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美國鄉村西部歌曲 – 開欄文
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愛因斯坦會拉小提琴；基於「望子成龍」的心理，初二那年，家父硬是要我去學小提琴。或許，他認為即使我天資愚鈍成不了龍，「學龍」也能沾上幾分「龍」氣。我的第一位授業恩師是司徒興城先生；大概一、兩年以後，司徒先生移民美國；把我介紹給他的朋友胡先生；一、兩年以後，胡先生也移民美國；家父託人介紹，讓我拜入鄧昌國先生門下。
大一時，鄧先生建議我參加以台大醫學院師生為骨幹組成的「杏林室內樂團」。我是該樂團第二小提琴組的成員。跟他們一起練了一年左右巴哈的《小步舞曲》。有沒有上舞台表演就記不起來了。
也基於這段因緣，大二時承建中同學許博允兄的介紹，我拜見了當時剛剛回國的許常惠先生。寫了一篇《訪問記》發表在《台大青年》。
當時如果有外國音樂家來台，我多半會到「中山堂」或「國際學舍」聆聽他們演出。門票都是家父請張繼高先生代購。記得那時一張門票在新台幣20 – 40元之間。有一次我去拿票時沒經過大腦說道：「這麼貴」；張先生立馬回答：「這次我送你」；搞得我臉紅耳赤，尷尬不已。之後我就自己到演出地點排隊買票。因此，雖然學琴不成，卻也培養出我聽古典音樂的習慣和對它的愛好。
一來我完全沒有天賦；二來我沒有很大的興趣；三來小提琴的技巧要下大功夫才能一窺殿堂(1)，而我一星期只能抽空練個三、五天，每次只花一個小時左右；所以，學了五、六年後，琴聲仍如殺雞。到大二下時，我就拿課業繁重做理由脫離苦海。
我毫無藝術基因，也沒有音樂細胞；加上家境普通，除了收音機外，在大三之前全家沒有其它音響設備。從而，一直到工作前，我少有聽流行音樂的機會。大三時承同窗黃大孚兄義助，他用成本價替我組裝了一個唱機；我才有在家聽聽古典音樂的耳福。大孚當時以幫電影院安裝音響賺零用錢。
在美國工作通常一定得通勤。上、下班開車時，自然會聽收音機。由於古典音樂電台就那麼一、兩個，轉台時不免偶然會跳到播放鄉村西部歌曲的電台。不知不覺間，養成了對鄉村西部歌曲的愛好和聽它的習慣。由於我長期單身，下班後讀書之餘，不時會流連酒吧打發時間，排遣寂寞。所以，我30歲以後學會打撞球；同時也在點唱機和駐唱樂隊之間，加深迷上鄉村西部歌曲的程度。我在美國聽過克席、黑格、哈蕊絲、和炯斯四位歌星的現場演出。
在台灣上班有交通車或大眾運輸；因為眼睛不好又不習慣台北交通秩序；我1993回國後就不開車了。所以大概有20多年沒怎麼聽音樂。幾年前才偶而到YouTube上觀賞一陣子。近兩年來，年紀大了腦子不怎麼管用；身體偶而出狀況時，連上網看四、五千字的文章都吃力。只能聽聽音樂，看看短劇；無所事事之外，得以重溫舊愛。
此欄將介紹我喜歡的美國鄉村西部音樂歌星和歌詞。
附註：
1. 我記得在一篇文章中讀過一個關於薩拉沙德的軼事：在一次精彩的表演後，一位貴婦非常崇拜的對薩拉沙德說：你真是一位天才！薩拉沙德很不高興地回答道：過去20多年來，我每天苦練十五、六個鐘頭，妳說我是「天才」？
後記：
兩年前步正兄建議我寫回憶錄。我一來無法集中注意力；二來打理這個部落格要花點工夫；沒有能力也沒有時間來寫一整本書。但是我覺得回想一些浮光略影，記下部分雪泥鴻爪，不失為有趣的活動。本部落格許多《開欄文》都是半回憶、半自傳性質。這篇短文尤其如此。
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紀念鄉村西部歌星羅賓斯
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0. 前言
我聽羅賓斯的第一首歌是《亮白帥夾克和粉紅康乃馨》；雖然相當悅耳，並沒有引起我對他的注意。真正讓我成為他粉絲的歌是《妖女》。後來又發現，初、高中時看過《吊刑樹》這部電影的主題曲也是他主唱。電影情節當時就模模糊糊，後來更沒什麼印象；但我一直記得這首歌的調子。
前兩天看到紀念羅賓斯101歲誕辰的文章(本欄2026/09/26貼文)，在此記上一筆；同時介紹一下這位歌壇、賽車場雙棲的傳奇人物的歌聲與作詞才華。
1. 歌曲精選
以下是我相當喜歡的10首羅賓斯歌曲(依我的中文譯名筆畫順序)；它們未必是他最膾炙人口的作品。如果所附「超連接」失去時效，請用英文歌名在YouTube上搜尋。
《大左輪》(Big Iron)
《吊刑樹》(The Hanging Tree)
《妖女》(Devil Woman)
《忘了我吧》(Don’t Worry About Me)
《求你了》(Begging to you)
《孤男》(Honkytonk Man)
《亮白帥夾克和粉紅康乃馨》(A White Sport Coat And A Pink Carnation)
《埃爾•帕索》(El Paso，含歌詞)
《埃爾•帕索小鎮》(El Paso City，含歌詞)
《悲歌》(Singing The Blues)
2. 同台演出
羅賓斯生於1925；下面是曾和他同台演出的四位巨星。
2.1 琳恩
琳恩(1932 -- 2022)；合唱《悲歌》。
2.2 黑格
黑格(1937 -- 2016)；合唱《我今天又再次愛上妳》(Today I Started Loving You Again)。
2.3 克許
克席(1932 -- 2003)；合唱《拉瑞斗街頭》(Street of Laredo)。
2.4 炯斯
炯斯(1931 -- 2013)；合唱《茹比！別到處留情》(Ruby (don't take your love to town))。
3. 歌詞
以下選錄兩首歌的歌詞。
《吊刑樹》(含歌詞) 作詞 Mack David/Jerry Livingston.
I came to town to search for gold
And I brought with me a memory
And I seem to hear the night wind cry
"Go hang your dreams on the hangin' tree
Your dreams of love that could never be
Hang your faded dreams on the hangin' tree!"
(The hangin' tree)
[Verse 2]
I searched for gold and I found my gold
And I found a girl who loved just me
And I wished that I could love her too
But I'd left my heart on the hangin' tree
I'd left my heart with a memory (a memory)
And a faded dream on the hangin' tree
(The hangin' tree)
[Verse 3]
Now there were men who craved my gold
And meant to take (ooh) my gold from me
When a man is gone he needs no gold
So they carried me to the hangin' tree
To join my dreams and a memory (a memory)
Yes, they carried me to the hangin' tree
(The hangin' tree)
[Verse 4]
To really live you must almost die (wop doo-wah)
And it happened just that way with me (wop doo-wah)
They took the gold and set me free
(Ah) And I walked away from the hangin' tree
I walked away from the hangin' tree
(the hangin' tree)
And my own true love, she walked with me!
[Bridge]
That's when I knew that the hangin' tree
Was a tree of life, new life for me
A tree of hope, new hope for me
A tree of love, new love for me
The hangin' tree (the hangin' tree)
The hangin' tree (the hangin' tree)
The hangin' tree! (the hangin' tree)
《妖女》(含歌詞) 作詞 Marty Robbins (羅賓斯本人)
[Verse 1]
I told Mary about us
I told her about our great sin
Mary cried and forgave me
And Mary took me back again
Said if I wanted my freedom
I could be free evermore
But I don't want to be, and I don't want to see
Mary crying anymore
[Chorus]
Devil woman, let go of me
Devil woman, let me be
And leave me alone
I want to go home
[Verse 2]
Mary is waitin' and weepin'
Down in our shack by the sea
Even after I've hurt her
Mary' still in love with me
Devil woman it's over
Trapped no more by your charms
Cause I don't want to stay, I want to get away
Woman let go of my arm
[Chorus]
Oh, devil woman
Devil woman, let go of me
Devil woman, let me be
And leave me alone
I want to go home
[Verse 3]
Devil woman you're evil
Like the dark coral reef
Like the winds that bring high tides
You bring sorrow and grief
You made me ashamed to face Mary
Barely had the strength to tell
Skies are not so black, Mary took me back
Mary has broken your spell
[Chorus]
Oh, devil woman
Devil woman, let go of me
Devil woman, let me be
And leave me alone
I want to go home
[Verse 4]
Runnin' along by the seashore
Runnin' as fast as I can
Even the seagulls are happy
Glad I'm coming home again
Never again will I ever
Cause another tear to fall
Down the beach I see, what belongs to me
The one I want most of all
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鄉村西部歌星羅賓斯101誕辰 - DeAnna Janes
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Country Music King of Gunfighter Ballads, With 17 No. 1 Hits, Would Have Turned 101
During his short lifetime, the country legend went from Grand Ole Opry to the high-speed world of NASCAR.
DeAnna Janes, 09/23/26
Key takeaways
* Marty Robbins, a country music legend known for hits like "El Paso," would have turned 101 this month, with his career spanning 17 No. 1 songs and a Grammy win.
Born on Sept. 26, 1925, the late, great Marty Robbins would have celebrated 101 years this month. A country music legend whose career produced a remarkable string of 17 No. 1 hits, Robbins was also the undisputed king of gunfighter ballads like "El Paso," which became a defining part of his legacy.
But Robbins had far more to offer than cowboy songs, with one surprising passion taking him far beyond the dusty trails of the American West. But first, the music.
The Song That Became Part of His Mythology
Robbins released his classic Western ballad "El Paso" in September 1959 on his album Gunfighter Ballads and Trail Songs, followed by its single release in October that year. He wrote the song after becoming captivated by El Paso and its romantic-sounding name, creating a fictional story about a cowboy, a love named Feleena, and a fatal gunfight. Robbins later described the story as unfolding in his mind "like a motion picture."
A fan of traditional Western stars like Gene Autry, Robbins channeled that energy into his music, and it all paid off.
The song became a massive hit, reaching No. 1 on both the Billboard country chart and the Billboard Hot 100. It spent seven weeks at No. 1 on the country chart and became the first No. 1 hit of the 1960s on both charts. It later earned a Grammy Award for Best Country & Western Performance in 1961. But the story didn't end there.
Years later, Robbins revisited the world of "El Paso" in another song. While flying over the West Texas city in 1976, Robbins became inspired again, reportedly writing "El Paso City" in about four minutes and 14 seconds—the exact length of the song. But it wasn't simply a sequel to "El Paso." It revisited the song's world in a strange, almost dreamlike way.
Instead of playing the cowboy, Robbins sings as a modern-day passenger looking out the window of a commercial jetliner. As he peers down at the desert floor, he admits he feels a profound, chilling connection to the land below. Remembering the events from 1959—the gunfight, Rosa's Cantina, and Feleena—he openly contemplates whether he is the reincarnation of the dead gunfighter.
Could it be that I could be the cowboy in this mystery
That died there in that desert sand so long ago?
Musically, the track features producer Billy Sherrill's production and reunites Robbins with guitarist Grady Martin, who played on the original "El Paso." The connection helped give the song the feeling of a musical echo across time.
Like its predecessor, "El Paso City" was a massive success, landing Robbins his 15th No. 1 on the U.S. country chart and his first in six years. It spent two weeks at the top.
The Connection to Country Royalty
Though strange and, in today's terms, meta, the song and its predecessor turned Robbins into a household name. He wasn't some fringe Western singer; Robbins was genuine country royalty, sharing the era with icons like Miss Loretta Lynn.
While peers like Johnny Cash brought gritty counterculture and honky-tonk legends like George Jones sang about heartbreak, Robbins was a polished Nashville chameleon, anchored in country but celebrated for his crossover abilities.
The Country Music Hall of Fame described him as one of country music's most successful crossover artists, noting that he recorded country, Western, rockabilly, Hawaiian, gospel, and pop music.
Robbins' concrete link to Lynn came on a legendary television broadcast. When NBC's The Midnight Special aired its country edition on Aug. 24, 1973, Lynn and Robbins co-hosted.
During the show, the two performed "Singing the Blues," which Robbins had taken to No. 1 on the country chart in 1956. Robbins also performed "A White Sport Coat," "Devil Woman," and "El Paso." The episode also featured a who's-who of country music, including George Jones, Tammy Wynette, Conway Twitty, and Charlie Rich.
The Completely Unexpected Second Career
But Robbins had another side that had nothing to do with Nashville.
While he rubbed elbows with country legends, he also competed in the highest echelons of professional stock car racing, rubbing car doors with icons like Richard Petty, Bobby Allison, and other NASCAR stars.
A racing fan since childhood, Robbins grew up rooting for open-wheel legends like Jimmy Bryan. When his music career brought him to Nashville, he lived a stone's throw from the historic Nashville Speedway.
In the 1960s, he decided he was done being a spectator and got behind the wheel. He began racing modified stock cars at Nashville Speedway and even adjusted his Grand Ole Opry schedule to race. The Country Music Hall of Fame noted that by 1965, Robbins was performing on the final segment of the Opry so he could race at Nashville Speedway.
Between 1966 and 1982, Robbins competed in 35 NASCAR Grand National/Winston Cup races, recording six Top 10 finishes. He also competed in the Daytona 500 and raced at some of NASCAR's biggest tracks. Coming full circle in 1976, around the same time "El Paso City" reached No. 1, Robbins served as the pace-car driver for the Indianapolis 500.
The Legend of 2 Martys
Marty Robbins' true genius lies in a striking paradox: The same man who became famous for singing about cowboys, gunfighters, and the American West was also deeply immersed in high-speed motorsports. To the casual listener, he is simply the vintage baritone narrating a bygone frontier, but a closer look reveals an artist whose life tore down boundaries.
Though he left the world too soon, dying at just 57 of a heart attack in December 1982, his would-be 101st birthday is another opportunity to celebrate his duality and enormous musical legacy. Part cowboy, part daredevil, part cosmic storyteller, Robbins wasn't just a midcentury country star and race car driver, but one of the most uniquely captivating American icons to ever live.
"I've done what I wanted to do," he said in an interview near the end of his life, according to Biography. "I'm not a real good musician, but I can write [a song] pretty well. I experiment once in a while to see what I can do."
You done good.
This story was originally published by Parade on Sep 23, 2026, where it first appeared in the Entertainment section. Add Parade as a Preferred Source by clicking here.
相關報導
Related: Garth Brooks Makes Shocking Announcement That Will Have Significant Impact on His Fans
本文於 修改第 2 次
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紀念鄉村西部音樂歌星瑞福 -- Lauren Anderson
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瑞福是我最喜歡的歌星之一；下文簡單介紹了他的生平。本欄下一篇將介紹：我認為很好聽的10首瑞福歌曲。
Celebrating Jim Reeves: 103 Years Since His Birth and 6 Posthumous No. 1 Hits
His career ended decades ago, but his music kept reaching new heights.
Lauren Anderson, 08/20/26
Key takeaways Powered by Yahoo Scout. Yahoo is using AI to generate key points from this article. This means the info may not always match what’s in the article. Reporting mistakes helps us improve the experience.
* Jim Reeves, a country music legend known as "Gentleman Jim," was born in Galloway, Texas in 1923 and became one of the biggest stars of the Nashville Sound before his untimely death in a plane crash in 1964.
Jim Reeves' career was cut tragically short, but his music continued making history long after his death.
The country music legend was born 103 years ago on Aug. 20, 1923, in Galloway, Texas. Known as "Gentleman Jim," Reeves became one of the biggest stars of the Nashville Sound before his life was cut short at just 40.
Reeves died in a plane crash on July 31, 1964, while flying through a thunderstorm near Nashville. But his death did not mark the end of his chart success.
In fact, some of Reeves' biggest achievements came after he was gone.
Reeves had already established himself as a major country star during his lifetime, scoring more than 10 No. 1 hits on the country chart. His smooth, understated vocal style helped define the polished Nashville Sound of the 1950s and early 1960s.
After his death, his recordings continued to find an audience. Reeves scored six posthumous No. 1 country singles in the three years following his death, an extraordinary run for an artist who was no longer alive to promote his music.
Among his best-known songs are "He'll Have to Go," "Welcome to My World," "Four Walls" and "I Guess I'm Crazy."
"He'll Have to Go" became one of his signature recordings, reaching No. 1 on the country chart in 1960 and crossing over to the pop chart.
Reeves' influence also extended beyond his chart success. He became closely associated with the Nashville Sound, a style characterized by smooth vocals and polished production that helped country music reach a broader audience.
He was inducted into the Country Music Hall of Fame in 1967, just three years after his death, and was later inducted into the Texas Country Music Hall of Fame.
Now, on what would have been Reeves' 103rd birthday, his remarkable career offers a reminder of just how enduring a great recording can be.
This story was originally published by Parade on Aug 20, 2026, where it first appeared in the Celebs section. Add Parade as a PPreferred Source by clicking here.
相關報導
The Kinks Could Follow Oasis' Lead and Reunite
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梅爾•史粹：歌曲和歌詞
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史粹(1933-1978)的歌聲沒有什麼特色，但是他歌詞的主題和文辭可就獨樹一幟。我不清楚他歌詞的作者都是那些人，只覺得他/她們的文風相當直白；「慾」多「情」少，和上一篇貼文中卡特的歌詞有著鮮明對比。
我41歲成家，如開欄文所說，婚前常常在情色酒吧混(1)。因此，我對史粹和沃克唱的這類描寫孤單、劈腿、偷情、或男歡女愛的歌曲，自然有相當高的共鳴度。可惜兩位都比我年長10歲以上，也不是膾炙人口的歌星；在美國時我並沒有接觸到他們的音樂。這兩年才從YouTube上偶然間收看/收聽兩位的演出；勾起四、五十年前的一些韻事和片斷場景。
以下介紹10首史粹的歌曲和三首他的歌詞。
Borrowed Angel
Close Enough For Lonesome
Forbidden Angels
Guilty As Sin
I met a friend of yours today/作詞者 Bob Mcdill
Just Hangin' On
Looking out my window Through the pain
Lovin' on Back Streets
Lovin' On Borrowed Time
You Make Me Feel More Like a Man
Borrowed Angel
Her fingers feel so gentle with her hand in mine
Her hair feels like silk on my arm
Her lips tell me so tenderly she's mine alone
Until we part tonight and She goes home
Borrowed angel belongs to someone else
I love my borrowed angel
I just can't help myself
That ring on her finger don't belong to me
But She loves me
and I know she'll save some borrowed time for me
I wish that I could have her more than just tonight
We can't go on like this it isn't right
When that lonesome feeling come knocking on my door
I'll call my borrowed angel to ease the pain once more
Borrowed angel belongs to someone else
I love my borrowed angel
I just can't help myself
That ring on her finger don't belong to me
But She loves me
and I know she'll save some borrowed time for me
But She loves me
and I know she'll save some borrowed time for me
Close Enough For Lonesome
Dim blue lights and a sad sad jukebox
And a crowded hardwood floor
Two lonely eyes search the darkness
At a table all alone
Well a smile and a drink and the talk comes easy
While we dance the music plays
Then in the darkness we cling together
Till our pride slips away
Down the road a mile or two In a third rate motel room
We turn the key and lock away the world
It ain't fancy it ain't much It ain't really even love
It's close enough for lonesome ain't it girl
Dark and warm we lie together
And the lonely goes away
No it's not love that we are making
But we'll take it anyway
Down the road a mile or two In a third rate motel room
We turn the key and lock away the world
It ain't fancy it ain't much It ain't really even love
It's close enough for lonesome ain't it girl
It's close enough for lonesome ain't it girl
Lovin' on Back Streets
We tried to pick the most unlikely places
Where no one's out to know us by our name
And for a while we shared the sweet affection
That makes it worth the sorrow and the shame
A lovin' on back streets and livin' on main
Suffered hell through the daylight for the heaven darkness brings
Two hearts in the shadows tradin' passion for pain
A lovin' on back streets and livin' on main
In the morning when I face the one who owns me
And she confronts me with some things I can't explain
Then once again I hate myself for living
And wonder just how long my mind can stand this strain
A lovin' on back streets and livin' on main
Suffered hell through the daylight for the heaven darkness brings
Two hearts in the shadows tradin' passion for pain
A lovin' on back streets and livin' on main
Lovin' on back streets and livin' on main
附註：
1. Honky Tonk一詞的起源不詳。原指那些勞工階級出入，演奏爵士樂或鄉村西部音樂的酒吧。它也成為中年孤男寡女借酒澆愁，尋找一夜情的場所；從而，在鄉村西部歌曲的歌詞中，它通常影射這類人物、場景、和發生的故事。下面介紹史粹10首歌曲中第2首，就是典型的這一類別音樂。這類酒吧另一個比較不雅的代號則是「人肉市場」。
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安妮塔•卡特：歌聲和歌詞
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卡特是我最喜歡的女歌星(1933—1999)，沒有之一。她台風普普；可能由於年代因素，卡特既沒有塔克的活潑(1958- )，也不像戴維絲那樣表情會說話(1962- )。她屬於清唱型歌手。
我感覺卡特歌曲的特色是：
1) 音域寬廣；高、中、低三音掌控自如；讓人百聽不厭。
2) 音色優美；清脆、溫柔兼而有之；讓人有春風撲面的感覺。
3) 歌詞婉約；恨別略帶幽怨，追懷則千絲萬縷；讓人回味。
下面介紹20首卡特的歌曲；(據說) 前七首的歌詞是她所寫；可見她才華不限於歌聲美妙。我另外附錄展現上述三個特色歌曲的歌詞，有助於大家欣賞。
此外，本欄第2篇中介紹她That's What It's Like To Be Lonesome 這首歌，可說三色俱全。
A Few Short Years Ago
Fly Pretty Swallow
My Love
Running Back
Satan's Child
The Kentuckian Song
Voice Of The Bayou
A Tear Fell
Carmel By The Sea
Cry Softly
Farewell
I’d Rather Be Sorry
I Don't Need You Anymore
Keep It A Secret
Maybe
One Heartache At A Time
Sweet Memories
There'll Be No Teardrops Tonight
Us
Your Cheating Heart
附三首歌詞。
a. 音域 Voice Of The Bayou
Down in the swamp they're gathering tonight
Voodoo boats in the pale moonlight
Um-a-pa palesu-va um-a-pa palesu-va um-a-pa palesu-va
Voice of the bayous voice of the bayous
Voodoo queen's a waitin' waitin' all alone
Waitin' on my man to claim him on her throne
Um-a-pa palesu-va um-a-pa palesu-va um-a-pa palesu-va
Voice of the bayous voice of the bayous
Voodoo queen is tryin' tryin' for my man
Made herself a potion gonna get him if she can
Um-a-pa palesu-va um-a-pa palesu-va um-a-pa palesu-va
Voice of the bayous voice of the bayous
But I make myself a dart and stick it full of pins
And when the moon is dark as blood her troubles will begin
Um-a-pa palesu-va um-a-pa palesu-va um-a-pa palesu-va
Voice of the bayous voice of the bayous
b. 音色 Us
I can't ever go back to that little cafe with the candlelight
That was our cafe, and to go there without you wouldn't seem right
Besides, I don't want to touch that part of life that meant so much
The days the world belonged to us: Just us.
And I'd telephone at 3 in the morning just to say hello
And all sleepy-eyed you'd breathe and sigh: I love you so.
And sometimes we'd just talk for hours, building dreams and building towers,
All the world was filled with flowers: For us!
And I'm gonna miss you for a long, long time…
I can't ever go back to the cabin there on the mountainside
Where you built a fire and held me close while it snowed outside
And remember you let me sleep all day
So we could love the night away.
Oh to just find yesterday: And us.
I tried making new friends, walking new streets, and finding new thrills
But nothing new replaces you, and it never will
Besides, I don't want to touch that part of life that meant so much
The days the world belonged to us: Just us.
And I'm gonna miss you for long, long time…
c. .歌詞 A Few Short Years Ago
I went back to the village, Tom
And sat beneath the tree
Upon the schoolhouse playground
Which one sheltered you and me
But none were there to greet me, Tom
And few were left to know
That played with us upon the grass
A few short years ago
I stood and gazed upon the tree
Where you once called our names
I loved you then with all my heart
And that has never changed
The tree is old and tired, Tom
It's dying sure but slow
Soon it will die just as you died
A few short years ago
The grass is just as green, Tom
With barefooted boys at play
They're playing games that we played then
With spirits just as gay
The same old bricks are in the wall
The bell swings to and fro
And sounds just like it sounded, Tom
A few short years ago
I went up to the churchyard, Tom
Did you know I was there
And did you hear me praying, Tom
We'd meet again somewhere
You see I'd never married, Tom
I've only had one vow
And as you know that vow was you
A few short years ago
本文於 修改第 2 次
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介紹鄉村西部歌曲：男歌星、歌曲、歌聲、歌詞
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推薦1 |
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曾經被主流電台抵制的鄉村西部歌曲
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0. 前言
大概半年多前我在YouTube看到一部記實片(1)；它介紹曾經被美國主流電台抵制的鄉村西部歌曲。既然「被抵制」，應該都是些老掉牙的歌；8首中我自己在此之前也只聽過其中3首。對不熟悉美國社會情況的台灣網友來說，這個記實片沒有什麼意思。下面先談談我介紹這些歌曲的原因。
今年年初我讀到《齊訶德大人的追求》一文。其中某些觀點我難以苟同(2)，打算略表拙見(3)。當時想到這個記實片內容可以支持我的看法，所以起了介紹它的念頭。同時也覺得：順帶談談我很喜歡的鄉村西部歌曲，給本部落格增加一些柔和色彩；是個不錯的點子。不過當時感冒了一陣子，拖到上個月才開此欄。
0.1 歌曲
先依照該記實片介紹的順序，列出這8首歌曲。各位可以點選以下超連結來欣賞原唱歌手的演出。中文歌名是我就歌曲原名所做的直譯或意譯。如果想多知道某位歌手的生平，請自行上網搜尋。
The Pill 《謝天謝地避孕丸》 Lorreta Lynn
Okie From Muskogee 《麻思科吉縣的老土》Merle Haggard
Rated X 《被貼上標籤的女人》Loreta Lynn
Welfare Cadillac 《社福暴發戶》Guy Drake
Would You Lay With Me (In a Field of Stone) 《願意跟我在野外尋歡嗎》Tanya Tucker
Sunday Morning Coming Down 《宿醉整夜後的星期天一早》Johnny Cash
Harper Valley P.T.A. 《哈培谷學區母姊會》Jeannie C. Riley
Cocaine Blue 《古柯鹼悲歌》Johnny Cash
0.2 歌詞
下面提供載有這8首歌曲歌詞的網頁。並附上歌詞作者的大名。
The Pill Lorreta Lynn
Okie From Muskogee Merle Haggard
Rated X Lorreta Lynn
Welfare Cadillac Guy Drake
Would You Lay With Me (In a Field of Stone) David Allan Coe
Sunday Morning Coming Down Kris Kristofferson
Harper Valley P.T.A. Tom T. Hall
Cocaine Blue Lester Randal Bullock
1. 介紹
在這個記實片中，講解者對每首歌詞的主旨、當時美國的社會思想、歌詞挑戰的對象、主流利益團體的反應、以及群眾的迴響等面向，做了簡單說明/報導。網友們可以自行觀賞和了解。以下就我所知，就其中四首做個簡介，並提出我對歌詞的解讀。
1.1 琳的《謝天謝地避孕丸》和《被貼上標籤的女人》
1) 歌詞摘錄
a. 《謝天謝地避孕丸》
This old maternity dress I've got is going in the garbage
The clothes I'm wearing from now on won't take up so much yardage (布料以碼計)
Miniskirts, hot pants, and a few little fancy frills
Yeah, I'm making up for all those years since I've got the pill
This incubator is over-used because you've kept it filled
But feeling good comes easy now since I've got the pill
It's getting dark, it's roosting time, tonight's too good to be real
Oh, but Daddy don't you worry none 'cause Mama's got the pill
第一段歌詞表達：避孕丸上架後，家庭主婦將花枝招展的上街(意味著可以招蜂引蝶)。
第二段歌詞暗示：這位家庭主婦今晚將出去找樂子。
總之，整首歌表達：過去只有男性能享受劈腿的歡樂，女性只有生孩子、帶孩子的份。有了避孕丸以後，女性再無後顧之憂：(至少)可以在「找樂子」上追求男女平等。
b. 《被貼上標籤的女人》
And when your best friend's husband says to you
You've sure started lookin' good
You shoulda known he would, and he would if he could
And he will if you're rated X
The women all look at you like you're bad
The men all hope you are
But if you go too far, you're gonna wear the scar
Of a woman rated X
第一段歌詞表達：如果妳離過婚，張三、李四都認為容易上妳。
第二段歌詞(意譯)：女人都認為妳想勾引男人；男人都認為妳想勾引他；只要你一不小心；大家就會說妳是個蕩婦。
總之，整首歌表達：社會對離婚女人的偏見和歧視。
2) 主題
描述社會中道德觀的「醬缸」性質，以及男女不平等和差別待遇的情況。
3) 主旨
鼓勵和宣揚女人爭取自主權利。
1.2 黑格的《麻思科吉縣的老土》
1) 歌詞摘錄
We don't smoke marijuana in Muskogee
We don't take our trips on LSD
We don't burn our draft cards down on Main Street
'Cause we like livin' right, and bein' free
Leather boots are still in style for manly footwear
Beads and Roman sandals won't be seen
And football's still the roughest thing on campus
And the kids here still respect the college dean
這兩段歌詞都從生活方式的不同暗示：西岸嘻皮文化和中、西部傳統文化在價值觀上的差異。
2) 主題
呈現兩種次文化之間的尖稅對比。
3) 主旨
肯定中、西部傳統文化的價值觀。
1.3 克席的《宿醉整夜後的星期天一早》
1) 歌詞摘錄
And there's nothin' short of dyin'
That's half as lonesome as the sound
Of the sleepin' city sidewalk
And Sunday mornin' comin' down
Then I headed down the street
And somewhere far away a lonely bell was ringin'
And it echoed through the canyons
Like the disappearin' dreams of yesterday
第一段歌詞描寫：一個醉漢在星期天的心境。歌詞作者可能在借用傳統社會中星期天一家人上教堂做背景，來襯托這個醉漢的孤獨寂寞。
第二段歌詞描寫：孤寂的鐘聲引起這個醉漢對自己失落前生活的懷念。
總之，整首歌表達：一個落魄者的失落感和悔不當初。
2) 主題
用醉漢的觸景生情襯托他潦倒的現況，和對造成自己失落的追悔。
3) 主旨
呈現社會上一些被淘汰者的無奈和絕望。
2. 歌曲做為社會評論形式
1) 特色
做為表達意思和傳遞訊息的工具/媒介，歌曲有四個特色：
a. 簡短
b. 重複
c. 普及度高
d. 擴散率快
大家都熟悉這四個特色，不必多做說明。
2) 功效
由於以上四個特色，歌曲傳遞訊息的功效遠遠高於其它工具/媒介。它的缺點在於「時效」不長；我想得到的例外是《馬賽曲》和《國際歌》。
3. 結論
1) 歌詞是文學創作而且具有高度藝術性。
2) 這8首歌詞不但傳遞了特定訊息，而且引起廣大迴響；可見文學創作不但能「傳遞訊息」，還能高功效的「傳遞訊息」。
3) 這足以反證：李士教授的觀點不「成立」(請見附註2)。
附註：
1. 這部記實片的名稱是：《Banned Country Songs》；如果以後此「超連結」過時，請自行上YouTube搜尋。本文提供的其它「超連結」亦同。
2. 我反對李士教授：「如果創作文學具有藝術性，它不能傳遞任何訊息」這個觀點。他的原文是：”… the notion (quite banal in fact) that creative literature, inasmuch as it is artistically valid, can carry no message.”
3. 我已經開始寫討論李士教授觀點的文章，但需要一些時間；所以先行發表這篇「介紹」。
本文於 修改第 3 次
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我剛開此欄就讀到《那些美國人最孤獨》一文(該欄2025/03/21)，不禁想起：何不來個交相呼應？以下是我很喜歡的鄉村西部歌曲中，以「孤獨/寂寞」為主題的10首。由於歌的功能在抒情，不在做心理治療；這10首的「孤獨/寂寞」幾乎都來自「相思/失戀」之苦。
下次你感到孤獨/寂寞時，不妨借歌消愁；應該還蠻有效的，至少能得到「我不是唯一在受苦受難」的慰籍。
我以附帶歌詞的頻道為首選；下面曲目中只有卡特和塔布那兩首找不到帶歌詞的視頻；我將它們和作詞者附在這裏；聽的時候容易得其韻味；還能同時學學英文。
Crying Myself To Sleep Ernest Tubb
Going Where The Lonely Go Alison Krauss
Have You Ever Been Lonely Jim Reeves/Patsy Cline
Help Me Make It Through the Night Kris Kristofferson
I’m a Lonesome Fugitive Merle Haggard
I'm so Lonesome I Could Cry Hank Williams
I'm With A Crowd But So Alone Ernest Tubb
Lonely Music Jim Reeves
Sometimes I Dream Merle Haggard
That's What It's Like To Be Lonesome Anita Carter
I'm with a crowd but so alone Ernest Tubb/Ernest Tubb
Tonight with another I'm dancing and we're smiling at the rest of the crowd
But I can't help wondering about you and your new love to whom you're so proud
At night I'm never alone I'm afraid that I'll weaken and phone
And I'm afraid that you will be gone I'm with a crowd but oh so alone
I still have the picture you gave me you signed it with love you'll recall
And the one of me that you wanted isn't now hanging face to the wall
At night I'm never alone I'm afraid that I'll weaken and phone
And I'm afraid that you will be gone I'm with a crowd but oh so alone
As long as I can keep smiling maybe I can fool the world don't you see
And perhaps some day I'll forget you and lose this heartache that you left with me
At night I'm never alone I'm afraid that I'll weaken and phone
And I'm afraid that you will be gone I'm with a crowd but oh so alone
That's What It's Like To Be Lonesome Anita Carter/Bill Anderson
The streets're dark and empty and you walk them all alone
You think about your love affair and wonder what went wrong
You go to bed each night and pray you'll never see the dawn
Afraid of each tomorrow with its heartless cold unknown
And that's what it's like to be lonesome
Come without love just empty words
And that's what it's like to be lonesome
I know 'cause I'm a mighty lonesome girl
You search to find a tavern where the music playing loud
You try to lose your heartaches in the shadow of the crowd
But the happy couples make you think of things that might have been
And you have to fight the teardrops till by yourself again
And that's what it's like to be lonesome
Come without love just empty words
And that's what it's like to be lonesome
I know 'cause I'm a mighty lonesome girl
I know 'cause I'm a mighty lonesome girl
本文於 修改第 3 次
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