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本集由专为音乐人设计的iPhone录音应用Tape It赞助。
This episode is being supported by Tape It, the iPhone recording app for musicians.
正如Tape Notes上的许多优秀艺术家和制作人所提到的，随时随地录制语音备忘录、环境音效和捕捉灵感对创作过程至关重要，而Tape It让这一切变得轻而易举。
As many of the fantastic artists and producers on Tape Notes have mentioned, recording voice memos, field recordings, and capturing ideas on the go is crucial to the creative process, and Tape It makes it effortless.
使用Tape It，你可以直接从锁屏界面录音，以立体声方式捕捉灵感，选择多种录音格式，添加标记突出关键片段，并与朋友和合作者共享混合歌单。
With Tape It, you can record straight from your lock screen, capture ideas in stereo, choose between multiple recording formats, drop markers to highlight key moments, and create shared mix tapes with friends and collaborators.
你甚至可以在地图上查看你的录音，这样就永远不会忘记灵感迸发的地点。
You can even view your recordings on a map so you'll always remember where inspiration struck.
无论是快速的旋律还是完整的歌曲创意，Tape It都能帮你保持创作灵感，且无需杂乱无章。
Whether it's a quick melody or a full song idea, Tape It helps you stay creative without the clutter.
所以，请点击最近一期节目说明中的链接，或访问 tape.it/tape-notes 免费下载Tape It。
So click the link in a recent episode show notes or head to tape.itforward slash tape notes to download Tape It for free.
如需更多功能，请试用Tape It Pro，并使用促销代码 tape notes 享受八折优惠。
And for even more, check out Tape It Pro and use promo code tape notes for 20% off.
网址是 tape.it/tape-notes。
That's tape dot it forward slash tape notes.
现在继续我们的节目。
Now on with the show.
大家好，欢迎收听《Tape Notes》，这是一档深入探索音乐录制与制作背后奥秘的播客。
Hello, and welcome to Tape Notes, the podcast that looks behind the scenes at the magic of recording and producing music.
每期节目，我们都会让一位艺术家和制作人重聚，回顾他们在录音室合作中的精彩片段。
Every episode, we'll be reuniting an artist and producer and talking through some of the highlights from their collaboration in the studio.
让我们一起揭开创作过程和音乐制作内部运作的面纱，看看其中究竟隐藏着什么。
So join us as we lift the lid on the creative process and the inner workings of music production to see what lies beneath.
你好。
Hello.
我是约翰·肯尼迪，本期《Tape Notes》邀请到The Libertines乐队，和我们聊聊他们如何创作、录制并制作了专辑《All Quiet on the Eastern Esplanade》。
I'm John Kennedy, and joining me for this episode of Tape Notes are The Libertines to talk about how they wrote, recorded, and produced the album All Quiet on the Eastern Esplanade.
The Libertines是一支英国摇滚乐队，由主唱彼得·多赫蒂和卡尔·巴拉特，贝斯手约翰·哈塞尔，以及鼓手加里·鲍威尔组成。
The Libertines are an English rock band consisting of frontmen, Peter Doherty and Carl Barat, bassist John Hassell, and drummer, Gary Powell.
该乐队的渊源可追溯至1997年，当时卡尔与彼得的姐姐合租公寓，两人由此首次相遇。
The band's roots date back to 1997 when Carl shared a flat with Peter's sister and the two first crossed paths.
在共同热爱作词作曲后，他们决定组建一支乐队，最初命名为“The Strand”，后来改为“The Libertines”。
After bonding over songwriting, they decided to form a band, initially naming themselves The Strand before later revising it to The Libertines.
在花时间创作小样、打磨他们原始的声音后，他们在2000年引起了娱乐律师丹尼·普舍夫的注意，后者成为他们的经纪人。
Spending time writing demos and honing their raw sound, in 2000, they caught the attention of entertainment lawyer, Danny Puschief, who became their manager.
经过多次现场演出后，他们在2001年12月与Rough Trade唱片公司签约。
After playing numerous showcases, in December 2001, they signed to Rough Trade Records.
2002年6月，在贝斯手约翰和鼓手加里加入后，乐队发行了首支单曲，双A面曲目为《What a Waster》和《I Get Along》。
In June 2002, now with the addition of bassist John and drummer Gary, the band released their debut single, a double a side of What a Waster and I Get Along.
这首单曲登上排行榜第37位，进一步巩固了媒体对乐队的关注。
The single reached number 37 in the charts solidified the media buzz around the band.
他们的首张专辑《Up the Bracket》于同年晚些时候发行，第二张专辑《The Libertines》则于2004年推出。
Their debut album, Up the Bracket, arrived later that year with a second record, The Libertines, following in 2004.
这两张专辑被誉为英国独立另类音乐复兴的关键作品，均获得白金销量，其中第二张专辑登顶英国专辑排行榜冠军。
Hailed as key players in the British indie alternative resurgence, both albums were platinum selling with the latter reaching number one on The UK album charts.
尽管取得了这些成就，但内部的紧张关系最终导致乐队解散。
Despite their achievements, internal tensions led to the dissolution of the band.
然而，2010年8月的重聚演出获得了广泛赞誉。
However, a reunion in August 2010 for live performances received widespread praise.
此后又有多次重聚，最终于2015年9月发布了他们的第三张录音室专辑《致 doomed 青年的颂歌》。
Further reunions followed, leading to the release of their third studio album, Anthems for Doomed Youth, in September 2015.
2024年4月，乐队发布了他们的第四张录音室专辑《东海岸静悄悄》。
In April 2024, the band released their fourth studio album, All Quiet on the Eastern Esplanade.
这张专辑主要在他们在马盖特的酒店兼录音室《阿尔比恩房间》录制，由制作人迪米特里·蒂科沃伊监制，融合了复古与新潮元素，将怀旧感与他们标志性的自由人式混乱巧妙结合。
Recorded primarily at their hotel and studio, The Albion Rooms in Margate, with producer Dimitri Tikovoi overseeing production, the album draws from both the old and new, blending a sense of nostalgia in with their signature Libertines chaos.
今天，我来到了马盖特的阿尔比恩房间，和彼得与卡尔在一起。
Today, I'm at The Albion Rooms in Margate, and I'm joined by Peter and Carl.
在录音室控制室里，正在播放音乐的是专辑的助理工程师杰森·斯塔福德。
In the studio control room, playing in the music is Jason Stafford, assistant engineer on the album.
还有什么比先听一首专辑里的歌来开启我们的对话更好的方式呢？
And what better way to start our conversation than by hearing something from the record?
这是《该死》。'
This is Oh Shit.
这是The Libertines乐队的《Oh Shit》，出自专辑《All Quiet on the Eastern Esplanade》，我很高兴能坐在马盖特的Albion Rooms，与The Libertines的Carl和Peter一起。
It is The Libertines with Oh Shit from All Quiet on the Eastern Esplanade, and I'm very pleased to say that I'm sat here with Carl and Peter from The Libertines in the Albion Rooms in Margate.
你好？
Hello?
在东岸堤岸。
On the Eastern Esplanade.
在东岸堤岸。
On the Eastern Esplanade.
再好不过了。
It couldn't be better.
你好，约翰。
Hello, John.
很高兴见到你
Nice see
感谢你们邀请我们来这里。
for having us here.
不。
No.
能来这里真是太好了
It's great to
能在这里。
be here.
谢谢你们支持我们的专辑并播放我们的歌曲。
Thanks for supporting our album and playing the records.
没关系。
That's okay.
这是我们的荣幸，我们会深入了解这一切。
It's a pleasure, and we're gonna find out all about it.
也谢谢你专程过来。
Thanks for coming down as well.
能在这片海边、在这间你们创作和录制专辑的房间里，感到非常荣幸。
It's a pleasure to be here by the sea and in the room, in the very room that you wrote and recorded the record.
不。
No.
这真的令人兴奋。
It's just really exciting.
我的意思是，从很多不同角度都可以探讨这个话题，但我想我们还是先聚焦在录音上，谈谈你们是什么时候开始录制或创作这张专辑的。
So, I mean, there's so many different angles to come at this from, but I think maybe we'll just concentrate on the recordings and and when you started recording this album or started writing this album.
那这一切是什么时候开始的？
When did that all start?
我们去年四月才完成录制。
So we finished recording it last April.
所以应该是前一年的九月，我和吉格勒出去了，对吧？
So it would have been the September before that when me and Jiggler, we we went off, didn't we?
我们就去了牙买加。
We just went to Jamaica.
等等，伊丽莎白二世的葬礼是什么时候？
See, when was Elizabeth the second's funeral?
因为那时我们就在那里，对吧？
Because that was when we were there, wasn't it?
我对时间没什么概念。
I'm quite time blind.
对。
Right.
所以不管那是什么时候，当
So whenever that was, whenever the
对。
Right.
那时我们正坐在牙买加的一个山顶上，想着能不能写点新歌，如果能写出来，又该把它们带给谁听。
The Buried Her Majesty, that's when we were sat on this hilltop in Jamaica, trying to kinda work out if we could write any new songs, and if we could, whoever we'd wanna play them to the world.
我觉得我们还是完成了一些东西，但我觉得《Shiver》里有一些部分。
I think we still we've got a few things done, but it's very I think there's parts of Shiver.
我不知道你是否会听到那首原始的《Shiver》，我的意思是，它已经完全认不出来了。
I don't know if you're gonna We're gonna we're hear that original Shiver, I mean, it's unrecognizable.
是的。
Right.
对。
Yeah.
我们只是想远离一切，弄清楚我们真正想做什么，了解我们自身有什么潜力，以及我们是否能很好地合作。
We went we went for just just to get away from everything and work out what it was we actually wanted to do and, you know, what we had in us and how how compatible it was gonna be.
我认为，如果不是把一切抛开，让我们身处一个炎热的国家，我们也不会有那样的进展。
And and I think I mean, without taking everything away and putting us in a hot country, we yeah.
我们做到了。
We did it.
我们确实非常合拍。
We we we were quite compatible.
而且我们经历了一段非常美妙的时光。
And and and then we had we had quite an amazing experience.
我们真正融入了周围环境，去山上当地的教堂，那里所有的鼓手都在那里磨炼技艺，人们也经历着灵性的体验。
We really got into that dug into our surroundings, and we were going to the local tabernacle church on a hill where all the, like, the drummers learned to cut their teeth out there and and then people having spiritual experiences.
这为我们创作 sessions 开了个好头，我们在那里写了一段时间。
It was a really good start to our writing session, and we wrote there for a bit.
当我们回来时，以为已经完成了整张专辑，结果只凑出了两首歌，还有很多很多，两首和
And then when we came back, we thought we had the whole album, but we turned up in about two songs and a lot and a lot Two and
一半。
a half.
很多醉醺醺的伤疤，那些我们根本没用在专辑里的东西，
A lot a lot of Drunken Scar, which we just didn't really make the record,
但，对。
but Right.
但那正是整个过程的开端。
But that started the whole process.
我们这么做是至关重要的。
It was it was essential that we did that.
是的。
Yeah.
所以我觉得新年伊始，我们都进了这里，坐下来给我们自己听了听已经写的东西，但其实没多少。
So I think when the New Year started, we all got came in here, and that's when we sat down and played them what we had, and it wasn't really a lot.
于是我们就干脆，我、加里、卡尔和约翰，一起进来，把鼓设好了。
So we just basically, me, Gary, Carl, and John, we got in here, set up the drums.
就是在这个房间里？
So in this very room?
插上设备。
Plugged in.
是的。
Yeah.
我们以前也从来没这样写过歌。
We'd never written like that before either.
我和卡尔以前总是提前做好充分准备，组织得井井有条，清楚地知道歌词和音乐上要做什么，然后啪啪啪地搞定。
We'd always me and Carl had always gone in well prepared and organized, knew exactly what we were gonna do lyrically, musically, and bang, bang, bang.
你做这个，你做那个。
You do this, you do that.
必须得这样。
It's gotta be like this.
但这其实更像是一种自由发挥吗？
But this was more of a open season, really?
是的。
Yeah.
在追逐灵感的过程中。
On Hunting the Muse.
嗯，这听起来很棒。
Well, that sounds great.
所以让你们四个人都进到房间里，互相碰撞，一起创作出点东西来。
So get all four of you in the room and and start kind of knocking your heads together and and coming up with something together.
对。
Yeah.
说实话，我个人觉得这简直是灾难的配方。
I mean, to be honest, personally, I thought it was recipe for disaster.
如果让我押注，我根本不会这么想，我不是个爱赌的人。
I wouldn't have if I'd had to put money on it, I'm not really a gambling man.
这可不是我的嗜好。
It's not one of my vices.
头几天我其实根本不知道这事儿会走向何方。
I didn't really The first few days I just thought, where is this even going?
有太多次我们只是在死胡同里打转，或者反复弹奏同一首歌长达三小时，最后却都没用上。
There were so many, like, just going down dead ends or playing the same song for three hours that we ended up not using.
但不知怎么的，你根本没法计划或预测这些事情。
And then somehow, you know, you just can't plan or predict these things.
不知怎么的，我们就开始写歌了。
Somehow just started writing songs.
就是那种传统的摇滚歌曲，有主歌有副歌，一点不少。
Good old traditional, you know, rock and roll songs with verses and choruses, no less.
是的。
Yeah.
还有让你自豪再唱出来的歌词。
And lyrics that you're proud singing again.
然后我们在这里待了两周。
And then we did two weeks here.
三周。
Three.
在这里待了三周。
Three weeks here.
后来我们在一些歌词上有点挣扎，气氛变得有点压抑，就像那种 Cabin Fever 的感觉。
And then we were struggling a little bit with some of the lyrics, and it was getting a bit pressure cooker, think, you know, cabin fever.
所以我们去了诺曼底的树林里，那里有个小录音室，把最后三四首歌在那里定稿了。
So we went to the woods in Normandy, a little studio there, and put the last three or four songs to bed there.
不。
No.
离开这个环境很重要，尤其是对我而言。
It's important to get out of this environment, especially for me.
你不可能在录歌录到一半的时候，还让四号房间的窗户吱呀作响。
You can't be, like, halfway through recording a track, and Room Four's got a squeaky window or something.
我得赶紧走，所以这事得有个去处。
I've gotta dash off, so it needs to go somewhere.
我们应该解释一下，阿尔比恩房间位于酒店底层，卡尔是维修工。
We should explain the Albion Rooms at the bottom of a hotel, and Carl's the maintenance man.
嗯，实际上我确实一直这么干着。
Well, yeah, I've been actually de facto.
我正努力慢慢摆脱这种状态，往更好的方向发展。
I'm trying I'm trying to edge away from that, moving to better things.
但是
But
是的。
yeah.
对。
Yeah.
所以去弄一些真正的
So get some actual
是的。
Yeah.
所以这太棒了。
So it's it's great.
能够从那里抽身出来，拥有一个独立的空间真的很不错，当你长时间高强度工作后，能去一个地方以全新的视角看待事物，我们的表现现在已经超越了皮特的家乡诺曼底。
It was good to get some space from that and just have somewhere to when you've been working that long and hard, just to go if you go somewhere with a fresh objectivity, and we're better than Pete's now homeland of Normandy.
是的。
Yeah.
就在边境对面。
Just across the border.
是的。
Yeah.
所以不远。
That's why not far.
我们会详细分析专辑中的三首歌，第一首是《Run Run Run》。
Well, we're gonna look at three of the songs from the album in detail, and the first one we're going to look at is Run Run Run.
所以我想，也许在另一个房间的杰森可以播放这一首。
So I think maybe Jason, who's in the other room see that one.
他会作为主奏播放，然后我们会回到开头，一起分析并了解你是如何创作它的。
Is gonna play as the master, and then we'll go back to the beginning and and work out and find out how you created it.
他是一位经验丰富的老派乐手。
He's an old time player at the end in the
哦，不。
oh, no.
不是渐弱。
Not a fade out.
哦，不。
Oh, no.
明白了。
Got it.
这是The Limitings的《Run Run Run》。
It is the Limitings Run Run Run.
它是《All Quiet on the Eastern Esplanade》的开场曲。
It's the opening song on All Quiet on the Eastern Esplanade.
你是什么时候开始创作这首的？
And when when did you start this one?
这首歌是在筹备专辑期间开始创作的。
This was started in the run up to getting the album together.
我的意思是，当时我们都不太确定专辑里会放哪些歌，而我当时也在做一张个人专辑。
I mean, we were all I wasn't quite sure what was gonna go on the album, and I was working on a solo record as well at the time.
所以我跟我的朋友丹尼·康纳斯一起开始了这首歌。
So I started it with my friend Danny Connors.
而且，是的，我当时隐约觉得我应该写点东西，但有点卡壳。
And, yeah, it was kind of I kinda knew I should be writing, and I was struggling a bit.
于是我渐渐进入了‘写你熟悉的东西’这种状态。
And I kind of got into a a bit of a, well, write what you know about situation.
所以，我的意思是，这正是歌词的起源。
So, I mean, that that that's that's what started the the lyrics.
然后，从吉他部分来看，这段和《Bang Bang You're Dead》在《Sure》里有些相似。
And then, you know, guitar wise, there's a little bit of a similarity to Bang Bang You're Dead in the Sure.
在主歌部分，'George, you're on your mind' 和 'Which is the same as George' 有点类似。
In the verse, George, you're on your mind, which is a little bit like Which is the same as George,
这是卡尔·巴雷特典型的套路。
It's a stock standard Carl Barat card changer.
他有大约六首歌都是这样。
It's about six of his songs that
也有这种特点。
have that too.
是的。
Yeah.
不过，算了。
Anyway but no.
但我的意思是，是的。
But that I mean, yeah.
这个框架就是从那开始的。
The framework was started with that.
但当然，从歌词上讲，这是不同的旅程，我觉得副歌部分的歌词是
But, yeah, obviously, lyrically, it's a different journey, and I think the chorus is The lyrics are the
但和你最初写的时候是一样的。
same though as when you first wrote it.
我想我们在最后阶段有点紧张，当时我们有八九首特别自豪的歌，而且大部分都是新写的。
We we we were in a bit of a tight spot, I think, at the end where we had eight or nine songs we were really, really proud of, and most of them brand new.
然后我们就想，糟了。
And then it was like, shit.
我们还得再填几个坑。
We got a few more sort of pigeonholes to fill here.
你懂我的意思吧？
You know what I mean?
合同义务之类的。
Contractual obligation, all that.
我的意思是，我本来打算发布一张简洁的短专辑，你知道的，叫《Lick a paint》。
I mean, I was off putting out a nice short album, you know, Lick a paint.
《Lick a paint》。
Lick a paint.
所以我们不得不翻出一些我们个人的存货。
But so then we had to sort of dig into some of our personal stocks.
你明白我的意思吗？
Do know what I mean?
是的。
Yeah.
所以我就说，来吧。
So so I said, come on.
我说，来吧。
I said, come on.
我知道你存了几首重磅单曲。
Know you got a few a few bangers that you're saving.
他说：天哪。
He said, oh, man.
他这么说，我就问：那是什么？
He was like, and I went, what was that?
然后他说，他说，我有一首叫《Run Run Run Run》的歌。
And he went, went, and he went, well, I got this one called Run Run Run Run.
那让我们听听吧。
Well, let's hear it then.
你知道的。
You know?
于是他给我们放了这首歌。
So he played us it.
因为我觉得他们
Because I think that they're
我们里面根本没有声学效果，我就说：‘什么鬼？’
not us in there acoustically, and I said, what the fuck?
这简直就是The Libertines的歌，我一听到就知道。
We this this is a Libertines song if ever I heard it.
咱们来唱吧。
Let's do it.
这本来就是The Libertines的歌，我从创作者那里就知道它注定是The Libertines的歌。
Was always a Libertines song, and I knew from the author it was gonna be a Libertines song.
你知道的，它一直在等待被注入人群的呐喊、鞭打和金钱的背景音。
And, you know, it was waiting to be imbued with people shouting, lash, and cash in the background.
那就是
That's the
同样如此。
thing as well.
简直让我难以置信，因为它不仅结构完美，而且已经完整了。
It was it was it was almost so I couldn't believe it because it not only was it perfectly formed, it was finished.
意思是，这两件事是一样的，但还有什么不满意的呢？
Mean, the two things are the same, but it was so what was not to like?
你知道，这是一首很棒的歌，已经写好了，所有部分都齐了。
You know, it was a great song, and it was written, and all the parts are there.
所以，尽管我很不愿意说，但我其实没什么可添加的，也许只有一两行需要稍微删减和润色一下。
So as much as it pains me to say that I didn't have much to add to it, maybe one or two lines needed a little trimming and proliferation.
也许三行吧。
Maybe three lines.
是哪几行？
Which ones?
它们根本没什么问题。
They're nothing.
我刚才说到哪儿了？
Where was I?
润色。
Proliferation.
我们只是必须这么做，所有部分都已经写好了。
We just had to and it was all all the parts are written.
你明白我的意思吗？
Do know what I mean?
它就是简单又美好，我特别喜欢在现场演奏它。
It's just it's just a nice simple and I just I love playing it live as well.
我们第一次录制时，我就觉得这是一首适合现场表演的歌，结果没想到在电台里也表现得不错。
I knew the first time we recorded it, I just thought this is a live song, and then it turned out it's gone well on the radio as well.
它就是太
It's just so
我们第一次现场演奏时，那对我来说是个令人恐惧的时刻，因为
When we first played it live, and and that was a terrifying moment for me because
它当时是
it was
我们刚完成专辑不久。
the first of we'd just done the album.
我们对一切都感到满意。
We were also happy with everything.
我想当我们第一次在马盖特的The Li Do演出时，当我们唱到副歌部分，它可能像我们熟知的那样平静地进行，也可能突然爆发，结果远远超出了我的想象。
And I think when I think it was in Margate, we first down at The Li Do, and we first played that we got to that chorus, and it could have been plays the one we know, or it could have been erupting, a and it erupted beyond my wildest expectations.
在整个巡演期间，每个人都在那一刻沉浸其中，而这正是这首歌创作的目的和主题。
And and for the whole tour, everyone was just in that moment, which is what the song was written for and what the song's about.
就是这样。
That's it.
是的。
Yeah.
不过那确实是个意外，对吧？
It was an f, though, wasn't it?
哦，没错。
Oh, yeah.
我很久以前就记得那个场景了。
I can remember for ages look.
因为在舞台上演奏充满驱动力的音乐时，感觉真的很棒。
Because it's nice on stage when you're playing really driving musical time.
拥有那种直接弹奏开放和弦的时刻，真的很惬意。
It's nice to have those moments where you just hit an open chord.
所以开场部分，我刚才说了好久，但我迫不及待想在现场表演，这样我就能把准备好的那个小动作练熟了。
So the opening, and I was going on for ages, but I can't wait to do this live just so that I got my little pose worked out that I was gonna do.
但当我们第一次现场演奏时，没人注意到，因为没人能从监听里听到我，而我忘了他们把和弦从F改成了E，所以我弹的根本就是错的，但根本没人发现。
But then when we played it live for the first time, no one noticed because no one has me in their monitors, but I'd forgot they changed it from f two e, so I was playing the wrong chord anyway, and no one even knows.
这就是为什么他们能在那一刻直接进入副歌。
That's why they got to the chorus at such a moment.
是的。
Yeah.
但我了解到，《Run Run Run》有几个版本的样带，风格截然不同。
But I understand that there are a couple of demos of Run Run Run that are really contrasting.
比如，其中一个听起来完全像另一首歌，但歌曲的基本元素却是一样的。
Like, one is is a completely different sounding song, and yet the ingredients of the song are the same.
我觉得杰森把这些小样都整理好了。
And I think that Jason has these demos lined up.
所以杰森在另一个房间。
So Jason's in the other room.
我想我们可能先听第一个小样。
I think maybe we'll hear demo one first.
太好了。
Great.
这是和丹尼·康纳斯以及B V们一起做的。
This is with Danny Connors and the b v's.
哇。
Wow.
不会吧。
No way.
在波萨诺瓦？
At Bossa Nova?
迈克·弗劳尔斯的版本。
The Mike Flowers version.
是的。
Yeah.
那真是太美了，是的。
That's that's gorgeous, Yeah.
听起来很棒。
Sounds great.
所以，卡尔，这是你最初为这首歌探索想法时做的原始演示。
So that was the original demo that you did, Carl, kind of exploring ideas for that song.
是的。
Yeah.
然后你用原声吉他给皮特弹奏了它。
And then you played it on acoustic guitar to Pete I did.
就在这个走廊外面。
Just around outside this corridor.
嗯，还有另一个步骤，那就是我做的。
Well, there was there another stepping stone, which is what I did.
我联系了奥利·伯登，他是我的老朋友，为The Prodigy之类的工作。
Spoke with Ollie Burden, who's a an old friend, and he works for The Prodigy and whatnot.
对。
Right.
它的节奏感减弱了一些，反而多了点The Libertines那种尖锐的风格。
And it it lost a bit of his swing, and it got a bit more of the Libertines stabby thing.
我的意思是，即使那时我也知道。
I mean, for me, I knew even then.
我一直觉得汉考克和The Rebel是用脚把画面翻过来的样子。
I was always like like Hancock and The Rebel was turning the picture over with a foot on it.
我一直都喜欢这种缓慢、旋律感强的摇摆风格，但我也想用The Libertines的方式把它彻底打破。
I've always I've always got like, yeah, I like all this slow, melodic swing, but I was like, oh, I really wanna smash it with the Libertines.
但你有另一个版本吗，乔什？
But can you have you got the other one, Josh?
是的
Yeah.
对
Yeah.
保留了Omnicord的声音。
Kept the Omnicord in.
所以，既然已经决定好了，我们要收录这首歌。
So having kind of decided, right, we're gonna include this song.
我们要打磨这首歌。
We're gonna work on this song.
那之后你做了什么？
What did you do then?
因为，我们刚才听到的这个版本，在某种程度上已经包含了专辑最终呈现的很多元素，
Because, mean, that version we've just heard has a lot of what ends up on the album in a way in terms of
它的感觉。
the feel of it.
我只是
I just
想把这首歌交给The Boys，让他们自然地融入进来，毕竟我们未来多年要表演的每一首歌，都必须经过The Boys的加持，才能显得更有分量，而The Boys会为它各自设计自己的部分。
wanted to turn over to The Boys and and and and naturalize and, you know, everything that we're gonna be performing for years has to be, like, anointed to make us sound a bit lofty, but it has to go through the canon of The Boys, and and and Boys works out their own parts for it.
尽管它的厚重感和失去的摇摆感与第二版相似。
Even though I mean, the the heaviness of it is similar, and the and the the loss of the swing is similar to the second version.
但那版原本就是有意设计成一张空白画布，好让The Boys参与进来，而他们确实做到了。
But that was preplanned to be more of a blank canvas for The Boys to get involved in, which they did.
我认为，他们最终完成了这首歌一直渴望成为的东西——一首真正的Libertines歌曲。
And I think, you know, they did the final thing, which the song always wanted, which was to become a Libertines song.
是的。
Yeah.
对。
And yeah.
所以我对此非常满意。
So I was very happy about that.
在录音方面，你是说迪米特里·蒂科沃伊吗？
And in terms of recording, so you I mean, Dimitri Tikovoi?
那是
Is that
你叫蒂科沃伊。
how you Tikovoi.
蒂科沃伊。
Tikovoi.
迪米特里·蒂科沃伊制作了这张专辑，他在阿尔比恩房间的这次录音期间也在场。
So Dimitri Tikovoi produced the album, and so he was here during that recording session here at Albion Rooms.
是的。
Yeah.
还有丹·格雷克一起。
With Dan Greck as well.
那是对的。
It was a Right.
像个幕后守门员一样。
Was a sort of background wicket keeper.
是的。
Yeah.
明白了。
Right.
维基丹。
Wikid Dan.
从我们现在能听到的录音分轨来看，关于最终进入专辑的录音，我们应该先听哪一部分？
And in terms of what we could hear from the stems maybe now of the actual recording that made it to the record, what should we look at first?
我们应该听什么？
What should we hear?
你会让加里先录他的部分吗？
Would you have Gary have done his parts first?
或者
Or
哦，是的。
Oh, yeah.
我们录了贝斯和鼓。
We we did the the bass and drums.
我的意思是，我们在去法国之前就在这里录了。
I mean, we did them here just before we went to France.
我们一开始就这么做了，但我真的很担心，因为我们要转场，这首歌又可能录不成了。
But we did a we did we started doing that, and then I was really worried because we had to move to session that the song was gonna was not gonna make it again.
所以这首歌是全程现场录制的吗？
So we did it all live, that song?
不是。
No.
我们确实是全程现场录制的。
We did we we did it all live.
我们和第一张专辑一样，是整体现场演奏，彼此互动、感受情绪，但会分轨逐个录制乐器。
We did the same as the first record live, which is whereby we play it live altogether and with each other's emotions and reactions, but we take each instrument at a time.
所以我们先现场录，先录鼓，再现场录，接着录贝斯，再现场录，所以，是的，这是现场录制的。
So we start live, we put in take the drums, we start live, we take the bass, we start live, and then we so, yeah, it was live.
那这不算现场吗？
And it's not live then?
这是自披头士以来的第一次。
It was the last time since the Beatles.
抱歉。
Sorry.
我总是跟别人说，我们第一张专辑是完全现场录制的。
I always tell people that we did the first album completely live.
你老是这么跟他们说。
You keep telling them that.
我当时感觉是现场的。
It I felt live at the time.
我们总觉得好像很多次都是现场录的。
We just felt like we did it live lots of times.
好的。
Okay.
很好。
Good.
那是现场录制的。
It was live.
那确实有道理。
There's truth in that.
人们说现场演出时，指的就是这个。
That's what people mean when they say to it live.
是的。
Yeah.
对，完全对。
Yeah, totally.
我们应该听什么？
What should we hear?
嗯，既然我们有这么多出色的分轨可以使用，我觉得我们应该听一些内容。
Well, think we should hear some stuff, seeing as we have all these amazing stems to dip into.
要不要听听副歌部分的主音吉他？
How about the leads, the lead guitar on the chorus?
从右边听，哦，太美了。
From right, it goes, Oh, gorgeous.
这就是我想象中《河之仁慈》在暴风雨中的声音。
That's how I imagine the River Mercy sounds in a storm.
真美妙。
Lovely.
利克笔下。
Licker penned.
利克笔下。
Licker penned.
听起来很棒。
Sounds great.
所以你说，卡尔，
So you you you said you're saying, Carl,
只是为了记录一下，这是通过未经过滤的马歇尔音箱播放的1957年纽约Epiphone Casino吉他，现场演奏的。
that That's so just for the record, that's a 1957 New York Epiphone Casino through unfiltered through a Marshall Amp, played live.
那它当时是在哪里演奏的？
Where would that have been played then?
那是在那边。
Was that in It was over there.
哦，那是在，是的。
Oh, that was in Yeah.
就在这间房间里。
In this very room.
对。
Right.
好的。
Okay.
因为卡尔你之前说到，你差不多先在这儿录好了贝斯和鼓的部分，之后带着素材去了法国。
Because you were saying, Carl, that, you kinda got the bass and drums down here, but then took it to France.
我刚才说的‘那边’其实是指诺曼底。
I meant I I meant over there as in Normandy.
哦，原来是这样。
Oh, right.
好的。
Okay.
不好意思。
Sorry.
我也对时间没什么概念。
I'm I'm also a little bit time blind as well.
所以嘛，对的。
So Yeah.
要是我说的事前后对不上，那就是因为我对时间没概念啦。
If if if my stories don't add up, it's down to my time blindness.
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时间盲区很好地描述了那种困惑感，尤其是在进行录音项目时，如果你把项目带到不同地方，就很难准确记得具体在哪里做了什么。
Time blindness is a good description of of getting confused, especially when with any recording project, and if you're taking it to different places, it's hard to remember exactly where it What?
时间盲、脸盲，因为这些都更接近上帝。
Time blind, face blind, because they're being closer to God.
但我想知道这些临时版本里我们应该听到什么。
But I I I wanna know what we should hear on these temps.
我们能逐步构建一条曲子吗？
Could we build a track up?
我们可以
Could we
让我们一点一点地构建。
Let's build that bit by bit.
我们从
Let's start
鼓点开始。
with just the drums.
是的
Yeah.
我们先从贝斯和节奏开始。
Let's start with bass and carry.
把约翰加进来。
Bring in John.
在同一个轨道上。
On the same track.
是的
Yeah.
太好了。
Great.
这个通鼓的声音真棒。
That's a great tom sound.
我的意思是，约翰简直就是台机器，对吧？
I mean, John's just a machine, isn't he?
是的。
Yeah.
朗巴德先生。
Mister Longbard.
直接开始
Just straight away
听起来很不错。
It's quite nice.
没有吉他的话，是吗？
That without the guitars, is she?
就应该这样发布。
Should release it like that.
听起来确实不错。
It does sound good.
但加里和约翰的演奏非常扎实。
But Gary and John are just so solid.
意思是，它就是
Mean, it just it
我们总是能知道，我们处于非常可靠的环境中。
just we always could just know we're in great hands.
就安心吧。
Just relax with that.
那么那里是谁在唱歌？
So who's singing there?
我的意思是，
I mean,
是两个人都
it's both of
我们在那里。
us there.
我能听到你。
I could hear you.
不。
No.
那里有两个声音。
It's two voices there.
那是我和约翰。
That's me and John.
是的。
Yeah.
是的。
Yeah.
我和约翰在唱和声。
Me and John doing backing vocals.
对。
Right.
是的。
Yeah.
在背景深处。
Way in the background.
然后加里在背景中唱着‘Right’。
And then Gary in the background doing the Right.
所以，正如我所说的，指出正在发生什么。
So as I mean, point out what's going on.
当你听到时，告诉我们谁在唱什么。
Tell us who's doing what as you hear it.
这真的很简单，对吧？
It's really simple, ain't it?
它只是
It's
就这么简单
just so
太简单了。
too simple.
我觉得我
I think I
我觉得你知道，很多九十年代的说唱音乐里，有一些词是大家都会评判的。
think it's know how you know you know how a lot of, like, nineties rap, there's certain words that everyone's judging on.
是的。
Yeah.
我觉得你只是在刻意营造那种氛围，来带动情绪。
And I think you're building a bit of that just just to get that energy.
是的。
Yeah.
我的意思是，像这样的元素确实能提升能量，但它们必须是真实的。
And I mean, that really, like the things like that really build the energy, but they have to be real.
所以我觉得我们必须让房间里的氛围发挥作用。
So I think we have to get the the the ambiance of the room work.
让我们让每个人都兴奋起来，但在专辑录制的第四周，这相当困难。
Let's get everybody excited, which is quite hard on week four of a of an album session.
是的。
Yeah.
但我认为，当你把歌曲做出来并且大家都喜欢时，也会有一种真正的解脱感。
But but I think there's there's a there's a real sort of relief as well when you when you got the track made and everyone loves it.
我的意思是，所有那些拍手声，你们知道，一旦进入拍手环节，大家都能稍微放松一下。
I mean, all those hand claps, y'all, that was like, when you get to hand clap territory, everyone can just relax a little bit.
我觉得对那些小伙子们来说，只需让他们非常兴奋并大声喊出那些歌词，这其实是个简单的任务。
And and I think it's just a simple task with the lads to just get very excited and shout those lines.
然后我想，我不知道有没有录像，但每个人都像在足球队的围圈里蹦跳着。
And then I think I don't know there's any footage, but everyone everyone was like in a football huddle bouncing around.
所以当时的能量真的非常足。
So the energy was really there.
是的。
Yeah.
事情就是这样发生的。
That's how that happened.
太棒了。
That's great.
这一段里有个Whurli。
There's a Whurli in this section.
Whurli？
A Whurli?
我正要说这个。
I was about to say that.
我让你
I told you to
去掉
get rid
那个。
of that.
那段贝斯线太带感了。
It is wicked bass line there.
那是
Is that
当你录制这些人声时，你是怎么录制的？
And when you're recording these vocals, how are you recording the vocals?
我的意思是，是在房间里和所有人一起录的吗？还是你们去了另一个地方，我们我们
I mean, is it just in the room with everybody around, or did you go to another thing we did we we
我们有两个房间，就在隔壁租了一个。
had two rooms, and we got a room next door.
朱利安·托马斯现在也用这个。
Julian Thomas uses that now.
但在这个例子中，这个人声是，是的。
But in this instance, this vocal is yeah.
那只是在录音室的控制室里，所有人都在录音室里，大家在一起，这也是很重要的一部分。
It was it was just a control room in the live room, and everyone in the live room, everyone being together, that was pretty part of it.
如果你不在场，就不可能获得那种能量。
You couldn't get that energy if you weren't.
你知道吗，当时谈到一点真实感，大家都很兴奋，而且这正好是专辑制作接近尾声时的解脱感。
You know what was saying about a bit of authenticity and everyone getting excited and and the relief of it being near the end of the album process.
是的。
Yeah.
这是因为这首歌在曲目编排上出现得非常晚。
This is because this one came very late in the day in terms of the track listing.
你知道的吗？
You know?
我们根本没想到会有这首歌，而且它几乎不需要怎么修改。
We didn't know we had it, and it was already it didn't need much work on it.
我觉得，与其他曲目相比，这首歌的元素要少得多。
There's a lot less going on, I think, than the other tracks.
是的。
Yeah.
但你提到的拍手和喊叫，这一点很有意思。
But it's interesting what you said about the hand claps and the shouting.
是的。
Yeah.
忘了这回事了。
Forgot about that.
但我的意思是，我一直觉得，听你们表演的快乐之一，就是这种交流。
But, I mean, I always think that with the Libertines, there's you know, part of the joy of listening and watching you perform is this communication.
这全靠你们在舞台上的眼神交流，以及大家如何默契配合。
It's all about the looks that you share on stage and and how everybody's working together.
当你们一起录制自由人乐队的歌曲，两人对唱时，我总在想，你们是否必须对视，或者你们是怎么处理这一点的？
And I always wonder when you're recording a Libertines song together and with the two of you singing, you know, whether you have to be looking into each other's eyes when you're doing that, or how how you work that.
因为这总给人一种魔力。
Because it always seems to have a a magic
当我们演唱时，那些时刻是神圣的，哦，我现在都感动了。
They are they are sacred moments when when we're doing, oh, getting all emotional now.
当我们演唱重要歌曲，或者任何一首歌的主唱时，那些时刻都是神圣的。
They're sacred moments when we have to do a lead vocal for an important song or any song, really.
你知道的。
You know?
但你知道，没有什么号角齐鸣。
But, you know, there's no sort of trumpet fanfare.
你就是能感觉到，真的。
You just you just feel it, really.
你知道的。
You know?
是的。
Yeah.
而且，
And,
但为了营造那种氛围，我的意思是，所以
But in order set that up, I mean, so
你就是做不到，如果感觉不对的话。
You just don't you just can't do it if it's not right.
你做不到。
You can't do it.
但一半的战斗在于，一旦你写好了歌词和曲子，那其实就是奠定了基础。
But half the battle is once you've got the lyrics and the song worked out, then that is the setup really.
然后这就像是——
And then it's it's like just
是的。
Yeah.
在舞台上，对我而言，一切都突然不一样了。
It it flips for me, like, on stage.
我的意思是，在录音室里，我们如此沉浸在当下和歌曲中，其实根本不需要互相看。
I mean, in the studio, I think we're so in the moment and in the song that we don't need to look at each other really.
我们都如此投入，我能感受到一切。
We we're all so present and I can feel it.
但在舞台上，我觉得人们并不会过度分析，但有时候就像两个在博尔顿周五晚上唱卡拉OK的紧张女孩，唱着间谍旋律，彼此对视着。
But I mean, on stage, it's I don't think people overanalyze it, but then sometimes it's like two nervous girls in Bolton on a Friday night doing karaoke, singing the spy scurls, looking like looking at yourself like that.
这种观众是因为他们不确定自己唱得对不对。
This is the kind of audience because they're not sure they're getting it right.
而另一些时候，你完全沉浸在歌曲中，其他一切都不存在了。
And other times, it's it's being purely in the moment of the song, and there's nothing else exists.
我觉得这两种状态都很美，但它们是两个极端，既可以是其中任何一种，也可以是两者之间的任何状态。
And I I think they're both beautiful, but they're both opposite ends of the spectrum, but it can be either of those and anything in between.
是的。
Yeah.
我在想，关于实际录音和录出
I was wondering in terms of actually recording and getting
那个效果的方式。
that out way.
有时候，你可能离开录音室几个小时，回来后问：‘你把那段人声录好了吗？’
Sometimes it'll be you you may have been out of the studio for couple of hours, you come back and say, oh, did you get that vocal done?
你回答：‘对。'
You say, yeah.
好吧。
Alright.
谢天谢地。
Thank Christ.
其他时候，你会说：你没让我在场就完成了。
And the other times it'll be, oh, you did it without me.
我不在场。
I wasn't there.
所以，你知道，两种方式都可以。
So, you know, it's can work either way.
这要看情况。
It depends.
我记得录过一首歌，不是这张专辑，当然，但我记得录《You're My Waterloo》的时候，确实如此，因为这首歌对我意义重大。
But I remember doing it's not this album, obviously, but I remember doing the vocal for You're My Waterloo, and absolutely, because it was such an important song to me.
你是在早上录的，对吧，
You did it in the morning, didn't you,
当
when the
嗓音上来了吗？
vocal got up?
是的。
Yeah.
我真的很害怕唱这首歌。
I was really scared to do it.
我觉得现在唱得还不错。
I I thought it went quite well now.
对。
Yeah.
太棒了。
It was great.
当时唱得不错，但只是那一刻。
It went for the time, but for the moment.
是的。
Yeah.
好像已经是一百万年前的事了。
It seems a million years away.
在我们继续讨论《Run Run Run》之前，还有什么其他内容我们应该听一下吗？
Before we move on from Run Run Run, is there anything else we should hear?
我要不要听一下我的个人专辑？
Should I hear some of my solo album?
不。
I No.
我觉得这挺有趣的。
I think I think that's pretty fun.
好的。
Okay.
接下来我们要听的歌是《Merry Old England》，不过我们先再快速播放一遍《Run Run Run》的原版，来做个收尾。
Well, the next song we're gonna look at is Merry Old England, but we'll hear a quick blast of the master again of Run Run Run just to to tie it all together.
所以这是The Libertines乐队的《Run Run Run》，接下来我们要听的歌是《Merry Old England》。
So that is Run Run Run by The Libertines, and the next song we're going to look at is Merry Old England.
我们先休息一下。
We're gonna take a quick break.
马上回来。
We'll be back in just a moment.
别走开。
Don't go away.
接下来我们要从The Libertines乐队的《All Quiet on the Eastern Esplanade》中听的歌是《Merry Old England》，现在马上为大家播放一段母带片段。
The next song we're going to look at from All Quiet on the Eastern Esplanade by The Libertines is Merry Old England, and we're gonna give you a blast to the master right now.
先给大家来一点The Libertines乐队的《Merry Old England》。
Just a little taste of Merry Old England by The Libertines.
女士，我对这首歌感到无比自豪。
So proud so proud of that song, ma'am.
你第一个说的，我得承认，这真是点睛之笔。
You're first That's a bell to that, I have to say.
太棒了。
It's great.
没人写得出这样的歌。
Ain't no one writing songs like that.
没人。
No one.
没人。
No one.
我喜欢你们俩在我们播放歌曲时跟着唱的样子。
I love the way that you're both singing along to the songs as we're playing them.
很舒服。
It's nice
能这样听到它，大概这些是相当昂贵的耳机吧。
to hear it like, three of these presumably, these are highly expensive headphones.
对吧？
Right?
是的
Yeah.
这样听真好。
It's nice to hear it like that.
这只是我放在花园里的小蓝牙音箱。
It's just my little Bluetooth speaker in the garden.
外观真的很重要。
It's looking makes all the difference.
所以你能听到所有细节。
So you can hear everything as well.
是的
Yeah.
有太多可看的了。
So much to see.
所有的细节。
All the detail.
太棒了。
It's great.
那么，欢乐的老英格兰，这到底是从哪里开始的？
So Merry Old England, where did this start?
我可以确切地告诉你它始于哪里。
I can tell you exactly where it started.
它始于那种奇怪的、虚无的空间里——比如空的薯片袋、橙子皮，还有其他乱七八糟的东西，这些在欧洲巡演十二周后，就成了大巴车后部的公共区域。
It started in that that strange neverworld space of, like, empty crisp packets and orange peels and God knows what that becomes the communal room at the back of a tour bus after, like, twelve weeks of a European tour.
我想我说得没错，我们当时正行驶在德国的高速公路上，那些巨大的人工森林，德国人做得真不错，可能是在科隆和莱比锡之间，也可能不是。
I think I'm right in saying we were between just some, like there's endless autobahns, those huge man made forests, the Germans do so well, Going between Cologne and Leipzig, maybe, probably not.
但当时有一把原声吉他，因为我记得我 somewhere 有这段录音。
But a passage acoustic guitar, because I know because I've got this somewhere on
就是这一段。
This one.
在约翰的手机上，约翰的语音录音器里。
On John's phone, John's iVoice recorder.
太阳出来的时候，我大概连续弹了三个小时，一遍又一遍地弹着同样的三个和弦。
And I think for about three hours, as the sun was coming out, I just playing I was I was playing the same three chords again again.
我当时只是在退休。
I was just retiring.
你和约翰就上去吧。
You and Johnny just go up.
我记得。
I remember.
是的。
Yeah.
所有人都在后面，因为这显然是大家共同努力的结果。
And everyone was there in the back and because of course, there was a joint effort.
我只是在弹奏，弗雷森也在弹，因为那是约翰的脸。
I was just going Frasion was just going because it was John's face.
他当时说：我该去睡觉了。
He was like, I should go to bed.
我当时正弹着，尽管是原声贝斯，但并没有插电。
And I was going And then it's heading into sort of little even though it's in the acoustic bass, it wasn't plugged in.
他也弹出了一个疯狂的节奏，然后我注意到有个叫Pig Man的特别指法什么的。
He got this mad groove going as well, and then it's and I saw there's a Pig Man special picking and whatnot.
所以我们就这样反复弹着这三个和弦，几乎没什么歌词。
So we just had these three chords go round and round, not really any words.
然后有人决定，如果我们非要这样重复三段，那就得来个世界上最宏大、最震撼的副歌。
And then someone decided that if we are gonna do this, this repetitive I know, I know, I know for three verses, it needs a massive, big Biggest chorus in the world.
该死的和弦。
F off chords.
所以我们觉得，好吧。
So we thought, right.
我们上了YouTube，看了哪些歌曲播放量最高，然后决定直接借用那个副歌的和弦，其实是一首Simply Red的歌。
We went on to YouTube, right, and looked at which songs had the most views, and then we thought we'll just nick the chords from that chorus, and it was it was a Simply Red song, actually.
旋律是这样的：我想坠入你的怀抱。
It goes, I wanna fall into your arms.
鼓手当时就说，你不能直接翻唱这些内容啊。
The drummer's like, you can't cover some of this.
这才不是翻唱呢。
It's not covering it.
是先搞明白他们的创作思路，再稍微调整一下而已。
It's working out what they've done and just switch it a bit.
那我现在把这事说出来真的合适吗？
So should I be telling people this?
不会吧。
No.
我觉得你说的对，因为上面写着
I think you're right with that, because it said
‘坠入你的……’所以它当时就慢慢变成了
Fall into your So it's just turning to
那是很久之后我们才把它改成那样的，当时
It didn't become that until much later when we
实际上，这就是它诞生时的大致情况。
actually That's a rough idea of how it was born.
是的。
Yeah.
但那时候，它还没有现在这么强烈的歌词主题。
Didn't But at that point, it didn't have that strong lyrical theme it's got.
现在，很明显，这首歌明显是关于所谓的移民危机的。
Now, obviously, it's it's clearly about about, you know, this so called immigration crisis.
哦，对的。
Oh, yeah.
我的意思是，这不正是个完美的契合吗？
I mean, that's thought it was a perfect bed, wasn't it?
所以它是自然形成的，然后
So it was created organically and then
是的。
Yeah.
与它们一起萌芽，孕育出后来作品的种子。
With them to be germinated with the fan seeds of what came later.
是的。
Yeah.
但那时你是在巴士上录的吗？
But that was And did you record that on the bus that time?
或者你
Or you
你只有
were You only have a
一个你根本认不出来的版本。
version that you that you would be unrecognizable.
对。
Right.
而且你可能根本听不到，因为有交通噪音。
And you probably can't even hear it over the traffic.
但足以记住它。
But enough to remember it.
哦，不。
Oh, no.
完全如此。
Completely.
嗯，只会读它，根本听不到。
Well, only wouldn't hear simply read it.
那当然。
That's for sure.
不。
No.
所以，我想在牙买加和来这儿开始录制专辑之间，你去过诺曼底。
So and then I think between Jamaica and coming in here to start the album, you came over to Normandy
没错。
That's right.
两次。
Twice.
我们预订了那个小录音室。
And we booked that little studio.
是的。
Yeah.
所以我给你听了那段，问你觉得怎么样？
So I played you that and said, what about this?
然后，哦，那也是我们写《夜之猎手》的时候。
And then oh, that was also when we wrote Night of the Hunter.
对。
That's right.
是的。
Yeah.
我们开始为这个项目收集所有报纸，因为很明显，玛格特那件事，还有我一直在家里住着，维持着家里的运转，等等。
And we started getting all the newspaper for this one because, obviously, the Margate thing, obviously, I'm living here all the time, keeping the home fires burning in and all that.
但是，没错，这个主题的来源以及我们开始交换关于它的想法，我们一直在搜索所有新闻头条，对吧？
But, yeah, but the subject matter and where it came from, and we started exchanging ideas about that and exchanging news headlines about we were googling all the headlines, aren't we?
因为我们只是说它们太棒了。
Because we just said they're so Yeah.
是的。
Yeah.
非法移民登陆了。
The illegals have landed.
是的。
Yeah.
没错。
Exactly.
是的。
Yeah.
是的。
Yeah.
因为我一直特别迷恋史密斯乐队和披头士，所以我特别想要一些以吉他为主导的歌曲。
So because I was quite keen on having sort of in my sort of Smiths, Beatles obsession, I sort of wanted songs that were just strong on guitar.
我根本没想过这首歌会变成别的样子，但一开始我就不想用木吉他，我想用电子吉他，但你的朋友迪米特里立刻就说，好吧。
I didn't really envision this being anything else, but straight away I didn't want to do acoustic, I wanted to be electric, but straight away your man Dimitri was like, okay.
我们不妨好好想想这个。
Well, let's think about this.
然后他开始弹起钢琴来。
And then he started playing around with the piano.
当听到钢琴版之后，实际上，我讨厌用这个词，但它比摇滚或摇滚乐的感觉少了很多，是的。
And then hearing it there, actually, it's a lot less I hate using this word, but it's a lot less rock or rock and roll than Yeah.
比我原本以为的要少得多。
Than I I thought it was, actually.
它比我想的慢多了。
It's a lot slower than thought it was.
钢琴部分真的很美，但我真的得放下我原来的设想。
And the piano is just beautiful, but I really had to surrender that.
所以我当时就想，这首歌里不要用钢琴。
So I was like, I don't want piano on this song.
他把我拉到一边说，我们就试试看吧。
And he sort of had to take me aside and said, well, we'll just try it.
我觉得
I think
能这么做的是个好制作人，你知道的。
that's that's a good producer who can do that, you know.
真的吗？
Really?
你身后那架钢琴是吗？
Is that that piano behind you?
我觉得就是那架。
Think that's the one.
是Fender Rhodes吧？
Fender Rhodes, wouldn't it?
是的。
Yeah.
不。
No.
最终我们还是用了那台琴。
Eventually We did use that one.
是的。
Yeah.
我们用了。
We did.
最终，他加入了一些其他片段。
Eventually, he put some of other bits.
所有那些，比如低音吉他
All all the like, got a baritone
这台钢琴音色太棒了，有一种柔和的空灵感。
This piano's got an amazing sound to It's got a real soft airiness.
这是英国一家名为霍普金森斯的公司生产的，来自伦敦，制造于上世纪三十年代。
It's by a British English company, Hopkinsons, from London from the nineteen thirties.
我从未见过类似的钢琴，但它真的非常独特。
And I've never seen anyone like it, but it's really unique.
是的。
Yeah.
所以，如果有人想来阿尔比恩房间使用的话
So if anyone wants to come in the Albion Rooms and use
顺便提一下，那位从坎特伯雷来调音的人说，这架钢琴完全是原装的。
it Just a quick heads up, the guy that comes from Canterbury to tune it, he said the whole piano is completely original.
它大约有一百年的历史，除了有一根弦之外，连琴槌都是原装的。
It's around about a 100 years old except for one string, even the hammers.
这就是为什么它的声音如此柔和而深沉。
That's why it sounds so mellow and dark.
真的吗？
Really?
太美了。
Gorgeous.
给你。
There you go.
杰森，我们有这个的演示录音吗？
Do we have any demos of this, Jason?
有。
Yes.
是的。
Yeah.
所以也许我们可以听一下演示。
So maybe we could hear a demo.
我的意思是，它从旅游巴士演变而来
I mean, its evolution from the tour bus
如果有什么演示录音的话，应该是来自
If there is a demo knocking about, it'll be from
从我这里。
From from me.
是的。
Yeah.
确实是。
It was.
是的。
Yeah.
所以又变得泥泞了。
So it's again slushy.
介于《Yes》和最终版本之间的垫脚石。
Stepping stone between Yes.
《开端》和最终版本之间。
Inception and final.
是的。
Yeah.
好的。
Okay.
那么，我们能听听关于这个的吗？
Well, could could we hear about that?
天哪。
Oh, my word.
是的。
Yeah.
听到这个真是太惊人了。
That's amazing to hear this.
我做不到。
I can't.
天啊
Oh my
上帝。
god.
这太邪恶了。
That is diabolical.
我知道。
I know.
是的。
Yeah.
它就在那里。
It's there.
它就在那里。
It's there.
是的。
Yeah.
这太棒了。
It's great.
就是这样。
That was it.
它把那句歌词删掉了。
It took that lyric out.
你有没有胆量给我打过电话？
You ever had the guts to phone me?
哦，是的。
Oh, yeah.
我知道。
I know.
那是个不错的句子。
That's a good line, that.
就是这样。
That's it.
我正在逃避这些情绪，老兄。
I'm running from the feelings, man.
对。
Yeah.
这非常像约翰，而不是你。
That's very John than you.
是的。
Yeah.
是的。
Yeah.
不。
No.
不过这确实很像约翰，
It's very John, though,
不是吗？
isn't it?
约翰，这真不错。
John That's nice.
所以这只是你们两个人，还是整个乐队？
So is that just the two of you, or is that the whole bandit?
不。
No.
做这件事的只有我们两个人。
Doing this is the two of us.
就刚刚好。
Just it right.
还有那位弹贝斯的工程师，
And the engineer who played bass,
不是吗？
don't you?
是的。
Yeah.
没错。
That's right.
对。
Right.
尼古拉之类的。
Nicola or something.
说实话，我没料到会这么不同。
I wasn't expecting it to be that different, to be honest.
是的。
Yeah.
所以歌词部分，我们甚至还没开始写关于移民的内容。
So The lyrics, we haven't even started writing about about the migrant.
那些都在那个房间里，我记得。
That's all in that room, I remember.
因为你给我订了那家餐厅的桌子，对吧？
Because you you booked us a table at that place, didn't you?
是的。
Yeah.
那只梁龙，是的。
The the Diplodocus Yeah.
我们根本没去。
We never went.
是的。
Yeah.
它本可以叫做腕龙，
It could have been called the Diplodocus,
这首歌，实际上。
this song, actually.
所以
So
我们现在听的这个小样，是迈向最终曲目录制的下一步。
this demo that we're listening to now, this was the the next step towards the recording of the actual track.
这意思是，来，这是个旋律。
This was to say, here's a here's a tune.
是的。
Yeah.
看看你能不能做到。
See if you can do that.
然后你就把这段带到了阿尔比恩房间。
And so then you took that here to the Albion Rooms
不。
No.
之前。
Before
我觉得我们还没给任何人听过这首。
I don't think we haven't played this to anyone.
我以为我们只演奏过原声版。
Thought we just played the acoustic.
不。
No.
我们在那里完成了歌词。
We we finished we we finished the lyrics there.
我的意思是，应该还有另一个小样，我记得当时他们去度假了，但我们一直没收到那个小样。
I mean, there should be another demo from I think it went on holiday, and we never got the demo sent to us.
但我们确实带着歌词做了一个版本。
But we did one with the lyrics there.
他去瓜达卢佩看他的儿子了。
He went to see his son in Guadalupe.
你看，就是这样。
There you go.
然后我们就把现在的实际歌词基本原封不动地用在一个版本里了，但那就是了。
And then so we did put the actual lyrics pretty much as as they are now on one, but that's yeah.
不知道那个版本现在在哪。
Don't know where that is.
我倒是很想听听那个版本。
I wouldn't mind hearing that.
但确实如此。
But yeah.
所以这是我们下一次演奏这支乐队的时候。
So and it was the next time we played the band.
对。
Right.
我明白了。
I see.
所以这首歌又稍微发展了一些，但我们能听到其中的变化，这真的很令人兴奋。
So the song evolved a little bit more, but we can hear the evolution there, which is really exciting.
我非常喜欢它们，这真正体现了每首歌背后需要付出多少努力。
And I I love them, and it just illustrates just how much work goes into each song, really.
你需要经历多少个不同的步骤才能完成。
How many different steps you need to go on Yeah.
才能最终成型。
To to arrive.
尽管在你心里，某个时刻你可能会想，哦，我只是在公交车上突然想到的。
Even though in your mind, at some point, you might think, oh, I just came out with this on the bus.
但这个过程确实经历了许多变化。
But it goes through Absolutely.
相当长的前奏。
Quite a lead.
需要大量的努力。
A lot of graft.
而且确实是这样。
And Yeah.
需要大量的努力。
A lot of graft.
对我而言，还有很多潜意识中的沉淀过程。
A lot of sort of subconscious settling as well for me.
如果我一想到写一首歌要付出这么多努力，我可能根本不会去碰吉他。
Should I if I I think about how much work goes into a song, think I'd never bother picking up the guitar.
但没错，这确实很多。
But, yeah, it's a it's a lot.
是的
Yeah.
我觉得这非常有趣。
I think that's really interesting.
那么如果我们转到录音环节，实际上就是那次录音最终收录在专辑里了，我们应该听哪一段呢？
And so if we go then to the recording session, which actually, you know, led to the recording that we've got on the album, what should we listen to from that?
我们已经知道，迪米特里建议用钢琴。
So we've already learned that Dimitri suggested the piano.
是的
And Yeah.
开头部分也非常优美。
It's gorgeous at the intro as well.
是的
Yeah.
氛围感很强。
It's very atmospheric.
这是我整个专辑中最喜欢的时刻之一。
One of my favorite moments on the whole album.
这太美了，不是吗？
That's beautiful, isn't it?
是的。
Yeah.
是的。
Yeah.
是的。
Yeah.
而且有一种大门乐队的氛围
And there was a Doors vibe
在其中弥漫。
going on.
是的。
Yeah.
《暴风雨中的骑手》，我一直是大门乐队的铁粉。
Riders on the storm, which is I'm a lifelong massive Doors fan.
所以每当迪米特里快让我走神时，他就会说，这有点像大门乐队，然后
And so and they if ever Dimitri was losing my attention, he just goes, this is a bit like The Doors, and
我会
I'll be
回来。
back.
太好了。
Great.
我觉得卡尔·斯托洛在这段如漩涡般下行的大门风格旋律中也非常优美。
I think Carl Stolo as well is quite quite beautiful on this sort of swirling descending doors
哦，是的。
like Oh, yeah.
那就是完全对了。
That was the total yeah.
是的，就是这样。
Was, yeah.
它那种感觉就像是你
It was the sort of You
可以说这是完全模仿了大门乐队的风格。
can say it was a total doors
抄袭。
rip off.
你知道那些大型的器乐曲吗？
Do you know those big there's these sort of instrumentals.
我记得，比如《Light My Fire》里，还有好多类似的音乐。
I remember, like, you know, in Light My Fire and, you know, there are so many many music's over.
我以前听得太多了，都背下来了。
And I used to I listened to it so much, I learned it off by heart.
那地铁呢？
Then what's the tube?
其中一条地铁线路以前会播放一小段，不管怎样，你肯定注意到了。
One of the tube lines used to play a bit from the anyway, anyway, would have noticed that.
这让我
This is driving
抓狂。
me nuts.
地铁的主题曲。
The theme to the tube.
是的。
Yeah.
没错。
Exactly.
地铁的主题曲。
The theme tune to the tube.
那首是欧洲之星的主题曲。
What about That's the Eurostar theme.
是的。
Yeah.
写那个的人就在里面。
That that that whoever wrote that is in there.
它正在赚钱。
It's coining it.
等一下。
Hang on.
我想我刚才跑题了，对吧？
I think I've digressed there, haven't I?
那句话到底怎么说来着？
What what was the saying again?
我们刚才在聊彼得提到你的独奏，哦，对。
We were talking about Peter mentioned your solo Oh, yeah.
还有她有多喜欢它。
And how much she liked it.
所以也许我们来听一下。
So maybe we'll listen to that.
播放吧，乔诺。
Roll up, Jono.
来自门口的直击。
Straight Out The Doors.
还有第二张自由人专辑的氛围，《道路》
The shades of the second Libertines album as well, Road
通往毁灭。
to Ruin.
是的。
Yeah.
但这个和钢琴是同步进行的。
But that this was kind of going in tandem with the the piano.
是基于它来创作的。
Was working off it doing it.
那里有很多节奏。
There there there was a lot rhythms in.
听起来有点奇怪。
It sounds a weird on it.
所以，我第一次听这首歌时，真的想到了奇想乐队。
So It's kind of only because when I first heard this song, I was thinking of the kinks, really.
就是这样。
That's it.
它让我想起了奇想乐队。
It kind of conjured the kinks for me.
但这很有趣。
But it's interesting.
我们总是有不同的参考对象，而你指出了这首歌的大门乐队特质。
We always have different references that we're thinking of, and so you're highlighting the Doors quality to that.
这说得通。
That makes sense.
我完全理解这一点。
I completely hear that.
嗯，我刚才在读
Well, I was reading
关于大门乐队和奇想乐队，这就是我的精彩融合。
for the Doors and the kinks, and that's my wonderful hybrid.
是的。
Yeah.
对。
Yeah.
为什么不呢？
Why not?
听起来很棒。
It sounds great.
我的意思是，《欢乐的老英格兰》里有很多元素，比如也有弦乐，对吧？
I mean, there's a lot on Merry Old England, mean, there are strings on there as well, aren't there?
是的。
Yeah.
你知道吗，有两位女孩负责和声。
Do know there are the two the two girls doing the backing.
我当时非常非常确定自己想要什么，就是《Call for Cats》视频里的那两位女孩。
I was really, really I I I was quite certain what I wanted on that, and that it was gonna be basically the girls from the Call for Cats video.
我记得因为我们当时在法国录了人声，德米特里说：‘我已经安排她们过来了。’
And but I remember because because we did a vocal for that in France, Dimitri said, I've I've got the I've got them coming.
结果来了两位非常优雅、非常有品位的女士，她们是专攻歌剧和法国音乐的录音歌手。
And two very sophisticated very sophisticated, elegant ladies came who were session singers for opera and everything French.
我当时就想，这肯定行不通。
And I thought, this is not gonna work at all.
她们不停地抽烟，这很
They're smoking endless cigarettes, which is quite
对麦克风不好。
bad for the mics.
她们非常出色。
They're quite amazing.
但她们不知怎么的，听起来就像八十年代的大学女生。
But they they somehow managed to sound exactly like girls at college in the eighties.
不需要签证。
Don't need a visa.
是的。
Yeah.
不需要
Don't need
不需要签证，伙计。
a visa, mate.
那简直太不可思议了。
Don't Don't quite quite miraculous that.
但我得等等。
But I wait.
我们能听听这些吗？
Can we hear those?
我的意思是，和声才是真正的亮点吗？
I mean, are the backing vocals the real highlight?
五月。
May.
这对他们来说相当陌生。
That was quite alien to them.
单独听的话，它们听起来更像一些精致的法国女士。
In isolation, they sound a bit more sophisticated French ladies.
是的。
Yeah.
人声上用了大量的效果，我的意思是。
There's these tons of effects on the vocals, I mean.
当你请来这样的人和弦乐手时，我的意思是，你会参与指导他们吗？
And when you get people like that in and the string players in, I mean, do you get involved in directing them?
你是不是说了那个《Cool for Cats》的视频，然后他们说，什么？
And and and did you say cool for cats video, and they went, what?
哦，不是对弦乐手说的。
Oh, not for the string players.
不是。
No.
是对歌手说的。
But for the singers.
你懂的？
You know?
或者你是怎么传达你希望他们听起来像什么样的？
Or how did you get across what you wanted them to sound like?
像这类事情，我真的很确保他们作为人是没问题的
Think but things like that, I'd really I'd make sure they were alright as people
是的。
Yeah.
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