The Dictators

小簡(jiǎn)介
搖滾評(píng)論家Andy Shernoff在70年代中期和一幫布朗克斯區(qū)鄰里的朋友組建了“獨(dú)裁者”樂(lè)隊(duì)，作為他的《青年垃圾場(chǎng)》雜志的外延副產(chǎn)品。他們以充滿靈感的“Beet The Meeties”為名舉行了他們?cè)缙诘膸讏?chǎng)演唱會(huì)，之后就把主唱的話筒遞給了他們巡回演出的廚子Handsome Dick Manitoba，并且最終改名為Dictators（獨(dú)裁者）樂(lè)隊(duì)。
1975年他們發(fā)行了第一張專輯The Dictators Go Girl Crazy。很不幸的是，這張專輯生不逢時(shí)：沒(méi)有趕上2年后由Ramones樂(lè)隊(duì)和紐約的Punk雜志所營(yíng)造并且定義的“青年退化”的氛圍。評(píng)論界對(duì)這張專輯十分不友好，而公眾則對(duì)這張專輯漠不關(guān)心。結(jié)果，樂(lè)隊(duì)作為“美國(guó)野蠻小姐”大賽的伴奏樂(lè)隊(duì)度過(guò)了地獄般的兩年。
他們的第二張專輯Manifest Destiny出版于1977年，第三張Bloodbrothers出版于1978年。兩張專輯都是為了商業(yè)成功而制作，但是在主流搖滾樂(lè)市場(chǎng)的需求和“獨(dú)裁者”樂(lè)隊(duì)之間，卻存在著不可調(diào)和的矛盾。樂(lè)隊(duì)成員對(duì)這一切無(wú)能為力，他們解散了。
還有一件被記入史冊(cè)的事情：Handsome Dick Manitoba在CBGB的觀眾席上對(duì)著Wayne County（當(dāng)時(shí)紐約搖滾圈有名的變性人）大喊大叫，結(jié)果被后者用話筒底座爆頭，差點(diǎn)斃命。這個(gè)事件將紐約搖滾圈分為了兩邊：Max Cansas City和CBGB，而觀眾則迅速的選擇了自己所在的一邊?！蔼?dú)裁者”被禁止在Max Cansas City和其他的俱樂(lè)部演出，但是Hilly（CBGB老板）讓他們?cè)贑BGB演出，而最終，這幫小子回來(lái)了并且又開始到處演出。
很難定義“獨(dú)裁者”樂(lè)隊(duì)的音樂(lè)：一點(diǎn)點(diǎn)搖滾加一點(diǎn)點(diǎn)朋克，同時(shí)還有一種健康的政治不正確、態(tài)度以及幽默感。他們像是Blue Oyster Cult與The Ramones的結(jié)合。為什么他們沒(méi)有成功？因?yàn)槊绹?guó)人并沒(méi)有準(zhǔn)備好來(lái)接受他們。不過(guò)這個(gè)事實(shí)真的令人難以想象!這是一個(gè)絕對(duì)不應(yīng)當(dāng)被低估的樂(lè)隊(duì)。
by John DouganFormed in 1974, N.Y.C.s Dictators were one of the finest and most influential proto-punk bands to walk the earth. Alternately reveling in and satirizing the wanton excesses of a rock & roll lifestyle and lowbrow culture (e.g., wrestling, TV, fast food), the Dictators, whose worldview was defined by bassist/keyboardist and former fanzine publisher (Teenage Wasteland Gazette) Andy (occasionally Adny) Shernoff and renegade rock critic/theorist Richard Meltzer, played loud, fast rock & roll fueled by a love of 60s American garage rock, British Invasion pop, and the sonic onslaught of the Who. Driven by the guitar barrage of Scott Top Ten Kempner and Ross the Boss Funichello and fronted by indefatigable ex-roadie and wrestler Handsome Dick Manitoba (aka Richard Blum), it seemed that nothing stood in the way of the Dictators and mega-popularity. But thats not what happened. There were complications with record companies, personnel changes (one-time bassist Mark Mendoza left for Twisted Sister; original drummer Stu Boy King was replaced by Richie Teeter), radio hated them, critical response was lukewarm, and lots of audiences didnt get the jokes; supporters remained loyal and vociferous (especially Meltzer), but it didnt turn into anything tangible. Ironically, what didnt help at all was the rise of the New York punk scene, which only diverted attention away from them and onto bands they influenced (e.g., the Ramones). They did manage to release three fine albums, but after 1978s Bloodbrothers was greeted with public apathy, the groups members began moving in different directions. Kempner put together the Del-Lords and the Little Kings and recorded as a solo act. Ross the Boss spent a few years in the goofy, macho heavy metal band Manowar and later joined Shernoff and Manitoba in the punk/metal combo Manitobas Wild Kingdom. And Shernoff worked as a producer. However, as Shernoff put it, the Dictators never broke up. Sure there were occasional gaps of a few years between some shows (we had lives to lead) but deep in our hearts and souls we always knew we were Dictators. We couldnt escape it even when we tried. With this in mind, the band got together to play a handful of shows in 1980, one of which was recorded for the cassette-only album Fuck Em If They Cant Take A Joke, which was later reissued as New York, New York. The band hit the road again in 1991, and began heading out on a semi-regular basis after that. In 2001, the Dictators made their abandoned retirement official and recorded a new album, D.F.F.D., which ranked with the bands finest work in the studio. More touring followed, and a live album recorded at two shows in support of D.F.F.D., Viva Dictators!, came out in 2005.