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艺术家：U.S. Girls
标题：Scratch It
发行年份：2025年
厂牌：4AD
流派：另类音乐、灵魂乐、迷幻流行
音质：320千比特每秒MP3 / FLAC（分轨） / 24位-96千赫兹FLAC（分轨）
总时长：38分34秒
总大小：90.2兆字节 / 233兆字节 / 834兆字节
网站：专辑预览
曲目列表：
1. Like James Said（3分20秒）
2. Dear Patti（3分30秒）
3. Firefly on the 4th of July（2分37秒）
4. The Clearing（3分52秒）
5. Walking Song（3分48秒）
6. Bookends（11分51秒）
7. Emptying the Jimador（3分17秒）
8. Pay Streak（3分49秒）
9. No Fruit（2分33秒）
当U.S. Girls的灵魂人物梅格·雷米在2024年初收到阿肯色州温泉市音乐节的演出邀请时——距离她多伦多的家超过一千英里——她邀请纳什维尔的朋友狄龙·沃森（D. Watusi、Savoy Motel、Jack Name）为此组建了一支临时乐队。演出大获成功，她决定乘着这股势头回到这支即兴乐队最初排练的音乐之城，开启《Scratch It》的创作之旅。
仅用十天时间，雷米与她的乐队——沃森弹吉他，杰克·劳伦斯（The Dead Weather、The Raconteurs、Loretta Lynn）弹贝斯，多莫·多诺霍打鼓，乔·肖尔尼克和蒂娜·诺伍德弹键盘，还有口琴传奇查理·麦考伊（曾与猫王、鲍勃·迪伦、罗伊·奥比森合作）——在现场录制了《Scratch It》，几乎没有后期叠加，直接混音到磁带上。
亲密与从容从这支核心乐队中流淌出来，雷米独特的嗓音在每首曲子中闪耀，呈现出前所未有的松弛感。
专辑开场曲“Like James Said”是一首ELO风格的AM黄金单曲，致敬独自跳舞的力量，也是对詹姆斯·布朗《Get Up Offa That Thing》的歌词回应。主打单曲“Bookends”——与埃德温·德·戈伊共同创作的长达十二分钟的民谣——构成了专辑的核心，通过约翰·凯里的《Eyewitness to History》向已故的Power Trip主唱莱利·盖尔致敬。后来，狡猾的diss曲目“No Fruit”中，沃森的哇音吉他为雷米尖锐而富有诗意的预言增添亮点，这首歌瞄准的或许是爱人，或许是更广阔的现代世界。
《Scratch It》将乡村、福音、车库摇滚、灵魂乐、迪斯科、民谣等风格编织在一起，贯穿雷米精湛的创作。她选择放弃前几张专辑基于电脑的制作方式，转而使用两英寸磁带，这对歌曲很有帮助，为这位创作近二十年的艺术家引入了声音变形的元素。如果直觉是一种乐器，雷米就是位 virtuoso。刮开看看吧。
Artist: U.S. Girls
Title: Scratch It
Year Of Release: 2025
Label: 4AD
Genre: Alternative, Soul, Psychedelic Pop
Quality: Mp3 320 kbps / FLAC (tracks) / 24bit-96kHz FLAC (tracks)
Total Time: 38:34
Total Size: 90.2 / 233 / 834 MB
WebSite: Album Preview
Tracklist:
1. Like James Said (3:20)
2. Dear Patti (3:30)
3. Firefly on the 4th of July (2:37)
4. The Clearing (3:52)
5. Walking Song (3:48)
6. Bookends (11:51)
7. Emptying the Jimador (3:17)
8. Pay Streak (3:49)
9. No Fruit (2:33)
When Meg Remy, the visionary behind U.S. Girls, got an offer to play at a festival in Hot Springs, Arkansas in early 2024 — over one thousand miles away from her home in Toronto — she enlisted Nashville-based friend Dillon Watson (D. Watusi, Savoy Motel, Jack Name) to assemble a one-time band for the occasion. The show went so well that she decided to ride thatenergy right back to where the impromptu band had initially rehearsed, in Music City itself, kickstarting the journey toward Scratch It.
In just ten days, Remy and her band — Watson on guitar, Jack Lawrence (The Dead Weather, The Raconteurs, Loretta Lynn) on bass, Domo Donoho on drums, and both Jo Schornikow and Tina Norwood on keys, as well as harmonica legend Charlie McCoy (Elvis, Bob Dylan, Roy Orbison) — recorded Scratch It live off the floor with minimal overdubs, mixed to tape.
Closeness and ease emanate from this core band with Remy’s singular voice sparkling on top of every tune, the most relaxed it has ever been.
Album opener “Like James Said” is an ELO-styled nugget of AM gold; a nod to the power of dancing alone and a lyrical response to James Brown’s “Get Up Offa That Thing”. Lead single “Bookends” — a sprawling, twelve-minute ballad co-written with Edwin de Goeij — makes up the heart of the album, paying tribute to the late Power Trip frontman Riley Gale through the lens of John Carey’s Eyewitness to History. Later, slinky diss track “No Fruit” finds Watson’s wah-wah punctuating Remy’s biting and poetic prophecy, aimed either at a lover or the greatermodern world.
Scratch It weaves together country, gospel, garage rock, soul, disco, folk balladry, and more, with Remy’s masterful songwriting threaded throughout. Her choice to discard the computer-based production of previous albums in favor of two-inch tape serves the songs well, introducing an element of sonic shapeshifting expected from an artist nearly twenty years into making records. If instinct was an instrument, Remy would be a virtuoso. Scratch It and see.
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