Adore 再版专辑小册子内页billy针对每首歌的创作感受（中英文）

买到实体套装的同学可以看到英文的，以下英文是我自己从内页抄录的，中文我有请一位朋友翻译了，在这里谢谢我的朋友巫哲。 分享在这里给大家，如有翻译不准的，敬请提出~ To sheila---Written in Poland. the lyrics coming to me as I rode with our band party down a non-descript county road. The first take on the first day of the album, and the song that trumpeted in softly a new era. Either way, the melody and simplicity of chords presented is both a coming and going ; or better said, a door in and out. There was no Sheila .but if she does exist somewhere beyond the limits of my imagination. I imagine her to be Gaelic. One other impression: the line,” you make me real”, strikes me as odd as its intention would be that up until this point I wasn’t ;or that your narrator never was. For that which is struck into negation still exists, and is a law of love that tyrants can never understand. 《致希拉》 ： 这首歌写于波兰。当时我跟乐队其他成员在一条无名乡村道路上进行公路派对，然后这首歌的歌词就这样在脑海中自然浮现了。这首歌是专辑录制的第一首歌，也是放在曲目表首位的歌，这首歌以一种温柔的吟唱开创了一个新纪元。不管怎样，简单的和弦以及旋律循环往复，更好的说法是一进一出。其实希拉并不存在，也许她存在于我想象之外的某个角落。在我的想象里，她是个盖尔人。另一个让我印象深刻的是一句歌词——“你让我真实”这句歌词莫名其妙地震撼了我。它所陈述的意义是我以前没有体会过的，就连解说员也从来没有解释清楚过。因为对立面是一直存在的，爱的法则，暴君是永远无法理解的。 Ava adore---Ostensibly written about some objectified person, there also is no “Ava” that I can configure, and the lyric is perhaps more a screed to my frustration at the fairer sex than say what might meld two souls together; ”we must never be apart” more a demand than any state of absolution. Recorded essentially in a single morning and afternoon, I shockingly didn’t tinker with the production much in all the languishing that went about during the albums’s recording. If I’d known it was to be pushed as the opening single I suppose I would have made a better effort to examine what made the track provocative, and for its time, too strange. Thankfully, the song has endured long past when it might have expired, and along with it the caginess that made the accompanying video so arresting, and expensive. 《艾娃.爱慕》 表面上这首歌写的是关于一些特定的人，同样在这首歌中没有可以具象化的“艾娃”。歌词就像是长篇大论一篇，讲述我在男女关系中的挫败与沮丧，它并没有告诉你什么才可以让两个灵魂彼此相融，合为一体。“我们永不分开”更像是个命令，而不是一道赦令。几乎每一天都在录制，而录制时我没有对作品进行过分的修改。如果我预先知道这首歌会作为第一主打，我希望自己当初能多花费点时间精力去检查到底是什么让它多了些挑逗性。在当时，它是个“怪胎”。幸运的是，在即将有可能被市场所淘汰时，它经受住了过去长时间的考验。与此同时，这种“神秘和谨慎”反而让这支斥资高昂的录像带独具一格。 Perfect---Penned in Los Angeles, ”Perfect” was a late addition to the fold; my inspiration the coming break-up of two people I once thought I admired. To state the obvious, the lyric is meant as ironic, as little in love’s affairs can be quantified as perfect. Yet this is the goal. Rekindling the memory, I am still scarred by making what was then, and now, so disappointing a video; where even out attempt to reassemble the beguiling cast of”1979” was fated from the first; with one of them sitting at that moment in jail. On top of this I decided my lip sync should be filmed from on high, and a 150ft .high crane was located for rent. Soon such heights revealed my fear of them , and as I tried to sing I found I couldn’t stop shaking. Affecting what became a tremulous ,unfortunate delirium that would last a week. 《完美》： 《完美》是后来加入专辑的一首单曲，写于洛杉矶。灵感来源于我曾经艳羡过的一对即将要分手的情侣。显而易见，歌词是具有讽刺意味的，爱情中的点点滴滴不可能是完美的。尽管这就是这首歌的所想要表达的意义。重燃记忆，一想到令人失望透顶的音乐录影带，当初留下的伤疤就开始隐隐作痛。一开始，我们打算重新召集当年在《1979》（1995年大热单曲）MV里的那些演员，并把其中一个角色设定在牢狱中。此外，我决定我对口型的部分应该在150英尺的高空进行拍摄，我们就在当地租了一辆吊车。很快，拍摄时的高度还是让我有些胆寒，我硬着头皮对口型唱歌的时候，身体在不停的颤抖。结果这种癫狂，神志不清的颤栗状态持续了一周才渐渐消失。 Daphne Descends---Originally meant as an old-timey number, like one you’d play sitting on a front porch drinking sarsaparilla; the day hot. But in that the song felt inconsequential , the message lost in tedium and a clock-like wait. Hence the loping synthesizer bass ,and the gallop of the one-two beat’s back rhythm. And whoever “Daphne” is ,she gets a lot of warning here about “the boy”. No, not my band mate’s fey , lovesick “boy” of song , but the kind of boy-child I once was. 《达芙妮后裔》： 本意上是一个古老的数字。就好比，在一个炎热的午后，你坐在前廊台阶上，喝着撒尔沙汁液（撒尔沙：一种沙漠蓄水植物）。由于这首歌缺乏逻辑，里面所传达的信息也就遗失在单调乏味，如同钟表机械的循环中了。因此，编曲上加入了大幅度的电子合成贝斯，急促飞转的连环鼓点节奏。不管达芙妮是谁，她的却在这里（这首歌）得到了很多关于“那个男孩”的警告。不，不是我们乐队的羞怯矜持，而恰好就是歌曲中那个曾经害了相思病的小男孩,就像曾经的我一样。 Once upon a time---Like “For Martha”, this was penned in direct opposition to my mother’s untimely death. A message I suppose for things I would have like to have said, but didn’t have the courage for. A personal highlight , and one I treasure regardless of current taste of favor .The purest of them all. 《曾经》： 跟《致玛莎》一样，出于无法接受母亲过早去世这一事实，我写下了这首歌。我试图在这里面传递这样一个信息：对于很多事，我只愿说，而缺乏迈开步子去做的勇气。在这首歌里，我无视音乐市场潮流，注入了我一直重视的个人风格。这是这张专辑中最完美的一首歌。 Tear---An interesting note: “Tear” was originally recorded in Chicago. and by the time we got out to L.A. I’d gone off the version for some reason. Not because I didn’t like it per se , but because it wasn’t near the hyperbolic drama I really wanted , For across the album there were really but few loud moments , and I thought this unwise .So I remember trying some new versions , and they sounded the same; which returned me back to the original. I tried running it through some distortion but that sounded trite. And over-compression affected it positively but not far enough. To bridge the gap we’d engage in a process called “tape saturation” , where tracks are bounced from one reel to another until they start to smear. Voila, and with that a rough mix was commissioned and we moved on . Yet by the time we went to mix the song some months later, the sound was drastically changed and there was no high end to be found. “It’s fallen off” , said Flood, meaning that the gimmickry of the saturation doesn’t last for long . Hence what you have in your hands as the original : the rough mix, and a newly made balance from the digital transfer; made when the tape was fresh. 《撕裂》 一个有趣的注解：《撕裂》最初灌录于芝加哥。当我们到达洛杉矶，因为一些原因，我放弃了这个版本。并不是因为我不喜欢这个版本，而是因为它无法达到我想要的夸张的戏剧效果。纵观整张专辑，鲜有一些“喧闹时刻”（整张专辑以抒情，轻摇滚为主，缺乏重摇滚），这显然不是明智之举。我记得我当时尝试了好几种新版本，每次听起来都差不多，都被打回原形，不得不重头开始。然后，我试图在整首歌的基础上加入一些失真效果，结果还是听起来还是很老套。这种过度压缩（母带）对声音效果是有帮助的，但这还远远不够。为了弥合这个缺陷，接下来我们进行了一种处理——磁带饱和。即让磁带反复从一个轴绕到另一个轴直到开始消除，瞧，初步的混音完成了。接下来我们花费了几个月完成了这首歌的最终混音，整首歌彻底改头换面，找不到一丝“高档”的痕迹在。“完蛋了。”弗勒德说。这意味着“磁带饱和”这种“伎俩”不会使这首歌撑多久。因此得出了一个教训，你手中的原始素材，得趁热打铁地进行初步混音，并重新用数码转换做一个平衡。 Crestfallen---The tune is a piano ballad (thru and through) , despite my attempt here (and previously in demos) to electrify its sorrows. That said, I am partial to the song’s cadence (even if I can’t say why) , as the melody embodies something not so easily found in my various searches in A minor. And though I will admit it is a bit syrupy, the lyrics as a whole are direct and at least represent the undaunted heart in an album where so much is broken. 《沮丧》： 这首歌的调子整体上说属于一首钢琴民谣，尽管我试图通过电音渲染歌曲的悲伤气氛（之前在小样已加入电音）。我很喜欢这首歌的节奏（我也说不出为什么），因为这首歌的旋律A小调上做出多样化地探索，是不容易察觉的。尽管这首歌是有一点煽情，但歌词整体表达上比较直截了当，至少它表现了在这张困难重重的专辑背后的那颗无所畏惧的心。 Appels+Oranjes---One time I was walking down the street and confronted by a fan.” You do realize “, he said with some vigor, “that you’ve stolen that title from a Pink Floyd song!” And I said, “Yes of course.” “ So why didn’t you change it?” he replied. “But I did!” And how so, “he asked. “ When it’s the same?” “By using the Danish spelling of Oranges!” Sad to say, but the joke was lost on him as so many jokes have been lost on so many of the put-upon. That aside, “A+O” has the distinction of being the first song written for “Adore”, demoed out during a session with Matt Walker, as other music was being put together for what became the “Ransom” soundtrack. And here lies another story, as the famed composer I was to share the album’s cover with had me summarily kicked off it. Why? Because he claimed the work I’d done was not “music”, and he would not be sullied by it. To him, and to you . I say it is better to make original noise than lukewarm, adapted themes trolled from the greats. To he, I dedicate this hymn. For what if his shining , erstwhile baton refused to shudder at out collective rebellion? 《苹果和橘子》（丹麦拼写） 一次，我在街上碰到一个歌迷。他兴奋地说：“你知道吗，你剽窃了平克.弗洛伊德乐队的歌名。” “当然，我知道。”我说。 “那么你为什么不改掉它呢？”他问道。 “但是我的确改了啊！”我说。 “改了？怎么改的?不是都一样吗？”他问道。 “我把橘子换成了丹麦的拼写！” 很遗憾，他完全没有理解我的这个玩笑，就像很多被愚弄的人还蒙在鼓里不明所以。除此之外，《苹果和橘子》的特别之处就在于，它是第一首为《爱慕》这张专辑创作的歌。我跟马特.沃尔克演奏了这首歌的小样，另一首音乐被收录于电影《赎金风暴》的原声带中。（Kidnapper’s boom box，《绑匪的音响》）。这儿有另一则小插曲，我曾想要跟一个行业内很有名气的作曲家分享这张专辑的封面，结果他草率地否定了它。为什么？因为他觉得我做的这些东西根本就不是“音乐”，他不想被这东西玷污了耳朵。我想告诉他，也想告诉你们，与其选择一些不温不火的主题，改编一些大师之作，我宁愿做出一些原创的“噪音”。这首赞歌献给那位大师。（该作曲家）因为没准有一天，他会收起自己的扎人的锋芒跟之前的评论，不再因为我们这群“离经叛道者”而气的浑身颤抖。（所谓的反叛，指的是在音乐上的特立独行，不符合主流要求。） Pug---A tale of sexual misanthropy , no less dressed up as a delusional pop song. Done correctly, “Pug” might have been a single, but like a few castaways it lingers in the hallways of also-rans. Here too lies the traces of the mighty Flood, Who was partial to this tracks menace and wished the album had more of this kind of lope; and not less. Per my ears , I favor the chorus , and the wishful acoustic-isms that accompany its languor; with a nice guitar figure courtesy of James St. James. 《哈巴狗》：这是一则讲述厌恶性的故事，算是一首被修饰过的狂想流行歌曲。如果当初处理得当，《哈巴狗》应该会是首单独发行的单曲，可惜它就像一些流浪汉徘徊在落选者的门厅外。此单曲有很多佛莱德曲风的痕迹，佛莱德有些偏爱这首歌，而且他希望在专辑里这种歌可以更多一点。 我也很喜欢这首歌曲里的副歌，自认为美妙的声音系统伴着一种慵懒的感觉，詹姆斯的彬彬有礼也在迷人的吉他伴奏下表露无疑。 The tale of dusty and pistol pete---Ostensibly a narrative covering the fallout of a murder; as the lass has been murdered by her beau, and he is rewarded in forever being haunted by her scream. What this says about the state of my romantic life circa 1997-1997 I’ll leave you to decide, but suffice to say I’ve never harmed anyone; the weapon of so many words being excepted. And all trifling aside, I recommend it be played over the sound of my funeral pyre, for I love the somber blue of the chords; and they go well with smoke. 《尘埃与枪手的故事》 表面上看，这首歌曲带有谋杀的元素，讲述了一个少女被自己的男友所杀害，作为报复，死后，她的尖叫声永远地纠缠着他。里面所讲的关于我在1997年前后的感情生活。至于什么，留给你们去想。但我可以问心无愧地说，（在那段感情里），我没有伤害过任何人。我过滤掉了一些充满火药味的歌词，保留下来的只是一些不痛不痒的部分。我建议在火葬我时，用这首歌做背景，因为我实在太爱这种悲伤的和弦，它们与火葬升起的浓烟相得益彰。 Annie-dog---Presented in no less than its original form, “Annie-dog” was cut in full just once, and any attempt thereafter was deemed a failure, Reading into this, I’d say it shows my “anything can happen” approach that so shaped the album’s outcome; despite the fretting that went on over the more juiced-up tracks. As a playful character Annie-dog is like my women I’ve met and found fascinating. Being among those who are willing to trade their bodies so readily for something much more valuable; like say attention, or the appearances if love. 《丑陋的安妮》： 这首音乐的成品与最初的版本没有太大的出入。《丑陋的安妮》整首歌只修改过一次，而且后来的任何（修改）尝试都以失败告终。深入解读，我得说这首歌展示了我的“一切皆有可能发生”的态度，而这种态度很契合专辑的结局。尽管这首歌制作所经历的苦恼超过了很多其他出彩的歌曲。安妮，就像我曾经的女人，性格顽皮，魅惑迷人。她们很容易为了一些更有价值的东西而不惜出卖自己的身体，比如说男人的目光，或者真爱的降临。 Shame---Also a kind of live track, there is a bit of sleight of hand there, as I went back and overdubbed some things immediately afterwards; capturing the same feeling with a bit more technical proficiency. Story-wise the song’s recording is well known, as I woke up that morning, wrote the song as soon as I was awake, and pretty much drove straight to the studio. The version here not yet 2 hours old, and left un-tampered with. 《羞耻》： 这也是一首现场录制的歌曲。花了一点小小的技巧，我回去后就随即录制下来了某种东西。用一种更高的技术水平捕捉到了相同的感觉。至于灌录这首歌背后的故事，是众所周知的，那天早晨我觉一醒来就写下了这首歌，然后我驱车直奔录音师。目前这个版本录制时间前前后后没超过两小时，也没有做任何修改。 Behold! The night mare---Yes, its about a horse, but a mythical one; as in the kind that drives through your dreams. The drums are double-tracked and in mono each, set aside by the far realms of stereo, which give the track that swishy-feeling that if given more thought might have been abandoned. I guess in retrospect the lack of a solid foundational rhythm is part of what makes the track’s ethereal quality stand up , for one could argue its imperfection is inexorably linked with timelessness. And as a lyric, “I’ve faced the fathoms in your deep” still seems a particularly good way to sum up anyone’s quest for equity in heart-stuff and heart-death; for it appears there is no other way that I can tell. Recorded in Chicago, and quickly, and rarely touched in L.A. 《瞧！那梦魇》： 是的，这的确是关于一匹马，确切说，是一匹深夜穿行于你梦中的神秘莫测的马。在单声道版本中，鼓点做了双音轨录音，在立体声版本中则取消了，细听一下，曾经被遗弃的瑟瑟作响感觉又回来了。我想恰好是这不够扎实的节奏，才凸显了它迷醉梦幻的特质，因为人们不可避免的把缺陷与永恒这个主题联系在一起。“我深深凝望着你的灵魂深渊”，对于那些在欲望红尘和死亡苦海中苦苦追寻世道公平的人而言，这不失为一种很好的表现形式，为这类人给出一个集体写照。除此之外，我别无他法。这首歌曲录制于芝加哥，后来在洛杉矶几乎没做修改。 For Martha---Included in the box set are two early takes of “For Martha”. As the band and I paw through its complexities with flashes of dignity. I’ve included these are a rare document into how we worked together, as you can see much of the song’s timbral charts are already drawn; and what matters now is how they play out against one another to create pathos, or in this case, respect. As among the most personal of my songs I think the lyric stands for itself by way of explanation. Yet I will tell you that Martha Louise was an incredible soul, obviously. Not judging by how I turned out, mind you, for I am flawed too; but by the way she’s never left. 《致玛莎》： 这张再版唱片里包括两个早期版本的《致玛莎》。我和乐队精心为它制作出繁复精致的旋律，它带着高贵的光芒，你可以从这首歌音色蓝图的描绘中感受到很多，这些足以告诉你我们平日里是怎样一起工作的。问题是，在这种情况下，该如何演绎，才能让它们表现出悲怆和敬意。在我所有创作的歌曲中最具有私人情感的，我觉得这首歌的歌词本身就做了最好的诠释。我想说，很显然，玛莎.路易斯是一个令人难以置信的灵魂。至于我是如何发现的，不要评头论足哦，要知道，我也会犯错误。顺便说一句，我觉得她一直没有离开过。 Blank page---A miracle in that “Blank page” was never meant to be a song in the conventional sense, but an instrumental called “48 chords” ; in honor of its un-cycling sequence. A chance encounter changed all that when I stuffed a poem I’d just written in my pocket, and in taking it out during a technical disaster I started to sing along to the music filtering out of a tossed-off pair of headphones. From there I went line by line. And I ‘m proud to say that I think this might be in the album’s best. I’m sure I’ll find someone to argue the point, but that too is like so many oranjes left in the sun. 《空白页》： 《空白页》是一个“奇迹”，从常规意义上讲它算不上是一首歌，为了纪念其不朽的首创意义，它采用了48弦的纯乐器伴奏。我刚把一首写好的诗放进了口袋，一个偶然的机会，在一次技术灾难期间，从一副被扔掉的耳机传来阵阵音乐，我掏出来这首诗，跟着音乐一句一句唱了出来。我可以很自豪地说，这或将成为整张专辑里最好的一首歌。当然，我相信一些人会不同意我这个观点（指的是这首歌是全专辑最佳），但他们的看法就像是太阳下的橘子，持续不了很久。 17---I am ready to reveal that this small offering is “Blissed and Gone” the track I so rashly left off of “Adore”. And what precipitated the decision might be found in an encounter I had with producer and friend Rick Rubin, in whom management had asked to survey my progress; which at that time had ground to standstill. “Whoa”, he said when hearing the looped version of the greater song. “Whoa”. In this I took whoa to mean “not good” , and abandoned it like so many others that were worthy. The least of which was Rick’s oversight of “Let me give the world to you” , which the label had pegged as their only hope to sell more plastic. So let the circle be complete. Because if you are reading this, the you’ve made them happy. 《17》：我要透漏一件事，这个17秒的音乐片段实际上就是那时被我仓促地从专辑中剔除掉的《庇佑者与亡灵》。促成这个决定可能是发生在我遇到我的朋友兼制作人瑞克.鲁宾之后，那时制作进度停滞不前，他就来看看我们的进度，当他单曲循环听这首歌时，他说了声“哇啊。”在我看来，这声“哇啊”意思是太糟糕了，所以和其他那些没有价值的歌一样，这首也被我抛弃了。这张专辑里，瑞克唯一负责制作的歌曲是《让我把这个世界给你》。，一开始，这首歌就被唱片公司贴上畅销的标签，赋予主打歌曲的希望。所以，请尽可能把话说圆，因为如果你给（你的朋友）读这段时，一定会惹他们发笑的。