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第八章:破壳而出!(1980) (The Big Break)

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发表于 2012-11-13 09:46 | 显示全部楼层 |阅读模式
Chapter Eight: The Big Break (1980)

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Clive Davis - Arista

      Clive Davis waited for the new year, and without Air Supply’s knowledge, released ‘Lost In Love’ in January, 1980. Arista’s position was that they would wait for reaction to the single, and at the first hint of the record taking off they would pick up the option on the album.

      “I put on the credits for ‘Lost In Love’ that is was produced by Robie Porter, Rick Chertoff and the original producer Charles Fisher,” said Robie Porter. “I thought about what Clive did, and it was not much, but I put him down as the executive producer, which had never been used at that time on any record anywhere in the world. The record came out and radio stations thought that Clive Davis had produced it. They thought that Air Supply must really be something. A couple weeks later, Clive called me and said, ‘You had better get into the studio to finish that album because this record is going into Billboard with a bullet, and it’s going to number one.’ I didn’t tell Clive that there was no band at this point. I brought Graham back from England and put everyone in the studio. Over the coarse of the next 55 days, which was significant for me, we put the album together.”

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'Lost In Love'  U.S. Promo, Jan. '80

      “‘Lost In Love’ was one of Arista’s first single releases of the Eighties,” said Clive Davis in his book titled The Soundtrack Of My Life. “We sent it to radio in January 1980, and since we didn’t have any new material for the B-side of the commercial single, we used a cut (‘I Don’t Wanna Lose You’) from a previous Australian Air Supply album. Things began happening very fast. The single took off, and was rapidly climbing the charts when we knew we had to exercise the option on the album and get that moving. Here’s where strategy really comes into play, and illustrates how a record company can maximize the potential of a given artist or album. I suppose we could have taken some tracks that had already been released in Australia, added the new mix of ‘Lost In Love,’ and slapped together an album to take advantage of the single’s momentum. And that album would have done all right. But I knew that by recording at least a couple of new songs that had the potential to be hits, we would extend the life of Air Supply, identify them with more than the one song (thereby removing them from the ever-growing list of one-hit wonders), and sell many times what an album with only ‘Lost In Love’ to drive it could. Perhaps some labels would have been happy to pick up ‘Lost In Love’ as a single master, celebrated when the song became a smash hit, taken shortcuts to exploit the single, and never mined the longer-term potential of Air Supply. At Arista, we just never had the luxury of being able to hit and run. We needed to maximize each and every release and build artists who could sell year after year. We relied on current product; we couldn’t let up for a moment because we never had catalog sales to help pay the bills.”

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Canadian Press Photo - Wizard/Polygram 1980

      “In January 1980, I went to a music industry conference in the South of France to try to stir up some interest, make contacts - anything,” said Graham. The conference was Midem, the music-business festival held annually in Cannes. It was considered one of the most important events for those who wanted to brush shoulders with people in the music business. The 1980 edition of Midem began on January 21, and popular topics included disco, music piracy, and the acquisition of independents in America by major labels. “I stayed in a really grotty hotel, got food poisoning and lost twelve pounds in three days,” recalls Graham. “I’d never felt worse. I didn’t know a soul, didn’t speak the language, and was being sick all the time. Then I picked up a record magazine (American trade publication Record World) and saw ‘Lost In Love’ on the cover, and assumed someone else had written a song with the same name. Then I saw the name Air Supply and I nearly died. The record company released it in America without telling us, and it was predicted to be a hit. I called Clive Davis, without knowing who he was. I got a phone number and called him in New York at the Arista office. I told him who I was, and asked if it was all real. He said, ‘What are you doing there? You should be in Australia recording an album. ‘Lost In Love’ is going to go all the way to the top!’”

      “The Australian version [of ‘Lost In Love’] is quite different from the American version,” said Graham. “It’s not as lush, and there aren’t background singers in back going ‘Lost in love and I don’t know much.’ They aren’t on the Australian version. That’s just Russell [doing all the background vocals]. When Clive Davis heard the track he said, ‘I want to put some female voices on.’ He wanted to make it a little more catchy. If you listen to the Australian version with headphones, you can actually hear us talking in the background of the track. That is not on the American version. They took that off.”

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Demis Roussos  'Lost In Love'

      There was good reason to think that someone else had released ‘Lost In Love’ because Air Supply had licensed the song to Greek-born singer Demis Roussos in 1979. Roussos fell in love with the song during a visit to Australia, and he brought a copy of the single back with him to Europe. He recorded his own version as a duet with Florence Warner in January 1980, and released it throughout Europe in April, three months after Air Supply released their remixed version. Because of Air Supply’s success with the song, the Roussos version was not released as a single in North America or Australia. But it was a big hit in Europe, where it reached #2 in the Netherlands and #3 in Belgium.

      Graham phoned Russell to tell him that ‘Lost In Love’ was quickly climbing the charts in America, then took a ferry to London, and then a flight to New York, and then to Australia. He was flat broke and was forced to take a flight from London that departed at 5:00 a.m., because airfare was much cheaper. Upon arrival in New York, Clive Davis told Graham that Arista still needed to work out the details for the album, but that the band needed to get back to Australia immediately to record more songs. After which, they would return to the States for additional recording, and ultimately the album launch. “I went to New York to meet Clive for the first time,” said Graham. “I sat in his office and I was almost shaking because I knew how powerful he was. We had lunch and he asked me if I had any other songs, because he hadn’t heard anything else. I told him that I had written an entire album. So he told me to go back [to Australia] to record it.”

      In February, Air Supply and producer Robie Porter recorded new songs at Paradise Studios in Sydney’s Woolloomooloo. Paradise Studios was a state-of-the-art facility built in 1979. It was here that Air Supply recorded such songs as ‘Every Woman In The World,’ ‘I Can’t Get Excited,’ ‘My Best Friend,’ ‘Chances’ and ‘Having You Near Me.’ The band included David Moyse, Ralph Cooper, Criston Barker and Frank Esler-Smith as a session keyboardist.   

      Arista and Wizard Records inked a long-term worldwide contract for Air Supply worth $1.5 million, and called for eight albums. As outlined in the contract, all records released in Australia, South Africa and New Zealand would be sold under the Wizard/Big Time label, and distributed by EMI. All Canadian sales would be handled by Wizard Records with Polygram distributing. In Japan, Arista licensed Nippon Phonogram to manufacture and distribute Air Supply’s music. In the U.S. and all other territories, Air Supply was an exclusive artist with Arista Records.

      Arista underestimated how quickly ‘Lost In Love’ would climb the charts, and how well it would sell. Within one month the single sold 200,000 copies. But Arista was now in a highly disadvantageous position, because they knew it might take several months to complete the album. ‘Lost In Love’ first appeared on Record World music chart, before debuting at #90 on Cash Box for the week ending February 9. It opened on Billboard at #127, and reached the Top 40 on March 8. Seven days later it was in the Top 10.

      “People say we’re losing thousands of album sales a day,” said Russell. “I hope that’s not true, but there’s no way of telling. There’s nothing we can do about it anyway. I’m not surprised that the singles done as well as it has at all, because it’s a great song. I’m surprised that it’s done it so quickly.” An Australian newspaper asked Russell what it would be worth if ‘Lost In Love’ became a number one hit in the U.S. “It’s impossible to say,” he replied. “But Melissa Manchester has had only one number one hit in the United States, and last year she made two million dollars just singing in Las Vegas.” When asked what he might do with new-found wealth, he replied, “I want to buy a house. I’m not interested in a fancy car, just a house. Any money I’ve been putting aside will go towards that.”

      Roy Lott, an employee at Arista Records in the early 80s, was assigned to Air Supply during the bands early days with Arista. Lott worked closely with Clive Davis, and remembers how firm the Arista President could be when he wanted something done. “After the hit ‘Lost In Love,’” said Lott, “Clive decided to do an album, and although they already had recorded music in their homeland, more songs were needed for the U.S. release. It was the Wednesday before Easter, and I had to get them out of Australia, and into the U.S. by Friday. Easter Sunday (April 6, 1980) is a big holiday in Australia. Subsequently, people take time off right before the weekend, and Monday is also a holiday. We needed to get an album recorded immediately. But I was having a hard time getting them their passport. I ended up getting them into Canada because it was easier to get passport clearance. If I didn’t get it done that Wednesday, I wouldn’t have been able to do anything for the whole next week. Clive told me, “Every week you don’t get them into the U.S., you’re losing $1 million.”

      When Russell and Graham arrived in the U.S. they were amazed how well ‘Lost In Love’ was doing on the charts. It hit #1 on the Billboard Adult Contemporary chart on April 19th, and held that position for 6 weeks. In London, the Demis Roussos cover of ‘Lost In Love’ had been dropped from playlists in favour of the Air Supply original. In Japan, ‘Lost In Love’ was #29 first week in. Russell remembers how it felt to hear their music on American radio for the first time. “We were both over here, and I was in a car somewhere, I think on Sunset Blvd., and I heard ‘Lost In Love’ on the radio. It was a feeling you can’t describe to anyone. It was just so much joy. I wanted to stop the car and run around in circles.”

      Air Supply returned to the studio after Easter weekend to complete the album. Robie Porter admired one of Graham’s compositions titled, ‘All Out Of Love,’ which Graham wrote in Adelaide for his Sherwood project. But Porter was concerned with the songs lyrics. He told Graham that the lyric, ‘I’m all out of love, I want to arrest you,’ did not make sense, and that they couldn’t use the words ‘I want to arrest you’ in a song. Graham fought everyone all the way up to Clive Davis to maintain the original lyric, but Davis agreed with Porter. He asked Porter to re-write the lyric because he loved the song, but he knew it could not be released with the current lyric. Porter approached Graham once again and this time Graham agreed. “So we changed probably half of the whole thing. Graham hit the roof and went nuts,” said Porter.

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      Davis’ recollection of the writing process for ‘All Out Of Love’ was different from Porter’s, and this later resulted in a legal dispute. According to Davis, it was he who changed the lyrics, not Porter. “I did play an unusual personal role in the album’s second single,” said Davis. “Graham had written a lovely song called ‘All Out Of Love,’ but I knew the lyrics had to be changed. As I recall, one of the lines was ‘I’m all out of love, I want to arrest you.’ I explained that that line wouldn’t work, and I pointed out other lines that needed to be rewritten. I then sat down and wrote the revisions myself. So for the first and only time, I took credit as co-writer on a song. Thank goodness it became a huge hit, otherwise I never would have heard the end of it from artists and writers that the sole example of my songwriting skills resulted in a stiff. As it turned out, ‘All Out Of Love’ did even better on the charts than ‘Lost In Love.’ It peaked at number two. I came that close to co-writing a number-one hit!”

      Tommy Emmanuel recorded with Air Supply at Paradise Studios in February. “They recorded ‘Lost In Love’ and then they re-recorded it again later,” said Emmanuel. “I played on the first and second version. The first version was a favour, a demo. Then they got their record deal with Clive Davis and, bang, they had millions of dollars to spend on this album. They had a big producer from America (Harry Maslin), and Robie Porter, who actually produced my first three albums. I played on ‘Every Woman In The World,’ ‘All Out Of Love,’ ‘American Hearts’ and all that stuff on that whole album, and I got a credit that said ‘Additional Guitar, Tommy Emmanuel.’ I did all the guitars on that.”

      Air Supply worked feverishly to complete the new album, including the vocals for ‘All Out Of Love.’ They intended to have Russell sing the entire song, but he couldn’t remember the lyrics. “It became instantly obvious that the way to record it was to have Graham sing the verses and then I would sing the choruses,” said Russell. When they heard the final recording, everyone knew they had another huge hit on their hands. Davis brought in talented American producer Harry Maslin to complete the album, and it was quickly mixed at Larrabee Studios in Los Angeles.

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      “We were camped up in Beverly Hills at the producers house (Robie Porter),” said Graham, “and he wouldn’t let us go out because we were singing ‘All Out Of Love’ in the ensuing days. The first time I heard the finished song was at Robie’s house and it just sounded so good. I just knew that it was going to pop, and Clive knew it too. He said, ‘Get ready because it’s going to be a long ride.’”

      Before Air Supply returned to Australia in late April, management talked about the possibility of a short tour of the States with Melissa Manchester in July, with the intention of releasing a second single by then. Negotiations had begun for a six week tour of American colleges in October, which was to coincide with the release of Air Supply’s second Arista album. Most of the college gigs would feature Air Supply as the headliner, and a few would be on a shared top-bill basis. Names being tossed around included Pablo Cruise and Rupert Holmes.

      Air Supply’s career in the U.S. was off to a promising start compared to the bands first attempt in 1977, but their progress in Australia was still in doubt. “It’ll be interesting to see what happens when we go back,” said Russell. “I think we’re in good shape there but you never know. If the press and the people there have a bad attitude towards us, we’re ready for it. We’re used to that silliness now.”

      After returning to Australia, Graham and his 29-year-old girlfriend, Chrissie, escaped the city for a ranch in Avoca Beach on the Central Coast. Russell got married to Dianna (Di) O’Neill on May 24th, his second marriage. They moved into a two-bedroom apartment in the Eastern suburbs of Sydney, where Russell drove Di to work each morning in their yellow Mini. Di worked for Wizard Records in the promotions department. At this point, everyone in Air Supply were content living in Australia. “We would rather follow the Little River Band and continue to live in Australia,” said Russell. “We can still fulfill touring and promotional engagements, and not jeopardize our careers if we arrange things well enough.”

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Celebrity Tattle Tales - March, 1980

      Russell and Di were contestants on the Australian television game show Celebrity Tattle Tales, which was modeled after the popular American version called Tattletales. The show’s premise involved questions asked about celebrity couples’ personal lives, with one member of each couple on the main set and the other isolated backstage.

      In late April, the highly anticipated album, entitled ‘Lost In Love,’ was released in the States, and a few weeks later in Australia. It entered the American Billboard album charts at #106, and a week later it was #68. But the album stalled at #47 in late May. It was not until Air Supply released the second single, ‘All Out Of Love,’ that the album vaulted towards the top 20. It was very risky, and not common for a band to release consecutive ballads. Most record labels believed that this could represent death for a new act. But Arista desperately wanted another hit single, and they knew that ‘All Out Of Love’ was going to be huge.

      In June, ‘All Out Of Love’ debuted on Billboard Hot 100 at #71, and reached the #2 position in its 14th week (September 13, 1980). It was selling between 20,000 and 30,000 copies a week in the States, and spent 4 weeks at #2. On September 6, ‘All Out Of Love’ hit #1 on Record World singles chart. On August 30, Casey Kasem of American Top 40 crowned Russell with the distinction of holding the final note of the song for 16.2 seconds, an unofficial record for a Top 10 song in pop music. Three years later, singer Freddy Curci from Canadian rock band Sheriff broke this record when he held a note for close to 30 seconds on the hit single ‘When I’m With You.’

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'All Out Of Love' - Australian Release

      While ‘All Out Of Love’ raced up the American charts, Air Supply found themselves embroiled in two separate legal battles in the Melbourne and Sydney Supreme Courts. Firstly, Graham and BRM Music (Bestall & Reynolds publishing company) slapped an injunction on EMI Australia, preventing them from pressing and distributing any copies of the album ‘Lost In Love’ and the single ‘All Out Of Love.’ The legal action was brought forward because producer Robie Porter, in claiming he co-wrote the single, had his name added to the credits on the Australian pressing. But Graham and BRM disputed that Porter had any involvement in the writing of the song. The American pressing included Clive Davis as co-writer. EMI’s national promotions manager, Rob Walker, confirmed that no more copies of ‘All Out Of Love’ or the album would be released until the legal suit was resolved. Walker said, “As far as I’m concerned, Air Supply’s new single has been doing very well in this country since its release, and it looks like being a big hit for them. It seems to me they’re cutting off their noses to spite their faces by injuncting us. If the band proceeds with this action it may lose them a hit, and that’s something they can’t afford at the moment.” ‘All Out Of Love’ was sitting at #36 with a bullet on the Australian national charts. The Sydney Supreme Court ruled in favour of EMI, giving them the green light to press and distribute the new single and album.

      The second case, heard in Melbourne’s Supreme Court, revolved around an internal dispute between Robie Porter’s Wizard Records and Big Time Recording Company which was 50% owned by Porter and 50% by Air Supply’s management team, Bestall & Reynolds. Porter had issued an ex-parte injunction against Big Time, because Porter was no longer to produce Air Supply on any upcoming records in America. Future recording sessions were to be produced by Harry Maslin. Details of the case were covered in a tight veil of secrecy, with neither side prepared to discuss it with the media. The relationship between Robie Porter and Air Supply’s management team deteriorated, and Russell’s wife, Di Hitchcock, resigned from Wizard Records. She later got a job in the promotions department of radio station 2MMM FM. Since the court battles commenced, Air Supply flat-out refused to promote ‘All Out Of Love’ or the album in Australia, and declined almost all requests for interviews.

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Juke - May 24, 1980

      Air Supply agreed to feature on the cover of Juke’s special 28-page fifth birthday issue. Melbourne-based Juke emerged from humble beginnings in 1975 to become one of Australia’s most respected music trade publications. By 1980 they were Australia’s only weekly music newspaper. Juke could certainly relate to Air Supply because cynics had told them both that they would never succeed.

      Juke’s main competitor was Sydney-based RAM magazine. RAM supported Air Supply in the beginning, but their relationship soured after RAM accused them of producing overly commercial music for the sole purpose of making money. In all fairness, Air Supply gave them ammunition to fuel the negativity. Graham was quoted in a 1978 issue of RAM saying; “We’re a commercial band to the degree that we’ve got something to sell. It’s like soap powder. It’s different but it’s similar. Like if I was trying to sell soap powder on the streets I’d have a commercial product. We’ve got a product to sell, but it’s not soap powder - it’s an art. It’s the same thing but it’s a different product. We’re trying to sell something.”

      Often it was not the members of Air Supply that created friction with the Australian media, but their management team. An editor with Juke magazine recalled his first experience with the band; “My first direct contact with Air Supply was in 1978 when I conceived a two hour television documentary called Australian Music To The World. The Band’s management also managed Barry Humphries, who we wanted on the show. Their management company said we could have Humphries if we included Air Supply in the programme. I thought that suggestion reeked of blackmail, and as I hadn’t included Air Supply in the original script, I was more than a little pissed off. Unfortunately, and isn’t hindsight a wonderful thing, I blamed Air Supply instead of their management company. Since then, I have been biased against Air Supply, thinking they were getting feet in the door via the talents of other people. Of coarse, I was wrong. Now, I guess it would be considered good management. Anyway, time has proven that Air Supply well and truly deserved to be part of that television show, even if their method used to appear was questionable.”   

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Netherlands                                           U.S.                                                     Brazil                                                 Japan

      ‘All Out Of Love’ was released in France and Canada in September, and hit highs of #3 and #1 respectively. It was also a hit in the U.K., where it peaked at #11 and charted for 11 weeks. In Australia, radio ignored ‘All Out Of Love’ for several months. After it entered the Top 10 in America, it became a matter of ‘better late than never’ for Australian radio programmers. When it got significant radio play in September, the Australian record-buying public acted accordingly and the song reached #9 on the Kent Music Report. An impressive feat considering Air Supply refused to promote the single in their home country. ‘All Out Of Love’ was responsible for launching Air Supply in Brazil, when the song was included on a popular television soap opera called Coracao Alado. It went to #1 in Brazil and Hong Kong.

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Air Supply in Japan - July, 1980
      
      Air Supply’s popularity in Japan soared. ‘Lost In Love’ reached #4 and ‘All Out Of Love’ was #2. Arista licensed Nippon Phonogram to manufacture and promote Air Supply products in Japan. It was much easier to make a licensing deal in a foreign country than to create your own company with an expensive infrastructure. Alex Abramoff, artist relations manager for Nippon Phonogram, organized a window display contest involving retailers throughout the country. The contest ran from June 25 to July 31, and awarded prizes to stores with the most creative Air Supply window display. According to Abramoff, the promotion really paid off; “‘Lost In Love’ album, released June 25, is selling very well. At this rate, we’re hopeful to reach 50,000 in the not-too-distant future.” The entire campaign was so successful that Nippon Phonogram arranged for the band to make an in-person visit to Japan in July, which included the return of guitarist Rex Goh. A free concert took place at the Nakano Sun Plaza Hall in Tokyo for 3,000 lucky fans. In order to get a ticket a postcard had to be mailed, and 20,000 postcards were received. Nippon Phonogram lobbied for Air Supply to play a national tour later in the year. “It cost us $30,000 to bring the group and its road manager to Japan,” said Abramoff. “But we believe it was worth the expense. During the nine-day stay here, they appeared on six television shows and nine radio shows, and were interviewed by nine newspapers and magazines.”

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Live in Canberra - September 11, 1980

      On August 31, Air Supply flew to Rio de Janeiro, Brazil, where ‘All Out Of Love’ was still #1, for a week-long promotional visit. Between Brazil and the U.S. college tour, Air Supply played a short ten-gig tour around Sydney and Canberra, mostly at clubs and colleges such as the Ainslie Football Club and the Canberra College of Advanced Education. “We’ll be spending about ten days here working, doing mainly big clubs in Sydney to get our act together, and then we’ll head to America and spend three or four days rehearsing before we hit the road,” said Russell. “Neither Graham or I are keen on long, protracted tours.”

      Air Supply’s first North American tour as headliner began on October 2, 1980. It was a seven-week, 35-date tour that crisscrossed from coast to coast. The tour opened in style at the famous Perkins Palace in Pasadena (currently the Raymond Theatre), which was the highest grossing venue in L.A. during the 80s and 90s. Architecturally, the theatre was a work of art, and was used as the backdrop for the movies The Bodyguard, Spinal Tap and Pulp Fiction. “We did not know what to expect at first,” said Graham. “We had rehearsed all day for the show, but we didn’t have any presentation or anything. But we had something about us as we were green. We just came out and spoke to the audience, played the songs and they sounded exactly like the records. I guess we played safe. The crowd at Perkins Palace went nuts after the first few bars, and then we were so relaxed.”

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St. Cloud State University, MN - Oct. 13, 1980 (SCSU Archives)

      Air Supply played 38 concerts, and all but two were completely sold out. Almost 4,000 students watched Air Supply perform at Northeast State University in Monroe, Louisiana. The largest crowd was a combined 13,000 at the State Fair in Phoenix, Arizona, where Air Supply performed twice on October 31. The band enjoyed all the benefits of being a headlining act, but the tour came to an abrupt end after Russell experienced problems with his throat. “When we first toured in 1980,” remembers Russell, “there were all these girls hanging around, and we had the attitude of ‘Hey, let’s party and get drunk every night.’ But face it, you can’t do that forever. You’ll burn out.”

      “We couldn’t believe it,” said Graham. “It was like a small-scale Beatlemania. I mean, people were screaming all over the place. That first concert, we didn’t know what the American crowds were going to be like. Before the show I went out to the backstage and just stood on my own for about twenty minutes and looked at all the buses and the big trucks and all the gear going in and I thought, ‘Wow! It’s really happening.’”  

      Air Supply made several appearances on American television, including Johnny Carson, Merv Griffin and Dinah Shore. The American media was enamored with everything about Air Supply; the harmonies, the exotic accents, and their sudden rise to fame. When asked by Australian media when they would tour Australia again, Russell said they had no plans, and no desire to tour Australia. “We will be back in Australia for a rest over Christmas, then record in January,” he said. “After that, we will go back to the States for another tour. Touring Australia was really tiring and very boring. We’d be on a plane to go somewhere for a lunchtime gig, and then back in another city in Australia for two gigs at night. It was just terrible. So we won’t play live gigs here unless there is a specific big event for us to do. I can’t sing three shows a day anymore. I won’t because it damages my voice.”

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      Air Supply’s four year career in Australia was a roller-coaster ride between success and failure.  “They’re the most fickle fans in the world,” said Graham. “They’re with you one second, and down on you the next second. It’s so frustrating there that we’ve been on the verge of quitting a few times. You get to where you don’t see any point in trying, because you think you’re never going to get anywhere. We’ve succeeded in spite of having to work in Australia.”

      Part of the problem for Air Supply was that there were very few concert halls to play in Australia, and most of those only held two or three thousand people. In order to play the largest venues, bands needed to embark on a national concert tour, which was over in two weeks. Therefore, bands were forced to play local clubs, which were not ideal for Air Supply’s type of music. “People there really like to go out and fight,” explains Russell. “They like to go out and get drunk, and get wild and crazy at the clubs. That’s very common. That’s why clubs aren’t great for us. Our ballads don’t go over well in that noisy and crazy atmosphere. With our music, we sell a lot of records to married people with kids, and they don’t go out much. Plus, to get a gold record in Australia, you only have to sell 20,000 records. And only a small part of those people who buy records go to shows.”

      Rick Grossman, bass player for Divinyls, knew firsthand how tough it was to play Australia’s hotel circuit, more commonly referred to as beer barns; “It was an experience playing the outer suburban pubs where your feet stuck to the carpet and there was violence every night. Here, unlike some of the more laid-back inner-city venues, the audiences weren’t ‘cool.’ If they were into you, they showed it. Same time, if they hated you, you’d soon know about it. It was trial by fire our there. I remember we arrived for a gig at the Sundowner Hotel in Punchbowl and the place was jammed. We went to our dressing-room, changed, got ready, walked out on stage and the auditorium was now only half full. Where had the people gone? There’d been a gunfight in the car park and they’d run for their lives.”

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1980 U.S. College Tour Promotional Photo

      While ‘All Out Of Love’ was still in the Top 10, the third single, ‘Every Woman In the World,’ debuted at #84. Arista had strongly considered releasing the album cut ‘Having You Near Me’ next, which Russell described as “another ballad and they’re the ones that seem to be working for us.” ‘Every Woman In the World’ was chosen instead, and was released on October 1, to coincide with the start of the U.S. tour. In December, it peaked at #5 on Billboard Hot 100, and remained on the chart for 17 weeks. In Australia it reached #8, one spot higher than worldwide mega-hit ‘All Out Of Love.’

      ‘Every Woman In the World’ was submitted to Clive Davis by Arista A&R rep Ron Silver, who was surprised it was given to Air Supply. “Once in a while, as was the case with Aretha Franklin and ‘Whatever It Is,’ Clive pitched a song I’d found for one artist to another and, in my opinion, the record was terrible,” said Silver. “Another, ‘Every Woman In the World,’ became the third hit single for [Air Supply].” Russell thought the demo for ‘Every Woman In the World’ sounded corny, so he and Graham battled Clive to not have it included on the album at all, let alone as a single. But one of the contract stipulations with Arista was that Clive picked the singles. “So it truly became a joint effort working with Air Supply,” said Davis, “taking the best songs written by Graham and finding others to be candidates for their hits. I made the same type of arrangement that I had with Barry Manilow. In this case, I could choose three outside songs per album to give them, and I really wanted to make those songs count.” ‘Every Woman In the World’ went on to become one of Air Supply’s most recognized recordings.

      Upon returning to Australia, Air Supply performed ‘Every Woman In The World’ on Countdown’s final show of the year. Graham and Russell co-hosted the show with Sharon O’Neal and Tim and Neil Finn from Split Enz. Besides this appearance on Countdown, Air Supply’s return to Australia sparked very little publicity. According to Russell, since the band arrived home from the U.S., they had not been offered one concert booking in Australia. “But we don’t hold any resentment,” said Graham. “Perhaps our earlier records were not right for the Australian market at that time. It would be nice to be as recognized in Australia as we are in the U.S., if only because we live here.”   

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'Lost In Love' LP is Platinum in Canada - Robie Porter (2nd From Right)

      In December, Billboard declared ‘Lost In Love’ the best Adult Contemporary single of the year, ahead of ‘The Rose’ by Bette Midler and ‘You’re Only Lonely’ by J.D. Souther. ‘All Out Of Love’ was certified gold after selling more than 1 million copies (2 million required for platinum). The first three Arista singles had sold more than 2 million copies, with ‘Every Woman In the World’ at #6 and still climbing. The album ‘Lost In Love’ was already platinum in Canada (100,000 copies) and the U.S. (1 million copies), and gold in Australia (20,000 copies). But Air Supply had yet to see much of the money from these sales. It was being held in trust, and was the subject of litigation between Big Time Records and Robie Porter. The legal battle was now six months old, and was to determine what percentage of the U.S. royalties each side was entitled to. “It takes time for payments to come through from the record companies,” said Russell. “I think the royalties will be more than $3.75 [per album]. I hope that they are worth more than the cost of the legal action. We will have to wait a while before we get the RolIs.”

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      It was an amazing year for Air Supply and their management team. Eight months earlier, when Air Supply returned to Sydney in April, Lance Reynolds hosted a party for the band on the terrace garden of his penthouse, which overlooked the city lights of Sydney. That evening, Fred Bestall phoned from New York to say that Air Supply had just hit #3 in America, and were only the second Australian band to ever reach that high. The fact that Air Supply did so well in the U.S. was widely known, but even the members of the band found it hard to believe the extent of the acclaim. When drummer Ralph Cooper returned to Australia in December, he brought back a tape recording of the audience reaction because he knew no one would believe him. “It was not uncommon,” said Cooper, “to look out into the audience during ‘All Out Of Love’ to find rows of tear-stained faces. Then there was the young teenage girl who asked for an autograph and a kiss on the cheek and promptly fainted when it was delivered. The adoration felt great. I equate results with the work you put in, and we put in a lot of work, so the results were really gratifying.”
 楼主| 发表于 2012-11-13 09:57 | 显示全部楼层
译文: <转载请注明空气补给中文网>
      Clive Davis正在等待来年, ‘Lost In Love’ 于1980年1月发行。Arista等待单曲的市场反响。

      “我在唱片上注明了 ‘Lost In Love’ 的制作人是Robie Porter, Rick Chertoff和原始的制作人Charles Fisher,” Robie Porter说。“我考虑到Clive这样做,也不过分,但是把他当作执行制作人,那时可在世界上从来没有人这样用过。专辑问世后,电台一定会认为这张单曲是Clive Davis制作的。他们一定会把Air Supply当一回事的。几星期后,Clive打电话给我说,‘你最好立刻进录音室完成这张专辑,因为这张单曲像子弹一样窜上Billboard,一定可以成为冠军的。’ 那时我可没有告诉Clive乐队可已经不存在了。我把Graham从英格兰拉了回来,把每个人都赶进了录音室。接下去度过了55天痛苦的日子,那对我而言可是很有意义的,我们把这张专辑整合在了一起。”

      “‘Lost In Love’ 是Arista在80年代发行的第一张单曲,” Clive Davis在他的书《The Soundtrack Of My Life》中写到,“我们在1980年1月份把这张专辑送到电台,由于我们还没有任何B面歌曲,所以我们用了Air Supply之前的澳大利亚专辑中的 (‘I Don’t Wanna Lose You’) 。后来事情飞速向前。单曲腾空起飞,迅速爬上排行榜,我们也不得不制作一张专辑。这是公司的策略,这可以让唱片公司把艺人或者专辑的潜力发挥到最大化。我觉得我们可以加一些之前在澳大利亚发行过的歌曲,添加进专辑中,借助单曲的上升势头。但是我知道专辑中必须有一些能力成为金曲的歌曲,我们会看出Air Supply究竟是歌坛常青树还是昙花一现的乐队。也许一些厂牌会很乐意挑选 ‘Lost In Love’ 作为主打歌,作为捷径,而不去让他们的潜力继续发展下去,考虑乐队的长期发展。在Arista,我们可不仅仅是满足于歌曲的打榜。我们会让旗下的每个艺人都能专辑长卖。我们会依靠当前的制作,我们也不会放松任何一个时刻。”

      “1980年1月,我去参加了一个在法国南部举行的音乐工业大会,尝试去看看有趣的东西。” 这个大会是夏纳电影节的每年保留节目,这被认为是最重要的事件之一。1980的Midem开始于1月21日,包括迪斯科在内的有许多有趣的主题,音乐盗版,在美国的厂牌收购事件等。“我住在一个非常简陋的旅馆里,食物中毒,3天内瘦了12磅。”Graham说,“我从来没有感到更加糟糕过了。一言不发,整天感到非常难过。然后我拿了一份叫"Record World"的音乐杂志看到封面上的“Lost In Love”。心想应该是有人写了一首同样名字的歌。非常棒!’我心想,‘这是我想要的。’ 然后我看到旁边写着名字Air Supply,接着我几乎要发疯了。唱片公司在没有通知我们的情况下在北美发行了这首歌,而这将会成为一首排行榜金曲。我立刻打电话给Clive Davis,我完全不知道他是谁,我拨通了一个他在纽约Arista办公室的电话。我告诉他我是谁,问他这是不是真的。他说, ‘你在那里干什么?你应该在澳大利亚录制专辑。 ‘Lost In Love’ 会直冲榜首的!’”

      “澳大利亚版本的 [‘Lost In Love’] 与美国版本相当不同。” Graham说。“没有背景和声在唱 ‘Lost in love and I don’t know much。’ 澳大利亚版本没有这些声音。只有Russell [在唱和声]。Clive Davis听到后说,‘我想要添加一些女声进去。’ 而他想更朗朗上口。假如你用耳机听澳大利亚版的lost in love,你甚至可以听到我们在背景里讲话,这在美国版本里是没有的。他们把这些去掉了。”

      Graham有很好的理由认为别人发行了同名的 ‘Lost In Love’ ,因为Air Supply在1979年授权希腊歌手Demis Roussos唱这首歌。Demis在访问澳大利亚后迅速爱上了这首歌,然后他买了这张单曲并且带回欧洲。他在1980年1月和Florence Warner录制了他自己的版本,在4月份他在欧洲发行了这首歌,在Air Supply发行了他们重新制作的版本的三个月后。因为Air Supply这首歌大获成功,Demis Roussos的版本没有在北美和澳大利亚发行他自己的版本的单曲。但是在欧洲确实很红,在荷兰到达排行榜亚军,在比利时排名第三位。

      Graham很快给Russell打了电话,告诉他这个消息,接着他准备攒足钱飞往洛杉矶。Graham此时身无分文在早上5点坐飞机离开,因为这时的机票非常便宜。而当Graham一到洛杉矶,Clive告诉他Arista仅仅是购买了单曲‘Lost In Love,’ 的版权,整张专辑的版权还依旧在商讨中。我想这首单曲是一块试验市场反应的试音石。” Russell说。“我意思是,我们有整张专辑歌和材料准备。” Arista原本打算看看这张单曲的市场反响,现在已经是可以发行专辑的时候了,他们将会带Air Supply去美国做宣传。但是如今Arista已经处于一个极度不利的位置,因为他们知道这一定会花数月时间来制作完成这张专辑。 “所有Clive想要知道的,” Graham说,“就是为什么我不回到澳大利亚去录制这张专辑。”

      2月,Air Supply和制作人Robie Porter在悉尼Woolloomooloo的天堂录音室里录制新歌。天堂录音室建于1979年。在这里Air Supply录制了‘Every Woman In The World’,‘I Can’t Get Excited’,‘My Best Friend’,‘Chances’ 和 ‘Having You Near Me’ 。乐队成员包括了David Moyse, Ralph Cooper, Criston Barker和作为雇佣乐手的Frank Esler-Smith。

      Arista和Wizard唱片公司为Air Supply一起达成了一桩150万美元,8张专辑的长期合作协议。合同概述是,所有在澳大利亚,南非和新西兰发行的唱片使用Wizard/Big Time商标,由EMI发行。所有加拿大的销售使用Wizard商标,由宝丽金发行。在日本,Arista授权Nippon Phonogram来制作和发行Air Supply的专辑。在美国和所有其他国家,由Arista直接处理Air Supply的唱片事务。

      Arista对这'Lost In Love'爬升排行榜的速度和出售情况有些估计不足。一个月之内,这首单曲总共卖出了20万份拷贝。但是Arista如今却出于极其尴尬的境地,因为他们知道他们必须花几个月时间来完成这张专辑了。‘Lost In Love’ 第一次出现在Record World和Cash Box music排行榜,之前首次亮相在公告牌上是排名第#127位。3月8日,他进入了Billboard的Top 40。7天后进入排行榜的Top 10。

       “人们说我们损失了一天一千张专辑。” Russell说。“我希望这不是真的,但也没法证实了。对这个事情我们也是无能为力了。对于单曲成绩那么好我并不太惊讶,因为这真的是一首好歌,只是它窜了实在是太快了。” 一份澳大利亚报纸曾经采访过Russell问如果 ‘Lost In Love’成为了美国排名第一的歌曲会怎么样。“嗯,这很难说。” Russell回答道。“但是Melissa Manchester只有唯一一首美国榜首歌曲,去年他仅仅在拉斯维加斯演出就赚了2百万美元。” 当被问到新到来的大笔财富在面前的时候,他回答道,“我想要买一幢房子。我对好车不感兴趣,只是想要一幢房子。”  

      Roy Lott,一名80年代早期Arista唱片公司的雇员,负责那段时期Air Supply乐队的事务。他和Clive Davis合作非常紧密,他记得这位Arista的主席做事风格是如此的坚定。 “在金曲 ‘Lost In Love’发行之后,Davis决心要做一张完整的专辑,尽管他们已经在自己家乡澳大利亚录制了许多歌曲,但是对于在美国发行专辑,他们需要更多的歌。这时是复活节前的周三,我不得不在周五之前把他们从澳大利亚召集到美国。复活节在澳大利亚是一个很盛大的节日。我们需要立刻录制一张新专辑。但签证问题上却时间紧迫。我把他们先弄到加拿大,因为这比较容易办理签证手续。如果我没有在周三完成,我们将没法在下周做任何事情。Clive告诉我,“如果你没有把他们弄到美国,你每个星期将会损失1百万美元。”

      当Russell和Graham回到美国,他们这才惊讶的到得知Lost In Love’在排行榜上有如此佳绩。4月19日在公告牌成人流行排行榜上拿到冠军,并且保持了6周之久。在伦敦,Demis Roussos的翻唱版本已经跌出榜单,由于Air Supply的原唱版本。在日本, ‘Lost In Love’ 首周就到达了第29位。乐队意识到,他们也许真的能够突破了。Russell记得第一次在美国电台听到他们的音乐的时候的感受。“我那时在一辆小汽车里,我想应该是在Sunset Blvd。当我在电台里听到 ‘Lost In Love’的时候,那种感觉无法形容,真是太高兴了。我真想把车子停下,不停的转圈。”  

      Air Supply在4月份复活节周末过后立刻重返录音室。制作人Robie Porter对Graham的一首歌印象很深,叫‘All Out Of Love’,这首歌Graham在阿德莱德写成,是他1978年的Sherwood计划中的一曲。但是Robie对其中一些歌词颇有忧虑。“这首歌是这么写得:I’m all out of love, I want to arrest you....blah blah blah.” Robie和Graham商量,“这些歌词完全没有意义,你绝对不能唱 want to arrest you(我想要俘获你)” Graham对这个改变显得非常不高兴,“那就是这样的,这词就是这么唱得。”Graham想尽办法和Clive Davis做斗争想要维持原有的歌词。Robie重现了Clive当时的反应:“Clive打电话给我说,‘你疯了吗? 这是什么垃圾?’  “这个垃圾是你下一首冠军歌曲。” Robie回答道。 Clive要求Robie重写歌词因为他非常钟意这首歌,但他知道现在的歌词是绝对不可能发行的。Robie和Graham再次会面,这次Graham妥协了,“我随便你们做什么吧。” “所以,我们可能改了大约一半歌词。Graham撞墙了,几乎抓狂了。 Robie笑道。  

      Davis回忆到 ‘All Out Of Love’的写歌过程与Porter认为的大相径庭,这也最后导致了法律纠纷。按照Davis说的,是他改写了一些歌词,而不是Porter。“我的确在第二支单曲中扮演了一些角色。” Davis说,“写了一首情歌名为 ‘All Out Of Love’ ,但是我明白有一些歌词必须要作修改。正如我说的,其中一句歌词 ‘I’m all out of love, I want to arrest you’。我解释了这句歌词行不通,这行歌词需要修改。然后我坐下来写了修订的版本。所以第一次也是唯一一次我作为歌词合作作者写进歌曲的演职员名单中。感谢上帝这成为了一首金曲。‘All Out Of Love’ 在排行榜上的成绩甚至超过了 ‘Lost In Love’。最终拿下了亚军。我真是差点成为冠军歌曲的合作作者!”

      2月份,Tommy Emmanuel和Air Supply一起在天堂录音室合作。“他们录制‘Lost In Love’ 然后他们又重新录制了歌曲。” Emmanuel说,“我弹了第一个和第二个版本。第一个版本是我最喜欢的。然后他们获得了Clive Davis给的唱片合同,然后突然他们就有了百万美元可以用在专辑制作上了。他们有大牌美国制作人 (Harry Maslin), 和Robie Porter,他也制作过我的前三张专辑。我弹了‘Every Woman In The World’,‘All Out Of Love’,‘American Hearts’ 所有专辑中类似的东西,但是我却在演职员名单上仅仅是 ‘补充吉他手,Tommy Emmanuel’ ,可我弹了所有的吉他部分。”

      Air Supply疯狂地完成了新专辑,包括 ‘All Out Of Love’的声音部分。但是他们想要Russell唱整首歌曲,但是他一直忘词,Graham不得不帮他。“最终的版本变成了Graham唱副歌,我唱高潮部分。” Russell说,当录音完毕后,每个人都明白这首歌将是乐队的另一首金曲。Davis带来了天才美国制作人Harry Maslin最终完成了这张专辑,很快在洛杉矶的Larrabee录音室进行了混音。

      “我们在Robie Porter在贝弗利山上的房子里。” Graham说,“他不让我们出去,因为我们不停在唱 ‘All Out Of Love’ 。第一次我在Robie的家中听到完成后的歌之后,那种感觉真是棒极了。我知道这首歌将会流行,Clive也明白。他说,‘准备了,因为将会有次长途旅行了。’”

       在4月下旬Air Supply回到澳大利亚之前,管理团队谈论着是否有可能在7月和Melissa Manchester一起在美国作短暂的巡演,同时希望能够发行第二支单曲。洽谈已经开启,为了在美国大学作一个为期6周的演出,开始于10月,和Air Supply发行第二张Arista专辑是同步的。大多数大学演出都是以Air Supply作为头牌。演出人员包括Pablo Cruise和Rupert Holmes。

      Air Supply在美国的音乐生涯已经开启,比起乐队在1977年的第一次尝试要好得多,在他们在澳大利亚的发展依旧是个问号。“看看回家后能有什么待遇,这很有意思。” Russell说,“我个人认为感觉不错,但是谁又知道呢。假如媒体和歌迷都对我们不看好,我也对这个有所准备。我们已经对此习以为常了。  ”

     在回到澳大利亚后,Graham和他的29岁的女友Chrissie,逃离了城市,去到中海岸Avoca海滩的牧场。Russell和Dianne (Di) Edwards在5月24日结了婚,这是他的第二场婚姻。他们搬到了悉尼的两居室房间,每天早上Russell都会开着黄色的Mini车送Di去上班。Di在Wizard唱片公司的宣传部门任职。这个时候,Air Supply中的每个人都住在澳大利亚。“我们愿意像Little River Band那样继续住在澳大利亚。” Russell说,“我们依然可以照顾巡演和宣传工作,如果安排妥当的话完全不会影响我们的音乐生涯。”

      Russell和Di出现在澳大利亚电视游戏节目Celebrity Tattle Tales,这节目是仿照流行的美国版本的Tattletales。内容大约就是明星夫妇分别被隔离在两块不同的舞台上被进行提问。

      4月下旬, 乐队成员高度参与制作的专辑‘Lost In Love’ 在美国发行,几周后在澳大利亚发行。专辑进入了美国公告牌排行榜第#106位,一周后到达了#68位。但是在5月万谢之后停滞在第47位。直到Air Supply发行第二支单曲 ‘All Out Of Love’,专辑才攀升至Top 20。这非常冒险,对于乐队来说连续发行两支情歌是非常不寻常的。大多数唱片公司认为这种举动无疑是一种信乐队的自杀行为。但是Arista渴望要另外一支金曲,他们对 ‘All Out Of Love’ 深信不疑。

      6月, ‘All Out Of Love’ 首次在Billboard热门100排行榜上排名第71位,在第14周(1980年9月13日)达到了亚军位置。在美国大约卖掉了2万-3万份拷贝,在亚军位置上待了有4个星期,紧接在冠军曲,皇后乐队的 ‘Another One Bites The Dust’和Diana Ross的 ‘Upside Down’ 之后。9月6日,‘All Out Of Love’ 在Record World单曲榜上排名冠军。美国Top 40称Russell最后的高音保持了20秒之多,这是一个新的非正式的流行音乐记录。3年前,歌手加拿大摇滚乐队Sheriff中的Freddy Curci在金曲‘When I’m With You’中保持了一个音节30秒钟打破了记录。

      正当 ‘All Out Of Love’ 在美国排行榜上大步迈进的时候,Air Supply发现自己卷入了两桩不同的法律官司,分别在墨尔本和悉尼最高法庭。首先,Graham和BRM Music (Bestall & Reynolds publishing company) 向澳大利亚EMI公司要求禁制令,来阻止他们制造和发行任何 ‘Lost In Love’ 专辑和新单曲 ‘All Out Of Love’ 。EMI是Wizard唱片公司在澳大利亚的发行商。这场法律行动是由制作人Robie Porter发起的,声称他是这首新单曲的合作者,在澳大利亚的发行版本中,有他的名字添加在最后的人员名单中。但是Graham和BRM都对Porter是否究竟有没有参与写歌有质疑,并且强制EMI停止出售更多的拷贝。在美国发行的版本中,包括了Clive Davis和Robie Porter都作为制作人。EMI的国际部宣传经理Rob Walker确定直到这次争议解决,都不再会发行更多的单曲或者专辑拷贝。Walker说,“至于我担心的是,Air Supply的新单曲因为在这个国家发行了所以才表现了很好。看起来像是他们在跟自己过不去。如果乐队执行了这次起诉,可能就会失去这首排行榜金曲了,那才是他们现在最伤不起的。” ‘All Out Of Love’当前在澳大利亚国家排行榜第36位。悉尼最高法庭判决给予澳大利亚EMI开绿灯,以发行新单曲。

      第二件官司,在墨尔本高级法院进行听证,纠纷主要围绕Robie Porter的Wizard Records和 Big Time Recording(50%股权由Porter拥有,另外50%由Air Supply的经纪团队Bestall & Reynolds拥有)公司之间展开,Porter对Big Time发出单方禁令,因为Porter已经不再制作Air Supply的任何美国发行的专辑了。下一张专辑是由Harry Maslin制作。详细的情况被蒙上了一层神秘的面纱,双方都不愿意在媒体前讨论这个问题。Robie Porter和Air Supply的经纪团队之间的关系逐渐恶化,而Russell的妻子Di Hitchcock也只能从Wizard唱片公司辞职。然后她去了2MMM FM电台找了一份宣传部门的工作。Air Supply拒绝在澳大利亚宣传‘All Out Of Love’和专辑,拒绝所有采访请求。

      Air Supply同意上Juke's杂志50周年特别版的封面。墨尔本当地的杂志Juke发迹于1975,成为了澳大利亚最权威的音乐贸易出版物。直到1980年他们还只是音乐周刊。Juke和Air Supply关联在一起是由于那些愤世嫉俗者认为它们两者都不会成功。

      Juke的主要对手是悉尼当地的Ram杂志。Ram一开始是支持Air Supply的,但是他们的关系在RAM发布了一篇评论关于指责乐队为了赚钱才制作了那些商业味很浓的音乐之后破裂了。Air Supply对这些负面言论提供了强有力的回应。Graham的话在1978年发行的RAM杂志中被引用:“我们是一定程度上的商业乐队,所以我们才有东西可以卖。就像肥皂粉一样。不同,但是很类似。就像我尝试在大街上卖肥皂粉一样,我不得不去做广告。我们不卖肥皂粉 - 这是一门艺术。道理是相同的,就是东西不通。我们事实上就是在卖东西。”   

      其实和澳大利亚媒体一直在制作新闻的不是Air Supply,而是他们的经纪团队。一名Juke杂志的编辑在谈到他和乐队的第一次经历的时候说道:“我的第一次直接和Air Supply接触是在1978年,当我在构思一档2小时的电视节目名叫澳大利亚音乐和全世界。乐队的经纪人和Barry Humphries是相同的,我们也想让他出席节目。他们的经纪人公司便说让Humphries上节目没问题,但是要让Air Supply也参加。我觉得这种提议就像是在敲诈,原来我们没有把Air Supply安排在名单中,我非常生气。不幸的是,事与愿违,我责怪Air Supply而不是他们的经纪公司。从那以后,我就对Air Supply心存偏见了,认为他们是通过别人上位的。当然,我错了。如今,我想这确实是一个好的经纪团队。不管怎么样,时间证明了Air Supply确实值得登上那个电视节目,尽管手法有些欠妥。”   

     ‘All Out Of Love’ 于9月在法国和加拿大发行,分别最高拿到了第3和第1位。歌曲同样在英国打榜,拿到了第11位的成绩并且在榜上停留了11个星期。在澳大利亚,电台则几乎忽略 ‘All Out Of Love’ 长达数月。在这之后,歌曲在美国进入了Top10,对于电台来说,‘迟到总比没有好’ 。 当歌曲于9月份在电台开始大量播放时,购买唱片的公众开始有了相应的动作,并且歌曲在Kent Music Report榜单上拿到了第#9名。 ‘All Out Of Love’ 让Air Supply在巴西开始走红,这首歌被收录在一档名叫Coracao Alado的流行音乐剧里。歌曲在巴西和香港都拿到了冠军位置。  

      Air Supply在日本的流行度猛增, ‘Lost in Love’ 在日本获得排行榜第四名的佳绩和 ‘All Out Of Love’ 的亚军。Arista授权Nippon Phonogram在日本发行Air Supply的专辑。在异乡授权发行专辑远比创立自己的公司来的容易。Alex Abramoff,Nippon Phonogram的客户关系经理, 创立了一个比赛来让全国各地零售商进行竞争比赛。这个比赛从6月25日到7月31日,给予商店的奖励则是最具创造气息的Air Supply窗口展示。按Abramoff所说,这次宣传确实收到了回报, “‘Lost In Love’专辑在6月25日发行,销售状况非常好。按照这个速率,不久就能达到5万张的成绩。”  整个活动搞的非常顺利,Nippon Phonogram公司安排乐队7月份访问日本,包括回归的吉他手Rex Goh。  一场免费的演唱会将在东京Nakano Sun Plaza Hall为3000名幸运的歌迷举行 。为了得到门票,必须邮寄一张明信片,而最终收到的明信片多达2万多张。Nippon Phonogram计划在今年晚些时偶举行一次全国巡演。“这将花费我们3万美元把乐队和经理人带到日本。”Abramoff说, “但我们相信这是值得的,通过9天的访问,他们在6个电视节目和9个电台节目上现身,同时被9家报纸和杂志进行采访。”

      8月31日,Air Supply飞往巴西里约热内卢进行为期一周的宣传访问, 在那里,‘All Out Of Love’ 依旧是冠军。在巴西和美国大学间进行巡演,Air Supply在悉尼和堪培拉的俱乐部,大学间进行10场演出,例如在安斯利足球俱乐部,和堪培拉高等教育学院。“我们将会花大约10天时间在这里,主要是悉尼大的俱乐部,然后前往美国花3到4天时间在巡演前来进行排练。” Russell说,“Graham和我都不是太热衷于这种长期的巡演。”

      Air Supply的地处一次北美巡演开始于1980年10月2日。为期7周,35场演出。巡演开始于Pasadena著名的Perkins Palace,(现在是Raymond Theatre),这里在80,90年代洛杉矶是著名的高票房场所。整个建筑就是艺术品,经常在电影中出现,诸如The Bodyguard(保镖),Spinal Tap(摇滚万岁) 和Pulp Fiction(低俗小说) 。“我们一开始没有料到会发生什么。” Graham说,“我们为了演出排练一整天,当我们没有任何演出的时候。我们只是出场,演出,听起来跟录音室里很像。一开始我们很拘谨,然而在Perkins Palace下面最前几排的观众几乎疯狂了,然后我们就放开了。”

      Air Supply进行了38场演出,除了其中两场外,每场都是全部售完。大约4000名学生在路易斯安那的东北州立大学观看了演出。观众数目最多的是13,000人在亚利桑那州凤凰城表演,Air Suppply在10月31日在那里演出了两场。整场演出,Air Supply尽情享受着作为巨星的待遇。“当我们1980年第一次演出时,” Russell回忆,“许多女孩走来走去,我们始终抱着这样的态度, ‘嗨,让我们一起疯狂吧,每晚不醉不休。’ 但是事实上,你不能永远这样子,你会很快透支的。” 美国巡演被认为是一次巨大的成功,但是在那以后Russell的嗓子出现了些问题。

      “我们几乎无法相信。” Graham说, “这就像是一次小型的Beatle狂热。我意思是,人们一直在场馆里尖叫。第一场演出,我们不知道美国观众会是什么态度。演出之前我走出后台,站了20分钟,望着所有巴士和大卡车,所有即将运进场的音响设备,心想。‘Wow! 梦想真的成真了。’”  

      演出之间,Air Supply也在许多美国电视节目上登场, 包括Johnny Carson,Merv Griffin和Dinah Shore。“在美国巡演结束之后,我们回到澳大利亚放松和过圣诞节直到1月开始录音,”Russell说。“在那之后,我们回到美国进行另外一个巡演。” 当被澳大利亚媒体问起何时他们将会再次进行澳大利亚巡演的时候,Russell说,他们暂时还没有这个计划,他们并不着急在澳大利亚进行演出。“这真是太累了,” Russell说。“我们不得不坐飞机到别的地方,在午餐时间演出,然后回到澳大利亚的另一个城市,作两个晚上的演出。这真是太可怕了。所有我们不打算在这里巡演,除非有一些重要的大型表演非要我们去参加。我再也没法一天内作三场演出了。我不会这样,因为这会毁了我的嗓子的。”

      Air Supply在澳大利亚的四年音乐生涯就像坐过山车一样在成功与失败之间徘徊。“他们是世界上最善变的歌迷。”Graham说。“他们前一秒钟站在你一边,下一秒就和你对立了。太令人沮丧了, 我们好几次都几乎在放弃边缘了。在那里你永远不知道将要发生什么。但是我们已经成功了。”

      对于Air Supply来说问题在于在澳大利亚没有多少剧院可以演出,大多数智能容纳2到3千观众。为了能够在大场馆演出,乐队需要开展超过2周的全国巡演。因此,乐队被迫智能在当地俱乐部里演出,这和Air Supply的风格显得有点格格不入。“ 那里的人们真的喜欢出去打架。” Russell解释道, “他们喜欢喝的醉醺醺的,在俱乐部里发疯。这太常见了。那就是为什么俱乐部实在不适合我们。我们的情歌太不适合在这种吵吵闹闹和疯狂的环境下演唱。我们的音乐适合那些有了孩子已经结婚的人,他们并不太出去鬼混。再说,在澳大利亚获得金唱片,你只需要卖掉2万张唱片就够了。而在买我们唱片的那些人中间只有一小部分会去看演唱会。”

      Rick Grossman,Divinyls的贝斯手,知道在澳大利亚酒店表演是多么的苦难,通常称为是啤酒棚:“在outer suburban酒吧表演时,你的脚在地毯上。在这里,不像那些很悠闲的城市场馆,这里的听众不是那么的 ‘酷。’ 加入他们喜欢你,他们会表现出很热情。同样的,如果他们讨厌你,你很快就会知道了。在那里真是一个考验。我记得当我们到Punchbowl的日落酒店演出的时候,那个地方都塞满了人。我们去了更衣室,换衣服,做准备,走上舞台的时候,听众就只有一半了。不明白人都去哪儿了?原来是在停车场有一场枪战,人们不得不保命躲起来。”   

      当 ‘All Out Of Love’ 依然在Top 10内的时候,第三支也是最后一支单曲,‘Every Woman In the World’ 首次登场拿到了第#84位。Arista强烈考虑接下来发行 ‘Having You Near Me’ ,Russell描述为 “右一首适合我们的情歌。”然而 ‘Every Woman In the World’被选中了,并且在10月1日发行,为了和美国巡演相对应。12月,它拿到了Billboard热门100排行榜的第五位,并且保持了17周之久。在澳大利亚他到达了第8位的位置,竟然高于全球热门超级金曲 ‘All Out Of Love’ 。

      ‘Every Woman In the World’ 是由Arista A&R部门代表Ron Silver提交给Clive Davis的,他很惊讶这首歌给了Air Supply。“曾几何时,Aretha Franklin和‘Whatever It Is’就是典型的例子。Clive把一首歌给另一个艺人,我认为这张专辑真是可怕。”Silver说,“另外而言, ‘Every Woman In the World,’ 成为了他们的第三首金曲。” Russell认为这首歌已经过时了。所以他和Graham与Clive争吵让他不要把这首歌放进专辑里,只是发行作为单曲即可。但是原合同里有一条明确规定Clive有权选择三首歌在每张Air Supply专辑里。 “所以没错,我和Air Supply一起共同努力。”Davis说,“挑选Graham写的最好的歌曲。和Barry Manilow合作时也是如此。在这个案例中,我可以选择三首另外的歌曲放进专辑中,我也的确希望这些歌曲能够成功。” ‘Every Woman In the World’ 成为了Air Supply最标致性的歌曲之一。

      回到了澳大利亚,Air Supply登上当年的最后一期Countdown节目表演了'Every Woman In The World’。Graham和Russell也同样是Split Enz节目与Sharon O'Neal和Tim和Neil Finn from一期的副主持。除了在Countdown节目的露面,Air Supply回到澳大利亚也是鲜为人知’。按照Russell的说法,自从乐队在几周前从一次爆棚的美国巡演结束回到家,他们在澳大利亚还没有一次正式的演出邀请。和3个月前最后一次澳大利亚巡演被取消时没什么不同。“但是我们不会抱有任何怨恨。”Graham说。“可能我们的早期唱片那时完全不适合澳大利亚。如果在澳大利亚能被人认出来那感觉会很棒,就像我们在美国时一样,如果只是因为我们住在这里。”   

      12月,Billboard宣布 ‘Lost In Love’ 成为当年最佳成人流行单曲,排在Bette Midler的 ‘The Rose’ 和J.D. Souther的 ‘You’re Only Lonely’ 之前。‘All Out Of Love’也在销售一百万张拷贝(白金唱片为两百万张)后被认证为金唱片。在Arista旗下发行的前三张单曲已经卖出了超过两百万张,同时‘Every Woman In the World’排名第6,并且依然在攀升。专辑 ‘Lost In Love’ 已经在加拿大(10万份拷贝)和美国(1百万份拷贝)已经达到白金销量,在澳大利亚获得金唱片销量(2万张拷贝)。但是Air Supply还没有从这些傲人成绩中看到收入上的回报。这应该保持信任,而诉讼的主题就是在Big Time Records和乐队制作人Robie Porter之间展开。双方都参加了长达四个月的法律战争,为了争夺在美国的版权的比重。“唱片公司付款需要一些时间。”Russell说,“我认为版权费将会超过每张专辑$3.75。我希望他们的价值超过诉讼成本。我们将不得不等待一些时间。”

      这一年对于Air Supply和他的经纪团队来说是神奇的。8个月之前,当4月份Air Supply回到悉尼的时候,Lance Reynolds为他们在他的阁楼露台花园主办了一场宴会,这里能够完整得俯瞰悉尼的夜景。那晚,Fred Bestall从纽约打来电话说,Air Supply刚刚升到了排行榜第#3位的位置,这是仅有的第二支澳大利亚乐队取得的高度。事实上,众所周知Air Supply在美国做了相当棒,但即使是乐队成员也很难相信这些好评。当鼓手Ralph Cooper于12月回到澳大利亚后,他带回了一盒录制听众热烈反响的录音带,因为没人相信他说的。“那也是很正常的。”Ralph说,在唱‘All Out Of Love’ 的时候,看看观众,你会发现一张张充满泪痕的脸。到处都是年轻女孩,索要签名和吻,而实现了以后又昏了过去。这种崇拜的感觉相当好。相比你之前投入的,这样的结果是相当可喜可贺的。”  
 楼主| 发表于 2013-2-7 22:11 | 显示全部楼层
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是金子总会发光的
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