【搬运】【译】滚石Rolling Stone评Bob Dylan 2019年专辑《Travelin Thru》

搬运自：微信公众号【评论搬一堆】（在原文基础上添加了英语原文与排版调整）

翻译：Sookie. Z

审译：Tyler Smith

排版：Ryan-Chopin

鲍勃•迪伦(Bob Dylan)曾与约翰尼•卡什(Johnny Cash)联手创作了令人激动的歌曲并收录在《Bootleg Series（盗版系列）》中

“The man in Black（黑暗中的男人）”（译者注：这里指Johnny Cash，Johnny Cash演出时永远是一身黑衣,歌曲也常涉及到犯罪凶杀等较灰暗的内容,所以有“黑暗中的男人”的称号）让Dylan焕然一新，即使他们在《一路前行（Travelin Thru）》这张新专辑中并没有合作。

Imagine how intimidating it must be to sing with Bob Dylan for the first time. Now think of how Dylan must have felt singing alongside Johnny Cash in 1969 when the pair united for a loose recording session in Nashville. Cash was nine years Dylan’s senior, and had put out his first single in 1955, seven years before Dylan, who turned 28 that year. It’s rare to hear Dylan sound like a fan trying to be a peer, but that’s what’s evident here. Those sessions serve as the core of Travelin’ Thru, Dylan’s 15th “Bootleg Series” release, but since the Man in Black is spry and dominant throughout — he’s the true star here — it could also be a new entry in his own Bootleg Series.

想象一下第一次和Dylan一起唱歌有多胆战心惊。想象一下1969年Dylan和Johnny Cash在Nashville联合进行一次放松的录音时他有什么感觉。Cash当时比Dylan大9岁，1955年发行了他的第一首单曲，比Dylan早7年，Dylan那年28岁。很少听到本应是Cash粉丝辈的Dylan有着成为其同辈的野心，但这是得以显见的。这些东西是Dylan的第15张“Bootleg Series(盗版系列)”专辑《Travelin’ Thru》的核心，但由于“The Man in Black”（Johnny Cash）从头到尾都充满活力和压制力——他在此刻是真正的明星——于是它也可能成为Cash“盗版系列”的新作品。

The songs the duo perform together come mostly from Cash’s catalogue (though it includes two versions of their take on Dylan’s “Girl From the North Country,” which appeared on Dylan’s country album Nashville Skyline), and they feature Dylan playing with the band that backed Cash on his iconic At San Quentin LP; the lineup includes lead guitarist Carl Perkins. They’re so tight and well-rehearsed on Cash’s hits and the hits of the Cash era that on versions of “Careless Love” and “That’s All Right, Mama,” you can hear Dylan trying his best to fall in with the group. But along the way, they laugh and trade verses, and when Dylan does find his groove, such as on “I Walk the Line,” he has a warm tenor that pairs perfectly with Cash’s basso profundo. It’s some of Dylan’s best singing.

两人一起合作的歌曲主要收录在Cash的专辑中(尽管Dylan《Nashville Skyline》专辑中的“Girl From the North Country（北方乡村来的女孩）”有两个版本)。它们的特点是Dylan玩转乐队,也支撑了Cash那张标志性的唱片《At San Quentin》。该唱片首发阵容包括首席吉他手Carl Perkins。他们对Cash的热门歌曲排练得如火如荼，你可以听到Dylan竭尽全力想要融入乐队，其中包括Cash时代演绎的“Careless Love（随意的爱）” 和“That’s All Right, Mama（行吧，妈妈）”版本。但一路走来，他们欢笑着，交流着歌词，Dylan渐渐找到自己的最佳状态，比如在“我一往无前(I Walk the Line)”中，他温暖的男高音与Cash的男低音完美搭配，这是Dylan最棒的演唱之一。合辑中最有趣的部分是歌曲之间的打趣。

The most fun on the compilation is listening to all the banter in between the songs. On a short mashup of Dylan’s “Don’t Think Twice, It’s All Right” and Cash’s “Understand Your Man,” they sing each other’s lyrics over the same chords. “We both stole it from the same song,” Cash exclaims at the end to laughter in the room. Later, when they sing the whimsical folk song “Mountain Dew,” the Man in Black tells Dylan, “Hey, this will be real funny if you talk off a verse,” and recited one of the tune’s sillier lyrics with Shel Silverstein flair. On “Careless Love,” Cash says, “Sing one, Bob.” It’s the sound of two masters find the sweet spot between their artistry, and by the time Cash tries to get them to do the “Wreck of the Old ’97,” Dylan finally says, “I don’t know if I can do that, Johnny.” And after they go through a couple of run-throughs of a Jimmie Rodgers medley, Dylan pushes back and says, “I’m not gonna do it another time.” By this point, they’re finally on the level.

在Dylan的“Don 't Think Twice, It 's All Right（别再想了，一切都好）”和Cash“Understand Your Man（了解你的男人)”的一小段混搭曲中，他们用同一个和弦唱出了彼此的歌词。“这是我们从同一首歌里偷来的，”最后Cash在房间里笑着说。后来，在他们唱着天马行空的民谣“Mountain Dew（山露)”时，“The Man in Black”（Johnny Cash）对Dylan说，“嘿，如果你能随口唱一段歌词，那就真的很有趣了。”说着，他背出一句好笑的歌词，展露出Shel Silverstein 式的天赋，在“Careless Love”中，Cash起哄道，“Bob，来唱一首。”两位大师在他们的艺术表达之间找到处于最佳平衡点的声音，在那之前Cash想要一起着手创作“Wreck of the Old ' 97（97年的毁灭)”，而当时Dylan说：“Johnny，我不知道自己能否做到。”在他们排练了几段Jimmie Rodgers混合曲目后，Dylan说，“这次不用再来一遍了。”到这时，他们终于在一个平衡点上了。

The collection also includes audio from Dylan’s lively appearance on The Johnny Cash show, some bluegrass banjo playing with Earl Scruggs, and outtakes from his own albums, including a quicker paced take on John Wesley Harding’s “I Pity the Poor Immigrant,” a more somber “All Along the Watchtower,” and a sparser version of Nashville Skyline’s “Lay Lady Lay.”

专辑里还包括Dylan在“The Johnny Cash”演出上充满活力的现场音频,一些蓝草音乐班卓琴和Earl Scruggs的合作演奏，还有Dylan自己专辑的一些片段，其中包括《John Wesley Harding》里的歌曲“I Pity the Poor Immigrant（我可怜这个移民）”中的一个快节奏片段， “All Along the Watchtower（顺着瞭望塔）”更忧郁版，还有《Nashville Skyline》里 “Lay Lady Lay”的零星片段。

The most curious offerings are a couple of Cash covers from around the time Dylan recorded his much despised Self Portrait record: There’s an electric, honky-tonk take on “Ring of Fire” that is admirable in its funkiness but detestable in its overproduced excess, and there’s a thumping “Folsom Prison Blues” that features one of Dylan’s best and most countryish vocal performances. When he sings “I shot a man in Reno just to watch him die,” he hits a perfect mix of glibness and shame. But you’ll never know just what he was feeling then; only he knows how that Cash session rubbed off on him and influenced him.

最让人好奇的事是：Dylan在录制他那张被轻视的《Self Portrait》时，Cash有翻唱其部分曲目，其中有“Ring of Fire”里一个电子的酒吧爵士乐片段,其乡村爵士乐调受人推崇，但其无节制的表现被人诟病,还有一首强鼓点的“Folsom Prison Blues”,Dylan带来了一个最好的乡村声乐表演。当他唱到“I shot a man in Reno just to watch him die（我在里诺射杀了一个人，只是为了看着他死去）”时，他唱出了一种油腔滑调和羞耻感的完美结合之感。但你永远不会知道他当时的感受;只有他自己知道Cash是如何感染和影响他的。