벨앤세바 라이브 리뷰(from nme.com)

[joypop]

짧은 영어로 다 해석하는 것은 불가능하구요 -.-;;

사운드시스템이 안조았다(그게 벨앤세바의 잘못은 아니었다고하네요)고 지적하고있구요, 벨앤 세바스찬은 이런 문제점들을 잘 극복하려고 애썼다고하네요(그럼 그렇지 -.-;)

Monica Queen의 협연으로 들려진 'Lazy Line Painter Jane'을 연주했고 , 그리고 'Don't Leave The Light On, Baby' 는 정말 섹시하고 관능적으로 들렸다고 하네요. 하하~ 생각해보니 그렇기도 할것같구요.

많은 노래들이 그들의 가장최근의 정규 앨범인 노랑앨범에서 연주되었다고하구요.

재미있는 점은 벨앤세바스찬이 공연 중간쯤에 코미디틱한 복장과 턱수염을 붙이고 나와서 연주를 했다는 것이예요. 정말 멋졌을것같네요. 그리고 공연 관객중 하나가(어느 여성 팬이) 도중에 올라와서 the state i am in을 불렀다고하네요. 정말 무럽네요 흐흣

원래는 그 유명한 80년대 히트곡인 europe의 화이날 카운트다운!(정말 비장감 넘치는 트랙이죠 -_-)을 부르려했는데 벨앤세바가 그 곡을 연주못한다는 이유로.... 하하하

정말 멋진 이벤트들을 계획했다고 칭찬어조로 nme에선 쓰고있네요. 벨앤세바스찬이 이렇게 즐거운 면이 있었을줄이야 흐흐 정말 라이브 공연보구싶어요

그리고 머독이 자기차에관한 센티멘탈한 노래 i love my car를 불렀다고하는데 이건 미발표곡인가보죠? @.@

마지막 곡은 sly stone의 people everybody커버 연주로 그들의 로얄 알버트 홀 공연은 막을 내렸다고하는군용 ^^


아래는 http://www.nme.com 에서 퍼온 원문입니다.







Belle & Sebastian : London Royal Albert Hall


Almost three years ago, just up the road from this classy joint, things didn't go well for Belle & Sebastian. A late appearance and dodgy sound at Shepherd's Bush Empire resulted in bad vibes aplenty, and a nagging suspicion has lingered that these 'cult heroes' were just chancers taking the piss. The fact that it's taken them this long to set foot in the 'music biz' capital of the UK suggest that either a) the wounds have taken a while to heal or b) it's because Stuart Murdoch & Co (there's too damn many of them, but we'll come to that) don't feel there's any ghost worth exorcising.

Well, tonight they care. The grapevine's been buzzing with news of the tour up till now - a happy, energised collective rocking like they've never rocked before. And when the bolstered band (16 at one count, though there's a lot of coming and going) saunter on and launch into the western-tinged 'La Pastie De La Bourgeoisie' it's clear they mean business - it's delivered beautifully and crisply, a clear signal of intent. They then proceed to run through a 21-song set in an hour-and-a-half. No pissing about for an eternity, looking like they've never set foot on stage before. Gold star for effort anyway.

Unfortunately tonight Belle & Sebastian's problems are not of their own making. The dodgy acoustics mean that, although the setting is undeniably impressive to look at, you're never gonna sound your best here.

The group try manfully to overcome the problem - 'Lazy Line Painter Jane' sounds huge, though it is filled out by guest vocalist Monica Queen, and the Stax-tinged 'Don't Leave The Light On, Baby' is sharp, sultry and damn sexy.

The punchy brass numbers fare well too, bolstered by the extra bods - Stevie Jackson's 'The Wrong Girl' is a stand-out, strident and uplifting. But much of the set (a great deal of which is lifted from the band's most recent album 'Fold Your Hands Child, You Walk Like A Peasant') follows a familar pattern - intro strikes up, crowd react in wild but extremely polite appreciation, crowd get a bit doleful when they realise the band might as well be playing in a tin drum. 'My Wandering Days Are Over', Murdoch's heavenly recognition of domesticity, turns depressingly murky, as does the jaunty pop of 'Mayfly'. But it's to the band's credit that they're still curiously compelling.

And they're having fun too. About midway through Murdoch confronts a pair of 'hecklers', surely (hopefully) based on those old blokes in 'The Muppets'. They're dressed in comedy wigs and beards. They're mic'ed up. Oh, it's a big elaborate prank! Of course! One of them suggests to Murdoch that a fan sing the next song, and a young lady volunteers. She then proceeds to make a decent stab at 'The State I'm In' (after initially suggesting covering Europe's mighty 'The Final Countdown', but the group just couldn't master the great anthem). And when a wag in the crowd shouts 'Judas!' in reference to the Bob Dylan-goes-electric-heckling incident at the 'Albert Hall', Jackson replies quick as a flash: "I dinnae believe ye". Oh, and Murdoch's written a sentimental song about his car. It's called 'I Love My Car'.

What a bunch of pranksters, eh? But it's just a bit of a laugh. They're up for it alright. And because of that, it's easy to raise a smile when their heroes finish with a rousing cover of Sly Stone's 'People Everyday'.

Apart from those old blokes. They were still complaining at the end.

Alan Woodhouse