把闪亮青春做旧，把70年代继续——ROONYEY - 达人(碳酸牛)

2005/08/22 | 把闪亮青春做旧，把70年代继续——ROONYEY
类别(塞着耳机地生活吧) | 评论(2) | 阅读(97) | 发表于 12:22: 图片如下：

流于俗套，最开始吸引我还是唱片的封面。

开来我肯定是巨喜欢这种有了年头、重新刷过白的墙上那种用劣质油漆做出来的特认真又特规矩的涂鸦，尤其是那一条被雨水冲花了的血红墙裙……
还有那枚让小兵张嘎同志心驰神往很久的红色五角星。

对70年代，80年代的膜拜和推崇在这几年都越演越烈，竟形成了一个世界范围内广泛潮流。
越年轻越怀旧，越怀旧越时髦……

乐队5个人，配器基本上是Ramones时代的小punk标配，两把吉他，一个bass，再加鼓和键盘。
就连发型和穿着也有点相仿，只是，干净的瘦腿仔裤，深色的帆布外套，再加上棕色蘑菇头下边温和直接的眼神已经跟Ramones的精神相去甚远了。
编曲很规整，旋律很好听，带着暖意的小段吉他solo，永不消失的叮叮嚓，一点也不暴躁，也不肉，有点post的感觉。
这从70年代鼓纸堆里爬出来的套路，rooney玩得挺成熟，至少一听还真是那么回事。

不过这群漂亮的小伙子还是太嫩了，主唱的声音一听就是累死花儿刚出道的时候那种不愿长大初尝禁果的大龄儿童。
歌词诚实得近乎土得掉渣，没有一点华丽的东西，如果有，也是画蛇添足一样被人一眼识破。

倒是它的网站上的论坛比较有意思，大概都是rooney的铁托吧，有一个帖子entitled “what do you drive?”,就是前天的发出来的，两天之内，
跟贴无数，贴上了自己的宝马良驹无数……让我打开眼界了一回，
1 美国就是好，84年的马自达323照样能开，不管黄标还是绿标。
2 美国青年也有跟我似的，理想的车型非GOLF就是BORA，不过人家是in a few month ,i will drive either of them.我是in a few year, i maybe will drive……
3 居然也有自行车爱好车混在drivers的行列里，而且拿出来秀的车还是actually a 1960 raleigh yeahhhhhhhhh……如果，拿出来秀的是辆顶花带刺
的两轮童车,那叫 driving in style！
4 靠，美国tmd刚成年的小p孩子居然都在讨论自己目前开的什么车，不服不行啊。

offical site:http://www.rooney-band.com

看看国外的对这张专辑的乐评吧

Putting your best foot forward is no excuse if you can't walk the walk. "Blueside", the lead track on Rooney, makes all the Weezer-meets-Beach-Boys rhetoric surrounding this band seem warranted. Sure, it might sound like a bland concept, what with the whining guitar lead and vocals not unlike Mr. Cuomo's, but then the chorus comes crashing in, and it does the things one expects a pop chorus to do: 1) it gets all the harmonies and magical stuff you can't be bothered with while in the moment stuck in your head; 2) it invokes its title, "Blueside", ensuring that gets stuck in your head, too. And consequently, it becomes 3) the one truly memorable part of the song-- the bit you'll find yourself singing hours later-- and, 4) the moment that embarrasses the other parts of the tune so soundly that the listener is left waiting for the chorus to come around again, like a caffeine addict waiting in line at the Dunkin Donuts for something tall, dark, and sugary. It's a style that never goes out of style.

But before you go gaga, join their street team and pledge allegiance to the cute little brown bear featured on the band's propaganda, note that this particular song ends up being the highest high Rooney's record hits. It's not that the other ten tracks pale in comparison-- actually, "Stay Away" is right up there, jonesing on a na飗e Cheap Trick vibe-- but all of these songs are the same damn color. "Blueside" gets the benefit of the doubt simply by being the first track. In light of what follows, it's no more or less spectacular a song than any of their others, which is a shame.

The color I referred to in the last paragraph, by the way, is blue. It's the pastel blue you might recall serving as the backdrop of the photograph of those four nondescript fellows on the cover of that record with the song about Mary Tyler Moore on it. But instead of meting the lovey dovey crap with helpings of gunky sweaters and 20-sided dice (or, as all Pinkerton lovers remember, wanton and desperate vulnerability), Rooney offer up detached professional tales of girl-wanting, girl-lusting, girl-having and other male adolescent hormonal endeavors-- the same type of endeavors, by the way, that these immaculately produced pop stars refer to ("You've hit me again one more time", "Bye bye bye bye bye bye goodbye") as "the killers of rock and roll" in "Popstars". As Bart Simpson once said, the ironing is delicious.

Another wrinkle worth noting: as great and clean as this record sounds-- thanks in large part to those "unsophisticated money machines"-- its cleanliness saps the songs of any personality or charm, qualities that could rescue them their boring, almost admirable compositional merits. All the accoutrements are meticulously placed in the proper spots. When the drums start sounding mechanical (see "Terrible Person") or the guitars are turned up to 11 (see "Daisy Duke"-- 80s pop cult ref ahoy!), or the synthesizers are set on Fun-Filled Spooky (see the intro to "Kristen"), it works; when the band starts mimicking the recognizable big bang boom that Rivers & Co. trademarked and copyrighted nine years ago, it doesn't: "Daisy Duke" is "Buddy Holly" rewritten as an anti-ballad. "If It Were Up to Me" is shamelessly mimics "Holiday", and the introduction to "Losing Control" sounds suspiciously like REO Speedwagon's "Can't Fight This Feeling"-- a punishable offense in most countries.

Rooney is an acceptably underwhelming, state of the art, guitar-centric pop record. This would be a fine thing except for the hubris on display, best exemplified by "Popstars"-- which, contrary to what Rooney might want to believe, is what they are trying to become. Given Rooney's current label affiliation (that's Geffen, as in Interscope, as in a big honkin' cog in that money machine) and the amount of label-generated buzz these five chaps are currently benefiting from, calling out Britney and Justin for raking in crazy money isn't a brilliant move to bust on your first album. As a wise man once asked, "Why do they gotta front?"

-David Raposa, July 21st, 2003; 0

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