical, cascade of gasps, squeals, yelps, groans and sighs that accompany them. Nor do they have as much purchase without the keyboard synth squiggles of Candida Doyle or Russell Senior's dramatic violin strokes. 所有的PULP迷都感受過, 賈伯的詞涵蓋了極度誇張的, 歇斯底裡的, 喘息的, 尖叫的, 痛吟的, 嘆息的等各種情緒. (sorry, 後面關於鍵盤大嬸與超迷人小提琴手的, 實在不知道該怎麼翻,請高手協助) Still, it’s not as if the Top 40 is overflowing with wit or wisdom these days. Dappy, Ed Sheeran, Noel Gallagher's High Flying Birds: it's enough to make one weep. It certainly makes one feel more kindly disposed towards this Faber volume, which reproduces the lyrics to a wide range of songs – from Pulp's debut single My Lighthouse (1983) to You're in My Eyes (2009) from Cocker's solo album Further Complications – and comes complete with endpapers that evoke the decor of a chintzy Tandoori restaurant circa 1973. 賈伯的歌詞創作歷程 從第一張單曲 My Lighthouse(1983) 到 賈伯第二張個人專輯的You're in my eyes(2009) What this collection does – necessarily and triumphantly – is to rescue Cocker from the condescension of popularity. It offers a corrective to the image of him as a man-made-fibre-wearing, finger-wiggling, Michael Jackson -mooning clown. It wrests him from the insidious embrace of prime-time jovialists such as Chris Evans who sold him to the nation as a cuddly eccentric, a half-Alan Bennett, half-Robin “Confessions” Askwith jester charged with keeping the Britpop party swinging. In place of this neutered caricature emerges a far more serrated, interesting figure. The Cocker of Mother, Brother, Lover is a refugee from the northern England that Margaret Thatcher's brand of neoliberal Conservatism had almost decimated during the Eighties. He's as angry as Bernard Hill's Yosser Hughes in Alan Bleasdale's Boys From the Blackstuff, as proud as Christopher Eccleston's Nicky in Our Friends in the North, and as alert to the darkness – but also the warmth and resourcefulness – of working?class communities as Ken Loach. This is the person who wrote a song called Last Day of the Miners'Strike (2002) whose narrator recalls the collective feeling that "The future’s ours for the taking now, if we just stick together.” (老實說, 這段我也看不太懂, sorry, 再請高手版友相助了) --

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