Slayer

小簡(jiǎn)介
SLAYER是美國(guó)著名速度金屬樂(lè)隊(duì),與金屬、大屠殺、ANTHRAX并稱為激流四巨頭.與金屬，鐵娘子，潘多拉并稱為金屬四巨頭
Jeff Hanneman 已于今2013年離世.
樂(lè)隊(duì)成員
現(xiàn)任成員
Tomás Henry Araya - Bass & Vocals (1982-)
Jeff Hanneman - Guitar (1982-)
Kerry King - Guitar (1982-) (ex-Megadeth)
Dave Lombardo - Drums (1982-1987, 1987-1992, 2001-) (ex-Testament, Grip Inc., Fant?mas, Apocalyptica, ex-Voodoocult)
過(guò)去成員
Tony Scaglione (1987, live only) (Deathrash, Whiplash (US), Ludichrist - Drums
Paul Bostaph (1994-1996, 1997-2001) (Testament, Forbidden (US), Exodus, Systematic) - Drums
Jon Dette (1996-1997, live only) - Drums
1981年，SLAYER誕生于洛杉磯的Surburb地區(qū)，這支日后影響巨大的樂(lè)隊(duì)最初是由Kerry King發(fā)動(dòng)的。在SLAYER之前，他曾與智利籍的貝司手Tom Araya一起在另一個(gè)不知名的樂(lè)隊(duì)里待過(guò)。當(dāng)Kerry King遇到朋克運(yùn)動(dòng)的熱衷分子，吉他手Jeff Hanneman后，他發(fā)覺(jué)這個(gè)金發(fā)的小伙子正是他尋找已久的合作者。于是Kerry和Jeff開(kāi)始一起搞一些創(chuàng)作。不久后，技術(shù)精湛的鼓手Dave Lombardo加入了他們。SLAYER的正式誕生還要?dú)w功于Jeff Hanneman，正是他勸說(shuō)主唱兼貝司手Tom Araya假加入樂(lè)隊(duì)。當(dāng)時(shí)，Tom是附近一家醫(yī)院的主治醫(yī)師。
SLAYER的首場(chǎng)演出是在1982年。那時(shí)的演出多半是翻唱JUDAS PRIEST和IRON MAIDEN的作品。鑒于他們的演出效果還不錯(cuò)，慢慢地他們能夠在比較大的俱樂(lè)部進(jìn)行一些周末的專場(chǎng)演出了。雪球就這樣開(kāi)始越滾越大...
1983年，殺手機(jī)器正式開(kāi)啟。一天，當(dāng)他們?cè)诋?dāng)?shù)匾患?ldquo;Woodstock”俱樂(lè)部演出時(shí)，一個(gè)叫Brian Slagel（Metal Blade唱片公司的創(chuàng)始人）專程來(lái)看他們的現(xiàn)場(chǎng)。演出完畢后，Brian Slagel在后臺(tái)詢問(wèn)Slayer是否愿意在Metal Blade的一張合輯中演繹一首歌。Tom和他的朋友們對(duì)這個(gè)想法很感興趣，不過(guò)他們有更好的提議。商量了一會(huì)之后，SLAYER告訴Brian他們答應(yīng)錄一首歌，但同時(shí)要求Brian為他們錄制一整張專輯，雙方一拍即合。不久后，SLAYER在合輯Metal Massacre III中錄制了Agressive Perfector這首歌。而B(niǎo)rian Slagel則幫他們制作了首張專輯Show No Mercy。
恐怕Brian和SLAYER都不會(huì)想到，這張專輯很快就被眾多重金屬雜志和地下樂(lè)隊(duì)奉為經(jīng)典教程，專輯帶給世界的是一種前所未有的暴風(fēng)雨般的激烈樂(lè)風(fēng)。也有不少批評(píng)家嘲笑Show No Mercy的封套設(shè)計(jì)，誠(chéng)然，封面上的山羊/撒旦形象怎么看也象是卡通畫(huà)上的造型，不過(guò)怎么說(shuō)呢，回到1983年，敢于公然在封面上采用全身撒旦形象的恐怕還是頭一遭吧（VENOM在1981年的首張專輯的封面上采用了撒旦的頭像）。
Show No Mercy中充滿了尖叫，大量雙吉他solo和疾速的鼓點(diǎn)。對(duì)樂(lè)迷來(lái)說(shuō)，Tom，Jeff，Kerry和Dave的樂(lè)器演奏水平之高是一個(gè)顯而易見(jiàn)的事實(shí)。舉個(gè)例子，當(dāng)時(shí)一家雜志的文章這樣說(shuō)，“作為一個(gè)鼓手來(lái)說(shuō)，Dave Lombardo的技術(shù)比Lars Ulrich強(qiáng)的太多了”，天知道。
因?yàn)槟承┰?，Show No Mercy直到1984年才在歐洲露面。這期間SLAYER也沒(méi)閑著，他們先是推出了一張EP，Haunting the Chapel，其中收錄了Chemical Warfare，一首絕對(duì)經(jīng)典的SLAYER式的歌曲——疾速而厚重。除了這首歌外，EP中還收錄了另一首經(jīng)典歌曲Captor of Sin，所以這張EP雖然只有短短的三首歌，卻受到了一致好評(píng)，有人甚至認(rèn)為Haunting the Chapel EP是SLAYER唯一沒(méi)有缺憾的作品。
同年晚些時(shí)候，SLAYER再接再厲，推出了現(xiàn)場(chǎng)專輯Live Undead，這是世界上第一張Thrash Metal現(xiàn)場(chǎng)專輯。從這張專輯中，人們認(rèn)識(shí)到SLAYER到底有多棒，他們不光在錄音室里能達(dá)到那樣的速度，在舞臺(tái)上同樣能達(dá)到！
1985年，SLAYER錄制了專輯Hell Awaits，仍然由Brian Slagel制作，Metal Blade發(fā)行。Hell Awaits比之前作更為黑暗和更為露骨的撒旦主義傾向，這無(wú)疑吸引了更多渴望與眾不同的歌迷。由于專輯在短期內(nèi)僅在美國(guó)就賣出了10萬(wàn)張，大唱片公司開(kāi)始注意并SLAYER并與他們進(jìn)行接觸。Hell Awaits比Show No Mercy更為全面的展示了SLAYER的才華：這支樂(lè)隊(duì)不僅能把快歌玩的出色，他們同樣能把慢節(jié)奏的歌做的非常成功，這里的慢節(jié)奏不是指那種軟綿綿的情歌，而是類試At Dawn They Sleep和Hell Awaits這樣沉重，壓抑的慢拍作品。專輯里同樣有Kill Again和Necrophilliac這樣的速度金屬經(jīng)典歌曲?？偠灾琀ell Awaits給人的感覺(jué)就象是一堆破碎的玻璃渣和生銹的剃刀——極端的刺激與適度的收斂。盡管常常被忽視，這仍是一張非常寶貴的專輯。
正是由于Hell Awaits的成功,SLAYER開(kāi)始與制作人RICK RUBIN聯(lián)系,RICK RUBIN在這之前是一些說(shuō)唱硬核樂(lè)隊(duì),如RUN DMC和BEASTIE BOYS的制作人.當(dāng)SLAYER加入RICK的唱片公司 DEF JAM時(shí),他們是RICK制作的第一只金屬樂(lè)隊(duì).
1986年對(duì)于金屬迷來(lái)說(shuō)是奇妙的一年,不僅是因?yàn)镸ETALLICA的MASTER OF PUPPETS,更重要的原因似乎已經(jīng)沒(méi)有必要再贅述了.每個(gè)人都知道那就是偉大的REGIN IN BLOOD,這是一張極端致命的速度金屬專輯.因?yàn)閺拇艘院?不會(huì)再有樂(lè)隊(duì)做出接近REGIN IN BLOOD水準(zhǔn)的專輯了.這無(wú)疑剝奪了很多樂(lè)隊(duì)的飯碗.這張專輯由10首短促暴烈的歌曲組成,經(jīng)典的吉他RIFF俯仰皆是.較之之前的兩張專輯,這張專輯更注重在技術(shù)的表達(dá)和歌曲的編排上下文章.減少了黑暗的成分,增加了更多血腥暴力的內(nèi)容.專輯的第一首歌,也是最好的ANGEL OF DEATH,描寫(xiě)的是關(guān)于JOSEPH MENGELE的殘忍故事.這個(gè)聲名狼籍的奧斯維辛集中營(yíng)德國(guó)醫(yī)生用活人做實(shí)驗(yàn)的經(jīng)歷.是人們無(wú)法忘卻的噩夢(mèng).這首歌是JEFF HANNEMAN創(chuàng)作的,這個(gè)金發(fā)碧眼的吉他手一直對(duì)納粹德國(guó)很感興趣.他甚至還收藏了相當(dāng)數(shù)量的德國(guó)戰(zhàn)時(shí)納粹勛章.不少人因此指責(zé)JEFF和SLAYER一伙人為納粹主義分子(事實(shí)并非如此).這些人之所以這么說(shuō)不過(guò)是因?yàn)檫@樣比較容易解釋SLAYER的行徑. ----他們用鐵鷹作為樂(lè)隊(duì)的標(biāo)志.用"魏瑪屠場(chǎng)"作為自己歌迷俱樂(lè)部的名稱.在美國(guó)和加拿大,SLAYER被列入了警方的黑名單.而諸如CBS這樣的大唱片公司拒絕任何與REGIN IN BLOOD相關(guān)的發(fā)行工作.所以直到1986年10月,REGIN IN BLOOD才由 DEF JAM公司自費(fèi)發(fā)行.而歐洲歌迷要等到1987年1月才能親手從貨架上拿到這張專輯.實(shí)在不好說(shuō)專輯中哪首歌是經(jīng)典,因?yàn)?0首歌都是!從最開(kāi)始的速度金屬力作ANGEL OF DEATH到營(yíng)造黑暗氛圍的結(jié)束曲REGIN IN BLOOD.無(wú)一不是上上之作,短短的28分鐘里.SLAYER以精湛的技術(shù),完美的編排,充沛的力度和血腥的歌詞完成了THRASH/SPEED最經(jīng)典的時(shí)刻.
Slayer was one of the most distinctive, influential, and extreme thrash metal bands of the 1980s. Their graphic lyrics deal with everything from death and dismemberment to war and the horrors of hell. Their full-throttle velocity, wildly chaotic guitar solos, and powerful musical chops paint an effectively chilling sonic background for their obsessive chronicling of the dark side; this correspondence has helped Slayer's music hold up arguably better than the remaining Big Three '80s thrash outfits (Metallica, Megadeth, Anthrax). Naturally, Slayer has stirred up quite a bit of controversy over the years, with rumors flying about Satanism and Nazism that have only added to their mystique. Over the years, Slayer put out some high-quality albums, one undisputed classic (Reign in Blood), and saw the numbers of naysayers and detractors shrinking as their impact on the growing death metal movement was gradually and respectfully acknowledged. Slayer survived into the 1990s with arguably the most vitality and the least compromise of any pre-Nirvana metal band, and their intensity still inspires similar responses from their devoted fans.
Slayer was formed in 1982 in Huntington Beach, CA, by guitarists Kerry King and Jeff Hanneman; also recruited were bassist/vocalist Tom Araya and drummer Dave Lombardo. The band started out playing covers of Judas Priest and Iron Maiden songs, but quickly discovered that they could get attention (and fans) by exploiting threatening, satanic imagery. The band was invited by Metal Blade's Brian Slagel to contribute a track to the Metal Massacre, Vol. 3 compilation (a series that also saw the vinyl debuts of Metallica and Voivod); a contract and debut album, Show No Mercy, followed shortly thereafter. While Slayer's early approach was rather cartoonish, their breakneck speed and instrumental prowess were still highly evident. Two EPs, Haunting the Chapel and Live Undead, were released in 1984, but 1985's Hell Awaits refined their lyrical obsessions into a sort of concept album about damnation and torture and made an immediate sensation in heavy metal circles, winning Slayer a rabid cult following.
Def Jam co-founder Rick Rubin took a liking to the band, signed them to his label, and contributed the first clear-sounding production heard on any Slayer album for the stripped-down Reign in Blood. Due to the graphic nature of the material, CBS refused to distribute the album, which garnered a great deal of publicity for the band; eventually, Geffen Records stepped in. Combining Slayer's trademark speed metal with the tempos and song lengths (if not structures) of hardcore, along with the band's most disturbing lyrics yet, Reign in Blood was an instant classic, breaking the band through to a wider audience, and was hailed by some as the greatest speed metal album of all time (some give the nod to Metallica's Master of Puppets).
South of Heaven disappointed some of the band's hardcore followers, as Slayer successfully broke out of the potential stylistic straitjacket of their reputation as the world's fastest, most extreme band. Drummer Lombardo took some time off and was briefly replaced by Whiplash drummer Tony Scaglione, but soon returned to the fold. 1990's Seasons in the Abyss was well received in all respects, incorporating more of the classic Slayer intensity into a more commercial -- but no less uncompromising -- sound. "War Ensemble" and the title track became favorites on MTV's Headbanger's Ball, and Slayer consolidated their position at the forefront of thrash, along with Metallica. Following the release of the double live album Decade of Aggression, Lombardo left the band for good due to personality conflicts with the other members and formed Grip Inc.
Slayer remained quiet for a few years; the only new material released after 1990 was a duet with Ice-T recorded for the Judgment Night soundtrack on a medley of songs by the Exploited. After leaving the Forbidden, Paul Bostaph signed on as the new drummer for 1994's Divine Intervention, which was released to glowing reviews; thanks to the new death metal movement, which drew upon Slayer and particularly Reign in Blood for its inspiration, Slayer was hailed as a metal innovator. The album was a massive success, debuting at number eight on the Billboard album charts.
Bostaph left the band to concentrate on a side project, the Truth About Seafood, and was replaced by ex-Testament drummer Jon Dette for Undisputed Attitude, an album consisting mostly of punk and hardcore covers. Bostaph rejoined Slayer in time to record 1998's Diabolus in Musica. The band reunited with Def Jam for 2001's God Hates Us All. In 2004, they unleashed the four-disc anthology Soundtrack to the Apocalypse, followed by an album of all-new material, Christ Illusion, in 2006.