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fairlight
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Buenas!
He visto el mensaje y me he puesto a buscar en los TRES grupos de FB de Mike las transcripciones que hizo una chica inglesa de, al menos, un par de vídeos. Y no las he encontrado. :(
Así que he dejado de perder el tiempo y me he puesto a transcribir el primer vídeo. Haría la tradu, pero estos días estoy muy liado y no podría ponerme hasta la semana que viene. Si alguien se quiere ir animando, adelante. Vosotros sois los coordinadores!! :)
Aquí tenéis el primer vídeo transcrito. Hay huecos (y puede que faltas) porque está hecho del tirón y sin repasar. Si alguien tiene a bien echarle un ojo y corregir y rellenar los huecos, encantado! Si no, en cuanto pueda lo repaso:
You've always said that Ommadawn was one of your favourite albums. Can you tell us why?
Ommadawn was very special. I need to rewind a little bit to explain the history of the two albums before that. Obviously, Tubular Bells, which was a fantastic success out of the blue, unexpectedly to everybody. And then, after Tubular Bells came Hergest Ridge, or pronounced properly by the locals 'Hehrgest Ridge', it was a much more pastoral sounding album. These days, it would be probably described as this strange term 'new age', whatever that means. That was very badly received. The critical backlash for Hergest Ridge, compared to Tubular Bells, was wicked and cruel. At my age (then I was 20 or 21) I had no idea about this kind of things, so I took it very personally. In a way, with Ommadawn I wanted to do my absolute best. And then I moved to a little cottage on a hillside on the Welsh border. It was quite high up. It was very breezy in the winter and very cold. In fact, the carpet of the house (it was a very ramshackle house) used to billow up in the wind in the living room. ___ in the floor. And I had a little studio downstairs. The record company had given me some very, very good equipment, beautiful. A ___ console and everything that I needed they provided, because I wanted to ____ to make really good album. Had all the equipment I needed, I had learned enough by then about studios to not needing an engineer or a producer. So I produced and engineered it myself, which I loved doing. And then I worked for probably 6 months. It was a reel-to-reel tape. The tape was about that wide, a very thick reels of tape. After six months of ___ing the tape back and forward so many times, the tape started to disintegrate and all the oxide from the tape was collecting around the tape-head and powder... It came to a point when the sound kind of... really, it didn't sound any good anymore. And I couldn't copy it because I had lost sound quality. I had to completely start again. So what you here as Ommadawn now is actually Ommadawn 2. And I changed a lot of the music in the second part. Somewhere on the Internet (on Youtube) you can still hear the old version. I wanted to do it absolutely perfect. It was the only time I didn't use the first take of everything. I learned how to drop in. In fact, I used to work the tape recorder with my feet at the time. I could press all the buttons with my toes, so I could be playing something and working the tape machine with my toes. And I would do it again and again until I got it perfectly. Then it was very emotionally charged. I remember the screaming guitar at the end of Part One was done in the middle of the most gigantic thunderstorm on top of the hill! The weather can be pretty wild up there. We got wind coming in from the West and right up the hill, and the thunder and lighting, and I was there playing away. And then it finished off with this song about riding little Welsh ponies on the hill, which I loved to do. It was one way of relaxing on a Sunday morning, on a little Welsh pony. It's not like a proper horseback: it was ponytracking. But it was sweet and lovely. They are lovely little animals. And I got some local kids to come and sing the chorus on it. ___ and it became a tremendous success not only in sales but critically as well. I had had the up and I had the down, and then the up again. I think I probably worked as hard on Ommadawn as I had on Tubular Bells, which wasn't just a recording. Tubular Bells was years and years before actually getting in the studio, the writing of it. So it came a point of 'What should I do next?' and I didn't really had another album in me after Ommadawn. So those first 3 albums had become like a trilogy. The essence of the early part of my career. And after that I started doing things like experimenting with more modern music, more contemporary music; music that wasn't really me but I started touring, giving interviews, doing all the things I hadn't done before. In that way is a very special album.
Could you explain the meaning of Ommadawn?
Ommadawn comes from the gaelic "amadian" which means "fool" or "idiot". You may wonder why I called my album "idiot". In folklore, in history, the idiot is often the person who, underneath it all, is the real genius, the real magician. Because they don't need to pretend to be anything other than a fool. Like Stephen Hawking for example. He's got a wicked sense of humour. And obviously he is not an idiot, but he can appear to be. So, in a way, it's a sort of reversed compliment to call it "Ommadawn".
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Vale, me he picado conmigo mismo y al final he encontrado la transcripción que recordaba haber visto!!! Es del 2º vídeo. Paradójicamente, la chica que hizo la transcripción ha sido baneada del grupo. :(
Da bastante cosa repasar comentarios de hace escasas semanas y ver la cantidad de peña a la que se ha expulsado de los diferentes grupos. Eso o se han marchado... algo que me parece raro.
En fin, lo dicho, aquí la transcripción del segundo vídeo!!
¿Cómo quedamos para los vídeos 3 y 4? :)
Your last album ‘Man on the Rocks’ was a very rock album. What made you return to your original style?
At the beginning of every project I decide what I am going to do next. With ‘Man on the Rocks’ I liked that... I think they call it 'Adult Orientated Rock'. Is that the right term? I like that sound and I wanted to see if I could do that. I often set a challenge for myself to see if I am able to do it. Like the song ‘Moonlight Shadow’, I thought 'I’ll see if I can write a real popular song!' It wasn’t easy. It doesn’t come naturally but I keep pushing and pushing and experimenting and then eventually managed to make the song. Same with ‘Man on the Rocks’. And I’d sort of got that out of my system with ‘Man on the Rocks’. It was a lot of fun. I had these amazing session men from Los Angeles who came as almost a unit. You’d give them the chords and off they’d go and they would sound exactly right! And then I got this wonderful vocalist, Luke Spiller, to sing on it. Then, having got that out of my system, there was well ’what should I do next?’ Then that became Return to Ommadawn.
Did you intend to write this in the same style as your early albums, or is that something that naturally evolved?
Oh well, it was a decision I came to, to try to recreate the whole atmosphere and the sound and the little nuances of playing that I used on Ommadawn. Ommadawn was all acoustic instruments so there were no synthesisers apart from one very early string synthesiser called a Solina. So the first task with Return to Ommadawn was to gather together all the instruments that I would need. I couldn’t get all the original instruments but very clever people have made virtual reality versions of these things which I was able to buy and play them all by hand. There’s no sequencing, there’s nothing that is not hand-played in real time. In fact I even went so far as to ditch the electronic click track. I got an old clockwork, wind-up metronome which I recorded with a microphone, so it’s going ‘tick tock tick tock’. I think it gradually slows down as the clockwork runs out so I had to keep winding it up again.
This is your first entirely solo album since technology has leapt forwards, how was the process made both easier and more difficult?
That’s a good question actually! In the old days you didn’t have…..I suppose the biggest thing is to be able to cut something out and put it somewhere else. Now, with the click of a mouse, we can just drag and drop so it takes half a second. In the old days you have to do things like, if you wanted a loop you’d have to put the tape... find strategic points around the room where you could actually put the tape where it wouldn’t get stuck up so it would go round. It would go, like, over the chair, under the table, it would go over the lamp and then it would go back in again. I remember doing that a lot with the original Ommadawn because I wanted this vocal to just be continuous without any breath and go ‘aaaaahhhhhhhhhh...’ so I had to make the tape loops. Now that’s at the click of a mouse kind of job. But basically it’s still the same unless you’re making a modern kind of album; you do it with a click track and you’d get the computer to actually play a lot of it. But with Return to Ommadawn there’s none of that. It’s all my fingers either on keyboards or on strings or holding sticks or my mouth playing things. So it’s a very human thing. In fact I’ve had a long enough break from it now... I was listening to it last night and I was listening to, you know…’er, that’s a person doing that! Ha ha! It’s not a machine; it’s an actual real person...hmm’. And there are bits, you know, where I make a bit of a mistake and I make a little buzz on a note there and hear my fingernail. ’Oh, there’s a little click of his finger there!’ Sometimes if you are playing guitar you play it and it’s like talking and if you breathe you go ‘da da da da…. (exhales) …da da da..’ so the breaths are on there. I could have chopped them all out but, you know, why? It’s all part of the performance. There’s some clicks in there which I didn’t tidy up, I didn’t sanitise it, so it’s got imperfections. To me, that gives it character.
  16 Febrero 2017, 1:55:24 |
