There are at least 8 artists called "X".
1: X (America)
X w… Read Full Bio ↴There are at least 8 artists called "X".
1: X (America)
X were far from the first punk rock band in Los Angeles, and they weren't the first to achieve some level of nationwide recognition, but in a very real way, they were the ones who put the L.A. punk scene on the map. X were the first L.A. punk band to be taken seriously by the rock press on both coasts, and at a time when many wondered how punk could thrive in the land of all that was mellow, X played music that was as raw, passionate, and powerful as anything coming out of New York, London, or any other major city. X's melding of punk's speed and ferocity with the sounds of rockabilly, blues, country, and other roots music styles would prove to be wildly influential in the years that followed, as were the off-kilter harmonies of John Doe and Exene Cervenka. And while they never enjoyed the commercial breakthrough that many believed was their due, X were massively popular in their home town and could successfully headline large outdoor venues like the Greek Theater, proving there was an audience for punk in the City of the Angels. Their first two independently released albums -- 1980's Los Angeles and 1981's Wild Gift -- were critical favorites and sold remarkably well by small-label standards, helping establish Slash Records as a major independent label as well as defining the group's unique approach. The band moved up to a major label, Elektra Records, with their unique sound and integrity intact on 1982's superb Under the Big Black Sun. After Zoom left the band, they soldiered on with new guitarist Tony Gilkyson on 1987's underrated See How We Are, but most of their fans remained loyal to the original lineup, and they remained a popular live attraction after reuniting with Zoom in 1998. Those fans would have to wait until 2020 for a new studio album from X, when Alphabetland was released to immediate and widespread acclaim.
X was formed by bassist, vocalist, and songwriter John Doe (born John Nommensen Duchac), who moved to Los Angeles in 1976. Born and raised in Baltimore, where he'd played in a number of forgotten bar bands, Doe had discovered punk rock after hearing Patti Smith's Horses and was eager to form a band in his new home town. Through a newspaper ad, Doe met Billy Zoom (born Ty Kindell), a gifted guitarist originally from Savannah, Illinois who had been playing rockabilly, blues, and R&B in L.A. for years, and had backed Gene Vincent during the rockabilly icon's last shows. Like Doe, Zoom had discovered the Ramones and wanted to play music that was fast, loud, and honest, and they began jamming together. Shortly before meeting Zoom, Doe had met Exene Cervenka (aka Christine Cervenkova) who, like Doe, had recently arrived in Los Angeles (in her case from Tampa, Florida) and was interested in poetry. Doe and Cervenka were attending the same poetry workshop, and bonded over their shared tastes in literature. Doe and Cervenka started dating, and when he read one of her pieces and thought it had the makings of a good song, he asked her permission to sing it in the band he was forming with Zoom. Cervenka said she'd prefer to sing it herself, and before long, she was rehearsing with Doe and Zoom, with her enthusiasm compensating for her lack of musical experience. Naming themselves X, the new band went through a handful of drummers after making their debut at a house party in 1977; their original drummer was a guy named Mick Basher, and reportedly, K.K. Barrett of the Screamers and Nicky Beat of the Weirdos sat in with them on occasion, but when Doe saw the Eyes performing at The Masque, L.A.'s first punk club, he saw their drummer was just what he and Zoom had been looking for: someone whose style was smart but simple, and who hit a big snare drum really hard. That drummer was D.J. Bonebrake, and he played his first gig with X in February 1978.
It didn't take long for X to make a name for themselves on the L.A. punk scene, and later the same year, the group recorded their first single, "Adult Books" b/w "We're Desperate," released by the seminal West Coast punk label Dangerhouse Records. The single sold well, and X's song "Los Angeles" appeared on the label's sampler LP Yes L.A., but the band was unhappy with Dangerhouse's business practices, and opted to record their first full-length album for Slash Records, an offshoot of the key L.A. punk 'zine. X had also won a valuable ally in Ray Manzarek, former keyboard player with the Doors; Manzarek was impressed with X's bold music and literate songs, as well as their open admiration of his former group (they had taken to covering "Soul Kitchen" on-stage). Manzarek played keys at a few X gigs and offered to produce their first album. Recorded on a slim budget of $10,000, Los Angeles was released in April 1980, and immediately received rave reviews from punk fanzines and the big-league music press; it was an immediate success in the band's home town, and as word spread nationwide, the album sold over 50,000 copies, an impressive sum for an independent punk album. Along with steady touring, fans outside of California were seeing X thanks to the documentary The Decline of Western Civilization, which focused on the L.A. punk community and gave the group a healthy amount of admiring screen time. 1980 also marked the year Doe and Cervenka became man and wife, with their relationship informing the lyrics to many of their songs.
X's second album, Wild Gift, appeared in May 1981, a few months after the release of their single "White Girl." Also produced by Ray Manzarek, the critical reception for Wild Gift was just as enthusiastic as it was for Los Angeles; sales also matched those of the debut, and before long, X were not just L.A.'s most popular punk band, but one of the town's biggest bands period, and became the first unsigned rock band to headline L.A.'s Greek Theater. Major labels finally came calling, and X signed a deal with Elektra Records, which released Under the Big Black Sun in July 1982. Manzarek once again produced, and while the bigger recording budget resulted in a fuller sound, the group's approach was essentially the same, and while critics and fans were once again impressed with X's passionate music and street-level lyrics, radio still wasn't ready for them, and the album failed to sell significantly better than Los Angeles or Wild Gift, despite plenty of touring and occasional television appearances. The same fate befell 1983's More Fun in the New World, as the band continued to sit at the top of the heap in L.A. without making significant headway elsewhere.
In 1984, Doe, Cervenka, and Bonebrake released an album by their acoustic side project the Knitters, while X recorded a bombastic cover of the Troggs' "Wild Thing" which appeared on the soundtrack of the film Major League. The "Wild Thing" single was produced by Michael Wagener, who had worked with heavy metal bands such as Mötley Crüe and Dokken; Wagener returned to produce X's next album, 1984's Ain't Love Grand, and while one tune from the album, "Burning House of Love," earned steady MTV airplay, the album's more polished sound didn't favor the band, and both critics and fans were disappointed while radio programmers and mainstream audiences paid little attention. Disappointed with the band's failure to break through to a mass audience, Billy Zoom left X in 1985, and the divorce of Doe and Cervenka, who had wed in 1980, didn't help relations in the group. Dave Alvin, guitarist with the Blasters and a collaborator in the Knitters, was recruited to join the band, and while he was an ideal fit for X, by the time they completed the recording of 1987's See How We Are, he was offered a record deal as a solo act and opted to leave. Tony Gilkyson, formerly with Lone Justice, took part in the recording of See How We Are and became X's lead guitarist after the album was released. While the album was a strong piece of work, sales were disappointing, and after releasing Live at the Whisky A Go-Go in 1988, X quietly broke up.
After the band's breakup, Doe launched a solo career with the album Meet John Doe in 1990, and also pursued a career as an actor, appearing in a number of notable film and television projects. Exene Cervenka released her first solo LP, Old Wives' Tales, in 1989, and recorded both acoustic and rock music as a solo artist and with the bands the Original Sinners and Auntie Christ; Cervenka also wrote and published poetry, created visual art, and acted in the film Salvation, where she met actor Viggo Mortensen, whom she married in 1987 and divorced in 1997. Billy Zoom stayed out of the public eye, primarily working in his own shop fixing and modifying guitar amplifiers, while D.J. Bonebrake stayed busy working with a wide variety of musicians and playing with a pair of jazz combos, the Bonebrake Syncopators and Orchestra Superstring. In 1993, after the success of Nirvana's Nevermind had opened up radio to more adventurous sounds, X reunited with Tony Gilkyson on guitar and recorded the album Hey Zeus! Reaction to the album was polite but not enthusiastic, and after the release of 1995's Unclogged, a live album drawn from a series of acoustic shows, the group once again retired.
In 1998, to the surprise of many, the classic X lineup of Doe, Cervenka, Zoom, and Bonebrake reunited for a handful of shows in Los Angeles. The reunion shows were rapturously received by both fans and critics, and the band has staged periodic reunion tours ever since. A late-2004 stand at the Los Angeles House of Blues resulted in the live CD and DVD Live in Los Angeles, and X continue to perform despite Cervenka's announcement in 2009 that she had been diagnosed with Multiple Sclerosis.
In January 2019, X announced that the original lineup had gone into the recording studio for the first time since they cut 1985's Ain't Love Grand. The band recorded five songs with producer Rob Schnapf, and the following October, the first track was released online. "Delta 88 Nightmare" was a new version of a song X had performed and demo'ed in the '80s but had never recorded in its final form. The song was also made available on a 7" vinyl single in November 2019, with "Cyrano de Berger’s Back," a tune Doe had written and recorded with the Flesh Eaters, appearing on the flipside. The group returned to the studio to cut more songs, including a handful of new compositions, and in April 2020, after X were forced to cancel touring plans due to the COVID-19 pandemic, they offered their fans a consolation prize in the form of Alphabetland, a ten-song album that recaptured the sound and spirit of their celebrated early recordings.
Biography by Mark Deming
There are other artists with the same name:
2: X (Australia)
The Australian band called X, formed in 1977 by Rose Tattoo bassist Ian Rilen and Steve Lucas. They initially called themselves Evil Rumours. Their debut LP Aspirations (recorded by the equally great Lobby Loyde) is a punk classic (and was later reissued in the US by the revered Amphetamine Reptile label). Search for it you will be glad you did. A couple of members passed away early in their career. Cathy Green became a permanent fixture on drums. They were being groomed for bigger things and their LP ...And More was to get a big push from the label (White) but there was "an incident" involving the label and although the album was released it was no longer a priority. Probably because of this the band has long periods of inactivity, but continue to play nearly 30 years later including May / June 2009 with legendary San Francisco punks Flipper. They have released many albums and have a great reputation for their live-shows! Sadly Ian Rilen passed away in late 2006 from cancer, but Kim Volkman has stepped up to the plate. Their 2nd LP At Home With You has been reissued on Aztec Music with a bonus live album. Their music has been covered by the New Bomb Turks and feedtime amongst others. The classic debut Aspirations has just been reissued by Aztec Music.
3: X (Japan)
Metal band from Japan, founded in 1982, X changed their name to X JAPAN in 1992-08, when HEATH joined the band. Releases until Jealousy / Say anything belong to X. Later releases belong to X JAPAN.
4. Czech punk band formed in 2003.
5. Bulgarian metal band
6. An alias of Australian DJ Deepforces
7. An alias of Terekke
8. X is Javon Johnson, an American hip-hop lyricist from Houston, TX.
1: X (America)
X w… Read Full Bio ↴There are at least 8 artists called "X".
1: X (America)
X were far from the first punk rock band in Los Angeles, and they weren't the first to achieve some level of nationwide recognition, but in a very real way, they were the ones who put the L.A. punk scene on the map. X were the first L.A. punk band to be taken seriously by the rock press on both coasts, and at a time when many wondered how punk could thrive in the land of all that was mellow, X played music that was as raw, passionate, and powerful as anything coming out of New York, London, or any other major city. X's melding of punk's speed and ferocity with the sounds of rockabilly, blues, country, and other roots music styles would prove to be wildly influential in the years that followed, as were the off-kilter harmonies of John Doe and Exene Cervenka. And while they never enjoyed the commercial breakthrough that many believed was their due, X were massively popular in their home town and could successfully headline large outdoor venues like the Greek Theater, proving there was an audience for punk in the City of the Angels. Their first two independently released albums -- 1980's Los Angeles and 1981's Wild Gift -- were critical favorites and sold remarkably well by small-label standards, helping establish Slash Records as a major independent label as well as defining the group's unique approach. The band moved up to a major label, Elektra Records, with their unique sound and integrity intact on 1982's superb Under the Big Black Sun. After Zoom left the band, they soldiered on with new guitarist Tony Gilkyson on 1987's underrated See How We Are, but most of their fans remained loyal to the original lineup, and they remained a popular live attraction after reuniting with Zoom in 1998. Those fans would have to wait until 2020 for a new studio album from X, when Alphabetland was released to immediate and widespread acclaim.
X was formed by bassist, vocalist, and songwriter John Doe (born John Nommensen Duchac), who moved to Los Angeles in 1976. Born and raised in Baltimore, where he'd played in a number of forgotten bar bands, Doe had discovered punk rock after hearing Patti Smith's Horses and was eager to form a band in his new home town. Through a newspaper ad, Doe met Billy Zoom (born Ty Kindell), a gifted guitarist originally from Savannah, Illinois who had been playing rockabilly, blues, and R&B in L.A. for years, and had backed Gene Vincent during the rockabilly icon's last shows. Like Doe, Zoom had discovered the Ramones and wanted to play music that was fast, loud, and honest, and they began jamming together. Shortly before meeting Zoom, Doe had met Exene Cervenka (aka Christine Cervenkova) who, like Doe, had recently arrived in Los Angeles (in her case from Tampa, Florida) and was interested in poetry. Doe and Cervenka were attending the same poetry workshop, and bonded over their shared tastes in literature. Doe and Cervenka started dating, and when he read one of her pieces and thought it had the makings of a good song, he asked her permission to sing it in the band he was forming with Zoom. Cervenka said she'd prefer to sing it herself, and before long, she was rehearsing with Doe and Zoom, with her enthusiasm compensating for her lack of musical experience. Naming themselves X, the new band went through a handful of drummers after making their debut at a house party in 1977; their original drummer was a guy named Mick Basher, and reportedly, K.K. Barrett of the Screamers and Nicky Beat of the Weirdos sat in with them on occasion, but when Doe saw the Eyes performing at The Masque, L.A.'s first punk club, he saw their drummer was just what he and Zoom had been looking for: someone whose style was smart but simple, and who hit a big snare drum really hard. That drummer was D.J. Bonebrake, and he played his first gig with X in February 1978.
It didn't take long for X to make a name for themselves on the L.A. punk scene, and later the same year, the group recorded their first single, "Adult Books" b/w "We're Desperate," released by the seminal West Coast punk label Dangerhouse Records. The single sold well, and X's song "Los Angeles" appeared on the label's sampler LP Yes L.A., but the band was unhappy with Dangerhouse's business practices, and opted to record their first full-length album for Slash Records, an offshoot of the key L.A. punk 'zine. X had also won a valuable ally in Ray Manzarek, former keyboard player with the Doors; Manzarek was impressed with X's bold music and literate songs, as well as their open admiration of his former group (they had taken to covering "Soul Kitchen" on-stage). Manzarek played keys at a few X gigs and offered to produce their first album. Recorded on a slim budget of $10,000, Los Angeles was released in April 1980, and immediately received rave reviews from punk fanzines and the big-league music press; it was an immediate success in the band's home town, and as word spread nationwide, the album sold over 50,000 copies, an impressive sum for an independent punk album. Along with steady touring, fans outside of California were seeing X thanks to the documentary The Decline of Western Civilization, which focused on the L.A. punk community and gave the group a healthy amount of admiring screen time. 1980 also marked the year Doe and Cervenka became man and wife, with their relationship informing the lyrics to many of their songs.
X's second album, Wild Gift, appeared in May 1981, a few months after the release of their single "White Girl." Also produced by Ray Manzarek, the critical reception for Wild Gift was just as enthusiastic as it was for Los Angeles; sales also matched those of the debut, and before long, X were not just L.A.'s most popular punk band, but one of the town's biggest bands period, and became the first unsigned rock band to headline L.A.'s Greek Theater. Major labels finally came calling, and X signed a deal with Elektra Records, which released Under the Big Black Sun in July 1982. Manzarek once again produced, and while the bigger recording budget resulted in a fuller sound, the group's approach was essentially the same, and while critics and fans were once again impressed with X's passionate music and street-level lyrics, radio still wasn't ready for them, and the album failed to sell significantly better than Los Angeles or Wild Gift, despite plenty of touring and occasional television appearances. The same fate befell 1983's More Fun in the New World, as the band continued to sit at the top of the heap in L.A. without making significant headway elsewhere.
In 1984, Doe, Cervenka, and Bonebrake released an album by their acoustic side project the Knitters, while X recorded a bombastic cover of the Troggs' "Wild Thing" which appeared on the soundtrack of the film Major League. The "Wild Thing" single was produced by Michael Wagener, who had worked with heavy metal bands such as Mötley Crüe and Dokken; Wagener returned to produce X's next album, 1984's Ain't Love Grand, and while one tune from the album, "Burning House of Love," earned steady MTV airplay, the album's more polished sound didn't favor the band, and both critics and fans were disappointed while radio programmers and mainstream audiences paid little attention. Disappointed with the band's failure to break through to a mass audience, Billy Zoom left X in 1985, and the divorce of Doe and Cervenka, who had wed in 1980, didn't help relations in the group. Dave Alvin, guitarist with the Blasters and a collaborator in the Knitters, was recruited to join the band, and while he was an ideal fit for X, by the time they completed the recording of 1987's See How We Are, he was offered a record deal as a solo act and opted to leave. Tony Gilkyson, formerly with Lone Justice, took part in the recording of See How We Are and became X's lead guitarist after the album was released. While the album was a strong piece of work, sales were disappointing, and after releasing Live at the Whisky A Go-Go in 1988, X quietly broke up.
After the band's breakup, Doe launched a solo career with the album Meet John Doe in 1990, and also pursued a career as an actor, appearing in a number of notable film and television projects. Exene Cervenka released her first solo LP, Old Wives' Tales, in 1989, and recorded both acoustic and rock music as a solo artist and with the bands the Original Sinners and Auntie Christ; Cervenka also wrote and published poetry, created visual art, and acted in the film Salvation, where she met actor Viggo Mortensen, whom she married in 1987 and divorced in 1997. Billy Zoom stayed out of the public eye, primarily working in his own shop fixing and modifying guitar amplifiers, while D.J. Bonebrake stayed busy working with a wide variety of musicians and playing with a pair of jazz combos, the Bonebrake Syncopators and Orchestra Superstring. In 1993, after the success of Nirvana's Nevermind had opened up radio to more adventurous sounds, X reunited with Tony Gilkyson on guitar and recorded the album Hey Zeus! Reaction to the album was polite but not enthusiastic, and after the release of 1995's Unclogged, a live album drawn from a series of acoustic shows, the group once again retired.
In 1998, to the surprise of many, the classic X lineup of Doe, Cervenka, Zoom, and Bonebrake reunited for a handful of shows in Los Angeles. The reunion shows were rapturously received by both fans and critics, and the band has staged periodic reunion tours ever since. A late-2004 stand at the Los Angeles House of Blues resulted in the live CD and DVD Live in Los Angeles, and X continue to perform despite Cervenka's announcement in 2009 that she had been diagnosed with Multiple Sclerosis.
In January 2019, X announced that the original lineup had gone into the recording studio for the first time since they cut 1985's Ain't Love Grand. The band recorded five songs with producer Rob Schnapf, and the following October, the first track was released online. "Delta 88 Nightmare" was a new version of a song X had performed and demo'ed in the '80s but had never recorded in its final form. The song was also made available on a 7" vinyl single in November 2019, with "Cyrano de Berger’s Back," a tune Doe had written and recorded with the Flesh Eaters, appearing on the flipside. The group returned to the studio to cut more songs, including a handful of new compositions, and in April 2020, after X were forced to cancel touring plans due to the COVID-19 pandemic, they offered their fans a consolation prize in the form of Alphabetland, a ten-song album that recaptured the sound and spirit of their celebrated early recordings.
Biography by Mark Deming
There are other artists with the same name:
2: X (Australia)
The Australian band called X, formed in 1977 by Rose Tattoo bassist Ian Rilen and Steve Lucas. They initially called themselves Evil Rumours. Their debut LP Aspirations (recorded by the equally great Lobby Loyde) is a punk classic (and was later reissued in the US by the revered Amphetamine Reptile label). Search for it you will be glad you did. A couple of members passed away early in their career. Cathy Green became a permanent fixture on drums. They were being groomed for bigger things and their LP ...And More was to get a big push from the label (White) but there was "an incident" involving the label and although the album was released it was no longer a priority. Probably because of this the band has long periods of inactivity, but continue to play nearly 30 years later including May / June 2009 with legendary San Francisco punks Flipper. They have released many albums and have a great reputation for their live-shows! Sadly Ian Rilen passed away in late 2006 from cancer, but Kim Volkman has stepped up to the plate. Their 2nd LP At Home With You has been reissued on Aztec Music with a bonus live album. Their music has been covered by the New Bomb Turks and feedtime amongst others. The classic debut Aspirations has just been reissued by Aztec Music.
3: X (Japan)
Metal band from Japan, founded in 1982, X changed their name to X JAPAN in 1992-08, when HEATH joined the band. Releases until Jealousy / Say anything belong to X. Later releases belong to X JAPAN.
4. Czech punk band formed in 2003.
5. Bulgarian metal band
6. An alias of Australian DJ Deepforces
7. An alias of Terekke
8. X is Javon Johnson, an American hip-hop lyricist from Houston, TX.
WEEK END
X Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I hear a knock on the door 激しくせまる
失いかけた意識のなかで おまえがささやく
追いつめられた心溶かす 鈍色の肖像
切り刻まれた記憶を映しだす
咲き乱れた hateful black heart 心にせまる
研ぎ澄まされた transient feeling 人波の中
ヒステリックにざわめく風に 止まらない涙を
胸に抱きしめ 孤独を色どる
I've nothing to lose (love me till the end) except your heart
I've nothing to lose (love me till the end) except your heart
手首を流れる血をおまえの体に
絡みつけると一瞬のうちに 更みがえる記憶に視界を
閉ざされ笑いながら 逃げてゆくおまえの姿を
見つめる傷ついたオレが立っている
Weekend, weekend, weekend, weekend, I'm at my wits end
Weekend, weekend, weekend I'm at my wits end, weekend
I've nothing to lose (love me till the end) except your heart
I've nothing to lose (love me till the end) except your heart (no way out)
I hear a knock on the door 激しくせまる
失いかけた意識のなかで おまえがささやく
冷たい指先のばし 傷口に口づけ
赤く染まった凶気を抱きしめる
鏡を見つめながらふるえる体に
流れはじめた澄き通る血を 青白いおまえの心に
絡ませ幻覚に消えて行く最後の涙を
拾い集めて血の海にまどろむ
Weekend, weekend, weekend, weekend, I'm at my wits end
Weekend, weekend, weekend I'm at my wits end, weekend
I still love you, weekend
But I cannot carry on
手首を流れる血をおまえの体に
絡みつけると一瞬のうちに 更みがえる記憶に視界を
閉ざされ笑いながら 逃げてゆくおまえの姿を
見つめる傷ついたオレが立っている
Weekend, weekend, weekend, weekend, I'm at my wits end
Weekend, weekend, weekend I'm at my wits end
Weekend, weekend, weekend, I'm at my wits end
Weekend, weekend, weekend, I'm at my wits end
Weekend, weekend, weekend, I'm at my wits end
Weekend, weekend, weekend, I'm at my wits end
Weekend, weekend, weekend, I'm at my wits end
Weekend, weekend, weekend, I'm at my wits end
Weekend, weekend, weekend, I'm at my wits end
Weekend, weekend, weekend, I'm at my wits end, weekend
失いかけた意識のなかで おまえがささやく
追いつめられた心溶かす 鈍色の肖像
切り刻まれた記憶を映しだす
咲き乱れた hateful black heart 心にせまる
研ぎ澄まされた transient feeling 人波の中
ヒステリックにざわめく風に 止まらない涙を
I've nothing to lose (love me till the end) except your heart
I've nothing to lose (love me till the end) except your heart
手首を流れる血をおまえの体に
絡みつけると一瞬のうちに 更みがえる記憶に視界を
閉ざされ笑いながら 逃げてゆくおまえの姿を
見つめる傷ついたオレが立っている
Weekend, weekend, weekend, weekend, I'm at my wits end
Weekend, weekend, weekend I'm at my wits end, weekend
I've nothing to lose (love me till the end) except your heart
I've nothing to lose (love me till the end) except your heart (no way out)
I hear a knock on the door 激しくせまる
失いかけた意識のなかで おまえがささやく
冷たい指先のばし 傷口に口づけ
赤く染まった凶気を抱きしめる
鏡を見つめながらふるえる体に
流れはじめた澄き通る血を 青白いおまえの心に
絡ませ幻覚に消えて行く最後の涙を
拾い集めて血の海にまどろむ
Weekend, weekend, weekend, weekend, I'm at my wits end
Weekend, weekend, weekend I'm at my wits end, weekend
I still love you, weekend
But I cannot carry on
手首を流れる血をおまえの体に
絡みつけると一瞬のうちに 更みがえる記憶に視界を
閉ざされ笑いながら 逃げてゆくおまえの姿を
見つめる傷ついたオレが立っている
Weekend, weekend, weekend, weekend, I'm at my wits end
Weekend, weekend, weekend I'm at my wits end
Weekend, weekend, weekend, I'm at my wits end
Weekend, weekend, weekend, I'm at my wits end
Weekend, weekend, weekend, I'm at my wits end
Weekend, weekend, weekend, I'm at my wits end
Weekend, weekend, weekend, I'm at my wits end
Weekend, weekend, weekend, I'm at my wits end
Weekend, weekend, weekend, I'm at my wits end
Weekend, weekend, weekend, I'm at my wits end, weekend
The song "Week End" by X begins with the sound of a knock on the door, which is described as growing fierce and urgent. The singer, who has almost lost consciousness, hears your voice whispering in the midst of it all. The song has an intense and chilling atmosphere that is heightened by the lyrics. The heart-wrenching words that follow describe a wounded heart that is pursued by hateful black feelings. The feelings are inescapable, like the relentless waves of people, which are described as hysteric and uncontrollable. Tears stream down the singer's face, and he is left with nothing to lose but to hang onto his love until the end.
The second verse opens with the singer describing the blood that flows from his wrist over his body and into yours, enabling him to glimpse his memory. He is wounded and stands waiting for you as you run away. The chorus repeats and amplifies the chorus of the song, indicating the ways in which the singer's sobs make him feel as if he is losing his mind. The repeated words, "Week End," suggest a deep sense of pain and frustration that is brought on by the end of the week, while the lyrics also suggest that it is time to move on.
Line by Line Meaning
I hear a knock on the door 激しくせまる
Someone is knocking on the door and it's getting more and more intense.
失いかけた意識のなかで おまえがささやく
In my almost lost consciousness, I hear you whispering.
追いつめられた心溶かす 鈍色の肖像
The portrait of my despaired heart melts away.
切り刻まれた記憶を映しだす
Reflecting the fragmented memories.
咲き乱れた hateful black heart 心にせまる
The hateful black heart is intensely approaching my own heart.
研ぎ澄まされた transient feeling 人波の中
Amid the bustling crowd, the intense temporary feeling sharpens.
ヒステリックにざわめく風に 止まらない涙を
Amid the hysterical wind, my unstoppable tears flow.
胸に抱きしめ 孤独を色どる
Embracing the loneliness that colors my heart.
I've nothing to lose (love me till the end) except your heart
I have nothing left to lose except your love.
手首を流れる血をおまえの体に
The blood flowing from my wrist touches your body.
絡みつけると一瞬のうちに 更みがえる記憶に視界を
Entwined, in a flash, my memories resurface in my sight.
閉ざされ笑いながら 逃げてゆくおまえの姿を
You smile, closed off, as you run away.
見つめる傷ついたオレが立っている
I, wounded, stand watching.
Weekend, weekend, weekend, weekend, I'm at my wits end
I'm reaching the end of my limit, weekend after weekend.
I still love you, weekend
I still love you, despite everything that's happened during the weekends.
But I cannot carry on
But I can't continue like this.
冷たい指先のばし 傷口に口づけ
Cold fingertips kiss the wound.
赤く染まった凶気を抱きしめる
Embracing the red-stained malice.
鏡を見つめながらふるえる体に
Looking in the mirror, my body trembles.
流れはじめた澄き通る血を 青白いおまえの心に
The clear and flowing blood fills your pale heart.
絡ませ幻覚に消えて行く最後の涙を
Entangled in illusions, my last tears disappear.
拾い集めて血の海にまどろむ
Gathering them together, I drift away in a sea of blood.
Lyrics © Sony/ATV Music Publishing LLC
Written by: Yoshiki
Lyrics Licensed & Provided by LyricFind
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@reorio
(1993.12.30)
TOKYO DOME 2DAYS LIVE
ROCK‘N‘ROLL Vol.81 (1994.1.27)
遂にXが帰ってきた‼︎
しかも新型Xとして、'93年をしめくくるにふさわしく12月30、31日の東京ドーム2DAYSにその復活した雄姿を現した‼︎この2DAYSを速報でお届けする‼︎
まさしく新型X元年となった'94年、今後に期待がつのる‼︎ Text:Yusuke Kato
〝X〟ではない〝新型X〟と題された復活祭。一体、どこがどう新しいのだろうか。
確かにこの2年間の活動をきっと振り返ってみるだけでも、彼らが大きく成長していることは容易に予想出来る。
HEATHの加入によるリズム隊の強化。全世界契約によるグローバルなスタンス。メンバー個々のソロ活動のフィード・バック。
そして、『Art of Life』の完成による第一期Xの終焉と新型Xの誕生。果して、新型Xはどこへ行こうとしているのだろうか。東京ドームの初日は視点を徹底的にその一点だけに絞ってレポートしたい。
オープニングSE「WORLD ANTHEM」から「Silent Jealousy」「Sadistic Desire」「Standing Sex」「WEEK END」までの前半は、曲順的にはさして目新しい変化はなかったが、新型Xを感じさせる瞬間が随所に散りばめられていた。
まず、HEATHのベース。アタック音を抑え低音をブーストしたブーミー・ベースはアタック命のYOSHIKIのドラムと見事なコントラストを生み出し、オブリガードではなくラインでキャラクターを醸しだすスタイルは限界BPMのリズムに心地よいグルーブを与えていた。それは後半演奏された「Celebration」のようなメジャー・ナンバーで顕著だった。このグルーブは世界進出の際にも大きな武器になるはずだ。
今回はこれまでのドームに比べてステージ・セットが非常にシンプルだったことも特筆すべき点だろう。YOSHIKIのデスマスクも巨大な目玉もなし。あるのはただステージ左右の大スクリーンとステージ上方の5分割スクリーンのみ。
それはメンバーの音楽性と肉体性だけで観客を魅了してやろうという5人の決意表明に他ならない。
確かにXが現在のポジションを獲得した理由のひとつに、ショウアップされたまるでサーカスのようなステージ・セットと演出が挙げられる。
しかし、それは同時にキワモノ的なイメージを生み出し、世界進出の際にはそんな小手先の技は通用しない。
ロックの本場ともいえるアメリカやイギリスのオーディエンスを納得させられるのは唯一本物の音楽性と本物の肉体性だけなのだから。
今回のシンプルなステージ・セットは、彼らが長い海外生活でそのことに気づいたことのなによりの証明なのだ。
ただ「WEEK END」のエンディングで観せたTOSHIの銃撃パフォーマンスは、曲のメッセージを具体的にビジュアライズさせた非常に効果的な演出だった。
銃弾に倒れるTOSHI。それは正しく髪を立てた第一期TOSHIの〝死と再生〟の儀式でもあった。生まれかわったTOSHIはもはや髪を立ててはいなかった。これは彼が『ハムレット』で表現の幅をもうひとつ広げた賜物だろう。メンバー個々のソロ活動が着実にフィード・バックされている証拠だ。
新型Xの最大の特徴はソロ・コーナーに集約されていた。本邦初公開のHEATHのベース・ソロは、アグレッシブでテクニカルなショウを観せてくれた。
アリーナ中央の特設ステージで行われたYOSHIKIのドラム・ソロは、ドラム・セットが上昇して回転するなど演出的には前回とほぼ同じながら、そのドラミングにさらに磨きがかかっていた。
毎回斬新なアイディアで驚かせてくれるHIDEのギター・ソロは、ステージ地下に組まれた『ツイン・ピークス』を彷彿とさせる真っ赤な部屋からスタート。ヌードダンサーをはべらせ、グランジ・ビートのSEに乗ってギターを弾き歌うは「Miscast」とソロ・シングル「DOUBT」。
スクリーンに写し出されるビデオ・ドラッグ風クリップ。これまで以上にシアトリカルでシニカルなキャラクターと、トレンドに敏感な音楽性とが全面に押し出されたショウだった。
そして、YOSHIKIのピアノ・ソロは、インプロビゼーションも短く、次に演奏された「Art of Life」へのプロローグというニュアンスが強かった。
ついに、その問題の「Art of Life」が演奏された。この2年間はすべてこの1曲のために費やされたといっても過言ではない大組曲。
激情のメロディー。スリリングなツイン・ギター。壮大なオーケストラ。目まぐるしく展開するアレンジ。第一期Xの終焉と新型Xの幕開けを飾るに十分すぎるナンバーだ。
途中のピアノ・パートでは、テーマを弾くYOSHIKIは実はダミーで、突然本物のYOSHIKIが現れて狂気の連弾が始まるというマジックも披露し、30分という時間の長さをまったく感じさせない一大スペクタクルだった。
「Celebration」「オルガスム」で本編が終了し、アンコールの1曲目はこれまた本邦初公開の「Tears」。「Endless Rain」「Say Anything」に勝るとも劣らない珠玉のバラードもまた新型Xの象徴だ。
「紅」を挟んで2回目のアンコールは「X」と「Endless Rain」。「X」では前途した音楽性と肉体性が大きなドームを軽く一蹴してしまう。「Endless Rain」の永遠に続くかのようなリフレインは、日本人だけでなく全世界共通の叙情性を持っていた。
全11曲、4時間に及ぶライブで新型たる所以をまざまざと見せつけてくれたX。一日千秋の思いで待ち続けたこの2年間が決して無駄ではなかったことが見事に証明された瞬間だった。
今こそ胸を張って彼らをこう呼ぼう、〝日本を代表するバンド、X JAPAN〟と。
@reorio
(1993.12.30)
TOKYO DOME 2DAYS LIVE
ROCK‘N‘ROLL Vol.81 (1994.1.27)
遂にXが帰ってきた‼︎
しかも新型Xとして、'93年をしめくくるにふさわしく12月30、31日の東京ドーム2DAYSにその復活した雄姿を現した‼︎この2DAYSを速報でお届けする‼︎
まさしく新型X元年となった'94年、今後に期待がつのる‼︎ Text:Yusuke Kato
〝X〟ではない〝新型X〟と題された復活祭。一体、どこがどう新しいのだろうか。
確かにこの2年間の活動をきっと振り返ってみるだけでも、彼らが大きく成長していることは容易に予想出来る。
HEATHの加入によるリズム隊の強化。全世界契約によるグローバルなスタンス。メンバー個々のソロ活動のフィード・バック。
そして、『Art of Life』の完成による第一期Xの終焉と新型Xの誕生。果して、新型Xはどこへ行こうとしているのだろうか。東京ドームの初日は視点を徹底的にその一点だけに絞ってレポートしたい。
オープニングSE「WORLD ANTHEM」から「Silent Jealousy」「Sadistic Desire」「Standing Sex」「WEEK END」までの前半は、曲順的にはさして目新しい変化はなかったが、新型Xを感じさせる瞬間が随所に散りばめられていた。
まず、HEATHのベース。アタック音を抑え低音をブーストしたブーミー・ベースはアタック命のYOSHIKIのドラムと見事なコントラストを生み出し、オブリガードではなくラインでキャラクターを醸しだすスタイルは限界BPMのリズムに心地よいグルーブを与えていた。それは後半演奏された「Celebration」のようなメジャー・ナンバーで顕著だった。このグルーブは世界進出の際にも大きな武器になるはずだ。
今回はこれまでのドームに比べてステージ・セットが非常にシンプルだったことも特筆すべき点だろう。YOSHIKIのデスマスクも巨大な目玉もなし。あるのはただステージ左右の大スクリーンとステージ上方の5分割スクリーンのみ。
それはメンバーの音楽性と肉体性だけで観客を魅了してやろうという5人の決意表明に他ならない。
確かにXが現在のポジションを獲得した理由のひとつに、ショウアップされたまるでサーカスのようなステージ・セットと演出が挙げられる。
しかし、それは同時にキワモノ的なイメージを生み出し、世界進出の際にはそんな小手先の技は通用しない。
ロックの本場ともいえるアメリカやイギリスのオーディエンスを納得させられるのは唯一本物の音楽性と本物の肉体性だけなのだから。
今回のシンプルなステージ・セットは、彼らが長い海外生活でそのことに気づいたことのなによりの証明なのだ。
ただ「WEEK END」のエンディングで観せたTOSHIの銃撃パフォーマンスは、曲のメッセージを具体的にビジュアライズさせた非常に効果的な演出だった。
銃弾に倒れるTOSHI。それは正しく髪を立てた第一期TOSHIの〝死と再生〟の儀式でもあった。生まれかわったTOSHIはもはや髪を立ててはいなかった。これは彼が『ハムレット』で表現の幅をもうひとつ広げた賜物だろう。メンバー個々のソロ活動が着実にフィード・バックされている証拠だ。
新型Xの最大の特徴はソロ・コーナーに集約されていた。本邦初公開のHEATHのベース・ソロは、アグレッシブでテクニカルなショウを観せてくれた。
アリーナ中央の特設ステージで行われたYOSHIKIのドラム・ソロは、ドラム・セットが上昇して回転するなど演出的には前回とほぼ同じながら、そのドラミングにさらに磨きがかかっていた。
毎回斬新なアイディアで驚かせてくれるHIDEのギター・ソロは、ステージ地下に組まれた『ツイン・ピークス』を彷彿とさせる真っ赤な部屋からスタート。ヌードダンサーをはべらせ、グランジ・ビートのSEに乗ってギターを弾き歌うは「Miscast」とソロ・シングル「DOUBT」。
スクリーンに写し出されるビデオ・ドラッグ風クリップ。これまで以上にシアトリカルでシニカルなキャラクターと、トレンドに敏感な音楽性とが全面に押し出されたショウだった。
そして、YOSHIKIのピアノ・ソロは、インプロビゼーションも短く、次に演奏された「Art of Life」へのプロローグというニュアンスが強かった。
ついに、その問題の「Art of Life」が演奏された。この2年間はすべてこの1曲のために費やされたといっても過言ではない大組曲。
激情のメロディー。スリリングなツイン・ギター。壮大なオーケストラ。目まぐるしく展開するアレンジ。第一期Xの終焉と新型Xの幕開けを飾るに十分すぎるナンバーだ。
途中のピアノ・パートでは、テーマを弾くYOSHIKIは実はダミーで、突然本物のYOSHIKIが現れて狂気の連弾が始まるというマジックも披露し、30分という時間の長さをまったく感じさせない一大スペクタクルだった。
「Celebration」「オルガスム」で本編が終了し、アンコールの1曲目はこれまた本邦初公開の「Tears」。「Endless Rain」「Say Anything」に勝るとも劣らない珠玉のバラードもまた新型Xの象徴だ。
「紅」を挟んで2回目のアンコールは「X」と「Endless Rain」。「X」では前途した音楽性と肉体性が大きなドームを軽く一蹴してしまう。「Endless Rain」の永遠に続くかのようなリフレインは、日本人だけでなく全世界共通の叙情性を持っていた。
全11曲、4時間に及ぶライブで新型たる所以をまざまざと見せつけてくれたX。一日千秋の思いで待ち続けたこの2年間が決して無駄ではなかったことが見事に証明された瞬間だった。
今こそ胸を張って彼らをこう呼ぼう、〝日本を代表するバンド、X JAPAN〟と。
@user-xe4op5fc6k
本當 說明 詳 sorry, I hope you know what I mean, I can speak Japanese very well, but 私 電話 日本語 入力 不能，sorry, I like your video very much 。
@user-cf6fp5po5f
สุดยอดครับ
@IlllllllIIIIIIl
1993년도에 이런 노래가 나왔던 일본은 대단하긴 하네
@user-rm5ug5vf4r
🤟🤟太给力了
@user-rm5ug5vf4r
@@user-xe4op5fc6k 好好锻炼日语，我的日本语也不行
@user-fb2pc3mr3j
やっぱカッコよくて、令和5年でも観てしまいました😋
@user-qs9ow8ls8k
同じく❤
@user-sc5oy2es3y
何曜日なんだよ…………
ぁ？数め……人々を見たて
参考にならない……
@user-md2uk8sh3j
カッコ良すぎて、
鳥肌が立つわ！
伝説だよなー！
X Japan！