注册 登录  
 加关注
   显示下一条  |  关闭
温馨提示!由于新浪微博认证机制调整,您的新浪微博帐号绑定已过期,请重新绑定!立即重新绑定新浪微博》  |  关闭

verve中文网

Verve Fansite of China

 
 
 

日志

 
 

Richard Ashcroft on His New Album  

2011-03-24 23:21:24|  分类: News |  标签: |举报 |字号 订阅

  下载LOFTER 我的照片书  |



Musically speaking, there are two Richard Ashcrofts. There's the Messianic frontman of on-again, off-again Britpop champions The Verve, and then there's Richard Ashcroft the solo artist, a gifted singer-songwriter who has quietly amassed a more-than-respectable body of work. His latest project falls somewhere in between. RPA & The United Nations of Sound is both the name of Ashcroft's new album, and of his new collective, a group of musicians who helped the 39-year-old singer compose and create an eclectic new record that contains elements of the melodic rock Ashcroft is known for, as well as notes of soul, blues, and even hip-hop.

Richard Ashcroft on His New Album - the verve - verve中文网
 
Ashcroft’s most notable new collaborator, in both reputation and contribution, is the hip-hop producer No ID, who’s worked with Kanye West, Jay-Z, and Rihanna. The result of this worlds-colliding pairing is an instrumental rock album that relies heavily on programmed beats. On Monday afternoon, Ashcroft showed up to the Sirius XM headquarters in midtown Manhttan, to play a set of his new songs—including the lead single ”Are You Ready”—with nothing but his acoustic guitar, a reminder that in his purest form, Ashcroft is a songer-songwriter in the most classical sense. We had the opportunity to sit down with Ashcroft after his set, and found that he loves to talk, able to go off on highly impassioned and opinionated tangents with just the slightest push. Here he is on the recording of his new album, why he prefers smaller shows to stadiums, and the right time to bust out his mega-hit, “Bittersweet Symphony.”

You’re either known as Richard Ashcroft from The Verve, or Richard Ashcroft, solo artist. This seems like something in between. Which one is it? 
It’s both.  It’s a solo project where, halfway through the making of it, the idea of the United Nations of Sound came into my mind, purely because it felt like the contribution from everyone, and what we were doing was so unique, that it needed a title. And whether it be the guitarist or the string arranger or the drummer—some of the stories they were telling me, about all the people they’ve played with, and the way they were treated—even though these guys are magnificent musicians—a lot of musicians out there are treated like crap. America’s got a tremendous wealth of talent, and you can kind of go, Okay, if you don’t want the gig, there’s another 400 guys who do. Also, there’s a lot of fear in the industry. Certainly Steve the guitarist, I think he was pretty scared of me at the beginning. But I think he really enjoyed that openness that I brought to the whole idea of recording. Because the industry has changed a lot. It’s very clean now. Everything is so fucking clean.

How so? 
Well, everything. Whether it be the recording process, how people talk to you, how the guitarist, or the drummer, or the session players would communicate to someone like me. There’d be times when someone might go on tour for six weeks and never speak to the person they’re playing for.

Have you had that experience in the past? 
I’ve never had it, because I’ve always been in charge of my ship, and I would never treat my crew like that.
Are the musicians who recorded the album with you the same ones you’ll be touring with? 
Yeah, other than the drummer. I’ve got a different drummer, because the majority of the drums on the album are just beats from No ID.

This is the first time you’ve recorded without Peter Salisbury, the drummer from The Verve?
Yeah, you’re right.

Did that have anything to do with the fact that a lot of the drums on the record are programmed? 
Yeah. But I made this decision, I went to No ID for beats more than for production. I don’t really need a producer. I just wanted someone to collaborate with, and essentially what he gave me were beats.  I might have used Pete if I’d been in England. But it was interesting for me to see what was happening in the States, and what kinds of musicians there were. And I was shown things, like pictures on phones of lads playing the drums in church, who are six years old. And they’re phenomenal, and they’re all waiting for their spot in that church, and most of the guys who are playing with me on this record all come from that church background. It was interesting to see the wealth of talent this country’s got, it’s astonishing. 

  评论这张
 
阅读(103)| 评论(0)
推荐 转载

历史上的今天

在LOFTER的更多文章

评论

<#--最新日志,群博日志--> <#--推荐日志--> <#--引用记录--> <#--博主推荐--> <#--随机阅读--> <#--首页推荐--> <#--历史上的今天--> <#--被推荐日志--> <#--上一篇,下一篇--> <#-- 热度 --> <#-- 网易新闻广告 --> <#--右边模块结构--> <#--评论模块结构--> <#--引用模块结构--> <#--博主发起的投票-->
 
 
 
 
 
 
 
 
 
 
 
 
 
 

页脚

网易公司版权所有 ©1997-2017