Musicradar这个月5号，对JOE的一次采访，算是深入的介绍了Chickenfoot的新专辑《III》。当中没有聊到太多关于设备的问题，感觉这次新专辑更注重的团队合作以及各个队员之间的配合和意见。
最近比较忙，比较少给大家翻译东西看了，这篇我抽空搞了几个晚上弄出来的，翻的有点粗，大家将就看吧。
Chad暂时离队。。。Kenny Aronoff会接替接下来的巡演的鼓手。
直接进入主题吧。。。！下图光头鼓手就是新成员---Kenny Aronoff
这个视频是第一个官方的单曲MV，大家可以听着歌看JOE给大家讲故事哈！蛮过瘾的！
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Joe Satriani on Chickenfoot III new album preview、Exclusive track-by-track interview
0 /10 Intro
前言
Chickenfoot III full album preview
新专辑的整体预览
On Chickenfoot's long-awaited second record, jokingly titled Chickenfoot III, the supergroup of Sammy Hagar, Joe Satriani, Michael Anthony and Chad Smith is every bit as super as they were on their 2009 debut. More importantly, however, they prove to be a band for the ages, rising to self-imposed challenges, creating music that is by turns poignant and humorous, introspective and carefree - and always supremely rocking.
经过了漫长的等待之后，Chickenfoot的第二章专辑终于要上市了，而且还玩笑式的命名为“III”，这支超级乐队的成员还是和他们09年第一张专辑的时候一样，Sammy Hagar, Joe Satriani, Michael Anthony和Chad Smith。更重要的是，他们证明了这支“老”乐队，在不断的自我挑战，通过刺激辛辣的、幽默的、自我反省的、和无忧无虑的角度和感受来创作音乐，当然，依旧是超级摇滚的！
In taking such a long-view approach, Joe Satriani tells MusicRadar that he strove for a classic band sound to suit the material. "The riffs had to be huge, and the guitars had to sound really big," he says, "but I wanted to make sure they were fully integrated into the rhythm section. One of my personal goals for the new album was that Chad, Mike and I would be sinews of a giant muscle."
在这次全面的接触这张新专辑的过程当中，Joe Satriani告诉MusicRadar他努力的让这支经典的乐队听起来更加的符合我们的初衷。“Riff必须要是巨大的，吉他听起来必须是震撼的”他说，“但是我要确定的是他们要完全的融合到这种节奏的段落当中。我个人的目的之一就是在这张新专辑中，Chad,Mike和我将会用最有力的肌肉的充实整张专辑的音乐。”
During the initial stages of writing, Satriani issued a directive to Hagar: sing differently. “I had my reasons," the guitarist says. "It struck me that, whenever we would work together on songs, just the two of us, Sam would sing in a lower register. It was intimate, so full of soul. I thought, Wow, nobody has ever heard this quality in his voice before. He and I agreed that the new material would allow him to explore those other sides to his range."
在最开始创作的时候，Joe很直接的命令Hagar：你要唱的不一样！。“我有我的理由”这位吉他手说“让我非常感动的是，不管什么时候，我们一起在研究一首曲子的时候，只有我们俩，Sam总会用很低沉的歌声唱着。那是多么让人沉醉的声音，充满了灵魂。我想，哇，肯定没有人听过他这种歌声。他和我都觉得这种新的元素能够让她在新专辑中开拓他另一层次的歌声。”
At the same time, Hagar turned things around to Satch and told him that he wanted the guitar virtuoso to play his instrument in a new way. "He wasn't as specific as I was," says Satriani. "But we did agree to take our creativity somewhere else. For me, it was something of an open canvas. It was hard at times, but ultimately it was very rewarding."
与此同时，Hagar也告诉Joe,他希望Joe能够改变他的演奏习惯，或者说用新的方式来演奏。“他不希望我还是原来的那个我”Joe说“但是我们都觉得我们应该在某些地方让我们的创造力发挥出来。对我而言，就像掀开一张帆布一样，是很困难的，但是最终的结果是非常值得的。”
When the band convened at Hagar's warehouse studio (affectionately dubbed 'the Foot Locker') earlier this year with veteran record-maker Mike Fraser serving as co-producer and engineer, Satriani had another idea in mind: more Michael Anthony. "For years he's been underplayed," says Satch. "The way that Mike plays the bass and writes his lines is so special. Not only that, but his singing, as everybody knows, is phenomenal. Presenting Mike Anthony to the fullest degree was an absolute must."
在今年年初的时候乐队和资深的制作人和工程师Mike Fraser被召集在Hagar的仓库里的录音室（被他们亲切的称为“鸡爪的库房”）的时候，Joe在心里有了一个念头：更多的Michael Anthony(bass)。“他常年得不到表现的机会”Joe说“Mike弹贝斯和创作是非常的独特的。不仅仅这样，他的歌声也是非常的出众的，每个人都知道这些，他是非常惊人的。让Michael Anthony能够充分的表现是非常的有必要的。”
Recently, Satriani listened to the finished album on his own while taking a walk at home in San Francisco. Just as the last song ended, his cell phone rang. "It was Sam," says Satriani. "He was so excited. 'Have you heard the record? Do you love it as much as I do? It's great, isn't it?’ The fact that we were both listening to it at the same time was an incredible moment of synchronicity. To me, it means something big.”
最近，Joe在旧金山的家里附近散步的时候，听着他们完成了的新专辑。当最后一首曲子结束了的时候，电话响了。“是Sam!”Joe说“他是那么的兴奋啊‘你听新专辑了吗？你是不是像我一样的爱它？太棒了，对不对？’事实上我们都是同一时间同步的感受到了这难以置信的时刻。对我来说，这意味着时间大事情！”
Chickenfoot III will be released worldwide on 27 September. (A special 'Fan Pack,' containing a 132-page magazine, will be issued on the same day in the UK.) On the following pages, Joe Satriani walks us through the album track-by-track.
Chickenfoot III将于9月27日全球同步发行（一本特别的“粉丝煲”（哈哈，我是这么翻译的，觉得蛮好，里面有粉丝想要的东西，哈哈！）包含了一本132页的杂志，将会在同一天在英国上市），在下面的内容当中，joe会带我们预览一下这张新专辑中的每一首曲子。
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Pre-order item - Chickenfoot Fanpack | Due for UK release 27th September 2011
预购项目：“粉丝煲”！啥玩意儿？往下看！以及9月27日上市的Chickenfoot III 最新专辑！
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Exclusive Limited Edition Keyring
Order the Chickenfoot fanpack through MyFavouriteMagazines.co.uk and receive a free very limited edition Chickenfoot bottle opener keyring.
如果是在MyFavouriteMagazines.co.uk这个网站预购的话，还会独家赠送Chickenfoot的限量版开瓶器。
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Inside Classic Rock Presents Chickenfoot
Fans who buy the Chickenfoot Fan Pack will be able to hear Chickenfoot III weeks before it appears in record stores. What’s more, the Fan Pack version of Chickenfoot III comes with two exclusive bonus tracks that won’t appear on the record store version of the album.
歌迷预购了“粉丝煲”的话，可以在这张专辑正式上市的前一个星期就听到专辑。而且，预购的版本将会有两手“增曲”！这两首在正式上市的专辑里是不会有的。
The Fan Pack magazine is 100% Chickenfoot-approved and contains exclusive interviews with Sammy Hagar, Joe Satriani, Michael Anthony and Chad Smith talking about their new album, plus their respective careers as part of some of the biggest bands in rock.
“粉丝煲”是100%由Chickenfoot授权而且包含了Sammy Hagar,Joe Satriani,Michael Anthony和Chad Smith的访问，当中他们会讲到他们在Chickenfoot的新专辑中的一些想法，以及他们各自本身那些伟大的乐队当中的一些情况。
Chickenfoot III is the much-anticipated follow-up to the band’s acclaimed (and certified Gold-selling) 2009 self-titled debut. The Fan Pack also tells the story of the making of the band’s new video, how they created a 3D album cover, an overview of their solo careers and the story behind each and every song on the new record.
Chickenfoot III 在发行之前就被预期继上一张专辑之后会再创辉煌。“粉丝煲”还会告诉你他们是怎么制作乐队的新视频的，包括3D的专辑封面，还有专辑当中
的每首曲子背后的故事以及他们各自的事业状况。
The magazine’s also packed with rare shots of the band, an exclusive muso section as well as a Guitar Pick Pack, 3D glasses and a 3D CD digital book pack with postcards.
这本“粉丝煲”还附赠有一些难得见到的乐队的照片，还有独家附赠的吉他拨片包，3D眼镜和一张有3D明信片的光盘电子书。（这些不太确定是啥玩意儿，）
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曲目表：
1. Last Temptation
2. Alright, Alright
3. Different Devil
4. Up Next
5. Lighten Up
6. Come Closer
7. Three and a Half Letters
8. Bigfoot
9. Dubai Blues
10. Something Going Wrong
“增曲”：
11. Down The Drain (Live in Phoenix) - Exclusive to Classic Rock Fanpack, no other digital or physical release will include this track.
12. Oh Yeah! (Live in Phoenix) - Not available on any other physical release.
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（曲目的歌名可以很主观，而且还没听到曲子，只能凭想象了，曲子出来之后再修改。）
1 /10 Last Temptation（终极诱惑）
“Something I tell people at guitar clinics is, ‘All techniques are equal.’ If you don’t know modes, you think they’re exotic and mysterious. But once you know them, you realize that they’re no different from any five-note scale. It’s all music.
“我在吉他讲座会告诉那些朋友，‘所有的技巧都是平等的’。如果你不懂调式，你会觉得它们是多么的什么和难以掌握。但是一旦你熟悉他们了，你就会发现其实他们和一个五个音的音阶没有区别（这里不是指五声音阶，是指很普通的一个音阶）。这就是音乐。”
“On Last Temptation, I didn’t shy away from just slamming down barre chords, because that’s what was needed. At the same time, I combined those chords with super-heavy licks that the whole band would play. I was thinking of ensemble playing with really pounding chords. Lots of exploding and contracting.
“这首曲子，我一点儿都不觉得弹奏大横按的和弦是件害羞的事情。因为这正是这曲子所需要的。与此同时，我将这些和弦和一些超级重的乐句结合了起来，这是整支乐队都在演奏的东西。我想要的是我们乐队能够表现出震撼人心的和弦。充满了爆炸性和紧张感的。”
“We had a great time arranging this song on the spot. When we record, a lot of times we’ll play a song a few times, and everybody will throw ideas around – Mike or Chad will want to shorten a part or change something. This was a pretty fast coming together from the whole band. We played it live and put in a few overdubs – that was it. Very fresh, with everybody tearing in and going for it.”
“我们当时在编排这曲子的时候非常的愉快。当我们录音的时候，很多此我们都会演奏好几遍，在这个过程当中每个人都会把自己的想法加进去 - Mike或者Chad也许会缩短或者变化一些东西。这让整支乐队非常快的能够融合到一起。我们演奏几次，然后整合到一起，就这么简单。非常的时髦和有新鲜感，每个人都会融合进去而且都是我们想要的。”
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2 /10 Alright, Alright（好的，好的！(我不想再见到你了，烦死了！)）
“We started it on tour. We were backstage jamming before a show, and I started playing the opening guitar sequence. Chad and Mike joined in, and then Sam walked in and began singing, ‘Alright, alright, alright!’ We recorded what we had right there, and everybody looked at me and said, ‘Joe, you’re going to finish that, right?’
“我们是在巡演的旅程当中开始的这曲子的创作的。当我们在后台Jam准备演出的时候，我就演奏起了这曲子的前奏。然后Chad和Mike随之加入，这个时候Mike就会边走边唱的走过来，很随意的就唱起了“好的，好的！好的！！”我们记录下来了当时的状况，然后每个人都看着我，“Joe，你来搞定它吧，ok?”
“When I was working on it later, I was trying to figure out a way to give it more guts. It’s a light kind of a chorus, so I wanted to bring it down and give it weight. I gave it a Stonesy sort of a verse and some funky key changes for the solo.
“当我开始创作它的时候，我尝试着将它作成更加的有力量和精气神！一些很轻的合唱音色，然后我想将它慢慢的冷静下来，给他一些分量。然后我会让它有一些Stonesy(这里我猜会不会是Rolling Stones类型的段落，听到曲子之后就知道了。)和一些特别的（或者是Funk类型的）的调来进行SOLO.”
"We had a lot of fun recording it. It’s such a cool piece – everybody just came in and knew what to do. A great vibe.
“我们在录制的过程中非常的快乐。它是多么酷的一首创作。每个人只要加入进来而且都知道要做些什么。这气氛太棒了！”
“There’s some funny guitars on it. Besides the Ibanez JS guitars, there’s a ’58 Esquire on the left channel and a ’59 Gibson ES-335 on the right. The JS2400 was my main tracking guitar, and for the solo section that’s one of the JS prototypes with three DiMarzio Choppers. I used it on quite a few songs.
“在这曲子的录制过程中用到了一些很有趣的吉他。除了JS之外，在左声道里用到了’58 Esquire,右声道则用到了’59 Gibson ES-335.主轨用到的是2400.Solo部分用的是配置着三个Choppers的JS(就蓝色三单那把)。我在好几首曲子都用到了它。”
"That prototype has one of the punchiest Strat sounds I’ve ever heard. It gave the solo on Alright, Alright a vintage quality. Sam calls it the ‘Sunshine Of Your Love guitar solo.’”
“那把JS（蓝色的三单，后面就这么说了哈，不解释了）是我听过的Strat里最有冲击力的。它让这曲子听起来更加的复古，Sam称它为‘Sunshine Of Your Love guitar solo（这个自己去理解吧，我理解的有点不好意思说哈，哈哈！）’”
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3 /10 Different Devil（这个就不好翻了，可以有N种意思，听了曲子再说吧。）
“The guys really loved my basic demo for the song and wanted to record it. It sounded very commercial, so of course, I wanted to try to make it a little more artsy – Sam is always kidding me about trying to be a cult artist. It was so funny: the guys were all excited about its accessibility, and meanwhile I’m bumming the whole day.
那些家伙非常喜欢我这曲子的小样，而且想要把它放到专辑里。这曲子听起来很商业，当然，我会尝试着把它变的有艺术性一点。Sam经常开我玩笑说我正变成一个**艺术家。- -|| 有趣的是，那些家伙都因为这曲子那么的简单而兴奋，我也晃悠了一天。- -||”
“We ended the session, and Chad asked me if he could take one of the guitars to his hotel. He took one of the JSA acoustics and came back the next day and said, ‘I wrote another part for the song, and I think it can work.’
“我们结束了当下的活之后，Chad跑过来和我说，能不能接一把吉他让他回酒店弹一下。他就拿了那把JSA（JOE的签名款电箱），第二天回来之后，他说“我写了一些东西，也许可以成为这曲子的另外一部分”
“We stuck Chad’s part in, and it really did sound right for where the song was now headed. It also triggered something in Sam for his vocals - he found something he could sing. We then took my idea for the chorus and moved it to the end.
“我们将Chad的那部分加入之后，发现这正是这曲子所需要的，而且它激发起了Sam声线上的一些潜力，Sam在这个过程当中发现有些东西原来他可以这样唱的！也正是这曲子的发展走向上的。”
“Later on, when Sam was singing the chorus, it seemed as if his melody was over another chord progression - I don't know why, though. I found the part in the musical performance that had the chords, cut and pasted them, and it worked out. Then Mike and Chad decided they wanted to do their parts over again. A lot of effort went into this one.
“接下来，当Sam开始配合唱的时候，发现它的主旋律的和弦走向好像变了另外一种一样。我不知道为什么，我发现在那段有和声的段落，把它去掉仍然是可以成立的。然后Mike和Chad决定重复的进行一次，这一段我们都投入了很多精力。”
“When Sam and Mike did their vocals – wow, pretty intense! A classic sound. I have to admit, the guys were right about this song: it is pretty cool to listen to.”
“当Sam和Mike进行他们的演唱的时候，天啊，太有张力了！那是一种经典的声音。我必须承认，他们正是这首曲子所需要的，听起来非常的酷！”
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4 /10 Up Next（接下来的是。。。）
“The song starts innocently, tied to where I wanted to see the record headed – very riff-heavy and bluesy, with lots of open spaces where Sam could tell a story. Of course, I had no idea what the story might be – that would come later.
“这也是一首很率直的曲子，就像这专辑的第一首曲子一样，每个重的重复段和布鲁斯的段落，都给Sam足够的空间能够去叙述故事。当然的，我不知道接下来的故事会怎么发展下去，但是总会知道的。”
“Chad and Mike really took the riff and propelled it. This is another song where the chorus is just barre chords, and I thought somebody might say to me, ‘Hey Joe, isn’t that a little simple?’ You know – ‘Where’s that fancy stuff you do on your solo records?’ But again, it’s what worked.
“Chad和Mike让这曲子的节奏听起来非常的到位。这也是另外一首只用了横按和弦的曲子，我想有的人会问我，‘嘿，Joe，这会不会太简单了点啊？’你知道的，‘专辑里那些令人心醉的SOLO在哪啊？’但是，这确实是有很好的效果的。
“For the solo, though, I went the other way, from the Ramones and White Stripes to something totally crazy, which somehow fit the mood of the song. On the whole album, I used the prototype for my signature JVM410 Marshall amp. All we had to do was change channels and modes on the amp, and we got everything we wanted.
“SOLO的部分呢，不同的是，我走了另外一条路，从Ramones式的到White Stripes式的（俩乐队名称，不是什么调式），完全是疯狂的，而且是符合这曲子的整体感觉的。整张专辑里，我用的都是Marshall JVM410，我的签名款的原型。我们需要做的只是更换通道和修改一下参数而已，就能够得到我们想要的了。”
“Lyrically, Up Next took on a lot of weight following the death of one of our managers, Carter. He was sick during the making of the album and died before we finished. Sammy wanted to sing about Carter, and it’s a true testament to his abilities as a communicator that he could deliver such a message without going over the top.”
“从情感面来说，这曲子承载了太多太多，因为它的对象是我们的经纪-Carter。在这张专辑的制作过程当中他生病了，而在完成之前，他去世了。Sam想通过这曲子来悼念和歌颂Carter，它确实证明了Cater是一位有着超凡沟通能力的人，他能够将他想要传递的信息毫不费力的传达出去。”
(今年5月10日，John Carter在加州Palm Springs去世，享年65岁。他生前是A&R的执行官，制作人，作曲家和经纪)
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5 /10 Lighten Up（仔细听！/慢慢来！/放轻松！）
“Sam gave me a 15-second recording of him playing three chords and being angry – he was in an intense mood when he did it. There wasn’t a lot to go on, a song written around A, G and E, but there was something about his attitude that was very unique. Basically, I wrote the song around that.
“Sam给了我一段他自己录制的15秒的小样，里面只有三个和弦然后他就生气了！他也许正处于紧绷的情绪当中创作的。那不是很多内容的一段小样，只有A,G,E三个和弦，但是这正是他当时的情绪，非常的唯一。”
“The track was so much fun to record as a trio, with me, Mike and Chad. We had a blast. When I went to lay down overdubs, however, it was hard to tell where the key signature was in the verses. It was very strange. I had a hard time finding my footing. I was like, ‘I’m not into this.’
“在录制的过程当中，我们把它当作一首三重唱来录制，非常的有趣，我和Mike还有Chad。我们都玩的很开心。当我开始设定和铺陈这曲子的时候，我发现很难在A段找到一个很明确的调性，那是很奇怪的，我很难找到我的落脚点。就好像我走不进去这个情绪当中去。”
“The next day, Mike Fraser must have been reading my mind, that it was bugging me, because he suggested we try again. We ended up replacing the live guitar all the way through. Then I did overdubs, and everything just clicked – it sounded fantastic.
“第二天，Mike Fraser看出了我的心思，就好像窥视了我的想法一样，因为他建议说我们再来一遍！我们完全改变了吉他的整体方式，然后我再进行昨天的工作的时候，我发现我走进去了！而且听起来那么的美妙！”
“I thought to myself, Wow! Sam has pushed my guitar into a more in-your-face, don’t-be-afraid-to-rock-out area. As much as I wanted Sam to change things as a singer – to be lower register and tell more stories – he wanted me to let go as a guitarist. I really did that on Lighten Up.”
“我想，天啊，Sam促使我的吉他更加的逼近人心，在这个领域当中，别害怕，尽情的去摇滚吧!就像我希望Sam所做的一样，降低他的音调，尝试去叙述更多的故事，他同时也希望我在吉他上这样做。我想在这曲子里面我做到了。”
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6 /10 Come Closer（靠近点儿）
“Sam gave me two sheets of lyrics and said, ‘Can you write something to this?’ It was interesting - usually, the music comes first. He didn’t say a word to me about the style or anything. I looked at the lyrics and thought they were very unique.
“Sam给了我两张歌词，说，‘你能为这些写点东西吗？’那很有趣，通常来说，曲是先出来的。他没有告诉我任何关于这些词的风格或者什么的。我看着歌词。。。它们应该是很特别的。”
“I woke up one morning, went to my piano and started playing. Initially, the music was a bit more Radiohead than R&B, partly because I don’t play the piano too well. [laughs] I took out my phone, made a quick recording and e-mailed it to everybody.
“我早上醒过来，走到我的钢琴前面然后开始弹了起来。开始的时候，音乐更像Radiohead又有点R&B（Radiohead不用介绍了吧？）,部分原因是我刚起弹的不是很好。（笑）很快的我拿起手机，把它录了下来之后发给了每个人。”
“Sam came to the studio all excited to record it – he loved what I had demoed. After the other guys arrived, we spent a lot of time trying to figure out how to make it a guitar song. Again, the answer didn’t come to me at first. I didn’t want the track to be a power ballad, but going too bluesy didn’t seem right, either.
“Sam兴奋的来到了录音室然后录制了它。他很爱我的那个小样。其他成员到达之后，我们话了很长的时间来尝试怎么样让他变成一首乐队的曲子。再一次的，答案一开始没有出来。我不想这曲子变得太过于力量民谣式的，变得太布鲁斯吧，也怪怪的。”
“We started playing, and once we heard Sam sing in that R&B/soul timing of his, we felt comfortable going more minimal – we didn’t have to slam it. During the solo I stepped on my POG pedal and played these arpeggios, and everything felt right about the song to me.
“我们开始合奏，当Sam开始唱一些充满了R&B和灵魂的声线的时候，我们都感觉不太舒服。当然，我们没有必要每首曲子都那么的充满了力量。在SOLO的部分我踩向了我的POG（不知道这是啥的去听听sUper coLossAl！），然后开始演奏一些琶音型的段落，这曲子对我来说变得和谐了！
“You have these little struggles sometimes; you have to wrestle with the material. In the end, Come Closer turned out really sweet. I’m so happy that Sam liked what I wrote to his lyrics.”
“有时候就是会有一些让你挣扎的东西；你需要和实质性的东西进行权衡。最后，“靠近点儿”变得很甜蜜，我很开心Sam会喜欢我为他写的词而谱的曲。”
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7 /10 Three And A Half Letters ( 三封半的信 )
“Carter had been asking Sam to write a topical song about the economic situation. ‘I need a job’ was the line that was being used. At the same time, Sam started going through letters that he had received from fans, and a lot of them were pretty desperate. He got the idea to put it all together.
“Cater生前的时候曾经让Sam写一些关于经济状况的时事话题类的曲子。‘我需要一份工作’就是主体思想。那时，Sam就开始去读一些歌迷写来的信，他们许多人都显得非常的惆怅。他决定将这些结合起来。”
“He called me and said that in the verses he was going to read some of the letters, and in the choruses he was going to scream ‘I need a job!’ The plan was that at the end of each chorus I would just go nuts on guitar. Sam didn’t want me to sketch out or demo what I would do. Total, gut-reaction spontaneity was what he had in mind.
“他打电话给我，告诉我他在A段的部分希望去念一些信，然后副歌的部分就会尖叫‘我需要一份工作！’，然后每个结尾都计划着让我去尽情的SOLO。Sam不希望我做任何的准备或者预先写出小样，总的来说，他所需要的是当下的情绪和最直接的表达。”
“I did write out the main framework for the song, though. The band got together on the last day of recording, and we went for it live in one take – raw, unchecked emotions. For the solo sections, I stepped on the Proctavia and went crazy. We added a second guitar for the chorus chords and moved the live solo guitar to the center and added delays hard left and right.
“我将曲子的整体构思写好之后，乐队召集在一起在最后的一天录音。我们希望的是一次搞定！原始的，毫无压抑的情绪表达，在SOLO的部分，我踩向了我的Proctavia然后就疯狂的演奏。我们后期加入了一把负责和声和弦的吉他，主吉他的部分则放在中间，加入了一些延时pan向两边”
“Sam’s vocal performance is so heartfelt and real. The last verse is quite dramatic. I have to admit to getting choked up when I hear this song.”
“Sam的歌声表现的非常的真诚和真实。最后一遍的段落非常的激烈，我必须承认我听这歌的时候被呛到了。- -||”
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8 /10 Big Foot（第一首官方放出的单曲，大家都听过了哈！大脚！！！！）
“I was writing for the rhythm section, something where we could come together and create a force that was bigger than the three of us. I wanted it to be huge, just totally overwhelming.
“我写好了节奏的部分之后，我们就聚到了一次，开始创造一些希望能够超过我们三个人的力量的东西。我希望的是巨大！势不可挡的！”
“I called the song ‘Big Foot,’ just figuring that Sam would come up with another title. He ended up loving the name and wound up using it for the whole story. He sang quite a lot of it while we were tracking. I love recording like that.
“我给这首歌取名叫‘Big Foot’。我琢磨着Sam有可能会起另外一个名字。他最后还是喜欢这个名字。兴奋的唱完了整首歌。在我们录音的时候，他唱了好多好多，我非常喜欢这样录音的过程。”
“In my other career, I spend a lot of the time playing melodies and solos. In Chickenfoot, I get to play a lot on the low strings of my guitar, which I do enjoy. Being real deep in the pocket is so cool, and it’s really great when you can find that place with Mike and Chad.
“在我的另外一番事业当中，我花了很多时间去演奏旋律和SOLO.在Chickenfoot中，我则是弹了更多的低音弦的部分，我也很乐在其中。融入其中的感觉是很棒的，特别是和Mike和Chad一起的时候。”
“On Big Foot, it’s hard to tell the difference between the JS2400 and a Jimmy Page Les Paul. I wanted to get the guitars to sound close to each other, but there’s a slight change in their tones, however subtle. There’s a Rickenbacker 12-string in there, too – a little fairy dust.”
“这歌里，很难去区分2400和Jimmy Page的Les Paul.我想要的是他们听起来更加的接近，但是但是又有一些微妙的区别。哈哈，这歌还用到了一把Rickenbacer的12弦，当然，还有一些灰尘仙女！哈哈！”（JOE还是蛮童心未泯的嘛。。。还仙女呢！）
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9 /10 Dubai Blues（杜拜布鲁斯）
“On my demo, this song was like rock meets hip-hop. The rhythm figures during the bridge section were spooky, these harmonized notes played me scraping the pick on the string down by the bridge. This was set to an old Linn Drum loop, so it was very controlled, stream-of-consciousness guitars set to this old-school, rock/hip-hop rhythm.
“在我的小样里，这曲子就像摇滚遇上了Hip-Hop.过门部分的吉他听起来让人感觉毛骨悚然，那是我在琴桥上用拨片刮着琴弦的音色。这是在Linn Drum Loop上演奏的，（貌似是一种古老的鼓机吧？）非常的好控制，而且意识流般的吉他一直徘徊在非常old-school、摇滚和Hip-hop的节奏上。
“The guys were trying to figure out how to play it, so they basically decided not to. [laughs] They went at it like it AC/DC, Aerosmith, Chickenfoot, whatever. As we were tracking, I realized that I couldn’t play the spooky parts anymore – I had to make them more bluesy.
“那帮家伙在尝试着怎么去演奏它，他们基本上不愿意去演奏它。（笑！）他们开始演奏类似AC/DC,Aerosmith, Chickenfoot的那种风格，不管怎样，在录音的时候，我发现我不能再那样刮琴弦，我要让它听起来比较的布鲁斯一点。”
“Lyrically, Sammy went for a story told in blues folklore, about a guy complaining that he’s got everything in the world except for the girl he loves. There’s a lot of songs that have been based around the same tale, but Sam did it in a way that tips the hat to blues roots.
“在歌词里上，Sam把它诠释成一种民间式的布鲁斯腔调。叙述的是一个家伙拥有了一切却不能拥有他所心爱的女人。很多歌曲都有同样的情节，但是Sam把它表现的更加的布鲁斯。”
“The ensemble end is great because you get to hear a bunch of guitars playing rhythmically while the rest of the band is really cooking. It’s a terrific moment.”
“总体效果是很棒的，因为你会听到一堆的吉他声音，而乐队的其他成员正在弄好吃的。。。- -|| 可怕的回忆！”
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10 /10 Something Going Wrong（有些不对劲儿！）
“This was one of the last demos I did, and it was just an acoustic guitar and a vocal melody. It was pretty moody and dark, and I didn’t know if the guys would want to do it, but they did. I was so happy.
“这是我写的最后一支小样，这仅仅是一把12弦吉他和一个声音而已。非常的闷和暗沉的。我不知道那帮家伙会不会想要这么做，如果他们愿意的话，我会非常开心。”
“Of course, whenever Chickenfoot wants to do something, they want to do it right now. I hadn’t prepared what guitars I was going to use or anything like that. It’s different for guitarists: we have to figure out guitar and amp combinations, decide how to layer parts - all of those things.
“当然了，不管什么时候Chickenfoot想做什么，他们都会马上的就去行动起来。我还来不及准备我想要用那一把吉他或者什么的。对于一个吉他手来说，要选择用什么吉他和音箱来进行组合等等一切设备上的东西是非常头疼的。”
“Right before we went in to track, I said, ‘I think I should play a 12-string.’ I had a prototype of a JSA 12-string, but the pickup wasn’t working. I asked Sam if he had anything, and we found this old Ovation 12-string in storage. The strings must have been from 1978 – it was completely dead.
“正当我们去录音之前，我说‘我想我应该弹12弦！’我有一把JSA 的12弦的吉他（原型），但是拾音器坏掉了。我问Sam他有没有能用的？然后我们在仓库里找到了一把Ovation 12弦。那弦估计从1978年就一直在琴上了，已经完全挂掉了！”
“My guitar tech, Mike Manning, got it tuned up. We plugged it in, miked it up, and there I was, playing the song. I nailed the part on the second take. When I listen back to the track, I think, This is the way you’re supposed to record. This is as honest as it gets.
“我的吉他技师Mike Manning将他重新上弦并调好之后，我们就将它接近音箱，用麦来拾音，然后我就开始弹奏着曲子了。最后我选定了第二遍的录制品。当我听着伴奏的时候，我想，这就是我们最开始想要的效果。非常原始的遵循了我们的初衷。
“For overdubs, I put in a banjo, a JSA six-string, and for the solo I used one of the prototypes of the JS. Mike Fraser then asked me to play guitar all through the song, so I used the ’59 335 – it was the right last ingredient. I think we took a huge leap forward in Chickenfoot music when this song was finished.”
“在混编的时候，我加入了班卓琴（好像每张专辑都少不了它哈？！），还有JSA，SOLO的部分还是那把JS（蓝色三单）。Mike Fraser让我弹一轨贯穿着整首曲子的吉他，我就用了’59 335.这就是最后的一部分了。我想Chickenfoot的音乐会在这最后的一首歌里面取得巨大的飞跃~！
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OK，以上就是全部的内容。 me
[ 本帖最后由 尼古丁小指 于 2011-9-11 11:49 编辑 ] |
发表于 2011-9-8 22:24:00
发表于 2011-9-21 08:05:04
发表于 2011-9-22 17:41:41
