[專訪] Guitar World 2011年10月號(2/3)

看板RHCPs作者nosweating (反骨)時間13年前 (2011/09/10 01:18)推噓2(2推 0噓 5→)

留言7則, 3人參與討論串1/1

雜誌掃圖： http://ppt.cc/,sTz http://ppt.cc/qmEa http://ppt.cc/_gb3 http://ppt.cc/O_J( As a player, Klinghoffer is a bit more minimal than Frusciante, and he provides Flea with plenty of space to soar on I’m With You. The disc contains some of the bassist’s best work ever. His heavily processed, envelope-filtered breakdown in the aforementioned “Goodbye Hooray” is positively Entwistle-esque in its technical mastery and thunderous majesty. The hyperkinetic yet supple and melodic lines he weaves through the last chorus of “Brendan’s Death Song” are low-frequency poetry. 身為一名吉他手，Josh比起John更為抽象，而他在新專輯中提供了更多的空間，讓Flea去揮灑。這張專輯包含了這位貝斯手有史以來最棒的呈現。在之前提到過的"Goodbye Hooray"中，他的heavily processed與envelope-filtered breakdown，無疑是John Entwistle式的純熟技巧。而這等亢奮也能轉成"Brendan’s Death Song"中的柔軟與優美。 “I feel lucky that I got to watch him do that song over and over again while writing and recording,” Klinghoffer says. “And take after take, what he played was different every time. But always real free and just totally going for it. He’s very melodic and very rhythmic at the same time. That’s what he ’s amazing at.” Josh說：「可以在寫歌與錄歌的時候，看著他一次又一次彈奏那首歌，我覺得很幸運。然後他的每一次的呈現卻又都不相同。卻都還是相當奔放與專注。他可以同時極具旋律感又極具節奏感。這就是他最讓人讚嘆的地方。」 Flea’s harmonic inventiveness was fuelled further by a study of chordal theory that he undertook for two semesters at USC during the downtime between Stadium Arcadium and the new album. “Flea’s really got his head around the theory of chords, and how chords work.” Anthony Kiedis says. “But inevitably he’ll sit down at the bass and say, ‘Josh, what’s the diminished note in this minor something or other?’ And without even taking a breath Josh will say what it is. It sounds like Josh has been to school for that, which he hasn’t. He just has that information at his fingertips, being a lover of chords.” Flea的和諧創造力是在南加大花兩個學期研究和弦理論學得的。AK說：「Flea真的很投入在那些和弦理論，以及如何運用上。然而不可避免的，他還是會坐在貝斯前，說：『Josh，在這個小調裡的半音音符叫什麼？」然後Josh想也不用想的就回答他了。聽起來好像Josh早就去學校學過了似的，然而他卻沒有。他就是從他的指間學到這些東西，一個跟琴弦彈戀愛的人。」 Klinghoffer is a deeply intuitive musician. He’s a bit cagey about his influences, saying only that he figured out any and every piece of music he could when he was young. “I barely considered myself a guitar player a lot of the time.” he says. “For a long time I was working on a lot of modular synthesizer gear that John Frusciante and I got into together. Before that I was playing piano a lot. But as far as where my chordal sensibility comes from, I have no idea. I’m just always trying to make some combination of notes that you’ve never heard before, something that makes your heart and your brain move at the same time.” Josh是一個直覺式的音樂人。談到對他的影響時，他顯得有些謹慎，僅說了他還小時，他盡他所能地去學習每一樣東西。他說：「很多時候我都不覺得自己是個吉他手。很長一段時間，我花很多時間在模組合音器 (modular synthesizer)，我和John一起。在那之前我則是專注在鋼琴上。說到我的和弦敏感度是從何而來，我沒法解釋，我只是想要把各個音符組合成一些你從未聽過的東西，讓你的心與腦袋同時悸動的東西。」 A mutual absorption in the piano and its harmonic possibilities was another thing that forged a bond between Flea and Klinghoffer during the making of I’ m With You. “I’d never dipped my foot in the academic world of music before, ” Flea says. “I’d always been going mostly on emotion and intuition. But because of having to do my homework, like analyzing Bach and stuff, I started to sit at the piano and I started to get into playing the piano and writing songs on piano. So I wrote a lot for the record on piano. And so did Josh. What’s cool is not so much that we have a lot of piano on the record, which we do, but also what happens when you take something written on piano and reinterpret it for bass, drums and guitar. Just the act of reinterpretation in itself really made the creative process a lot different.” 製作新專輯的過程中，對鋼琴的迷戀以及鋼琴帶來的和聲的可能性，是另一個連結Flea與 Josh的共同點之一。Flea說：「我一向都是仰賴我的情感與直覺。但因為我要做學校作業，像是分析巴哈，於是我就開始坐在鋼琴前，開始投入在彈琴以及用鋼琴寫歌的這些事情上。所以我用鋼琴位專輯寫了不少歌。Josh也是。最酷的地方在於，專輯中鋼琴的份量雖不像我們創作時那樣多，而是將用鋼琴寫成的東西，以貝斯、鼓和吉他重新詮釋的過程。重新詮釋的這個動作，就足以讓創作過程有很大的不同。」 One other bonding experience that Klinghoffer and Flea shared, and which had a considerable impact on I’m With You, was a trip to Ethiopia. “It was awesome, but physically taxing,” Klinghoffer notes. “It was like a musical field trip, a musical tour around the country, from villages that each had their own dance style to a four-in-the-morning Christian church service, while Muslim prayers were being shouted through loudspeakers outside. It’s pretty amazing. There are three major religions there, all working in harmony. ” 另一個兩人共有，而也同樣對新專輯產生影響的體驗則是衣索比亞的旅行。Josh指出：「很棒的體驗，但是也很累。有點像是繞行全國的音樂體驗之旅，從每個小村莊都有自己獨特的舞蹈，到清晨四點的基督教教堂的禮拜，同時間穆斯林教徒的擴音器也在放送著。真的很不可思議。那裡同時存在三種宗教信仰，而且彼此間非常和諧。」 “I’d gone to Nigeria with the same group of people the year before,” Flea adds. “The vibe was so just so good. Every night we went out and saw this amazing music. We jammed with all these Ethiopian dudes. That was the thing, man, just playing with the Africans. Just digging the scene.” Flea補充：「前一年我跟同一群人去了奈及利亞。感覺很棒。每個晚上我們都會出去體驗那些美妙的音樂。我們和當地人一起jam，不可思議吧，我們跟非洲人一起玩音樂。想像一下那畫面吧。」 The trip impacted several songs on the album, perhaps most notably the song “ Ethiopia,” which features a conga-driven sax break played by the great jazzman Joshua Redman. Another track, “Did I Let You Know?,” boasts an A fro-jazzy groove and trumpet solo by Mike Bulger. Touches like these make I’ m With You perhaps the most jazz-inflected album in the RHCP canon. “We love so many different kinds of music,” Flea says. “It would be silly to limit ourselves.” 這趟旅程影響了新專輯中不少歌曲，最主要的還是"Ethiopia"，它包含了由傑出的 Joshua Redman吹奏的康茄風格的薩克斯風。另一首"Did I Let You Know?"則包含 Afro-jazzy式的節奏，以及Mike Bulger跨刀演出的小喇叭solo。有著這些要素，"I’m With You"或許是紅椒專輯中最具爵士樂風格的一張專輯。Flea說：「我們喜歡各種不同的音樂，畫地自限是最笨的事了。」 With so much inspiration in the air, the songs began to coalesce quickly and plentifully at the Red Hot Chili Peppers’ North Hollywood rehearsal space. “ We almost always start the day by jamming,” Anthony Kiedis says, “whether it ’s to find song ideas or just loosen up the machinery. And most of the time, something striking pops up. I also felt like we had the benefit of a surplus of song ideas that Josh had that maybe hadn’t fit into any of his previous musical endeavours. He would come in with these songs that were incredibly beautiful and unique to him, and I felt like maybe they’d been stored in one of his archives for just such an occasion.” 有了這麼多來自週遭的靈感，歌曲們也就很快速且大量的結合出來。AK說：「我們幾乎每天都是以jamming開始，不論是要尋找歌曲靈感或是只是放手一搏。很多時候，東西就這樣冒了出來。我也覺得我們從Josh過剩的創作靈感中獲得益處，那些或許不適合於他過去所做的音樂嘗試。他帶著那些相當美麗且獨特的歌曲而來，而我則覺得或許這些歌就是為了我們這個機會而保留下來的。」 “That’s absolutely right.” Klinghoffer confirms. “I’ve been writing and writing for years and years. I don’t always finish things; it takes too long to finish them sometimes. But there were many of those ideas that worked in this context, that Anthony worked on. There were almost too many.” Josh附和說：「完全沒錯。我已經寫歌寫了相當多年了。我不是每次都能把它們完成，有時實在花太久去完成它們。但其中很多靈感在這個時候，AK創作的過程中，是管用的。實在是太多了。」 “The chalkboard filled up quickly,” Kiedis says. “We have a tradition of putting up this massive chalkboard and writing down songs that are at least partially solidified.” AK說：「黑板一下就寫滿了。我們有寫黑板的慣例，把這些歌寫下來讓它至少有部份開始成形。」 The band did take one break from songwriting, on January 9, 2010, to play a MusicCares tribute to Neil Young in L.A. This debut gig for the new Chili Peppers lineup took place in front of a star-studded audience that included Elton John, Leon Russell and of course Neil Young himself. “We chose to do a song of Neil’s that didn’t necessarily come easy,” says Kiedis. “We did ‘ A Man Needs a Maid,’ which is at the highest possible end of my register, on a good day. The original was done with an orchestra, so it was a challenge to rearrange it for a rock hand.” 在2010年1月9號，他們從寫歌的過程中休息一會，在MusicCares演出以向Neil Young致敬。這是新紅椒的首次登台，在觀眾面前表演，觀眾席中包含了Elton John、Leon Russell ，以及，當然Neil Young本人。AK說：「我們決定演出一首Neil的歌，那不算容易。我們演出了"A Man Needs a Maid"，挑戰我的最高音域。原始版本是管弦樂版，所以要把它轉變成搖滾型態確實是個挑戰。」 “All four of us were preoccupied with getting the song right, rather than focusing on anything else,” Klinghoffer adds. “Especially with Neil right there. None of us knew where he was in the audience. But right after we were walking out, I saw him.” Josh補充道：「我們四個人都全神貫注地要把這首歌做好，沒去想其他的。尤其當晚Neil在場。不過我們當時並不知道他在觀眾席。結束之後，我們走出去就碰見他了。」 “Elton gave us a little pep talk beforehand.” Kiedis recalls. “He very amusingly referred to Chad as ‘handsome.’ Not that Chad isn’t handsome, but Elton actually called him ‘handsome’ Like, ‘What’s up, handsome?’ It was exciting, but just a little deviation from our work in North Hollywood, where we were showing up every day with this real blue-collar work ethic, punching the clock and trying to create this record.” AK回想說：「艾爾頓強在開始前跟我們講了些鼓勵的話。他打趣地稱了Chad為『帥哥』。不是說Chad 不帥，而是強叔真的叫他『帥哥』，有點像是『你怎麼樣呀，帥哥？』演出很有趣，只是有點從寫歌裡分心了。我們每天都像工人一樣，準時上班好做出一張專輯。」 Once songwriting was complete, the band did a few weeks of preproduction at Big Sur in Northern California. They worked at Red Barn, a recording studio that belongs to Beach Boys member Al Jardine. The experience was particularly inspirational for Klinghoffer. “We walked in and there’s the white piano that I have a photograph of Brian Wilson playing,” the guitarist says. “I have that photo up on my piano at home. So it was really cool to see Brian’s actual piano.” 當歌都寫完了，樂團在北加州的Big Sur做了幾個星期的試錄。他們在Beach Boys之一的 Al Jardine的Red Barn中工作。那段過程確實鼓舞了Josh，他說：「我們進去，裡面有一座白色的鋼琴，我有一張Brian Wilson彈琴的照片，那張照片就掛在我家我的鋼琴上。所以可以看見Brian Wilson的鋼琴實在太酷了。」 With preproduction complete, the band adjourned to East West Studios in L.A., where they began tracking with their longtime producer, Rick Rubin. East West was formerly the legendary Ocean Way studio, which before that was the even more legendary United Western, site of many historic recordings by luminaries like Ray Charles, the Beach Boys, the Rolling Stones, Tom Petty, Bob Dylan, Radiohead and many others. These days, somewhat sadly, the studio is mainly used to record instrumental samples for sound libraries, but the Red Hot Chili Peppers rocked those hallowed halls with some good old-fashioned live tracking sessions. 當試錄完成後，樂團便移師到洛杉磯的East West Studios，與長年合作的製作人Rick Rubin碰面。East West的前身是傳奇的Ocean Way studio，在更之前則是更傳奇的 United Western，許多史上著名的專輯，像是雷查爾斯、海灘男孩、滾石、Tom Petty、鮑布狄倫、電台司令等都在此錄製過。而現在，不知怎麼的，這間錄音室竟然只用來位音效庫錄製一些樂器樣本。但是，紅椒們用了一些復古的現場曲目，搖滾了這個空盪的殿堂。 “Our whole thing is that we track all live together in a room.” Flea says. “Which is becoming a lost art in rock music. It’s ridiculous. Everyone is piecing shit together, you know? But for us it’s all about the feel. The feel is everything. We’d much rather have something that has some mistakes in it that we all played together and there’s a magic feel in it, as opposed to getting it all perfect.” Flea說：「我們就是錄下房間裡所有的現場演出。這是搖滾樂中喪失已久的技藝。實在很荒謬。每個人都在湊東西。但我們只在乎感覺。感受才是一切。我們寧可保留當我們一起演奏時產生的失誤，因為那其中包含了當下的感覺，而不是要湊到完美為止。」 Klinghoffer relied on two guitars for tracking: a reissue 1957 Fender Custom Shop Telecaster that had originally belonged to John Frusciante and an early Fifties Fender Stratocaster borrowed from Chad Smith. “I never had a really good Strat,” Klinghoffer says, “so I borrowed Chad’s. It’s hard to play with the Chili Peppers and not rock a Strat. For tracking, I kept things simple with those two guitars. The Tele and the Strat are both very even-sounding guitars. In some cases I wasn’t sure what direction the overdubs would go in, or those guys would call out a song and we’d just go for it. I knew the Strat or Tele would sound good somewhere in the mix.” Josh利用兩把吉他錄音：一把是再版的1957年的Fender Custom Shop Telecaster，本來是John的；以及一把五零年代的Fender Stratocaster，這把則是Chad的。Josh說：「我一直沒有一把好的Stratocaster，所以我就跟Chad借。在紅椒裡沒有一把 Stratocaster實在很難搖滾起來。錄音時，我希望簡潔為上，所以只用兩把吉他。Tele 和 Strat的聲音都很一致。有些時候，我不確定疊錄的位置或是其他部分的變化，就是放手一搏。因為我知道不管是Tele 或 Strat，在混音中聽起來都會很棒。」 For basic tracks, the Strat and Tele went through a 200-watt Marshall Major— the same kind of amp that John Frusciante used with the Chili Peppers-with one 4×12 Marshall cab. When it came time to do overdubs, however, Klinghoffer brought a much wider array of gear into play. He’s something of a compulsive guitar shopper and lover of funky old junk. 在初始的錄製中，Tele 和 Strat會經由一個200瓦的Marshall Major，這也是John在紅椒中使用過的同款擴大器。當要進行疊錄時，Josh帶來了更多設備來彈奏。他可以算是有買吉他強迫症，而且特別偏愛古董。 “I do a lot of looking on the internet,” he says. “A lot of eBay and stuff like that. I just love cheap guitars. I have a lot. I couldn’t even tell you how many. I like having guitars all over the house. I’m starting to buy ones that match the colors of my walls.” Josh說：「我多半在網路上找，像是eBay那些的地方。我就是喜歡便宜的吉他。我有很多。我沒法說有多少。我喜歡把吉他放滿整個屋子。我開始再找一把可以匹配我牆壁顏色的吉他。」 An old Magnatone is one of Klinghoffer’s favorite thrift-shop specials. It accounts for the oddly muted rhythm guitar tone on the song “Take Me Home.” There’s a kind of pathos to the sound that contributes greatly to the overall emotion of the song. “T wrote that one part on that Magnatone,” Klinghoffer says. “And I said, ‘When it comes time to record that song, it ’ll be on that guitar. And sure enough, it sounded great.” 一把古老的Magnatone是Josh的從便宜小店找到的最愛之一。在"Take Me Home"這首歌中，製造了一種奇特的柔和節奏吉他的音調。主要架構了這首歌的情感。Josh說：「我用Magnatone寫了那個部份。然後我說：『如果哪天要正式錄這首歌，一定要用那把吉他。』一定的，因為聽起來很棒。」 But Josh Klinghoffer is a fan of more upscale vintage gear as well, such as his early Sixties Fender Jaguar. He also has a Fender 12 and Bass VI. Another key guitar used on the Red Hot Chili Peppers album was a Gibson Firebird of 1963 or 1964 vintage. “That was my big extravagant purchase,” Klinghoffer says. “A three-pickup Firebird. It’s a monster.” 但Josh也同樣是悠久高階設備的粉絲，像是他的Sixties Fender Jaguar。他也有Fender 12和Bass VI。另一把專輯中的主要吉他是Gibson Firebird，1963或64年份。Josh說：「那是我最奢侈的一把。一個有三個拾音器的Firebird，絕對是怪獸。」 For overdubs, his guitars were routed via a Radial Engineering switcher to seven different amps: his Marshall Major, 1959 Fender Deluxe. 1958 Fender Super Reverb, Fender Super Six, Gibson Falcon combo amp, Silvertone Twin Twelve and Ampeghead with Orange cabinets. The latter rig was brought in by one of the session engineers. “We would find tones by combining amplifiers and different mics in the room.” Klinghoffer says. “We would usually blend between three and five of the amps.” 疊錄時，他的吉他會經過Radial Engineering轉接器到七個不同的amp上：他的Marshall Major、1959 Fender Deluxe、1958 Fender Super Reverb、Fender Super Six、Gibson Falcon combo amp、Silvertone Twin Twelve 以及 Ampeghead with Orange cabinets。最後的一個是場地工程師買的。Josh說：「我們在房間結合不同的麥克風與擴大器，以尋找音調。我們多半會混用三個和五個擴大器。」 Another gear preference that Klinghoffer has inherited from Frusciante is a fondness for the Ibanez WH-10 wah pedal. “It’s this cheap, Eighties plastic wah, and they often break,” he says. “They’ve become harder to find.” The guitarist also digs the Mid-Fi Electronics Clari(not) fuzz/pitch bender, which can be heard on the song “The Adventures of Rain Dance Maggie.” Josh Klinghoffer has also adopted John Frusciante’s predilection for treating guitar sounds through modular synth gear. “But on this album, I didn’t do as much treating of the guitar as I thought I would,” he says. “We had a lot of material and were focused on getting the guitars down on that. And when we got to mixing, the guitars didn’t seem to need much in the way of treatments.” 另外一個Josh從John那邊繼承而來的設備是，Ibanez WH-10 wah pedal。他說：「他很便宜，八零年代的塑膠踏板，還很常故障。但現在很難找到了。」他同時也使用Mid-Fi Electronics Clari(not) fuzz/pitch bender，你可以在"The Adventures of Rain Dance Maggie"中聽到。Josh同時也接收了John的偏好，透過合成器改變吉他的聲音。他說：「但是在這張專輯哩，我沒有像我之前以為的，做出那麼多變化。我們有很多材料，所以便專注在讓吉他去紀錄那個過程。然後到了混音，吉他聽起來也不需要再做變化了。」 One of the pleasures of listening to I’m With You is the great variety to be found in the guitar solos. Each has a distinctly different tone and vibe. “ When something calls for a solo.” Klinghoffer says, “it’s important to approach it in different ways and hopefully do what the song calls for, rather than having just one thing that you do. Solos are pretty free in this band. John always did something different every time. That’s the best part of seeing them live. You stretch when a solo comes. It’s unlike me to write out a solo.” 聆聽新專輯的享受之一是，你可以找到相當多變的吉他solo。每個都有截然不同的音調與感受。Josh說：「當應該solo的時候，把它以不同的方式呈現，以符合歌曲本身是很重要的，而不是只是做你能做的。樂團中的solo是很奔放的。John每次都可以彈出不一樣的東西。這是他們現場演出中最棒的部份。自然而然的就把solo展現出來了。不像我的solo是要用寫的。」 For all the different colors and moods that Klinghoffer brings, I’m With You is still unmistakably a Red Hot Chili Peppers album. A lot of that is down to Flea and Anthony Kiedis, the band’s founding members. Each is a distinctive stylist and a key component in the Red Hot Chili Peppers’ sonic identity. Flea provides the band’s profoundly funky bottom end, and Kiedis goes over the top, as it were, with staccato, rap-inflected vocal phrasing, and a plaintive sense of melody. With these elements firmly in place, there’s a vast expanse of aural space for the band’s ever-changing cast of guitarists to roam, each leaving his mark. As long as Flea and Anthony Kiedis are there, it’s always going to be the Red Hot Chili Peppers. 有了Josh帶來的這些不同風格與基調，"I’m With You"仍然是一張紅椒專輯。主要歸功於Flea與AK，這樂團的創始成員。兩人都是樂團風格上的特色與主要成分。Flea為樂團提供了深刻的放克基底，而AK則透過rap式的唱法將它帶到高點。只要這些元素穩固，就有遼闊的空間讓不斷變化的吉他手們去揮灑，留下他們的印記。只要Flea與AK還在，嗆辣紅椒就會存在。 “In that sense, I think the band existed long before we ever had a band,” Flea reflects, “Anthony and I started being friends when we were 15, and we were pretty much inseparable, running around on the streets together, getting into trouble and connecting in pretty important ways.” Flea說：「我想樂團早在它成立之前就存在了。AK和我在15歲時成了朋友，我們密不可分，成天一起在街上鬼混，惹事生非，我們之間有很密切的連結。」 A lot of water has gone under the bridge since then. The punk funk cutups who disrupted the Eighties have become elder statesmen of rock. In a way, I’m With You’s reflective mood of romantic melancholy seems an acknowledgment of that. Departed friends are remembered. And several songs are peopled by characters who have weathered the passage—and indeed, often the ravages—of time. But there’s a sense of renewal as well, reflecting the Red Hot Chili Peppers’ ability to reinvent and reinvigorate themselves, take on new blood and keep moving forward. In one of I’m With You’s most resolutely upbeat songs, “Happiness Loves Company,” Anthony Kiedis sings, “Young love keeps pumpin’ in the streets of L.A.” And so, indeed, do the Red Hot Chili Peppers. 世事一直不停變化。龐克放克的小夥子脫離的八零年代，變成更為成熟的搖滾形式。"I’ m With You"反映出來的情境似乎是在感念那段過往。逝去、分離的朋友將永銘在心。然而有些歌曲講述隨著時間凋零的角色，時間的惡果。然而其中也有反應嗆辣紅椒們的重新發想與創造的復甦感。新專輯中最為歡樂的歌曲"Happiness Loves Company"，AK唱著 'Young love keeps pumpin’ in the streets of L.A.'。沒錯，這正是嗆辣紅椒。 “I think the energy of L.A. still makes it deeply into this record,” Anthony Kiedis says. “LA is too infinite to ever stop loving it. The more I change, the more I’m able to discover its different aspects. L.A. is the nucleus of Planet Earth. So much stuff is born in the smelly gasses of L.A. But I live on the outskirts of L.A. now, in another county, on the coast. So I guess I’m looking at it from a different angle now.” AK說：「我想洛杉磯的能量卻實深深影響了這張專輯。LA充滿無限的可能，你實在沒法不愛它。我越是改變，就越能發現它的不同面向。洛杉磯是地球的核心。好多東西從洛杉磯誕生。不過我現在住在洛杉磯的市郊，海岸上的另一個郡。所以我想我現在看它的角度又不一樣了。」 -- ※ 發信站: 批踢踢實業坊(ptt.cc) ◆ From: 27.147.0.144