「音聲」與「精神」之間？ 論日本樂團Sugar Babe相關論述中的雙歧性

Abstract

本論文以活動於1973-76年的日本樂團Sugar Babe及他們唯一一張作品《SONGS》為研究主體，以其相關樂評為研究分析材料，揭示該樂團及其作品如何受到外在環境條件的影響，在三個不同的時空脈絡下獲得不同的評價──包括70年代中期非主流的日本Rock文化圈，90年代主流化、大眾化的日本Pops，及2010年後盛行之City Pop風潮；同時，透過分析樂評論述，歸納出在不同脈絡影響下不同年代的媒體論述建構模式，其結果將進而影響不同時空中聽眾對於他們音樂的理解與認知，並造成其歷史定位逐年提高。本文一方面檢視Sugar Babe相關評價，梳理影響評價基準之外部環境及條件的改變，另一方面則同時強調出Sugar Babe樂團成員所主張及擁護的「真實」，其實是蘊藏在那Pop聲響背後強烈的「與主流對抗之Rock精神」。筆者主張，除了歷史脈絡及評價基準的改變造成Sugar Babe的經典化歷程，《SONGS》相關論述中存在之「Pop聲響」及「Rock精神」這樣的雙歧性質更加奠定其經典性，促使其成為超越時空仍能被人傳述、獲得如此高評價，同時仍能繼續啟發、影響後來音樂家之「歷史名盤」。

This thesis examines the Japanese band Sugar Babe who were active from 1973 to 1976, and their only published album, SONGS. Taking the reviews in the press as the main research materials, I attempt to clarify how the reception of the band and their album was affected historically by external contexts, and changed accordingly in relation to the dominant scenes in three different periods: the alternative Japanese Rock scene in the mid-70s, the mainstream J-POP scene in the 90s, and the revival of City Pop after the 2010s. In doing so, this thesis also illuminates different patterns of formation of the narrative concerning Sugar Babe in different times and contexts, which hugely influenced the audience’s receptions of the band and their music, leading to the gradually rising evaluations of the band after their breakup. Though Sugar Babe’s music is often praised for its ‘pop sound’ by music writers and their listeners, the thesis points out that ‘the truth,’ or the belief that the band members embraced, is actually the ‘rock spirit’ that always rebelling against the mainstream of Japanese popular music scene. In conclusion, I argue that it is the ambivalence in discourses on the band which makes their music simultaneously boast the ‘pop sound’ and ‘rock spirit,’ thus catalyzes SONGS into one of the most influential and timeless albums in the history of Japanese popular music scene.