2012.04.19
カテゴリ： チープトリック
Interview: Rick Nielsen talks Cheap Trick At Budokan track-by-track
http://
↑リックが78年の「at 武道館」の各曲の解説をしています
フラッシュなので 見れない方もいらっしゃるかと思いますので
インタビュー記事をコピーしてみました
写真もいいですよね～
おまけに リックの解説を読みながら曲も聴けてしまいますよ
Hello There
"'Here we are! Welcome to the circus!' It's the first song of the first show of our first tour of Japan. It made sense to start with this one.
"The reason why I wrote it goes back a ways: When we were an opening band, a lot of the time we wouldn't get a soundcheck. Hello There was our soundcheck. One instrument at a time, gunning it over and over... by the time Robin started singing, our mix was usually in place and we sounded good.
"Hello There is quick, it's good and it's easy to play."
Come On, Come On
"It's a fun sing-along. We have a few of them. Some are more poppy, others are rocking. Any time you can get the audience reacting to one of your songs, you're halfway there.
"The chorus almost demands audience participation. It's a shouting out of ‘Come on, come on!' - even if you've never heard the song before, you know what to do. By the fourth chord, this thing is committed to memory.
"Also, a song like this you can have a lot of fun with on stage. I don't pose per se, but my motions are... well, they're exaggerated. It's cool when you know what notes to hit. I think there's a lot of E's in this one."
Lookout
"I like this song. It's got a lot of layers and dimensions to it. It's kind of pop, but it's got that orchestrated middle part a la Dream Police. It builds up to a guitar-bass-drums crescendo that's pretty cool.
"My guitar playing is... I was never into the whole guitar virtuoso thing. It's like, who cares? I'd rather be musical than technical. I always thought of myself as more of a rhythm player than a big soloist. You make do with what you've got.
"Lookout is fun, it's fast, it starts and stops, it's loud. Basically, it's a Who pop song. We never emulated The Who, but if we ever stole anything from them, at least we changed the key."
Big Eyes
"There's some fun turnarounds and riffs in Big Eyes. It's one of those songs that sounds easier than it really is. It seems like it's a three-chord rock song, but it's not - there's a lot going on.
"This is a great version. I sing all of the high notes. My voice is kind of crappy, and Robin's voice is too good. Tom's voice is low, with a bit of Midwest nasal twang. Together, we don't sound too pretty, but we don't sound like a bunch of drunk guys in Newcastle, either. We sound just right."
Need Your Love
"A good, heavy pop song. It's too long, but there's a lot of dynamics. Lyrically, it's our not-up-to-the-challenge of a John Lennon song.
"I think of this one, and the image is of watching a drunk guy who trashes around at a show, bangs his head against a wall, jumps into a moshpit, but then he gets out and goes to his girlfriend and asks, ‘Are you OK, honey?' If you wanna get laid, you have to be nice occasionally.
"That's why Robin's voice is so great: he can go from being the nasty villain to the sweet, lovable guy, and switch them back and forth. A song that's gooey all the way through is disgusting; on the other hand, if you're just ‘Kill your mother, kill your father, kill your dog!' the whole time, that's too extreme the other way. This song has the balance."
"We were asked to do a cover song for the show, which was fine - we'd always done some covers. One day, we were listening to John Lennon's Rock ‘n' Roll album, and one of the songs on there is Ain't That A Shame. ‘Hey, if it's good enough for John Lennon...'
"We did our own version of it, throwing in all the breaks and build-ups. It's a simple three-chord song, so we made it way harder than it had to be. We kind of made it a cross between the ending of The Beatles' The End and something from the Bonzo Dog Doo-Dah Band.
"The ending is kind of anything goes. For the audience, it's like, ‘Listen to that! No, wait, listen to that! But wait... listen to that!' We weren't trying to top one another. We were just up going, ‘This is cool!'"
I Want You To Want Me
"The way we did it at Budokan was the was we played it in the clubs. In the studio, it got wimped out and toned down, very namby-pamby. We didn't want to play it as candied as the In Color version, even though the Japanese liked that one. So we decided to rock. You don't have that honky-tonk piano. It's much heavier.
"Lyrically, c'mon - ‘I want you to want me/ I'm begging you to beg me...' There's a little cynicism in it; it's not all lovey-dovey, but it says what it needs to say. Some people's lyrics have things like ‘The cuspice of the moon is on the 13th day.' Huh? You have to read Aleister Crowley to figure out a verse. Give me a break."
Surrender
"The song had just come out in Japan when we played it at Budokan. It's another sing-along. Truthfully, I was always amazed that people liked it so much, because the story has double-entendres, triple-entendres, things are half true, half open to interpretation - it's a lot.
"We talked slowly between songs. The promoters told us that the audience really wanted to hear us and understand every word. That's why you hear Robin's complete intro to Surrender - ‘This next one is the first song... ‘ - the way the mics were placed, you got the echo from him with the crowd screaming.
"Everybody's parents are weirdos. And if you don't think your parents are weird, your friends do. That's what I wrote about in Surrender. I'm kind of making fun of everybody, but I'm telling you to keep your head up.
"It's funny: People still love the song. I've got tapes of Green Day and the Foo Fighters playing it. Even Taylor Swift has done it. It's got a good hook, and it's not played out.
"The excitement is kind of built in. We start off on B-flat and then modulate to D, and then we modulate to C. It always went over well. Did we know it was a classic? We knew it was a good song. That very first line: ‘Mother told me, yes, she told me...' You feel like you know it the minute you hear it."
Goodnight Now
"Well, let's see... We know the intro. Now, get the heck out of here! [laughs] I refer back to Hello There. It's us saying good night without really saying ‘good night.' Not yet anyhow.
"You want people to leave on adrenaline, but still wanting more. I can't stand it when groups come back for an encore and they play some slow thing. Oh, brother! It's like, ‘Had I known that, I would've left.'"
Clock Strikes Ten
"Once again, it's an encore, but as Martin Mull said, ‘We saved the best for last.' Here we are at Budokan, and we're going out on a hit. The audience went crazy. Beat that!
"Musically, the song is pretty uncomplicated. I play a riff on the A and go straight down, hitting every note. Nobody does a riff that simple, but that's why I did it.
"The song gets to the point about going nuts on a Saturday night. And not like Elton John's Saturday Night's Alright For Fighting - that's too cerebral. Here we're like, ‘Clock strikes ten, it's a Saturday Night/ imagine what we're doing tonight." That's it. Nothing else to think about."
http://
↑リックが78年の「at 武道館」の各曲の解説をしています
フラッシュなので 見れない方もいらっしゃるかと思いますので
インタビュー記事をコピーしてみました
写真もいいですよね～
おまけに リックの解説を読みながら曲も聴けてしまいますよ
Hello There
"'Here we are! Welcome to the circus!' It's the first song of the first show of our first tour of Japan. It made sense to start with this one.
"The reason why I wrote it goes back a ways: When we were an opening band, a lot of the time we wouldn't get a soundcheck. Hello There was our soundcheck. One instrument at a time, gunning it over and over... by the time Robin started singing, our mix was usually in place and we sounded good.
"Hello There is quick, it's good and it's easy to play."
Come On, Come On
"It's a fun sing-along. We have a few of them. Some are more poppy, others are rocking. Any time you can get the audience reacting to one of your songs, you're halfway there.
"The chorus almost demands audience participation. It's a shouting out of ‘Come on, come on!' - even if you've never heard the song before, you know what to do. By the fourth chord, this thing is committed to memory.
"Also, a song like this you can have a lot of fun with on stage. I don't pose per se, but my motions are... well, they're exaggerated. It's cool when you know what notes to hit. I think there's a lot of E's in this one."
Lookout
"I like this song. It's got a lot of layers and dimensions to it. It's kind of pop, but it's got that orchestrated middle part a la Dream Police. It builds up to a guitar-bass-drums crescendo that's pretty cool.
"My guitar playing is... I was never into the whole guitar virtuoso thing. It's like, who cares? I'd rather be musical than technical. I always thought of myself as more of a rhythm player than a big soloist. You make do with what you've got.
"Lookout is fun, it's fast, it starts and stops, it's loud. Basically, it's a Who pop song. We never emulated The Who, but if we ever stole anything from them, at least we changed the key."
Big Eyes
"There's some fun turnarounds and riffs in Big Eyes. It's one of those songs that sounds easier than it really is. It seems like it's a three-chord rock song, but it's not - there's a lot going on.
"This is a great version. I sing all of the high notes. My voice is kind of crappy, and Robin's voice is too good. Tom's voice is low, with a bit of Midwest nasal twang. Together, we don't sound too pretty, but we don't sound like a bunch of drunk guys in Newcastle, either. We sound just right."
Need Your Love
"A good, heavy pop song. It's too long, but there's a lot of dynamics. Lyrically, it's our not-up-to-the-challenge of a John Lennon song.
"I think of this one, and the image is of watching a drunk guy who trashes around at a show, bangs his head against a wall, jumps into a moshpit, but then he gets out and goes to his girlfriend and asks, ‘Are you OK, honey?' If you wanna get laid, you have to be nice occasionally.
"That's why Robin's voice is so great: he can go from being the nasty villain to the sweet, lovable guy, and switch them back and forth. A song that's gooey all the way through is disgusting; on the other hand, if you're just ‘Kill your mother, kill your father, kill your dog!' the whole time, that's too extreme the other way. This song has the balance."
"We were asked to do a cover song for the show, which was fine - we'd always done some covers. One day, we were listening to John Lennon's Rock ‘n' Roll album, and one of the songs on there is Ain't That A Shame. ‘Hey, if it's good enough for John Lennon...'
"We did our own version of it, throwing in all the breaks and build-ups. It's a simple three-chord song, so we made it way harder than it had to be. We kind of made it a cross between the ending of The Beatles' The End and something from the Bonzo Dog Doo-Dah Band.
"The ending is kind of anything goes. For the audience, it's like, ‘Listen to that! No, wait, listen to that! But wait... listen to that!' We weren't trying to top one another. We were just up going, ‘This is cool!'"
I Want You To Want Me
"The way we did it at Budokan was the was we played it in the clubs. In the studio, it got wimped out and toned down, very namby-pamby. We didn't want to play it as candied as the In Color version, even though the Japanese liked that one. So we decided to rock. You don't have that honky-tonk piano. It's much heavier.
"Lyrically, c'mon - ‘I want you to want me/ I'm begging you to beg me...' There's a little cynicism in it; it's not all lovey-dovey, but it says what it needs to say. Some people's lyrics have things like ‘The cuspice of the moon is on the 13th day.' Huh? You have to read Aleister Crowley to figure out a verse. Give me a break."
Surrender
"The song had just come out in Japan when we played it at Budokan. It's another sing-along. Truthfully, I was always amazed that people liked it so much, because the story has double-entendres, triple-entendres, things are half true, half open to interpretation - it's a lot.
"We talked slowly between songs. The promoters told us that the audience really wanted to hear us and understand every word. That's why you hear Robin's complete intro to Surrender - ‘This next one is the first song... ‘ - the way the mics were placed, you got the echo from him with the crowd screaming.
"Everybody's parents are weirdos. And if you don't think your parents are weird, your friends do. That's what I wrote about in Surrender. I'm kind of making fun of everybody, but I'm telling you to keep your head up.
"It's funny: People still love the song. I've got tapes of Green Day and the Foo Fighters playing it. Even Taylor Swift has done it. It's got a good hook, and it's not played out.
"The excitement is kind of built in. We start off on B-flat and then modulate to D, and then we modulate to C. It always went over well. Did we know it was a classic? We knew it was a good song. That very first line: ‘Mother told me, yes, she told me...' You feel like you know it the minute you hear it."
Goodnight Now
"Well, let's see... We know the intro. Now, get the heck out of here! [laughs] I refer back to Hello There. It's us saying good night without really saying ‘good night.' Not yet anyhow.
"You want people to leave on adrenaline, but still wanting more. I can't stand it when groups come back for an encore and they play some slow thing. Oh, brother! It's like, ‘Had I known that, I would've left.'"
Clock Strikes Ten
"Once again, it's an encore, but as Martin Mull said, ‘We saved the best for last.' Here we are at Budokan, and we're going out on a hit. The audience went crazy. Beat that!
"Musically, the song is pretty uncomplicated. I play a riff on the A and go straight down, hitting every note. Nobody does a riff that simple, but that's why I did it.
"The song gets to the point about going nuts on a Saturday night. And not like Elton John's Saturday Night's Alright For Fighting - that's too cerebral. Here we're like, ‘Clock strikes ten, it's a Saturday Night/ imagine what we're doing tonight." That's it. Nothing else to think about."
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2012.04.20 02:25:43
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