杂志扫图： 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. 身为一名吉他手，Josh比起John更为抽象，而他在新专辑中提供了更多的空间，让Flea去 挥洒。这张专辑包含了这位贝斯手有史以来最棒的呈现。在之前提到过的"Goodbye Hooray"中，他的heavily processed与envelope-filtered breakdown，无疑是John Entwistle式的纯熟技巧。而这等亢奋也能转成"Brendan’s Death Song"中的柔软与优美 。 “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说： 「可以在写歌与录歌的时候，看着他一次又一次弹奏那首歌，我觉得很幸运。然後他的每 一次的呈现却又都不相同。却都还是相当奔放与专注。他可以同时极具旋律感又极具节奏 感。这就是他最让人赞叹的地方。」 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的和谐创造力是在南加大花两个学期研究和弦理论学得的。AK说： 「Flea真的很投入在那些和弦理论，以及如何运用上。然而不可避免的，他还是会坐在贝 斯前，说：『Josh，在这个小调里的半音音符叫什麽？」然後Josh想也不用想的就回答他 了。听起来好像Josh早就去学校学过了似的，然而他却没有。他就是从他的指间学到这些 东西，一个跟琴弦弹恋爱的人。」 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是一个直觉式的音乐人。谈到对他的影响时，他显得有些谨慎，仅说了他还小时，他 尽他所能地去学习每一样东西。他说： 「很多时候我都不觉得自己是个吉他手。很长一段时间，我花很多时间在模组合音器 (modular synthesizer)，我和John一起。在那之前我则是专注在钢琴上。说到我的和弦 敏感度是从何而来，我没法解释，我只是想要把各个音符组合成一些你从未听过的东西， 让你的心与脑袋同时悸动的东西。」 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.” 制作新专辑的过程中，对钢琴的迷恋以及钢琴带来的和声的可能性，是另一个连结Flea与 Josh的共同点之一。Flea说： 「我一向都是仰赖我的情感与直觉。但因为我要做学校作业，像是分析巴哈，於是我就开 始坐在钢琴前，开始投入在弹琴以及用钢琴写歌的这些事情上。所以我用钢琴位专辑写了 不少歌。Josh也是。最酷的地方在於，专辑中钢琴的份量虽不像我们创作时那样多，而是 将用钢琴写成的东西，以贝斯、鼓和吉他重新诠释的过程。重新诠释的这个动作，就足以 让创作过程有很大的不同。」 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. ” 另一个两人共有，而也同样对新专辑产生影响的体验则是衣索比亚的旅行。Josh指出： 「很棒的体验，但是也很累。有点像是绕行全国的音乐体验之旅，从每个小村庄都有自己 独特的舞蹈，到清晨四点的基督教教堂的礼拜，同时间穆斯林教徒的扩音器也在放送着。 真的很不可思议。那里同时存在三种宗教信仰，而且彼此间非常和谐。」 “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补充： 「前一年我跟同一群人去了奈及利亚。感觉很棒。每个晚上我们都会出去体验那些美妙的 音乐。我们和当地人一起jam，不可思议吧，我们跟非洲人一起玩音乐。想像一下那画面 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.” 这趟旅程影响了新专辑中不少歌曲，最主要的还是"Ethiopia"，它包含了由杰出的 Joshua Redman吹奏的康茄风格的萨克斯风。另一首"Did I Let You Know?"则包含 Afro-jazzy式的节奏，以及Mike Bulger跨刀演出的小喇叭solo。有着这些要素，"I’m With You"或许是红椒专辑中最具爵士乐风格的一张专辑。Flea说： 「我们喜欢各种不同的音乐，画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.” 有了这麽多来自周遭的灵感，歌曲们也就很快速且大量的结合出来。AK说： 「我们几乎每天都是以jamming开始，不论是要寻找歌曲灵感或是只是放手一搏。很多时 候，东西就这样冒了出来。我也觉得我们从Josh过剩的创作灵感中获得益处，那些或许不 适合於他过去所做的音乐尝试。他带着那些相当美丽且独特的歌曲而来，而我则觉得或许 这些歌就是为了我们这个机会而保留下来的。」 “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附和说： 「完全没错。我已经写歌写了相当多年了。我不是每次都能把它们完成，有时实在花太久 去完成它们。但其中很多灵感在这个时候，AK创作的过程中，是管用的。实在是太多了。 」 “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说： 「黑板一下就写满了。我们有写黑板的惯例，把这些歌写下来让它至少有部份开始成形。 」 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号，他们从写歌的过程中休息一会，在MusicCares演出以向Neil Young致敬 。这是新红椒的首次登台，在观众面前表演，观众席中包含了Elton John、Leon Russell ，以及，当然Neil Young本人。AK说： 「我们决定演出一首Neil的歌，那不算容易。我们演出了"A Man Needs a Maid"，挑战我 的最高音域。原始版本是管弦乐版，所以要把它转变成摇滚型态确实是个挑战。」 “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补充道： 「我们四个人都全神贯注地要把这首歌做好，没去想其他的。尤其当晚Neil在场。不过我 们当时并不知道他在观众席。结束之後，我们走出去就碰见他了。」 “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回想说： 「艾尔顿强在开始前跟我们讲了些鼓励的话。他打趣地称了Chad为『帅哥』。不是说Chad 不帅，而是强叔真的叫他『帅哥』，有点像是『你怎麽样呀，帅哥？』演出很有趣，只是 有点从写歌里分心了。我们每天都像工人一样，准时上班好做出一张专辑。」 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.” 当歌都写完了，乐团在北加州的Big Sur做了几个星期的试录。他们在Beach Boys之一的 Al Jardine的Red Barn中工作。那段过程确实鼓舞了Josh，他说： 「我们进去，里面有一座白色的钢琴，我有一张Brian Wilson弹琴的照片，那张照片就挂 在我家我的钢琴上。所以可以看见Brian Wilson的钢琴实在太酷了。」 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. 当试录完成後，乐团便移师到洛杉矶的East West Studios，与长年合作的制作人Rick Rubin碰面。East West的前身是传奇的Ocean Way studio，在更之前则是更传奇的 United Western，许多史上着名的专辑，像是雷查尔斯、海滩男孩、滚石、Tom Petty、 鲍布狄伦、电台司令等都在此录制过。而现在，不知怎麽的，这间录音室竟然只用来位音 效库录制一些乐器样本。但是，红椒们用了一些复古的现场曲目，摇滚了这个空荡的殿堂 。 “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说： 「我们就是录下房间里所有的现场演出。这是摇滚乐中丧失已久的技艺。实在很荒谬。每 个人都在凑东西。但我们只在乎感觉。感受才是一切。我们宁可保留当我们一起演奏时产 生的失误，因为那其中包含了当下的感觉，而不是要凑到完美为止。」 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利用两把吉他录音：一把是再版的1957年的Fender Custom Shop Telecaster，本来 是John的；以及一把五零年代的Fender Stratocaster，这把则是Chad的。Josh说： 「我一直没有一把好的Stratocaster，所以我就跟Chad借。在红椒里没有一把 Stratocaster实在很难摇滚起来。录音时，我希望简洁为上，所以只用两把吉他。Tele 和 Strat的声音都很一致。有些时候，我不确定叠录的位置或是其他部分的变化，就是放 手一搏。因为我知道不管是Tele 或 Strat，在混音中听起来都会很棒。」 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. 在初始的录制中，Tele 和 Strat会经由一个200瓦的Marshall Major，这也是John在红椒 中使用过的同款扩大器。当要进行叠录时，Josh带来了更多设备来弹奏。他可以算是有买 吉他强迫症，而且特别偏爱古董。 “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说： 「我多半在网路上找，像是eBay那些的地方。我就是喜欢便宜的吉他。我有很多。我没法 说有多少。我喜欢把吉他放满整个屋子。我开始再找一把可以匹配我墙壁颜色的吉他。」 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的从便宜小店找到的最爱之一。在"Take Me Home"这首歌中 ，制造了一种奇特的柔和节奏吉他的音调。主要架构了这首歌的情感。Josh说： 「我用Magnatone写了那个部份。然後我说：『如果哪天要正式录这首歌，一定要用那把 吉他。』一定的，因为听起来很棒。」 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也同样是悠久高阶设备的粉丝，像是他的Sixties Fender Jaguar。他也有Fender 12和Bass VI。另一把专辑中的主要吉他是Gibson Firebird，1963或64年份。Josh说： 「那是我最奢侈的一把。一个有三个拾音器的Firebird，绝对是怪兽。」 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.” 叠录时，他的吉他会经过Radial Engineering转接器到七个不同的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。 最後的一个是场地工程师买的。Josh说： 「我们在房间结合不同的麦克风与扩大器，以寻找音调。我们多半会混用三个和五个扩大 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.” 另外一个Josh从John那边继承而来的设备是，Ibanez WH-10 wah pedal。他说： 「他很便宜，八零年代的塑胶踏板，还很常故障。但现在很难找到了。」 他同时也使用Mid-Fi Electronics Clari(not) fuzz/pitch bender，你可以在"The Adventures of Rain Dance Maggie"中听到。Josh同时也接收了John的偏好，透过合成器 改变吉他的声音。他说： 「但是在这张专辑哩，我没有像我之前以为的，做出那麽多变化。我们有很多材料，所以 便专注在让吉他去纪录那个过程。然後到了混音，吉他听起来也不需要再做变化了。」 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.” 聆听新专辑的享受之一是，你可以找到相当多变的吉他solo。每个都有截然不同的音调与 感受。Josh说： 「当应该solo的时候，把它以不同的方式呈现，以符合歌曲本身是很重要的，而不是只是 做你能做的。乐团中的solo是很奔放的。John每次都可以弹出不一样的东西。这是他们现 场演出中最棒的部份。自然而然的就把solo展现出来了。不像我的solo是要用写的。」 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带来的这些不同风格与基调，"I’m With You"仍然是一张红椒专辑。主要归功 於Flea与AK，这乐团的创始成员。两人都是乐团风格上的特色与主要成分。Flea为乐团提 供了深刻的放克基底，而AK则透过rap式的唱法将它带到高点。只要这些元素稳固，就有 辽阔的空间让不断变化的吉他手们去挥洒，留下他们的印记。只要Flea与AK还在，呛辣红 椒就会存在。 “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说： 「我想乐团早在它成立之前就存在了。AK和我在15岁时成了朋友，我们密不可分，成天一 起在街上鬼混，惹事生非，我们之间有很密切的连结。」 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. 世事一直不停变化。庞克放克的小夥子脱离的八零年代，变成更为成熟的摇滚形式。"I’ m With You"反映出来的情境似乎是在感念那段过往。逝去、分离的朋友将永铭在心。然 而有些歌曲讲述随着时间凋零的角色，时间的恶果。然而其中也有反应呛辣红椒们的重新 发想与创造的复苏感。新专辑中最为欢乐的歌曲"Happiness Loves Company"，AK唱着 'Young love keeps pumpin’ in the streets of L.A.'。没错，这正是呛辣红椒。 “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说： 「我想洛杉矶的能量却实深深影响了这张专辑。LA充满无限的可能，你实在没法不爱它。 我越是改变，就越能发现它的不同面向。洛杉矶是地球的核心。好多东西从洛杉矶诞生。 不过我现在住在洛杉矶的市郊，海岸上的另一个郡。所以我想我现在看它的角度又不一样 了。」 --

※ 发信站: 批踢踢实业坊(ptt.cc) ◆ From: 27.147.0.144