科比毒液5偏码吗:谁能介绍一下Black Flag

Black Flag

　　始终保持着年轻的焦虑，Black Flag（黑旗）乐队无愧为纯朋克摇滚的典范。重金属的即兴反复、急速的鼓点以及充满城市谩骂的歌词，Black Flag简直就是一架强烈攻击性的机器。如果你去深入了解他们，你将发现他们没有丝毫的温柔。
　　成立Black Flag的构想来自加利福尼亚的一个说话迟钝但却有着敏锐的商业意识和深厚音乐基础的音乐人Greg Ginn（格雷格·金），他成为了Balck Flag的吉他手，并且由此成立了著名的SST唱片－－在很多年内被看作是南加州硬核摇滚的阵地。金的吉他演奏简直就是不折不扣的攻击，加上一些奇怪的吉它反复，这使得同时期的那些英国朋克领袖们也要虚心的向Black Flag学习。乐队歌词充满了朋克青年的颓废、对社会的抱怨、以及对自己毫无社会价值的一种满足等等。

　　1981年，乐队开始自己硬核朋克典范乐队的路程，邀请了凯德那（Cadena）担任专职节奏吉他手，请来了乐队初期的忠实乐迷和经济赞助者－－冰淇淋店的老板亨利·罗林斯（Henry Rollins）。罗林斯的到来，让金可以全心的投入到唱片公司的发展上去，在金的努力下，Black Flag五年内推出了十多张专辑。罗林斯参与创作了专辑《My War》，之后乐队以罗林思的诗歌谱写了专辑《Family Man》。罗林思的歌词将攻击性调和以他的才智，这让乐队的新老专辑风格都会有很大的不同。

　　美国朋克真正的黄金时期还是在八十年代初的硬核时代，从音乐角度来说，硬核不过是更加极端的朋克摇滚，更加脏乱、吵闹、僵硬。但这个时代的乐队，第一次把朋克音乐扩展为一种全面爆发的运动。他们的影响也比CBGB时代要深远得多，它的审美方式也被后来的激流金属、速度金属、死亡金属、碾核、垃圾乐、另类金属、朋克复兴运动乃至整个另类摇滚乐界发扬光大，并最终促成了九十年代垃圾乐、朋克复兴的主流化。

　　Black Flag(黑旗)无疑是当时最出色的代表。他们不仅保持了朋克一贯的冲劲，而且结合了爵士乐、重金属、噪音摇滚等风格，创造出更加丰满的音乐氛围，成为美国朋克史上第一支具有深远影响的硬核朋克乐队。他们不仅界定了自己的硬核审美观，而且在朋克和重金属之间找到了完美的结合点，为日后的激流金属和朋克金属奠定了坚实的基础。Black Flag复杂的音乐元素、波西米亚风格的试验色彩、诗化的歌词在八十年代名噪一时，成为当时地下音乐最具哲人风采的硬核乐队。

　　1981年Black Flag因对Unicorn(麒麟)唱片公司以“内容过于危险、粗俗”为由封杀专辑《Damage》的行为大为不满，一怒之下成立了他们自己的SST公司的名义发行了这张硬核经典。结果是，乐队在专辑被惊叹为“地下世界的曙光”的同时被麒麟公司告上法庭，陷入了一场旷日持久的官司，乐队甚至被禁止在此阶段使用乐队的名称和标识。不过这件事对Black Flag毫无影响，他们在两年内疯狂巡演，在高峰时期甚至还秘密发行了一张粗糙的精选双专辑《Everything Went Black》。老天有眼，1983年，麒麟公司宣告破产，这场官司最终不了了之。或许想追回以前的时间，乐队从1984年起开始变得难以置信的多产。到1985年共完成了《My War》、《Family Man》、《Slip It In》、《Live '84》、《Loose Nut》、《The Process of Weeding Out》等九张专辑，Black Flag的事业达到了巅峰。

　　这个时期Black Flag不仅在音乐上取得了空前的成功，更为重要的是他们的SST公司为推进硬核摇滚的发展作出了突出的贡献。SST的空前成功导致了乐队元老Greg Ginn在1986年突然决定解散Black Flag，以便把精力更多地投入到公司事务当中。他的决定当然有他的道理，一切革命都需要有领导者，而SST正是硬核革命领导者的最佳人选。SST最辉煌的时期旗下拥有一批重量级的硬核乐队——Black Flag、Husker Du、Meat Puppets(肉偶)、Descendents(世袭)、Minutemen(民兵)、Bad Brains(坏脑)、fIREHOSE(消防水管)、Buffalo Tom(布法罗·汤姆)、Soundgarden(音响花园)、Sonic Youth(音速青年)、Screaming Trees(尖叫的树)……这些乐队的重要性不言而喻，他们的影响力一直延续到今天，为日后非主流、独立摇滚的指明了方向。这段时期的乐队体现出了前所未有的创造力和艺术感染力：Husker Du的优雅、Bad Brains的超级速度、Sonic Youth的噪音试验、Minutemen的爵士乐风采、Meat Puppets的乡村味道……没有什么遗憾，没有黯然神伤，尽管这个辉煌的时代最终在九十年代左右随着SST公司的明星乐队相继解散或加入主流大唱片公司而结束，但他们已经赋予了这个时代最真实的声音和最危险的激情。

《 Damaged 》好象就这一张
Depression
Gimmie Gimmie Gimmie
Police Story
Rise Above
Six Pack
Spray Paint
TV Party
这么几首歌

一直对今天的舞台上风风光光、蹦蹦跳跳的新朋克乐队Oasis、Green Day或Goo Goo Dolls抱有反感。他们用统一的公式演绎着朋克，凭借着更好的乐器和比十年前更加没有头脑的乐迷，令人恶心地模仿了朋克的节奏，模仿了冷漠，甚至模仿了反叛，但那种苍白与矫情却是不可掩饰的。尽管Oasis一张专辑销量就超过了Husker Du专辑的总和，但朋克乐迷心中永恒的名字是Sex Pistols、Joy Division，还有Black Flag。
有人说，美国不会有真正的朋克。英国人说，没有经历过大国衰落的国民们缺乏那种心情。The Clash在前77年高唱：“我是如此厌恶美国。”恐怕对美国的朋克也是一种讽刺。事实并非如此，接下来的时间里，Hardcore（硬核）朋克在美国兴起就是一个明证。其中引人注目的自然有Black Flag（黑旗）乐队。
Black Flag来自洛杉矶。他们的作品里夹杂着大量的重金属、实验噪音甚至爵士乐的成份，他们为Hardcore限定了自己的审美观。自70年代后期组建起，乐队就在全美各地不停息地进行巡回演出，并成为当时影响最大的美国朋克乐队。在朋克——重金属的混合成为时尚的今天，人们不会忘记早在15年前，Black Flag就创造了狂暴而又边缘化的表现形式。另外，乐队的歌词充满了政治观点和对社会阴暗面的鞭笞。更为重要的是，乐队作品带有明显的波西米亚风格，这不仅表现在音乐的实验性上，还表现在乐队对那种诗歌般境界的追求上。
在将近十年的乐队生涯中，Black Flag屡屡被成员变动所困扰，但乐队并未失去他们的精神。1977年，加州洛杉矶分校的毕业生Greg Ginn与贝司手Chuck Dukowski一拍即合，成立了Black Flag。后来又加入了Morris和鼓手Migdol，同时Ginn还开办了自己的唱片公司SST，并在SST旗下推出了首张EP唱片《Never Breakdown》，1978年，Morris与Migdol离队，组建了新的Hardcore朋克乐队Circle Jerks，而他们的空缺则由Chavo和Robo顶替。1980年，乐队发行了《Jealous Again》之后，开始了长期的巡回演出，同时，Chavo离队，取而代之的是另一位传奇人物Herry Rollins。Herry在当时只是Black Flag的乐迷，一天，他跃上舞台，与Ginn合作演唱了一曲，他出色的发挥使乐队把他留了下来，这时乐队还增加了第二吉他手Dez，他们为Black Flag带来了更重的音乐元素。
1981年，乐队推出一张被公认为成功的专辑《Damage》。Ginn以其惊人的创作力和想象力赢得了评论界的支持和肯定，《时代》杂志评价Black Flag的音乐为“哲人的朋克”。与此同时，乐队的多元化风格影响了一大批地下朋克乐队，Minutemen的爵士元素、Husker Du的民谣风格和Meat Puppets的乡村音乐痕迹都是对Black Flag多元化有克音乐的继承和发扬。
似乎想把失去的时间找回来，Black Flag于1984年重返录音室后变得十分多产。乐队又一次改变了阵容，加入了新的贝司手Kira Roessler。乐队先后推出了大碟《My War》、《Family Man》、《Live'84》，以及精选专辑《The First Four Years》。1985年，乐队又连续推出了三张力作：《Loose Nut》、《The Prosess of Weeding Out》和《In My Head》。Black Flag登上了事业的顶峰，女贝司手Kirar的演奏饱含激情，Stevens是乐队历史上最为出色的鼓手，Herry Rollinson的演唱在力量与速度上都有上佳表现，而他在演唱会上的即兴发挥更被传媒推崇为“摇滚的示范者。”和吉他手Ginn一样，Rollins乐于表现性格中感性的一面，他甚至会在演唱会上停止演唱，转而向数万观众朗读自己的诗歌作品。
85年的Black Flag得到了评价界的赞赏。《时代》杂志评论道：“Black Flag的阴凉太有魅力了，它生动、真实，而又精致复杂，令人眼花缭乱。他们并没有俱来的愤怒与凄美（这一点常常影响朋克阴凉的生业价值），但他们抓住了大量的歌迷，太难以置信了 ……”《In'My Head》带给歌迷明显的重金属成份，但绝非没有思想的重金属。《The Prosess of Weeding Out》是一张纯阴凉的爵士摇滚作品，令人想起当年的John Mclauglin和Tony Williams的名作。
正当Black Flag如日中天，Greg Ginn的兴趣越来越多地移向诗歌和经营他的SST公司上去了。1986年乐队发行现场专辑《Who's the 10 1/2》之后，Greg Ginn宣布解散。这给正在兴头上的乐队崇拜者和评论界泼了一头冷水，但发家多少又感到了慰籍，因为Herry Rollins并没有停止其朋克 生涯，成立了另一支朋克/非主流劲旅Rollins Band，他将Black Flag他有的实验噪音和强烈的金属味占为已有，这也成功90年代非主流音乐兴起时的地下音乐特征。
值得一提的是，SST公司在发掘新兴地下乐队方面有重大贡献。Husker Du、Meat Puppets相继在SST旗下推出自己具有震撼力的首张专辑。而新朋克教父Sonic Youth也是由Greg Ginn慧眼识英雄地大力扶持的，八十年代未，Ginn—手捧红西雅图Grunge乐队Soundgarden和Screaming Trees。

摇滚年有黑旗的全部专辑介绍

http://www.rockyear.com/bands/d_bands.asp?tag=blackf

In many ways, Black Flag were the definitive Los Angeles hardcore punk band. Although their music flirted with heavy metal and experimental noise and jazz more than that of most hardcore bands, they defined the image and the aesthetic. Through their ceaseless touring, the band cultivated the American underground punk scene; every year, Black Flag played in every area of the U.S., influencing countless numbers of bands. Although their recording career was hampered by a draining lawsuit, which was followed by a seemingly endless stream of independently released records, the band was unquestionably one of the most influential American post-punk bands. A full decade and a half before the fusion of punk and metal became popular, Black Flag created a ferocious, edgy, and ironic amalgam of underground aesthetics and gut-pounding metal. Their lyrics alluded to social criticism and a political viewpoint, but it was all conveyed as seething, cynical angst, which was occasionally very funny. Furthermore, Black Flag demonstrated an affection for bohemia -- both in terms of musical experimentation and a fondness for poetry -- that reiterated the band's underground roots and prevented it from becoming nothing but a heavy metal group. And it didn't matter who was in the band -- throughout the years, the lineup changed numerous times -- because the Black Flag name and four-bar logo became punk institutions.
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??Black Flag was formed in 1977 by guitarist Greg Ginn, a graduate of UCLA. Ginn formed the band with bassist Chuck Dukowski; the pair soon added drummer Brian Migdol and vocalist Keith Morris. At the same time, Ginn and Dukowski formed an independent record label, SST, which released the band's first EP, Nervous Breakdown, in 1978. Morris and Migdol departed the following year -- Morris went on to form the Circle Jerks -- and they were respectively replaced with Chavo Pederast and Robo. By the release of 1980's Jealous Again, Black Flag had begun to tour the U.S. relentlessly, building up a small, but dedicated, following of fans. After the release of Jealous Again, Pederast left the group and was replaced by Dez Cadena. However, Cadena preferred to play guitar, and his transition to that instrument in 1981 gave the group a heavier sound; his replacement on vocals was Henry Rollins, a Washington, D.C., fan who jumped on-stage to sing with the band during a New York performance.
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??Early in 1981, Black Flag signed a record contract with Unicorn Records, a subsidiary of MCA. The band delivered their first full-length album, Damaged, to Unicorn; the label refused to release the record, citing the content of the music as too dangerous and vulgar. Undaunted, Ginn released the album on his own SST Records. Upon its release, the album received considerable critical acclaim. Soon after it appeared on the shelves, Unicorn sued Black Flag and SST over the release of Damaged. For the next two years, the band was prevented from using the name Black Flag or their logo on any records. During that time, the group continued to tour, and surreptitiously released Everything Went Black, a double-album retrospective that contained no mention of the band, although it listed the names of the members on the front cover. The dispute ended in 1983, when Unicorn went bankrupt and the rights to the Black Flag name and logo reverted back to the band (by this time, Cadena had left to form his own group).
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??As if to make up for lost time, Black Flag became impossibly prolific when it returned to recording in 1984. A new version of the group -- featuring Ginn on guitar and bass (the latter was credited to the pseudonym Dale Nixon), Rollins, and drummer Bill Stevenson -- recorded the albums My War and Family Man. After those two albums were recorded, the group added bassist Kira Roessler and cut Slip It In, its third official album of 1984. In addition to those three albums, Black Flag released the cassette-only Live '84 and the compilation The First Four Years in 1984, as well as reissuing Everything Went Black with all the proper credits restored. The group's touring and recording pace didn't slow in 1985; they released three records: Loose Nut, The Process of Weeding Out, and In My Head. By the end of the year, Anthony Martinez replaced Stevenson on drums.
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??After Black Flag released the live album Who's Got the 10? in early 1986, Greg Ginn broke up the band. Ginn recorded two albums with the more experimental Gone, but he primarily concentrated on running SST Records, which had become one of the most important American independent labels of the era. By the time Black Flag broke up, SST had already released albums by such bands as H黶ker D?/a>, the Minutemen, Meat Puppets, and Sonic Youth. For most of the late '80s, Ginn retired from performing, choosing to operate SST Records instead; during this time, the label released the first recordings from bands like Soundgarden, Dinosaur Jr., and Screaming Trees. Ginn returned to music in 1993, releasing a solo album on his new record label, Cruz.
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??Following Black Flag's breakup, Henry Rollins formed the Rollins Band. For the rest of the '80s, he released music recorded with the Rollins Band on a variety of independent labels, as well as solo spoken-word recordings. In the early '90s, Rollins became one of the most recognizable figures of alternative music. ~ Stephen Thomas Erlewine, All Music Guide In many ways, Black Flag were the definitive Los Angeles hardcore punk band. Although their music flirted with heavy metal and experimental noise and jazz more than that of most hardcore bands, they defined the image and the aesthetic. Through their ceaseless touring, the band cultivated the American underground punk scene; every year, Black Flag played in every area of the U.S., influencing countless numbers of bands. Although their recording career was hampered by a draining lawsuit, which was followed by a seemingly endless stream of independently released records, the band was unquestionably one of the most influential American post-punk bands. A full decade and a half before the fusion of punk and metal became popular, Black Flag created a ferocious, edgy, and ironic amalgam of underground aesthetics and gut-pounding metal. Their lyrics alluded to social criticism and a political viewpoint, but it was all conveyed as seething, cynical angst, which was occasionally very funny. Furthermore, Black Flag demonstrated an affection for bohemia -- both in terms of musical experimentation and a fondness for poetry -- that reiterated the band's underground roots and prevented it from becoming nothing but a heavy metal group. And it didn't matter who was in the band -- throughout the years, the lineup changed numerous times -- because the Black Flag name and four-bar logo became punk institutions.
??
??
??Black Flag was formed in 1977 by guitarist Greg Ginn, a graduate of UCLA. Ginn formed the band with bassist Chuck Dukowski; the pair soon added drummer Brian Migdol and vocalist Keith Morris. At the same time, Ginn and Dukowski formed an independent record label, SST, which released the band's first EP, Nervous Breakdown, in 1978. Morris and Migdol departed the following year -- Morris went on to form the Circle Jerks -- and they were respectively replaced with Chavo Pederast and Robo. By the release of 1980's Jealous Again, Black Flag had begun to tour the U.S. relentlessly, building up a small, but dedicated, following of fans. After the release of Jealous Again, Pederast left the group and was replaced by Dez Cadena. However, Cadena preferred to play guitar, and his transition to that instrument in 1981 gave the group a heavier sound; his replacement on vocals was Henry Rollins, a Washington, D.C., fan who jumped on-stage to sing with the band during a New York performance.
??
??
??Early in 1981, Black Flag signed a record contract with Unicorn Records, a subsidiary of MCA. The band delivered their first full-length album, Damaged, to Unicorn; the label refused to release the record, citing the content of the music as too dangerous and vulgar. Undaunted, Ginn released the album on his own SST Records. Upon its release, the album received considerable critical acclaim. Soon after it appeared on the shelves, Unicorn sued Black Flag and SST over the release of Damaged. For the next two years, the band was prevented from using the name Black Flag or their logo on any records. During that time, the group continued to tour, and surreptitiously released Everything Went Black, a double-album retrospective that contained no mention of the band, although it listed the names of the members on the front cover. The dispute ended in 1983, when Unicorn went bankrupt and the rights to the Black Flag name and logo reverted back to the band (by this time, Cadena had left to form his own group).
??
??
??As if to make up for lost time, Black Flag became impossibly prolific when it returned to recording in 1984. A new version of the group -- featuring Ginn on guitar and bass (the latter was credited to the pseudonym Dale Nixon), Rollins, and drummer Bill Stevenson -- recorded the albums My War and Family Man. After those two albums were recorded, the group added bassist Kira Roessler and cut Slip It In, its third official album of 1984. In addition to those three albums, Black Flag released the cassette-only Live '84 and the compilation The First Four Years in 1984, as well as reissuing Everything Went Black with all the proper credits restored. The group's touring and recording pace didn't slow in 1985; they released three records: Loose Nut, The Process of Weeding Out, and In My Head. By the end of the year, Anthony Martinez replaced Stevenson on drums.
??
??
??After Black Flag released the live album Who's Got the 10? in early 1986, Greg Ginn broke up the band. Ginn recorded two albums with the more experimental Gone, but he primarily concentrated on running SST Records, which had become one of the most important American independent labels of the era. By the time Black Flag broke up, SST had already released albums by such bands as Hker D?/a>, the Minutemen, Meat Puppets, and Sonic Youth. For most of the late '80s, Ginn retired from performing, choosing to operate SST Records instead; during this time, the label released the first recordings from bands like Soundgarden, Dinosaur Jr., and Screaming Trees. Ginn returned to music in 1993, releasing a solo album on his new record label, Cruz.
??
??Following Black Flag's breakup, Henry Rollins formed the Rollins Band. For the rest of the '80s, he released music recorded with the Rollins Band on a variety of independent labels, as well as solo spoken-word recordings. In the early '90s, Rollins became one of the most recognizable figures of alternative music. ~ Stephen Thomas Erlewine, All Music Guide