萨姆·芬德 - 旁观者

您正在收听《歌曲拆解》，在这里音乐人将他们的歌曲逐段拆解，讲述创作背后的故事。我是Rishikesh Hirway。Sam Fender是来自英格兰北希尔兹镇的歌手兼词曲作者，曾两次获得英国音乐奖最佳摇滚与另类音乐艺人奖。他的最新专辑名为《People Watching》。

You're listening to Song Exploder, where musicians take apart their songs and piece by piece tell the story of how they were made. I'm Rishikesh Hirway. Sam Fender is a singer and songwriter from the town of North Shields in England. He won the Brit Award for best rock and alternative act twice. His most recent album is called People Watching.

就像他的前两张专辑一样，这张专辑也登上了英国专辑排行榜冠军。为了制作这张专辑，Sam邀请了格莱美获奖乐队The War on Drugs的主唱Adam Grandesil参与制作。在本期节目中，我将与Sam及其乐队成员Joe Atkinson聊聊专辑同名曲《People Watching》的创作历程——从Sam的厨房到好莱坞山，再到艾比路录音室的漫长旅程。能否请你们先做个自我介绍？

And just like his first two albums, it went to number one on The UK album charts. To help produce the album, Sam enlisted Adam Grandesil, the singer and frontman of the Grammy winning band, The War on Drugs. For this episode, I talked to Sam and his bandmate, Joe Atkinson, about the title track from people watching and the long journey that it took to get made from Sam's kitchen to the Hollywood Hills to Abbey Road. Could I just ask you each to introduce yourselves?

好的，我是Sam Fender。

Yeah. I'm Sam Fender.

我是Joe Atkinson，担任Sam的键盘手，同时在录音室协助他进行制作等工作。

I'm Joe Atkinson. I play keyboards for Sam and help him in the studio with the production and stuff like that.

没错，我们认识很多年了。

Yes. And we've known each other for ages.

你们最初是什么时候认识的？

Yeah. When did you first meet?

大概14岁吧。那时候我们各自在敌对的乐队里。

Probably 14. Yeah. We used to be in rival bands.

你们14岁的时候？

When you were 14 years old?

对。每当有本地乐队比赛，总是我们两支乐队对决。因为我们生活的北希尔兹——虽然我深爱这个全世界最棒的小镇——但它和音乐产业完全没关系，懂吗？

Yeah. If there was ever like a a local band competition, it would always be like us two pitted against each other. Because where we live, Northfields, it's like I love it. It's the best town in the world, but it's not connected to the music industry or anything. You know?

这是个渔港小镇。

It's a fishing town.

那时候，你们的关系主要是关于一起玩音乐，还是你们在其他方面也经常一起玩？

Back in those days, was your relationship mainly about playing music together, or did you hang out otherwise as well?

我觉得我们就像是一起长大的，你知道吗？是的。而且我们真的就像一家人。乔对我来说就像兄弟一样。

I think with us, it's like we all grew up together, you know? Yeah. And like, we are family really. Like, Joe is just like a brother to me.

那么，当《People Watching》的最初想法开始出现在你脑海中时，你的生活中发生了什么？

So what was happening in your life around the time when the first ideas for people watching started coming to you?

我当时回到了家，有一个非常非常亲近的人，她叫安妮·欧文。她是一名演员，就像是我的养母。她生病了，而且病了很久。

I was back home and somebody who was very, very close to me, she's called Annie Owen. She was an actor, and she was like my surrogate mother. She got sick and she was sick for quite a long time.

你是怎么第一次遇见安妮的？

And how did you first meet Annie?

我小时候，我奶奶觉得我太活跃了，应该让我参加一些能表达自己的活动。她在我13岁的时候把我送进了当地社区中心的表演班。我奶奶会付钱让我去上课，我记得大概只要五英镑。有些孩子甚至不用付钱。

So when I was a kid, my grandmother was like, he's hyper and we should put him in something that'll, you know, that he can express himself in and do some stuff. She put me in this local community center acting class when I was like 13. And that was like, my grandma would pay for that. And I think it was only like a fiver. And some kids actually didn't even pay.

安妮就像是社区的英雄。我第一次见到她时，自尊心很低，在学校被欺负，也没什么自信。她给了我几乎所有的自信。我小时候参加了很多小型的表演活动，比如社区剧院之类的，但这些让我能够站在舞台上做自己想做的事。我们还有很多计划，比如小时候我们计划搬到伦敦去，她说我们要在那里试试你的音乐和表演。

Like she was like a community hero, Annie. And I had quite a low self esteem when I first met her. I was getting bullied in school and I didn't really have a lot of confidence and she gave us pretty much, I think, all of the confidence that I have. So I did like loads of little bits of acting and stuff when I was a kid, like just sort of community theater stuff, but it made us be able to go on stage and do what we do, you know? And you know, there was loads of plans, like we had a plan, like when I was a kid, we were planning to move down to London and she was like, you know, we're gonna try out your music and your acting down there.

她总是非常支持我，她是我生命中第一个让我相信这可以成为一种职业的人。她总是说，你是个明星孩子。所以她对我意义重大。她成了我最好的朋友之一，即使后来我不再演戏了，二十多岁时我们还是非常好的朋友。我经常去她家，她的病情有时好一些，有时癌症得到控制。

She was always really supportive and she was the first person I think in my life to ever made me believe that this was like a viable thing to do as a career. You know, she was always like, you're a star kid. So she meant a lot to us, you know. She became like one of my best friends and even once the acting stuff stops, I was like still, you know, really good friends with her in my twenties. And I used to go around to hers and she had periods where she was a lot better and periods where like our cancer was under control.

说实话，我们大多数时候就是喝一瓶酒，然后闲聊。她总是说，你在获奖感言里从来不提我。你得了奖，却完全不提我的名字。我总是说，对不起。她会说，每次你获奖，第一个想到的应该是我。

You know, we used to just drink a bottle of wine and bitch, to be honest, like most of the time. She used to always go, you never mention me in any of these awards. It's like, you get an award and you don't mention my name at all. And I used to be like, well, I'm sorry. Like, she's like, I should be the first person you think of whenever you get an award for something.

我当时就说，哦，天哪。我……你知道吗？

And I was like, oh, Jesus. I'm I'm You know?

她是在开玩笑还是认真的

Was she joking or was she

噢，她是认真的。好吧，她是在开玩笑，但其中确实有她的成分。她当时就像，不，你看，她对这事是认真的。然后不是去年，而是前年，我基本上接到了我的另一位好友乔的电话，他也是她的门徒之一。他说，你知道，我觉得这事要发生了。

Oh, she was serious. Well, she was joking, but she was there was definitely an element of her. She was like, no, you see, she was serious about it. And then not last year, but the year beforehand, I basically got a call off my other good friend, Joe, who was also, like, one of her proteges. And he was like, you know, I think I think this is gonna happen.

这真的很奇怪，因为我去看她时，原本的计划是我要把她带出养老院，而她看起来精神不错。然后我想是有位医生进来，态度非常消极，之后她的状况就迅速恶化了。她说她不想一个人待着。所以我说，好吧，我会留下来。乔和我们可爱的侄女们也留了下来。

It was really bizarre because I went to see her, and the whole plan was I was gonna get her out of the care home, and she was seemed in fine spirits. And I think some doctor came in and basically was really negative, and she just started deteriorating really quickly. So she said, you know, she didn't wanna be alone. So I was like, well, we'll I'll stay. And so did Joe and and so did our wonderful nieces.

我们就睡在隔壁的椅子上，你知道，大概五天里轮流进出。会回家几个小时试着睡会儿，那真的非常非常辛苦，但也很美好。能在她生命的最后时刻陪在她身边是一种荣幸。是的，你知道，她是在我怀里去世的，我握着她的手。

We just slept on the chair next door, you know, for like five days in and out to try and do shifts. Would go home for a couple of hours to try and get some sleep, and it was really, really, like, grueling, but like beautiful thing. Like it was an honor to be able to be there with her at the very end, you know? Yeah. You know, she died in my arms, you know, like I held a hand.

然后，哇，我其实还没怎么谈过这件事。但最后一切都很美好。我有这段钢琴和弦进行。我有台从学校弄来的小钢琴，我们在琴键里塞了些Pentax让它听起来有金属感。

And then, woah, I just, you know what is, I haven't actually spoke about it. Like, yeah. And it was like but it was it was beautiful in the end. So I had this piano chord progression. And I've got this little piano which I got from, like, a school, and we just put a load of Pentax into the keys, which make it sound, like, metallic.

琴槌显然是金属击打金属的声音。很有打击感，非常明亮。对，有点像老式的honky tonk钢琴。

The hammers are obviously metal hitting metal. Percussive sound. Really percussive, really bright. Yeah. Kinda like an old honky tonk piano.

我把那钢琴放在厨房里。我当时想，这首歌是关于什么的？它肯定有含义。然后安妮去世了，我经历了所有那些事，突然意识到，哦，这是安妮的歌。我在手机上用GarageBand录了个demo，但没用麦克风什么的。

And I've got that in my kitchen. And I was like, what's this song about? It's definitely about something. Then Annie died, and I was like going through all of that, and then it was like, oh, it's Annie's song. I was doing a demo on my phone, my GarageBands, but I don't use a microphone or anything.

我没接任何设备，因为我对技术一窍不通。所以我就是不停地循环播放，录两小节钢琴然后复制粘贴。接着找个贝斯线。我通常先找个循环段落听着，然后歌词和旋律就会自然浮现。

I just I don't have it plugged into any gear because I'm, like, I'm, like, an idiot when it comes to tech. So I'll just go like and look and loop it like a bajillion bars. I'll record a piano for two bars and then just copy and paste that along. And then I'll find a bass. What I tend to do is find a loop so that I can listen to it and then eventually the lyrics come and the melody forms around it.

从养老院走回家时，我在观察路人，那算是我的逃避方式吧，看着人们经过，想象他们的生活。当时我显然在思考生死，想着这样一个重要人物即将离开这个世界，而一切仍在继续，世界照常运转，人们依然过着各自的生活，面对各自的困境。那时我也在想英国的情况，生活成本危机在新闻上频繁出现，我有些内疚，因为我们过得不错，而家乡很多人甚至难以喂饱孩子。所有这些思绪都在空气中飘荡。

When I walked back from the care home back to my house, I was people watching, you know, like that was my sort of escapism was just watching people pass by and seeing what was going on in their lives. And I was obviously thinking a lot about life and death at the time and how such a big character, like, was about to leave this plane of existence and how kind of, you know, everything just keeps moving, the world keeps turning, and everybody's still living their lives and going through their struggles. You know, and I think at the time, I was also thinking about Britain being, you know, the cost of living crisis was a lot in the news at the time and, you know, there was an element of guilt that I had because we're doing well and and a lot of the people that we know back home are, you know, struggling to even feed their kids. So, you know, it was all of that was kind of swimming in the in the Atmos.

乔，你还记得第一次听这个iPhone demo时的情形吗？

Joe, do you remember the first time you heard this iPhone demo?

是啊。我们进了录音室SuperSounds，Sam正在给我们播放，我们都惊呆了。我和Dean还有Drew也在场，我们都觉得，哇，这太棒了。

Yeah. We went into the studio, SuperSounds, and Sam was playing it to us, we were just like, wow. Me and Dean and Drew was there as well, and we were like, wow. This is awesome.

Sam，当你给他们播放样带时，关于Annie去世的那种悲痛和感受，当时还觉得新鲜吗？

Sam, when you played the demo for them, did the sort of grief and the feelings that you were feeling about Annie's passing, did they still feel fresh at the time?

是的，非常新鲜，因为那才发生在十一月。除了Annie，我们生活中也经历了不少死亡。

Yeah. It was mega fresh because it was only in November, you know. Aside from Annie as well, like, there'd been a lot of death Yeah. In all of our lives. Yeah.

所以我觉得乐队能产生共鸣，因为我们都有失去亲人和朋友的经历，我想这是我们作为艺术家处理这些事情、消化这些情绪的唯一方式。

So I think the band connected to it because we'd all kind of lost people and friends, and it was I think that's the only way we know how to sort of deal with these things and process these things as an artist. Like, that's how you deal with these things.

Joe，你知道Annie对Sam有多重要吗？

Joe, did you know how much Annie meant Sam?

遗憾的是，我从未见过Annie，但Sam总是满怀深情地谈起她，甚至在我们小时候，我记得他说过，我要去追求我的演艺事业，我想见Annie之类的话。所以，显然，这确实触动了我的心弦，因为我知道他们有多亲密。

Unfortunately, I'd never met Annie in my life, but Sam would always fondly talk about her, and even when we were kids, I remember him being like, I'm going to do my acting thing. I wanna see Annie and stuff. Yeah. Yeah. So obviously, it, you know, it it did strike a chord because I knew how close they were.

为什么选择Sleeper Sounds？你们为什么在那里工作？

And why Sleeper Sounds? Why were you working there?

那是个不错的创作空间，能让事情动起来。你坐在那里，灵感很快就来了。我喜欢快速工作，因为我觉得很多时候写歌要趁热打铁，否则就会失去那种能量和对歌曲的兴奋感。没有什么比追逐一首歌的感觉更棒了。

It's a decent space to just to write things and get things moving. Yeah. You know, you're just sat there doing it, and it it just comes together really quickly. And I like to work fast because I feel like a lot of the time with a song, you've got to strike while the iron's hot because if you don't, you lose that energy and that that excitement for the song. There's nothing better than when you're like it's like you're chasing a song.

感觉你总是在追逐它们，想着‘让我们进入下一部分’。好，录这段原声。

I feel like you're always chasing them down. You're like, let's get to the next bit. Right? Okay. Let's record this acoustic.

加点合成器音效。然后你想出了一个旋律，有点旋转的感觉。

Let's put some synths in. Then you came up with a melody, and it was just a little on the whirly.

这里是谁在打鼓？

Who's playing drums here?

是德鲁。是德鲁吗？

That's Drew. Is that what Drew?

是德鲁。对。

That's Drew. Yeah.

我能问问这首歌的节奏吗？考虑到歌曲的主题，我原以为可能会倾向于写成民谣或更缓慢的曲调，作为对悲伤的致敬。这似乎是个更自然的选择。是什么让你觉得这个节奏更适合你想表达的内容？

Could I ask you about the tempo of this song? Because given what the song's about, I could imagine an inclination towards, you know, writing something more like a ballad or just something much slower as a tribute to grief. I mean, like, that feels maybe like a natural place to go. Yeah. What was it about this kind of tempo that felt right to you about what you were writing about?

我想表现的是那种从悲伤中解脱的感觉，或者说进入接受悲伤的阶段。因为我当时极度渴望到达那个状态，也希望音乐能带我们到达那里。这么说可能有点装模作样，你懂我意思吧？

Well, I wanted it to be like that feeling of liberation when you're kind of getting over grief or like coming to the more accepting phase of grief. I think because I was so desperately wanting to get there myself, I wanted the music to get us there as well, like I suppose, you know. Yeah. Sounds wanky saying that, you know I mean?

一点也不。

It doesn't at all.

完全不会，是的。

Not at all, yeah.

安妮是个如此鲜活的人，我想要更欢庆的、充满喜悦感的音乐，因为她给这个世界——特别是我的世界——带来了那么多欢乐。作为一个年轻人，我希望音乐能体现这一点，但我始终没写出满意的副歌。

Annie was such a larger than life person, and I wanted something to be more celebratory and have that kind of euphoria, because she put so much euphoria into the world and, you know, into my world, especially, you know, as a young lad. And, like, I wanted that to be reflected in the music, but I never got the chorus.

所以这个副歌，最初的版本，对你来说还不够好？

So this chorus, the original chorus, this just wasn't good enough for you?

是的。我当时想，我必须把它写好。绝不能搞砸。你明白吗？这是关于安妮的歌。

Yeah. I was like, oh, I've gotta get it right. I cannot make it like, it can't be crap. Do know what I mean? It's it's about Annie.

所以这首歌就半成品状态搁置了好几个月。对，有一阵子了。嗯，好几个月呢。

So it kinda just sat like half a song for like a few months. Yeah. A little while. Yeah. For quite a few months.

通常歌曲创作都很快，但这首特别难搞。我们需要别人帮忙推过终点线。其实我们自己也能完成，但到了职业生涯这个阶段，很幸运能几乎请动任何人，唱片公司也会支持。我就想，何不找位偶像合作呢？懂我意思吗？

Normally, songs come together so quick, and this one was such a bastard. We needed somebody else to kinda help get it across the line. I mean, we could have done it ourselves really, but it was like, we're at this point in our career where like, we're really lucky that we could like pretty much call on anybody and the label would back it. So it was like, I wanna work with one of my heroes. Do know what I mean?

我想着，干嘛不试试？我们纽卡斯尔有句老话叫'害羞的本啥也捞不着'，意思是不开口就没机会。所以我直接问唱片公司：能联系战争毒品乐队的亚当·格兰兹尔吗？

I was like, why not? We have a saying in Newcastle where we're from. It's Shy Ben's getting out, and that means like shy kids get nothing. So I just asked the label. I was like, can I ask Adam Gronisiel from War on Drugs?

他们爽快答应了，说马上给联系方式。我打电话跟他聊了这个想法，发了几首歌过去，他立刻爱上了这些作品，马上回电。结果我们煲了一个半小时电话粥聊汤姆·佩蒂。后来就直接飞去洛杉矶找亚当了。

And they're like, yeah, course, we'll get his number. And then I just called them up and spoke to him about this idea. I sent him some songs and he was like he fell in love with them and he called back straight away. And then we were just on the phone for, an hour and a half talking about Tom Petty. It's like so it went from that to LA with Adam.

我与山姆·芬德和乔·阿特金森的对话稍后继续。

My conversation with Sam Fender and Joe Atkinson continues after this.

亚当·格兰兹尔加入后，我们去洛杉矶和他合作，简直像施了魔法。我住在山上的房子里，一帮纽卡斯尔小子闯荡好莱坞，想想都觉得荒谬——这他妈什么情况？

So Adam Grandisiel jumped in, and then we went out to LA and started working with him and it magic, you know? Yeah. I was sat in the house that was staying in, like staying up in the hills and it was amazing, like a bunch of Geordie boys in Hollywood. What the hell has happened? This is ridiculous.

阳光灿烂的日子里，我抱着吉他心想必须把这首歌写好。记得坐在那儿俯瞰山峦和整座城市时，一直想着安妮——她是个演员，超级影迷。在好莱坞这个电影圣地，我坐在那儿想：天啊，她肯定会爱死这里。

Like in the beautiful sunshine. And I just sat with the guitar because I was like, I've gotta get this song so stout. I remember just sitting up on there, looking over the hills and looking across the city and all of that, and I was just sat thinking about Annie and thinking about because she was an actor and she was like such a big movie buff, you know. Obviously, being in Hollywood where like every bloody movie's ever been made. I mean, so I sat there thinking about her and just thinking, god, she would love this.

她一定会喜欢和我同游。我们开车经过好莱坞大道，看到那么多流浪汉，又想起家乡——那边的无家可归问题也越来越严重。很诡异，这首歌前半段写的本是从护理院回家路上看到的景象，结果在洛杉矶竟目睹着同样的事情。

She would love being here with me. And we're driving down Hollywood Boulevard, and there was just so many homeless people on the street. And then it made us think of home because the homelessness is getting really bad back home. So it was, like, bizarre because then, like, the first half of that song is all talking about walking back from the care home, watching people back there. And then it was, like, suddenly I was, like, out in LA, and I was doing the exact same thing, you know.

然后歌词自然流淌出来：《今夜街头的某位至爱》。灵感来自比利·康纳利的电视节目——他在苏格兰发现块墓碑写着'村里某人的甜心'，埋葬的是个无人知晓的陌生人。我觉得这很美，说明无论你是谁、身在何处，总有人爱着你。看到街头那些人时我就想：他们都是某人的心头肉啊。

And then these lines just came out of us. Somebody's Darling's on the Street Tonight. That was inspired because Billy Connolly was he did this TV show. He found this grave in Scotland, and it said, somebody's sweetheart in the village It found this random person that had no idea who this person was, and somebody says, well, it's somebody's sweetheart. And they buried the person as somebody's sweetheart, which I think is so beautiful.

写歌时我一直记着这点：街上的每个人都是别人捧在手心的宝贝，是某人的孩子。

It's like no matter what who you are, where you go in the world, like, you're loved by somebody. And that's what I thought when I saw all these people on the streets. Like, I was like, that's somebody's darling. That's somebody's kid, you know. I remembered that as I was writing the song.

我们花了很长时间才把它做好，然后那种感觉，就像是巨大的喜悦和解脱，终于得到了这段出色的副歌部分。这种感觉太棒了。

It took so long to get it right, and then that was, like, this overwhelming, like, joy and release that we've got this chorus that was good. Such a great feeling.

完全同意。这首歌我们已经酝酿了很久很久，一直觉得它蕴含着特别的东西。搞定之后我们直接冲进了录音棚。

Totally. Because we'd had that song for ages. Ages at this point, and we're kind of like we knew there was something so special within it. And after that, we just straight to the studio.

录好了Drew的鼓点。天啊他简直火力全开，兄弟。太厉害了。

Got Drew's drums down. Oh, he's so on it, man. Yeah, dude.

说实话他打得精准到我拿到分轨时还以为用了采样。

I mean, he's so on it that I actually wondered if these were samples when I got the stems.

不不，那都是Drew真弹的。Adam当时就说：'Drill，你就直接来段干脆的'，然后他就炸场了。

No. No. That's Drew's playing. Adam was kind of like, hey, Drill. Can you just do, like, a straight just and he just rocked that.

我们叠加了些通鼓音色，然后以这个为基础开始构建。

We overdubbed some toms, And then we started building from that.

进行到这个阶段时，你们对那段小riff的想法有变化吗？

Did your ideas about that little riff change when you got to this stage of the song?

没错。本来想做成旋转音效，但后来发现它没我们预期那么突出。所以我决定叠录一轨，用类似Mark Knopfler那种Dire Straits式的拨弦节奏来处理。

Yeah. We wanted it to be a whirly, but then I remember, like, it doesn't quite poke out as much as we expected it to poke out. Yeah. So I'll double it, and I'll do, like, a kinda Mark Noffla, Dire Straits style pick and pattern version of it.

我超爱那个细微的推弦音，虽然Wurlitzer电钢琴做不出来，反而让两件乐器更有区分度。

I love the tiny bend, which you obviously can't do on the Wurlitzer, and so there makes them more distinct as well.

正是如此。当不同声部有微妙差异时，整体听起来才更像乐队。但我们觉得高频缺了点什么，需要有个呼应主旋律的亮色。Adam当时琢磨那个合成器音色时突然灵光一现——就是它了。

Exactly. It sounds more like a band when there's, like, slightly different things happening. But we felt there was something missing in the high end, and I wanted something that was gonna come out and sort of mirror the melody. So we had to figure out what it was gonna be. And I remember Adam thinking about that synth sound, and he was like Yeah.

就像恐怖海峡乐队的感觉。

It's like Dire Straits.

是啊。他就说，嘿，试试这个ob八度音。那个ob八度。

Yeah. He's like, hey. Try this ob eight. The ob eight.

我们懂了，ob八度。

We got it, ob eight.

对。真的，我们一按下，一个声音出来，山姆就惊呼，哦

Yeah. Literally, we pressed, one sound, and Sam was like, oh

天啊。就是这个声音。

my god. This is the sound.

就是这个声音。

This is the sound.

现在开始吧。让所有人

Get it on now. Everybody on the

在跑步机上跑起来。在广告牌下避开酷热。今晚有人在街头拨号。

treadmill running. Under the billboards out of the heat. Somebody's dialing down the street tonight.

它只是增添了一种丰富的，像是调色板的一部分，我觉得。我一直说调色板是因为亚当，我们借用了他的一些术语，因为他总喜欢用绘画的角度来看待。他就说，对，咱们去画画吧。我们本来想做原声，但亚当说，我想要更多节奏感。

It just adds it's a lush, like, part of the palette, I think. I keep saying palette because Adam, we stole some of his terminology because he's he always kinda looks at at it like he's painting. He's like, yeah. So let's go paint. We wanted to do acoustics, and Adam was like, I wanna get a bit more, like, a rhythm.

然后他说，我觉得我们应该一起完成。于是我们架设了一个仿真人头麦克风。我们之前见过这种设备。没错。我超爱它们。

And he was like, I think we should just do it together. So we set up a binaural head, Mike. We've seen them before. Yeah. I love them.

我是说，挺诡异的对吧？就像一根棍子上直接插了个人头。

I mean, spooky, aren't they? Like, it's literally just like a human head on a stick.

还有麦克风的耳朵部分。

And the ears of the microphone.

没错。麦克风的耳朵设计太疯狂了。我们经常用它来捕捉那种房间里的临场感。亚当坐在一边，我坐在另一边，我们一气呵成地即兴完成了整首歌。

Yeah. Ears of the microphone is nuts. So, like, we use that quite a lot to try and get a bit of that sort of, like, in the room feel. Adam sat on one side of it and I sat on the other side and we both did the whole song just one take, just jamming it out.

有他和你一起演奏是否改变了你的演奏方式？

Did it change the way that you played to have him playing it with you?

对我来说那真是非常特别的时刻之一。

Well, it's just like for me, that was like one of them it was really special.

是什么让它如此特别？

What made it so special?

因为他就像我的偶像，懂吗？那时候我很消沉，回想起十年前住院的情景。我和母亲同住，两人都失业没钱，卧室墙上全是黑霉。住院期间我疯狂迷恋亚当的《Lost in the Dream》专辑，康复期只听这张唱片，它对我意义重大。

Because he's like my hero, ain't he? Do know what I mean? It was like I was sad, and I was thinking like I was like ten years ago, I was in hospital. I was like living with my mother and me and my mom were both unemployed, didn't have any money, black mold all over my bedroom wall and when I was in hospital the Lost in the Dream album, Adam's album, I've become obsessed with it, and that's all I listened to during that whole time that I was recovering. And it really meant a lot to me, that record.

我曾听着这张专辑梦想以此为业养活自己，现在居然在洛杉矶和专辑制作人坐在一起，同步演奏原声曲目。他是我最崇拜的人之一，这情节简直无法杜撰。

I used to listen to this album and dream about doing this as a job and being able to pay my bills, and now I'm in LA, sat with the guy who made that album, playing an acoustic track with him, we're both doing it at the same time. It was, like, literally one of my biggest heroes. It was you couldn't write it.

能说说后面加入的号角声吗？

Can you tell me about the horns that come in later?

天啊。

Oh, man.

即兴音调。那些即兴段落。基本上是由我们的铜管乐手马克·韦伯和约翰尼·布鲁哈特，加上‘抗药之战’乐队成员共同创作的。亚当邀请了他的朋友约翰·纳切兹，他们三人组成了一个小团体。我们开始称他们为‘撕裂音调’。

Riff tones. The riffs. So the rift tones were basically a combination of our brass players, which is Mark Webb and Johnny Blueheart, and then the war on drugs. Adam invited his mate, John Natchez, and they came as a trio. We started calling them the riptones.

约翰·纳切兹演奏巴里号，马克·韦伯吹小号，约翰尼·布鲁哈特负责网球袜音效。

John Natchez is on Barry, Mark Webb trumpet, Johnny Blueheart on tennis socks.

网球袜。

Tennis socks.

没错。歌曲结尾处那段独奏，是约翰尼刚到洛杉矶第一天录制的。他带着时差走进亚当的工作室，一进门就一气呵成完成了那段演奏。

Yes. The solo actually in the tune, which comes in the outro, that was done on Johnny's first day to LA. Walked in Adam's studio, jet lagged. He walked in and just ripped that in one.

太疯狂了。那应该是我听过他用次中音萨克斯吹出的最高音，简直离谱。

Insane. It's the highest note I think I've ever heard him hit on a tenor so absolutely ridiculous.

录制这首歌最后的人声部分感觉如何？

How was it recording your final vocals for the song?

我在录音棚和隔间里会特别紧张，只有在家里录人声时才觉得自在，因为压力小很多。不用想着‘天啊我们在赶时间’。所以我总是在公寓或者老家那边录人声。

So I get quite fearful in in the studio and booths, like, just singing and I only really feel comfortable doing my vocals at home because I just feel a lot less stressed. You don't have that like, oh my god, it's we're against the clock. So I've always kinda done my vocals either like in the flat or like or in our place back home.

背景和声是谁

Who's singing back

演唱的？

and vocal is that?

是布鲁克，我们乐队的新成员。

That's Brooke, the newest member of our band.

在广告牌下避暑时，今晚有人开始对着街道发呆。

Under the billboards, out of the heat, somebody started starring the street tonight.

我和布鲁克从17岁左右就是朋友了。第一次听她唱歌时，她正在翻唱布鲁斯·斯普林斯汀的《Dancing in the Dark》，我简直惊为天人。我当时就想，这才叫唱歌。随着我们一起长大，我甚至开始模仿她的颤音，这让我唱得更好了。可以说，我其实是跟着布鲁克学会唱歌的。

So me and Brooke have been friends since we were like 17. And the first time I ever heard her sing, she was doing a cover of Dancing in the Dark by Bruce Springsteen, and my jaw was on the floor. I was like, that's how you sing. I actually started trying to emulate her vibrato as we grew up together, which made me a better singer. Like, I kind of learned how to sing through Brooke really.

你觉得她的声音加入副歌部分对这首歌产生了什么影响？

How do you think it affected the song to have her voice in there on those choruses as well?

就像和家人合唱一样。你懂我意思吗？我们之间有种...心灵感应？

It's like singing with a family member or something. You know what I mean? It's like we have that is it telepathy?

是啊。

Yeah.

我随便唱什么，她立刻就能找到和声。明白吗？

I can sing anything, she'll just find a harmony immediately. You know?

然后中间八小节直到...这是个

And then the middle eights didn't come until It was a

稍晚些时候，不是在那之后。对。

bit later, wasn't after that. Yeah.

我当时还没写好歌词。但我知道要收尾了，想把它写成给安妮的...就像最后的爱的致意。我当时想这段可以加弦乐。所以我通常先唱出来，然后发给罗西·丹弗斯做弦乐编曲。

I didn't have the lyrics for it. And I was like, but I knew I wanted to round it off and make it about Annie and and just kind of like a final gesture of love to Annie. I was like, can hear strings in this section. So what I normally do is I'll sing the parts and then I'll send it to Rosie Danvers. It's just string arrangements.

她给所有人都做过编曲，她是最棒的。

She's she's done everybody, like, she's the best.

这是在艾比路录制的吗？

This was in Abbey Road?

是啊。你也这么做过吗？

Yeah. Do you do it too?

演奏这首曲子的管弦乐队规模有多大？

How big of an orchestra is playing that?

30人。哇。当时还用了披头士乐队用过的那些压缩器。这首歌前半段就像我陷入了情绪低谷。那时候我状态很不好。

30. Wow. It was going through the same compressors used by the Beatles. The first half of that song is like I'm down in the doldrums. I wasn't in a good way at the time.

我当时确实酗酒过度。那纯粹是因为失去。你懂我意思吗？悲伤会以各种方式袭击你。我觉得我当时更多是沉浸在失去的痛苦中，而不是去关注她曾给我生命带来的美好影响。

I was definitely drinking too much. It was just it was loss. You know what I mean? Grief hits you in so many different ways. And I think I was like kind of focusing more on the loss as opposed to focusing on the on the beauty, the beautiful impact she had on me in my life.

我觉得歌曲的转折点就在这里——心怀感恩。悲伤的最终结果往往就是充满感激，那是种刻骨铭心的爱，无论我活多久都会随身携带。你知道，我永远都会记得安妮。

I think that's where the song flips, being grateful. That's the end result of grief a lot of the time is just being so grateful, and it's that really painful love that you you'll always carry with you no matter how long I live for, you know, I'm I'm always gonna remember Annie.

你觉得你回应了安妮生前要你在演讲中提到她的请求吗？

Do you feel like you have responded to Annie's request about you shouting her out in your speeches?

嗯。其实这就是我的想法，我觉得她现在无论在哪里，都会气得跳脚说：'我活着的时候你怎么不做？'你懂吧？不过我觉得她会喜欢的。她应该会喜欢这首歌。

Yeah. Well, that's that was the thinking, I think, you know, wherever she is now, she'll be like kicking her heels away like, why didn't you do it when I was there? You know what I mean? But, yeah, I think she would have liked it. I think she would have liked the tune.

我不知道自己信仰什么，但我希望无论她在哪里都能听见。你明白吗？

I don't know what I believe in, but I hope she can hear it wherever she is. You know?

现在请完整欣赏山姆·芬德的《People Watching》。访问songexploder.net了解更多信息。你可以找到购买或在线收听这首歌的链接，还能观看音乐视频。你可能也会喜欢与The War on Drugs乐队合作的单集，联合制作人亚当·格兰德西尔也在其中。节目备注里也有相关链接。

And now here's People Watching by Sam Fender in its entirety. Visit songexploder.net to learn more. You'll find links to buy or stream people watching, and you can watch the music video. You might also enjoy the episode with the war on drugs featuring Adam Grandesil who coproduced the song. There's a link to that in the show notes too.

本期节目由我——克雷格·伊莱、玛丽·多兰和凯瑟琳·史密斯共同制作，并得到了泰格·比斯科普的制作协助。节目插图由卡洛斯·莱尔马创作，而节目的主题音乐和标志则由我完成。《歌曲拆解》是PRX旗下Radiotopia电台的骄傲成员，这是一个由独立、听众支持、艺术家拥有的播客组成的网络。您可以在radiotopia.fm上了解更多关于我们节目的信息。如果您想了解更多我正在观看、聆听和思考的内容，可以订阅我的新闻通讯，您可以在《歌曲拆解》网站上找到它。

This episode was produced by me, Craig Ealy, Mary Dolan, and Kathleen Smith with production assistance from Tiger Biscop. The episode artwork is by Carlos Lerma, and I made the show's theme music and logo. Song Exploder is a proud member of Radiotopia from PRX, a network of independent, listener supported, artist owned podcasts. You can learn more about our shows at radiotopia.fm. You'd like to hear more from me about what I'm watching and listening to and thinking about, you can subscribe to my newsletter, which you can find on the Song Exploder website.

您还可以在songexploder.net/shirt上购买《歌曲拆解》的T恤。我是里希克什·希尔威，感谢您的收听。

You can also get a Song Exploder shirt at songexploder.net/shirt. I'm Rishikesh Hirway. Thanks for listening.

Radio Tokyo

Radio Tokyo

来自PRX。

from PRX.