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OFF �THE �RECORD

Started by Night Owl, 27 April 2002, 05:51:54 am

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Night Owl

เมื่อวันหยุดยาวที่ผ่านมา �ดิฉันมีโอกาสหยิบหนังสือหลายๆเล่มมาอ่าน � หนึ่งในนั้นก็คือ Off The Record : �An Oral History of Popular Music , Pan , 1988 เขียนโดย Joe Smith �ซึ่งเป็นอดีตผู้บริหารระดับสูงของบริษัทแผ่นเสียงยักษ์ใหญ่หลายแห่ง ( อ่านประวัติโดยสังเขปได้จากข้างล่าง ) �จึงถือเป็นคนวงในโดยตรง


ความน่าอ่านของหนังสือเล่มนี้ � อยู่ที่เราจะได้อ่านสิ่งที่ไม่เคยได้อ่านจากที่อื่น    เป็นการรวบรวมความในใจ �ที่มาที่ไป �อีกทั้งเกร็ดเล็กเกร็ดน้อยต่างๆในวงการ � อันเป็นส่วนหนึ่งของประวัติศาสตร์วงการดนตรีนั่นเอง � �จากปากคำของบรรดาศิลปินผู้ยิ่งใหญ่ทั้งหลายรวมทั้งบุคคลที่ทรงอิทธิพลในแวดวงธุรกิจดนตรีมากกว่าสองร้อยคน � และหลายๆที่มาก็ทำให้เราอ่านไปด้วยความตื่นเต้นว่ามันเป็นอย่างนั้นอย่างนี้เองเหรอ � ซึ่งสำหรับคอดนตรีแล้ว � เชื่อว่าคุณๆจะเพลินเพลินมากในการอ่านหนังสือเล่มนี้ �ในแต่ละบทของแต่ละคนอาจจะค่อนข้างยาวเกินกว่าที่จะเอามาลงได้ทั้งหมด �เลยขอคัดท่อนที่ถือเป็นไฮไลท์มาให้อ่านกัน �ซึ่งบางคนอาจจะลงได้ยาวน้อยไม่เท่ากันขึ้นอยู่กับว่าน่าสนใจแค่ไหน � โดยจะทยอยลงไปเรื่อยๆนะคะ �ดิฉันไม่ขอแปลเพราะ �คิดว่าไม่จำเป็นอีกทั้งการอ่านจากต้นฉบับจะได้อรรถรสกว่าเยอะ �สำหรับบางคนดิฉันจะลงคำจำกัดความของเขาเหล่านั้นจากมุมมองของผู้เขียนไว้ด้วย �เพราะบางคนอาจจะไม่เป็นที่รู้จักอย่างกว้างขวางมากนัก หากแต่มีบทบาทสูงยื่งในวงการ



[!--EDIT|Night Owl|April 29 2002,09:18--]

Night Owl

เกี่ยวกับผู้เขียน :  

Joe Smith is the president and chief executive for Capital Industries-EMI.  And innovative leader, champion , and spokeman for the music industry for over 38 years he became a disc jockey after he graduate from Yale and went on to become a president of Warner Bros./Reprise and chairman of Elektra Asylum/Nonesuch Records. Over the years he has discovered and developed the careers of some of the recording industry's most legendary artists. He has also been honored by the national Academy of Recording Arts and Sciences, and has been a leading spokeman in the areas of copyright legislation, anti-piracy, and censorship

Night Owl

คำนำจากผู้เขียน :

ขอคัดมาเป็นบางส่วน


I thought , “ What if I could get some of the major names in music all telling me stories about themselves ? “  Famous people who have all done terrific things in music, I wanted to stand alongside Woody Herman, not to get a comprehensive history on the man, but maybe he’d share some of his experience with me. That’s the kind of thinking that went into this book. Over 200 personalities who have affected our lives in some way. From Artie Shaw to a guy  in Platters. From Barbra Streisand to David Lee Roth. “ Tell me a story ? “ I asked, and, over the course of the two–plus years it tookto do this, most of them did.



In beginning of interviewing process, I ran into disaster right away. I wanted to start with the 1938 Benny Goodman concert at Carnegie Hall , and who better talk to but Benny Goodman ? I finally had an appoinment set up with Mr. Goodman, and he passed away.  Certainly a greater inconvenience for Mr. Goodman than for me . It was not the most auspecious opening to the book , and it made me realize I’d better get a lot of  big band guys fast



I’ve been lucky enough to have been in radio and in records, and I’ve seen and heard the music change, imperceptibly from year to year and dramatically over a decade or two. It was Patti Page and Mitch Miller when my career began and the gradations from Elvis Presley through Bob Dylan and The Beatles, through R&B and heavy metal, all combined to create the currency of my professional life. In other word , I figured I could cover the territory.



But the heart and soul of this effort are the conversations with these talented men and women whose work has touched the world for five decades, and will continue doing so for many years to come. Their willingness to share feelings,experience and memories of their bad time as well as their good times is what this book apart from the many excellent writings on the business. I think you’ll identify with many of them, and I hope you enjoy meeting all of them


                     Joe Smith

Night Owl

Stan Getz



Much later, the kind of music that Miles and I were playing  came to be known as the backlash to bebob, which was so frenatic . And that backlash, or the “ cool school “ as it was known, is where the bossa nova came from. It was Antonio Carlos Jobim and Astrud Gilberto listening to the progenitors of the cool school, Miles and myself. Listening to the harmonies we played, the laconic approach. Jobim took the traditional street samba and combined it with the north Amrican cool school  and that’s what came out------the bossa nova

Night Owl

Lionel Hampton



I always give a youngsta a break. I found Dextor Gordon in los Angeles. He was my doctor’s son


I went to Seatlle one time and I saw a little kid who wanted to know if he could do arrangements for me . I said, “ I’m going to Portland next. You wanna go there with me ? “
He said “ Oh, yeah “
I said, “ OK , get your thing together. “  He came with his clothes in a cardboard box. I kid him about it now. That was Quincy Jones.

Night Owl

Ella Fitzgerald



I never thought of I was going to be a singer . What I really did is dance a lot. My cousin would say, “ Let’s go to the movies “ , and I would end up dancing in the streets and people would give us a money


I did a show with a disc jockey somewhere and on a song called “ Simple Melody “ I started doing  a do-do-do-do-doodley-do, and this man say I was acat singing. I never considered it jazz or bop. I learned how to sing like that from Dizzie Gillespie. In New York there were plenty of  after-hours clubs,and I hung out with the guys and learned that technique. I didn’t pay attention to what people calling it . That’s what so funny.

Night Owl

Ahmet Ertegun



The enigmatic and dynamite founder and boss of Atlantic Records, Ahmet is as comfortable with the international set as he is in the studio with a new rock group. He’s a tremendous piece of pop music history, with forays into jazz, R&B , and partying




Wilson Pickett had a few big hits on Atlantic. I remember the time he was touring Great Britain, and we went there for some press conferences, and I give Wilson a party at Scotch Club in London……, and at one point we were having a drink, facing away from the bandstand where some people were jamming. I had my back to them, and suddenly I've heard this blues guitar player. I said to myself " This must be Pickett's guitarist " I turn to Wilson and I said, " Your guitar player sure sounds good "
Wilson said , " My guitar player is having a drink at �the bar "
I turn around and saw this kid with an angelic face, a beautiful looking young man playing like B.B King. It was Eric Clapton.

I said, " My God, he plays well "
Robert Stigwood was standing next to me, and he said, " You're really think he's great ? "
I said, " He's fabulous. We have to sign him up right away. "

So Stigwood got with him, and that is how Cream was formed. Cream was my first big British group. After that I began concentrating on getting more British rock 'n' roll bands on the label. We got the Bee Gees, Led Zeppelin
Emerson Lake and Palmer, Yes, and of course, The Rolling Stones



[!--EDIT|Night Owl|April 29 2002,09:23--]

Night Owl

Les Paul



It's very nice today how people give me credit for having the kind of impact I had on all the younger guitar players. When I was a kid, I would take a phonograph needle and the cartridge, put it in the guitar, and then turn it up. I had an electric guitar in 1929. When I joined �the cowboy band, my guitar was already �amplified. I simply never left the electric guitar. I just stuck with it and stuck with it . By 1940 ,1941, I was pleding with Gibson, which market the electric guitar, to give me a solid-body electric guitar. They thought I was crazy. So I took a two-by-four and put �two wings on the side of it so it would look like a guitar. Everybody laughed at me, but Leo Fender would sit in my back yard and look at it, and his mind was moving.

Gibson was finally came out with one in 1952, and from '52 to '64 the Les Paul guitar became so big that it was probably the number-one instrument in the world. The president Gibson came to me later and he said, \" Les, did you ever in your wildest imagination think this was going to happen? \"

And I said, \" Sure \"                                                                                  



[!--EDIT|Night Owl|Jul 23 2002, 10:48--]

Night Owl


nattapong

QuoteLionel Hampton



I always give a youngsta a break. I found Dextor Gordon in los Angeles. He was my doctor’s son


I went to Seatlle one time and I saw a little kid who wanted to know if he could do arrangements for me . I said, “ I’m going to Portland next. You wanna go there with me ? “
He said “ Oh, yeah “
I said, “ OK , get your thing together. “ �He came with his clothes in a cardboard box. I kid him about it now. That was Quincy Jones.

Sly is coming to Cleveland next week.. :)  I might go if I can afford a ticket.. now I'm very poor.
ผมมีบริษัทผลิตผลิดภัณฑ์เครื่องนอนยางพารา กระทู้ใดที่เกี่ยวกับเครื่องนอน ท่านผู้อ่านควรใช้วิจารณญานในการอ่านนะครับ

nattapong

QuoteStan Getz



Much later, the kind of music that Miles and I were playing �came to be known as the backlash to bebob, which was so frenatic . And that backlash, or the “ cool school “ as it was known, is where the bossa nova came from. It was Antonio Carlos Jobim and Astrud Gilberto listening to the progenitors of the cool school, Miles and myself. Listening to the harmonies we played, the laconic approach. Jobim took the traditional street samba and combined it with the north Amrican cool school �and that’s what came out------the bossa nova

I felt .. a little strange here with his comment. It is common for people to be uncomfortable about the changes. In virtuosity point of view, cool school were really lack in that. However, harmonically much more complicated (I felt). I would guess he gave that comment in certain context. Bossa Nova even though he made famous .. it associate so little to his credit. If you read my post about Bossa Nova .. you will notice a little bit. (He might be bitter about that fact, I wouldn't know though)  More or less a Brazillian + something.. and more related to music of Jobim than other.. no matter what ..  and as a matter of fact .. Charlie Byrd was trying to convince Stan Getz to do that Bossa Nova several times before he finally did it.  So if you are in guitar (nylon string) background .. you will know that.. usually we will associate Bossa Nova to Charlie Byrd and not Stan Getz  .. (and Jobim as a composer more than performer) ... Like.. Stan Getz was just get lucky .. with that Jazz Samba album and Getz/Gilberto ... which he quickly abandon it.. because he might felt that it was not his kind of music after all.
ผมมีบริษัทผลิตผลิดภัณฑ์เครื่องนอนยางพารา กระทู้ใดที่เกี่ยวกับเครื่องนอน ท่านผู้อ่านควรใช้วิจารณญานในการอ่านนะครับ

Night Owl

Robert Plant


But I really, really would like to be in Led Zeppelin again. Whether or not time allows that to happen. I don't know. Led Zeppelin would have to be a combination of what it was and what it should be. It's something that would take quiet a lot of work. That work would be quiet painstaking. Led Zepplin would have to come out with all the pride it had initially. I'm afraid there are a lot of bands reforming for the hell of it, and I find it all a little bit forward. I believe that the power is still there between Jimmy and myself. Led Zepplin doesn't need to be encouraged to become Led Zepplin again. It'll happen or it won't.

Night Owl

Roger Waters


When you go through the list of bands that came out of England, the so-called important bands, people always talk about The Beatles and The Stones and The Who because they all played the game in one way or another. We never did. So we never mentioned in the context. But I feel If you're talking about Mick Jagger, Pete Townshend, and John Lennon , you should be talking about me, as well. Sometimes I get a bit niggled and miffed by that. What's interesting, I think,is the fact that we will always be remembered for the number of weeks Dark Side of The Moon remained on The Billboard charts, and not for anything we did, because of what makes good copy and what doesn't.

Night Owl

Carly Simon



It's still unbelieveable to me that I had succes doing this. I heard a song of mine on the radio the other day followed by the Paul McCartney tune " Yesterday " The DJ called both songs " classics " I find it so amazing I'm even on the airwaves, and I'm not being humble. I have a very good memory, and I remember what it was like to wish for that or to imagine myself as a star. I had a pipe dream, and then I had reality , the reality being that I wanted a middle- class life like my mother had. I wanted to be around great artists and great writers, and then a great hostess. So today when I hear a record of mine on the radio,it's just incredible.

Night Owl

George Benson


A lot of jazz people ate me up when I started doing pop songs. I was the pop star who changed from jazz, and a lot of people very hostile. I made a statement about how jazz musicians need to think with a new mentality, and Oscar Peterson said something like, " Speak for yourself "


I think of all the people I came in contact with over the years, a meeting I had with John Hammond was the most effective of my career, in the sense that it give me an identity. He realized I had other music in me, that I could play rhythm and blues and some rock'n'roll. But he said " Be known as a jazz musician first. It will be more lasting. " And the two album I did for him at columbia gave me a base that will last me a lifetime.

poj

ขอบคุณมากครับ  เรื่องราวดีๆทั้งนั้น
:aktion033:
And in the end, The love you take is equal to the love you make.

พจน์  อุดมลาภสกุล
ผมมีร้านค้าขายอุปกรณ์เครื่องเสียงเป็นของตนเอง ความเห็นของผมอาจไม่เป็นกลาง กรุณาพิจารณาด้วยความระมัดระวัง

Night Owl

Barbra Streisand



I always wanted to be an actress,that's why lyric are so important to me. I am drawn to song that I have a place to go, songs taht have a beginning, middle and the end.They are like mini-theatrical pieces.

Whether an album sells or not is not a consequence. The reward for me is in the process.If it sells...then that's a bonus

Night Owl

Joni Mitchell



Speaking of strange reactions, right at the time I made Court and Spark which was my most successful album, David Geffen is trying to sign  Dylan for what turned out to be the Planet Waves project. David and I were sharing the house. I 've been working on Court and Spark under his nose, and may be he heard it through to many stages, but I knew I was making something special.

I was so excited the night I finished it. I brought it back to the house and play it. Ther were a bunch of people there,including Dylan. I played Court and Spark for everyone, and Bobby fell asleep and snored all the way through it. When record came to the end, the people went ,  " Huh? "

Then they played Planet Waves and everybody jumed up and down.There was so much enthusiasm. Now, Planet and Wave wasn't one of Bobby's best projects, and I hadn't expected it to be a competitive situation, but for the first time in my career I felt this sibling rivalry. It was an ordinary record for Bobby, a transitional piece, and yet everybody was cheering. Finally one of the woman took me aside and said, " Don't pay them any attention. Those boys have no ears."

Night Owl

David Geffen




It appears that the term wunderkind was invented for his dynamite record, film,and theater impresario. His career as an agent, managers, and the entrepreneur is one of the great stories in rock.


เพิ่มเติม : �ได้ชื่อว่าเป็นผู้ทรงอิทธิพลและร่ำรวยมหาศาลยิ่งคนหนึ่งของวงการบันเทิง � นับจากการขายค่ายที่สร้างมาอย่าง Asylum ที่ตอนนั้นได้ชื่อว่าเป็นค่ายของพวก singer-songwriter ที่ร้อนแรงที่สุดนับแต่ Jackson Browne, J.D. Souther ,The Eagles , Linda Ronstadt หลังจากนั้นได้ก่อตั้ง Warner Film �และก่อตั้ง Geffen และเซ็นศิลปินระดับตำนานอย่าง Joni Mitchell, Neil Young, John Lennon, Donna Summer �รวมไปถึงบรรดาซุปเปอร์สตาร์ในยุคหลังอย่าง Gun N' Roses , Nirvana ต่อมาได้ขายต่อให้กับค่าย MCA ในราคา 400 ล้านเหรียญ ( ณ.ยุคนั้น ) �และจากนั้นไม่นานทาง MCA ได้ถูกขายต่อให้กับ Matsushita � ซึ่งเกฟเฟนเองถือเป็นผู้ถือหุ้นรายใหญ่สุดของ MCA นั่นเอง �เป็นที่ปรึกษาให้กับคนดังตั้งแต่ Madonna, Cher ไปจนถึง Bill Clinton




Our first client is Jackson Browne. I went to everybody in the business trying to make a record deal for Jackson, and everybody turned him down. I went to Ahmet ( Ahmet Ertegun at Atlantic ) again and I said,

" I'm telling you, this guy is good. I'm the guy who brought you Crosby , Stills and Nash. I'm doing you a favor.
And he said, " You know what ? Don't do me any favors "
I said, " You'll make a millions with him "
And he said, " You know what ? I got millions. Do you have millions ? "
I said, " No "
He said, " Start a record company and you'll have millions. Then we can all have millions. "
I thought, " F_ck him. I will start a record company. "

So I started Asylum records and Jackson Browne was our first arist. Within a year or so, I had signed Linda Ronstadt , Joni Mitchell ,John David Souther, and Glen Frey.


As it happened, Souther and Frey were living upstairs from Jackson Browne in a duplex in Silverlake. They were broke. Jackson came to me and said,

" I want you to sign them. They're really good and they're broke. They can't put their rent. "
So to be a hero of Jackson Browne, I signed them. I encouraged John David Souther to be a solo arist and I encoraged Glen Frey to put a group together. Glen would come to me with each new member, and he would say " Can I make a record now ? "
And I'd say, " No. Not good enough yet. " " Finally it was, and that was the beginning of The Eagles.



[!--EDIT|Night Owl|May 01 2002,11:51--]

Night Owl

Clive Davis



One of a handful of leaders who shaped the look and the future of the music industry, Clive zoomed to the top of �CBS, went through an excruciating time, and reemerged at Arista with touch and style still intact. One of a kind.


เพิ่มเติม : �Clive Davis ได้ชื่อว่าเป็นผู้ยิ่งใหญ่และมีบทบาทสูงยิ่งคนหนึ่งของวงการดนตรีจนถึงยุคปัจจุบัน �เป็นผู้ที่เริ่มนำพา CBS เข้าสู่ยุคทองของร๊อคแอนด์โรลล์ที่เคยได้รับการปฎิเสธจากค่ายนี้มาโดยตลอด �โดยการเซ็นศิลปินระดับตำนานอย่าง Janis Joplin, Bruce Springteen, Billy Joel , Neil Diamond, The Jacksons และ Michael Jackson , Pink Floyd �ภายหลังถูกไล่ออก �จึงออกมาตั้ง Arista และได้ปั้นศิลปินชั้นนำอย่าง Whitney Houston , Barry Manilow , Patti Smith , Ace of Base , Toni Braxton , TLC และอีกมากมาย �จนล่าสุดได้ออกมาตั้ง J Record �ที่สร้าง Alicia Keys จนประสพความสำเร็จอย่างสูงยิ่งในยุคนี้



There is a great thrill in establishing someone. Whitney Houston, for example, is this generation Lena Horne, with with far more commercial impact.

With Whitney, I not only signed her to Arista, but I picked every song and every producer. We work as a creative partnership,just she and myself, like the way Quincy Jones is with Michael Jackson. That's the different for me now, working with people like Whitney and Dionne Warwick and Aretha Franklin. I am very much on the creative firing line. I am no longer just a signer.



[!--EDIT|Night Owl|April 30 2002,13:28--]