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第九章:The One That You Love (1981)

发表于 2012-11-15 11:36 | 显示全部楼层 |阅读模式
Chapter Nine: The One That You Love (1981)

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David Green (Third from left)

      Air Supply spent the first few months of 1981 at home in Australia. The previous year was a whirlwind of recording, touring, and promotional activity. The band looked forward to recording the next album in Sydney because it meant they could spend time with family and friends. Russell was just a year into his marriage and the travel and time spent away in America was challenging. “I missed Di’s cooking, Vegemite on crumpets, the Bridge, the Opera House, the Hoyts Entertainment Complex and sleeping in my own bed,” he said. “It sounds dumb, but yesterday I did the washing-up and it was great.”

      The forthcoming album was recorded with producer Harry Maslin at Paradise Studios. Maslin was not a staff producer at Arista, but he was the producer Clive Davis called upon most when he needed a hit single. “I got called in from the bullpen a lot with Clive,” said Maslin. “He would call and say, ‘I’ve got this album and I don’t have a single on it, can you see what you can do.’ Clive called [in 1980] and said he needed another sure-fire hit for Air Supply. He played me ‘Every Woman In The World,’ a real lightweight song, but at the same time a real catchy, hooky MOR tune. That led to me doing the whole second album. I was real nervous about this. These guys just had three hit singles off one album. I figured that if nothing happens, there goes my career. With Air Supply, obviously I had to maintain what they had going for them already; the vocals and the fact that they’re excellent doing big ballads. The main thing I wanted to change was to make them sound more like a band and not just a bunch of studio musicians. I think we succeeded at that.”   

      Clive Davis worked closely with Maslin and Air Supply in the studio. He knew the ingredients to Air Supply’s success, and his hands-on approach ensured that each album met his approval. Davis and Maslin worked well together because they shared an appreciation for commercial music. “Obviously, Clive has some gift for picking songs and getting the songs out there,” said Maslin. “If he wanted to go in one direction and it was not against my grain, I’d see what we could do. From what I had done with other labels, it seems a lot of presidents couldn’t care less on a creative level. I think it’s crazy to shut off that input. This is the guy who’s going to be out there selling your record. If it were some first-level A&R guy that’s one thing, but you’re dealing with the president of the company. I probably lean toward the side that says, the music business is a business. You can be as artsy as you want and not sell any records. As a producer, you should know the business and what the public wants to buy.”

      “When we first met Clive,” said Graham, “we knew that he was responsible for some great artists like Simon and Garfunkel, Janis Joplin, Bob Dylan and a host of others. But it wasn’t until we went to his office in New York where we saw all these iconic pictures on the wall of Clive with all the greatest musicians and songwriters that there ever were. We were like, ‘Oh my God, this guy is the guy in the music industry.’ Fortunately, he took a liking to us and he heard something and saw something when he met us.”     

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      The Air Supply band now consisted of Ralph Cooper on drums, Davide Moyse and Rex Goh on guitar, David Green on bass, and Frank Esler-Smith on keyboards. This is the lineup that experienced the most commercial success, in what is considered Air Supply’s heyday. David Green had replaced Criston Barker in the second half of 1980. Green was an accomplished bass player, having been a member of Australian soul-funk group Hot City Bump Band in the mid 70s. Hot City Bump Band keyboardist, David McMaster, was asked to join Air Supply, but (to his regret) he turned it down. “We went through quite a process of getting the people we’re involved with now,” said Russell. “In that process we got rid of the people who didn’t have the right attitude. All the guys in the band are in their late 20’s or early 30’s except one guitarist, who’s 22 or 23.”

      “It wasn’t my cup of tea all the way through it,” confirmed Criston Barker, “but we recorded the ‘Lost In Love’ album which was the biggest album they ever recorded. There was a bit of a dictatorship going on. But I did manage to get one song on there called ‘Old Habits Die Hard,’ which I co-wrote with guitar player David Moyse. They were all great musicians, and it was a lot of fun and that sort of thing. Buy my heart was in rock and roll, so I pulled out. They did have a few rocking numbers. I think they were looking for a bit more oomph to their sound, and I think it worked for that album.”  

      Fred Bestall bought out Robie Porter’s interest in Big Time Records, ending Wizard Records association with Air Supply. All records sold in Canada, South Africa, Australia and New Zealand now featured just the Big Time logo. Porter later sold Wizard Records to RCA and EMI Australia.

      On March 16, Air Supply attended the TV Week/Countdown Rock Music Awards at the Regent Theatre in Sydney. The show was a popular event in Australia, and was hosted by Ian ‘Molly’ Meldrum of Countdown. The awards were based on a combination of popular-voted and peer-voted criteria. Russell and Graham presented an award, and performed a medley; ‘Lost In Love,’ ‘Every Woman In The World,’ and ‘All Out Of Love.’ Surprisingly, Air Supply was only nominated in one category - Most Outstanding Achievement (for excellence in the presentation or production of Australian rock music by performer or group). They won the award, beating out Split Enz and Cold Chisel. Cold Chisel took home the Best Australian Album award, while Best Single Record went to Australian Crawl and the song ‘Downhearted.’ Graham was not nominated in the Best Song Writer category, which was awarded to Iva Davies of Icehouse. Jermain Jackson, who had just started his own record label in America, was at the event and expressed interest in working with Air Supply; “Air Supply is one group I am very interested in doing production work with. I love their writing style and the quality of songs they do.”

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      The new album’s lead single, ‘The One That You Love,’ was released in the U.S. in May. Most other counties had a June release. The commercial single was sold with a picture sleeve, and was the first glimpse at the new visual branding of Air Supply’s logo. The stylized lettering was designed by Ray Barber and became synonymous with the band. ‘The One That You Love’ climbed the charts, and on July 25, shortly after the release of the new album, it replaced ‘Betty Davis Eyes’ by Kim Carnes at the top of Billboard Hot 100 to become Air Supply’s first #1 hit.

      Graham knew that ‘The One That You Love’ would be a hit when he wrote it, so he was not surprised when it took radio by storm. “I knew it was a strong song and couldn’t wait for Russell to hear it. There’s an unusual C-A-F progression in ‘The One That You Love’ that I discovered completely by accident. By no means am I a good musician, so I’m always finding new chords which sound nice and melodic. If I knew what I was playing, I might say to myself, ‘theory-wise, this is impossible.’” Graham remembers watching Clive Davis behind the recording console when Davis first heard the song. “We thought, ‘Oh God, does he like it or not?’ He turned around to Russell and I and said, ‘It’s going to win you a Grammy, and it’s going to be a #1.’”

      “The vocal for ‘The One That You Love’ was recorded in one take,” said Russell. “I remember getting into the zone and everything else just disappeared. There is just you and the song. It’s still a dream being part of a band that has the #1 record and platinum albums, and it’s hard to latch onto. I have to pinch myself sometimes.” Manager Lance Reynolds was ecstatic when he heard that ‘The One That You Love’ was #1. “I can’t believe it,” he said. “That means in twelve months, we’ve had a number three, a number two, and two number ones (‘Lost In Love’ was #1 on Billboard AC Chart).” ‘The One That You Love’ remained on Billboard for 19 weeks, making it clear that Air Supply was going to be around for some time.

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      ‘The One That You Love’ single was released in Australia, and peaked at #10 on June 22. Yet many local radio stations refused to play the song, saying it was “just not good enough.” So here was the number one single in North America, being played on 124 radio stations, and it could barely make a headline in Australia. Many of the Aussie radio stations who were caught with their pants down when ‘Every Woman In The World’ went to the top of the charts in America, made the same mistake with the new single.

      Co-manager Fred Bestall believed that Air Supply was not popular at home mostly because they were not considered a fashionable band. “What can I say?,” he said. “It’s extremely disappointing and it hurts the band a great deal knowing that there’s so little interest in them from the country they started in. There’s no possible reason for it. At first we thought it was because Air Supply isn’t considered mainstream and they’re not trendy. But can the rest of the world be wrong? The most disappointing part of it is that the guys in the band are so supportive of the Australian music industry. And they’re kicked in the teeth for their efforts. The problem seems worst with the industry, more so than the public. The public is coming around now. I mean, the ‘Lost In Love’ album is platinum in Australia, our first platinum album. But speak to anyone in the industry and they’ll laugh. And the fact that the album is platinum doesn’t seem to suggest to the radio programmers on the major stations that they should be playing it. It’s a strange thing in the Australian market. ‘All Out Of Love’ just barely got into the top 10, ‘Every Woman In The World’ went to 8, and ‘The One That You Love’ went to number 10. Now, they’re worse off than they were, because ‘Lost In Love’ (Original Version) was a huge song there.”  

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      Air Supply began a six week tour of the U.S. in April, playing mostly State Fairs and large concert halls. In May, they did promotional work in Europe, including a performance in London on the popular television show Top Of The Pops. They stopped in Amsterdam for a television special in which they stared with Paul Simon, Dionne Warwick, James Taylor and Gino Vannelli. This was followed by a short visit to Japan in June, before returning to North America in July for a lengthy tour of the U.S. and Canada.

      When they arrived in Canada, the band collected 42 gold and silver records. They were forced to parcel them up and ship them home because they were too heavy to carry around on tour. Air Supply’s popularity in Canada was sky-high. After a performance in Hamilton, Ontario, there was total chaos backstage when 1,000 screaming kids blocked the band from leaving their dressing rooms. The police had to be called in to help calm the manic crowd. The final leg of the North American tour finished in late September after having been extended a full month due to popular demand. Air Supply’s 24-man entourage travelled 32,000 miles on their North American tour, in buses fitted out with beds, TVs, hi-fi equipment and microwave ovens.

      In August, Air Supply played two shows at the prestigious Greek Theatre in Los Angeles. This performance was a highlight for Russell because his wife Di was in attendance, a rare exception to Air Supply’s general policy to exclude wives and girlfriends on tour. Di had no idea how big Air Supply had become in America, and was shocked to see so many fans lining up in Denver to get tickets at 7am. “I was in Los Angeles for their two concerts at the Greek Theatre where Neil Diamond did Hot August Night, and they really were hot August nights,” recalls Di. “They were sold out weeks before and it was fantastic - just incredible. Russell and I sneaked away for two days on our own, and at Disneyland there was a guy who left his place in the long queue for the Matterhorn, and waited for half an hour until we got off just to have his picture taken with Russell.”

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      Air Supply’s performance at the Greek Theatre was memorable for Donnie Sutherland, host of the popular Australian television show Sounds. Sutherland and his three-man crew flew to America to film in-depth scenes featuring Air Supply and the group’s lavish and sometimes boisterous lifestyle in the U.S. The footage was to be used in a documentary about Australian music in the United States called Oz Rock Abroad, which focused on Air Supply, Rick Springfield and Little River Band. “It was a knockout,” said Sutherland. “The Greek is a magnificent outdoor venue on the side of a hill in Griffith Park, just out of L.A. Outside the theatre a huge billboard displays posters of past and future acts there. It warmed my heart to see our own Australian band [Air Supply] among them with a big red sold-out sign across the poster. We were with them most of the days. Whatever they did, we did - well most anyway. We rode around in their limousines and went to their parties. We got some spectacular sequences.”

      Donnie Sutherland planned to film Air Supply’s concert at the Greek, so with the help of some of the Air Supply members, they managed to set up the sound and visual equipment inside the open air amphitheatre. “We recorded the first two numbers Air Supply did,” he explained, “and everything was going great. Then someone suddenly ripped out our leads. And a couple of very heavy looking guys told us to get out - or else. They weren’t mucking around so we beat it fast dragging the equipment with us. We later found out that these people have an ‘agreement’ with some of the local entertainment places. And they put a pretty high fee on the recording of their concerts. I innocently asked how much and was told $150,000. We were dead lucky to get the footage we did. The night was a big success for the group, and after the concert everyone celebrated into the small hours at a Beverley Hills hotel.” The documentary, Oz Rock Abroad, aired in Australia on January 5, 1982.

      The failed attempt to videotape the concert at the Greek Theatre proved to be a costly mistake for Air Supply’s managers. The American Federation of Musicians filed a legal suit against Bestall & Reynolds, claiming that the defendants notified the union that they would be filming the Air Supply performance. Bestall & Reynolds then cancelled the video session, but failed to notify the union 96 hours in advance of the concert shooting, as provided for in the union regulations. The union claimed that Bestall & Reynolds owed them and some of its members $17,421.         


      It had become a band tradition that on the last show of each tour, the band and crew members played practical jokes on each other. Unfortunately, the final show of the 1981 summer tour was rained out, so all schemes and jokes had to be postponed until next year. “Last year,” said drummer Ralph Cooper, “the lights went up for the show and I started to play my drums, and all of a sudden I’m enveloped in white clouds. Someone had put a thin layer of baby powder on each of my drums. As I hit them, powder flew up and into my face!”

      It was a long and grueling tour, but management knew it was important to get the band back in front of the public as soon as possible. Many fans still did not have a good grasp of who Air Supply really was. The band’s promotional videos were never played on MTV. “They put out a record and people would marvel at the music and love the songs,” said Air Supply representative Tom Ross of ICM concert agency, “but they never connected until they saw them on stage. In the 60s, you had album covers and it was the only way to know what the band looked like. Was the bass player really blonde, or is that girl from the band Heart really hot? You studied that album cover, and the sleeve had the lyrics. That was your introduction, and then you had to go see the band play live to see if they could do this, or was it some studio record where they used a lot of sounds and overdubs, but they couldn’t reproduce it live. So you had to go to the show to find out who were the real entertainers that could pull it off. People always want to see an act live because it adds a whole other dimension.”

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      Despite having four songs reach Top 5 on Billboard, many North Americans thought the lead singer of Air Supply was female. Russell remembers when a prominent Hollywood record producer was shocked to discover that he was a man. The producer had just heard Air Supply for the first time and he ordered his assistant to “get me a date with that singer.” Graham found it rather comical when they duo showed up at the studio for an interview and the confused producer discovered the truth.

      In June, Air Supply was presented with two significant awards. BMI (Broadcast Music, Inc.) held their annual awards ceremony in which artists (writers and publishers) are recognized for their achievements for the year. Graham flew to the U.S. a few days ahead of the rest of the band to attend the event at the Beverley Wilshire Hotel in Los Angles with his managers Fred Bestall and Lance Reynolds. The most important award of the evening, Most Performed Song of 1980, was presented to Graham for his song ‘Lost In Love.’ Graham, who was represented by BMI via that society’s reciprocal pact with Graham’s Australian performing rights organization, and publishers Bestall Reynolds Music, Careers Music and Riva Music Ltd. received special engraved glass plaques in recognition of the ‘Lost In Love’ achievement. By 1983, ‘Lost In Love’ had in excess of 1 million performances, a peak achieved by few songs. BMI vice president, Ron Anton, traveled to Australia that same year to present an award to the Australasian Recording Right Assn. for its role in the success of ‘Lost In Love.’  

      The 1980 Gift of Music awards, presented by NARM (National Association of Recorded Merchandise), was also held in June. Air Supply took home the award for Best Selling Album (‘Lost In Love’) in the new artist category.

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      Air Supply’s success in America created interest in some of the bands early recordings. April Music, a publisher and affiliate of CBS Songs International, controlled Air Supply’s material from when they were signed to CBS. April Music and CBS were both quick to grasp the moment and capitalize on Air Supply’s recent success. According to April Music executives, there was significant interest in ‘Love and Other Bruises,’ ‘Empty Pages’ and ‘Ready For You.’ In Japan, April’s counterpart released cover versions of the last two by artist Mr. Go. In America, Barry Manilow expressed interest in recording ‘Empty Pages.’

      The new album, ‘The One That You Love,’ was released in July. It quickly achieved platinum status in Canada and the U.S.. In Australia, it was released a month later, and was gold certified after just a few weeks. The public embraced the new record, but it was panned by music critics. Air Supply was simply not the sort of band that music critics found appealing:

      So single-minded are these songs that they all tend to sound alike. While the tunes are pleasant on the surface, there is hardly any variety in either the music or the words, little evidence of true feeling in the vocals, and no insight. The songs sacrifice uniqueness for familiarity. - Ron Weiskind, Pittsburgh Post-Gazette

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Air Supply Lash Their Critics - April 1981

      “Every time we release a single, or get together to do an album, you can only do your best,” said Russell. “Then it’s up to the people. If they like it, fantastic. If they don’t, then you have to really start to worry. You can never take it for granted. So I guess putting up with any sort of criticism is part of the deal. Most of the critics that can us just don’t like this sort of music. The hard rock press think we’re strange. They actually think we’re gay. I’ve never considered myself effeminate in the slightest. We’re just sensitive. I suppose they’re trying to criticize the music because we’re so successful, or perhaps because they can’t score women. [But] they are being dishonest to themselves by reviewing our music, because they are not doing the job they are paid to do. They are not giving an honest, unbiased opinion about the stuff as they don’t like love songs. I’ve had some disgusting things said about my voice - saying I’m nasally, or that I brayed like a donkey, which is just crap. Their opinion, most of the time, is of no consequence to me whatsoever. As long as it’s intelligently done, then fine. But I can honestly say that out of maybe the last ten or twelve reviews, one or two of them have made any sense to me as they related to the music.”

      When AC/DC said that Air Supply was not a big band, but simply a radio band, Graham was quick to defend his success; “I can understand someone like Agnus or anybody else saying something like that. For starters, I think AC/DC are one of the best bands in the world. They’re one of my favourites. I understand how he must feel. He’s been slogging on the road for so many years. There must be a form of resentment when you slog it all over the world for five or six years for peanuts, and then suddenly they’re huge. And they really are huge in America. Monstrous. But he just doesn’t know. We’ve sold millions of albums and singles in America and Canada. So we’re more than just a radio band. And to say that we don’t pull crowds is a ridiculous statement. Last October we did our first headline tour of America, and we sold out 36 of 40 shows. In the summer tour of America this June, we’ll be performing in 15,000 seat stadiums.”

      Not all reviews for ‘The One That You Love’ album and Air Supply’s live show were negative. Many critics were amazed how the live show sounded just like the records. Air Supply invested much time and money into the 1981 tour to ensure they could reproduce the recorded sound in concert. ‘The One That You Love’ featured heavy orchestration, and critics praised Frank Esler-Smith’s ability to duplicate the sound live. “It’s hard for a seven-piece band to reproduce the sound when you’ve got a 40-piece orchestra on the record,” says Graham, “but we do everything we can to recreate that sound. We rehearse a lot. We don’t do anything fancy or pretentious - no smoke bombs or anything like that. We rely on musical ability and our vocals, rather than gimmicks, and put everything into every note. You never know what little part of a song people really like, and if it’s not there then you’re not being fair.”

      “The reaction to the band over here [in North America] is just phenomenal,” said Fred Bestall. “We’ve had no negativeness from any sections of the American music industry. Everything is amazing. There was, of coarse, talk that Air Supply were a singles band and that the success of the first album here, ‘Lost In Love’ was mainly due to the fact that it had the three singles on it. However, the new album is out now and it’s Top 20. The second album has delivered the goods and proven that Air Supply can do it - and keep on doing it. Luckily, we haven’t just been slotted into that AOR category. We’re getting all sorts of air play, and the rock stations are programming the song too.”  

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'Here I Am' - U.K                                 'Here I Am'- Japan

      Arista released the second single, ‘Here I Am,’ on September 12. The title of the song often included, ‘Just When I Thought I Was Over You,’ so as to avoid confusion with the previous hit ‘The One That You Love,’ as both songs shared a lyric. American singer/songwriter Norman Saleet, who wrote the music and lyrics for ‘Here I Am,’ had recorded a demo of the song for RCA Records in 1980. He later included it on his first and only album titled ‘Here I Am’ in 1982. When Saleet sent the song to Clive Davis at Arista in 1980, it was with the intention that Barry Manilow would record it. “Two days later [Arista] put a freeze on the song,” said Saleet. “Then I didn’t hear anything for a month. Then they called and said they wanted it for Air Supply, not Manilow.”

      ‘Here I Am’ was an instant hit for Air Supply, and was played on radio non-stop. It showcased Russell’s powerful voice, and it was clear that he was the main voice of Air Supply going forward. On November 21, ‘Here I Am’ reached #5 on Billboard, making it the fifth straight Air Supply single to chart in the Top 5. It did not perform nearly as well in Australia, where it reached #43 on November 2.

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Juke Magazine (Australia) - July 25, 1981

      When ‘Here I Am’ became Air Supply’s fifth straight single to crack the Billboard Top 5, it broke Arista’s previous record set by Barry Manilow. Manilow had four straight Top 5 hits starting with ‘Mandy’ in 1975, and ending with ‘Can’t Smile Without You’ in 1978. Air Supply’s accomplishment is impressive when you consider that in Arista’s history, they had just 13 Top 5 hits. Talented Arista musicians like Dionne Warwick, the Bay City Rollers and Eric Carmen each had just one Top 5 hit by 1981.

      “Our offices hummed with excitement,” said Clive Davis. “Everything was happening at such an accelerated, exhilarating pace. At every one of my weekly staff luncheons, there was more news to report, more new music to share, more reports on sales and airplay. In those days before SoundScan and sophisticated means of measuring radio play, Arista’s sales and promotion teams had to gather up information on the telephone, and get reports from retail and radio. They would come into the conference room with stacks and stacks of data, waiting for me to grill them on how each of our records was performing. Every detail mattered. Every market where a record was performing well, or slipping, every sign of progress or a problem was pored over and analyzed.”  

      By late summer, you couldn’t turn on the radio anywhere in North America without hearing Air Supply. The band was on top of the music world, and were living the lifestyle of rock royalty. “Twelve months ago nobody knew us,” said Graham. “Now we need 30 security guards at the stage door. I went out and bought myself a house. It wasn’t an expensive house. I paid $64,000 for it. I walked into the bank and I payed cash for it. I put a cheque for $64,000 on the counter. I think the bank manager was quite surprised because he was expecting me to apply for a loan, but I just payed for everything straight away. It was an older house on the beach in Sydney, and the location was beautiful. On one side was the beach, and the other side was a river. I had a canoe and could go out and fish for prongs and shrimp.”

      Di Hitchcock remembers being starstruck on her recent trip to America. “Air Supply’s tour manager was staying in the suite at the Beverly Wiltshire where Warren Beatty lived for years,” she said, “and I went around taking pictures of everything - including the loo. Then at a very smart party for the guys at the Beverly Hills Hotel, who should be there but [Australian performer] Toni Lamond. You couldn’t tear me away from her.”

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      Fred Bestall and Lance Reynolds opened an office in America, with plans to build a recording facility. Operating as Bestall Reynolds Inc., they entered into negotiations to release a movie called Sherwood, with Graham writing the score. The film had the backing of Paramount and was expected to debut in the summer of 1983. A double album soundtrack was expected to accompany the film on which Air Supply would play, along with other notable musicians. In the last twelve months, Big Time and the publishing arm of the operation, Bestall Reynolds Music, had signed four writer-permformers, including Patricia Berrell and New Zealander Jon Stevens. “We have just signed a Canadian band, Doug and the Slugs, to our publishing company,” said Bestall. “They have had great success in Canada and are getting their material released in the U.S. right now.”

      Despite the fame, accolades and prospects of a bright future, Air Supply believed their compensation was not where it should be. In their opinion, the record contract with Big Time was problematic. Naturally, Reynolds and Bestall were behind Air Supply 100%, and tried to give them an image in North America that appeared different from what their music portrayed. “To give them an image, we toured them here three times in twelve months,” said Bestall. “We played colleges as well as auditoriums and fairs. We toured them so much purposely to give them an image other than a band that sings nice ballads. Everybody thinks they’re going to come out like the Oak Ridge Boys, all dressed in suits, not playing instruments and doing a bit of dancing. They all play and dress like a normal rock band, jeans and casual cloths. They’re not a production unit as such, which a lot of people still expect.”

      Bestall, Reynolds and Billy Gaff pushed Air Supply into new areas of entertainment, including a project for the movie industry. It involved Air Supply and Jon Cougar performing music for a movie based on Rod Stewart’s, ‘The Killing of Georgie,’ with Stewart acting and singing in the film. A movie soundtrack was to be recorded. Unfortunately, the entire project collapsed when the company backing the movie (Meta Film Associates) learned that Stewart’s recording contract with WEA would not allow them to distribute the film. Meta Film Associates were already $125,000 into the project, and in December they sued Stewart and Gaff, claiming they should have known that the contract with WEA made the project impossible from the start.

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'Sweet Dreams' 7" Single - Japan

      Before the third single was released, there was much debate over which song to select. ‘The One That You Love’ was filled with radio friendly songs, so the next single was not an obvious choice. Graham lobbied for ‘Sweet Dreams’ because it was more upbeat than all the previous singles. Clive Davis agreed and released ‘Sweet Dreams’ worldwide on December 1. It quickly climbed the U.S. and Canadian charts, and became Air Supply’s sixth straight single to reach the Billboard Top 5. It did not chart in Australia or the U.K, but was considered by many music critics to be Air Supply’s most creative work to date.

      Air Supply shoots for their sixth consecutive top five single with this swirling, melodic love song. The fluid vocal, lush orchestration and sentimental lyric make this one of the group’s strongest records yet. - Billboard

      It’s the best thing they’ve done in a while, more in the direction of REO Speedwagon than Mr Manilow. Hip stuff. - John Shomby, WEZB-FM Program Director

      By the end of 1981, it was obvious that cracking the U.K. market was a difficult task for Air Supply. The last single to chart there was ‘All Out Of Love.’ Graham admitted that perhaps the band would need to, “bash a bit harder at the door,” to improve their status in the U.K. and Europe. If Air Supply believed they could crack the U.K. market, they were not alone. Australian bands were no longer being ignored in America and Europe. Rather, they were sorted out and nurtured in case they miraculously turned out to be the next Little River Band or AC/DC. “Groups like Little River Band, Cold Chisel and Air Supply have pushed awareness overseas to such an extent that it’s incredible,” said Stewart Silver of The Australian Record Industry Association. Countdown’s Molly Meldrum believed that “according to people both in America and in the U.K., Australia of the eighties will be the Liverpool of the sixties.”

      Competition for radio play in the U.K. was fierce in the early 80s. Bands like Duran Duran, Culture Club, Billy Idol, Wham!, the Pretenders, Adam Ant, the Police, and Spandau Ballet dominated the airwaves. Band image was critical in the early 80s new romantic movement, and Air Supply was not well positioned in this area. The British invasion took a year or two longer to hit American shores and this eventually affected the success of Air Supply on their adopted home front. Until then, they had lots of records to sell, and did so in select markets around the world.

‘I'll Never Get Enough Of You’

      Air Supply still got very little attention from Australian fans when they returned home from touring in the U.S. On their most recent return to Sydney, the band did not spark off any of the near-riot scenes among their fans that marked their U.S. concerts. They simply sat in the airport VIP lounge with their wives and girlfriends, and their young toddlers scrambled over the carpet. There were no hoards of fans outside, or security personnel as they drove off in four-door sedans. “We are not heavily known [in Australia],” said Graham. “I think this is an advantage because we can walk down the street without being asked for autographs.” Air Supply preferred this family image and life without the superstar hype and hassles, but this lack of recognition in Australia did worry them. Whatever success Air Supply experienced in Australia came after their numerous hits displaced records set in the U.S. by the Beatles, thus forcing Australian radio to belatedly play Air Supply. Australia was a much smaller market compared to the States, Japan, West Germany, Britain and France, but it had the second highest per capita record sales in the world, behind Sweden. The Australian market was still important.   

      Nippon Phonogram released the single, ‘I’ll Never Get Enough of You,’ and it became a huge hit in Japan. The song was used as the opening theme on a popular Japanese TV show, which greatly increased its popularity. Air Supply needed to add the song into its set-list when touring in Japan, because it was not included in the live show elsewhere.

Keeping The Love Alive B Side Don\'t Turn Me Away UK Single  1981 7Inch copy.jpg
German Pressing - 7" Single

      Ariola Records, a sub-label of Bertelsmann AG, released the single, ‘Keeping The Love Alive,’ throughout much of Europe. It received airplay in these countries, but became most popular in South East Asia. “This was never a single in the U.S., but overseas it was very big,” recalls Graham. “I remember when we were in the Philippines and they asked if we would be playing ‘Keeping The Love Alive.’ I told them that we had not even rehearsed it because we had not been playing it live. They said it was like their national anthem, and over most of Asia, so we pulled it together and did it that night.”

      On December 1, the National Soft Drink Association held its annual convention in L.A. The event was important for the top soft drink brands because independent bottlers and suppliers want to hear that they are being backed by marketing dollars. Brands like Coca-Cola, Pepsico and Dr. Pepper use the event to unveil their new promotion and marketing campaigns. Dr. Pepper announced they were canceling the long running ‘Pied Pepper’ theme and switching to a new campaign featuring Scott Baio of Happy Days fame. They also announced that future radio commercials would feature rock band Air Supply and country stars Alabama. Dr. Pepper had a long history of dance and music in its advertising, and this continued with the new theme, ‘All you gotta do is taste.’ Air Supply recorded a jingle for Dr. Pepper:

Dr Pepper Promo Materiall Sent to Radio Summer of 1981.jpg
Promotional Ad Sent to Radio (Summer 1981)

Graham - “To be a pepper, original like a pepper, all you gotta do is taste.”
Russell - “To know the pleasure of a flavour you will treasure, all you gotta do is taste.”
Both - “Be a pepper. The flavour’s got a feeling, original and appealing, and all you gotta do is taste.”
Russell - “To be a pepper, open up a Dr. Pepper and all you gotta do is taste. To be a pepper, open up a Dr. Pepper and all you gotta do is taste. Be a pepper, drink Dr. Pepper”...fade...
Dr. Pepper sales had dropped leading up to convention so the company faced significant pressure to turn things around in the new year. The decision to include Air Supply at such a critical time gave an indication of the marketability of the band in 1981.

1981 Concert Syndication Arista .jpg

      In early December, Arista produced an hour-long radio syndication of an Air Supply live performance. Radio syndication of music specials had grown rapidly in the early 80s, and most record labels were content to let professional syndicators handle these programs, but Air Supply’s Holiday Special was Arista’s first label-produced syndication. The 9-song Air Supply Holiday Special was not the result of deliberate planning. The band had taped a live concert during the 1981 summer tour in order to compensate a particular radio station after rain forced the cancellation of another concert which the station was set to broadcast live. When Arista’s director of product management, Abbey Konowitch, heard the tape, he thought it was good enough to make into a syndication radio special. Harry Maslin remixed the tape, and in LP form, mailed it out to about 100 Top 40 and A/C stations. Radio stations received the syndication free of charge, although Arista reserved half of the commercial spots for its own ads. Arista had greater control over which radio stations received the syndication because it was label-produced. “It wasn’t incredibly expensive to have the recording mixed and pressed onto discs,” said Konowitch, “but it was very time-consuming.”   
 楼主| 发表于 2012-11-15 13:28 | 显示全部楼层
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      Air Supply在澳大利亚度过了他们1981年开始的几个月。前面一年如狂风暴雨般的录音,巡演,和宣传活动。乐队想要在悉尼录制他们的第二张专辑,因为他们想能花更多时间来陪伴家人和朋友。Russell刚刚新婚一年,和家人分开无疑对家庭来说是个挑战。“我想念Di的厨艺,加Vegemite酱的crumpets松饼,悉尼大桥,歌剧院和霍伊特娱乐中心还有睡在我自己的床上。” 他说,“听起来很傻,但是我确实昨天自己洗碗了,感觉很好。”

  天堂录音室有着国家最先进的设备,仅仅建造于几年前的1979年。在80年代成为了最热门的录音室。Harry Maslin制作专辑并录音,但是Clive Davis在录音室里和乐队合作非常紧密。Clive深知如何能让Air Supply成功,而他亲手制作也能够确保每张专辑都符合他的要求。“我想他们真的定义了浪漫摇滚的风格。” Clive说。“最独特的是令人难以置信的表现和飙升的Russell Hitchcock的声音,和Russell和Graham Russell给予全世界优美的旋律。”

      接下去的专辑在由Harry Maslin制作,在天堂录音室录制。Maslin并不是Arista的雇佣制作人,但是确实Clive Davis认为最需要他的时候可以来帮他获得金曲的制作人。“我接到了Clive的电话。” Maslin说,“他说,我手头上的这张专辑还却一支单曲,你能看看能帮我做点什么吗。’ Clive说他需要为Air Supply制作一首肯定能火的金曲。他给我放了‘Every Woman In The World’,这是首真的轻量级的歌曲,但是同时也是过时的调调。那引导了我制作这第二张专辑。我的确很焦虑。这些家伙已经有了三首金曲在同一张专辑里。我想如果什么都没发生的话,那我的职业生涯将烟消云散。对于Air Supply来说,显然我不得不维持他们已经拥有的,超级棒的声音使他们必须去做一首大热门情歌。主要我想要改变的是让他们的声音更像一支乐队,而不是一群录音室乐手。我想在这个上面我们做到了。”   

      Clive Davis和Maslin一起与Air Supply在录音室里奋力合作。他明白Air Supply成功的要素是什么,他的亲手参与能确保每张专辑都能符合他的要求。Davis和Maslin在一起合作默契。“显然,Clive有一种对歌曲欣赏的天赋。” Maslin说,“假如他的方向与我的思路有冲突,我会看看我们能做些什么。根据我与其他厂牌合作的经验来看,似乎很多总裁都不在乎创作层面上。这是一位会为你着想,帮你卖唱片的人。假如你是一位初级公关人员那又是两码事,这可是唱片公司的总裁。我可能要借用一句话,音乐生意只是一桩生意。你可以像艺术家那样制作,而不用卖出任何唱片。作为制作人,你必须了解这个行当,公众想要的是什么。”

      “当我们第一次见到Clive的时候,” Graham说,“我们知道他曾经负责过很多著名的艺人像Simon and Garfunkel,Janis Joplin,Bob Dylan和其他。我们曾经去过他在纽约的办公室,看到墙上挂着许多Clive和许多伟大的艺人和歌曲作者的合影。我们惊呼 ‘天哪,这才是音乐节真正的牛人。’ 幸运的是,他很喜欢我们,在他和我们见面的时候听到和看到很多。”

      现在Air Supply的乐队由鼓手Ralph Cooper,吉他手David Moyse和Rex Goh,贝斯手David Green,键盘手Frank Esler-Smith组成。这个阵容是乐队大获成功时的阵容。David Green第一次在Air Supply露面曝光是在1979年的'Lost In Love'音乐录音带中。在1980年晚期,他成为了乐队的一名正式成员,以代替Criston Barker。David是一名很棒的贝斯手,70年代中期曾经在澳大利亚soul-funk灵魂放克乐队Hot City Bump里任乐手。Hot City Bump乐队签约Robie Porter的Wizard巫师厂牌。同时,键盘手David McMaster也被要求加入Air Supply,但他遗憾的拒绝了。“我们花了很长一段时间才把大家聚集在一起。”  Russell说。“这段时间,我们解雇了那些没有能够摆正态度的成员。所有成员都是在30岁左右,除了我们的吉他手,才22,23岁的样子。”

      “从头到尾这都不是我的菜。” Criston Barker说道,“但是我们录制的‘Lost In Love’ 专辑的确是他们录过的最强大的专辑。他们似乎有一些独裁。但我的确负责了一首歌叫 ‘Old Habits Die Hard’,我和David Moyse一起合作写了吉他部分。他们都是很棒的音乐家。但是我热爱的是重摇滚乐,所以我退出了。他们少了许多摇滚元素。我想他们一直为他们的声音在寻找一些活力,我想他们在那张专辑里做到了。

      Fred Bestall收购了Robie Porter钟爱的Big Time唱片公司。这次收购终结了Wizard Records和Air Supply的联系。所有在加拿大,澳大利亚和新西兰发行的唱片现在都印上了Big Time的商标。1983年,Robie把Wizard唱片公司卖给里RCA和澳大利亚EMI公司。

      到了3月16日,Air Supply在悉尼Regent剧院参加了Countdown摇滚音乐奖。这是一个在澳大利亚非常流行的活动, 由Countdown节目的Ian ‘Molly’ Meldrum主持。这个奖项结合了流行度投票和同行投票标准。Russell和Graham出席颁发一个奖项,并且现场表演了 ‘Lost In Love’,‘Every Woman In The World’ 和 ‘All Out Of Love’。但是令人惊讶的是,Air Supply仅仅获得了一奖项的提名 - 最杰出贡献奖 (颁给澳大利亚有着卓越表现得个人和团体)。他们击败了Split Enz和Cold Chisel获得了这个奖项。Cold Chisel把最佳澳大利亚专辑奖项带回了家,同时最佳单曲录音颁给了Crawl和他的歌 ‘Downhearted’ 。惊奇的是,Graham居然没有提名到最佳歌曲作者奖,而颁给了Icehouse的Iva Davies。Jermain Jackson刚刚在美国开始创立自己的唱片品牌,他表示有兴趣和Air Supply一起合作,“Air Supply是一个我很有兴趣合作的乐队。我喜欢他们的歌曲风格,和歌曲的质量。”

      新专辑的首支单曲 ‘The One That You Love’ 5月份在美国发行。大多数其他国家在6月发行。这个 7” 的单曲唱片包含了一个彩色的封套,我们第一次见到了新的Air Supply乐队标志。这个非常复古的字体是由Ray Barber设计, 从此以后这个标志成为了乐队的代名词。 ‘The One That You Love’ 很快于新专辑发行以后,在6月25日爬上了排行榜。它取代了Kim Carnes的 ‘Betty Davis Eyes’ Air Supply的首支Billboard排名第一的歌曲。  

      Graham在写歌的时候就预感到这首歌会成功,所以他对歌曲在排行榜上的表现一点都不感觉到惊讶。“我真的实在等不及让Russell听到这首强大无比的歌曲了。”Graham依然记得看到Clive Davis在控制台前第一次听到这首歌时候的情形。“我们心想,‘噢天哪,他到底是喜欢还是讨厌呢??’ 随即他转身对Russell和我说,‘这首歌将会为你们带来一座格兰美奖。并且获得排行榜冠军。’” Clive说对了一半 - 虽然没能获得格兰美,但是获得了排行榜冠军。  

      “歌曲声音部分录音一次成功。” Russell说,“我记得当我进入录音室的时候,周围一切仿佛都消失了,只有这首歌和你自己。” ‘The One That You Love’ 在公告牌上保持了19周。Russell知道在 ‘The One that You love’大获成功后他们马上就要继续启程了。“梦想成为现实了,但冠军歌曲和白金唱片的成就让这一切依旧像梦幻般。”Russell说, “我必须得是不是的掐自己一下,让我知道这不是在做梦。” 经纪人Lance Reynolds当他听到 ‘The One That You Love’获得No.1时狂喜。“我不能相信这一切了。” 他说。 “这意味着在12个月里,我们有一首第季军,一首亚军,两首冠军单曲 (‘Lost In Love’ 在公告牌成人抒情榜排名第一)。”   ‘The One That You Love’ 在公告牌上总共待了19个星期。

      ‘The One That You Love’ 单曲在澳大利亚发行,于6月22日位列第10名。 然而很多当地电台拒绝播放这首歌,说这首歌“不够好。” ,于是这首北美冠军单曲,在124个电台中播放的歌,却在澳大利亚无法引起注意。而当 ‘Every Woman In The World’ 在美国排行榜登顶的时候,许多澳大利亚电台在这支新单曲上似乎也要犯下同样的错误。

      经纪人Fred Bestall相信Air Supply之所以没能在家乡流行的原因是觉得他们不是一支很时髦的乐队。“我还能说什么呢?这真是太令人失望了,它伤害了这支乐队的感情。这没什么道理。起先我们也认为是因为Air Supply并不是处于主流音乐节,而且他们不顺应音乐趋势。但是,人人都会弄错吗?最失望的莫过于这些家伙都非常支持澳大利亚音乐工业。他们都是非常的努力。问题似乎在于这个行业很糟糕。我的意思是,‘Lost In Love’专辑在澳大利亚达到白金销量,我们的第一张白金唱片。但是说给业内任何人听,他们都会笑的。事实上,白金销量不代表主流电台的制作人会去播放这些歌。澳大利亚是一个很奇怪的市场。” 他说,“‘All Out Of Love’ 只是刚刚好进入前10位, ‘Every Woman In The World’ 排名第8而 ‘The One That You Love’ 也是只有排名第10。而他们现在的处境比之前更糟糕,因为至少澳大利亚版的 ‘Lost In Love’ 曾经在澳洲是首异常热门的歌曲。   

      Air Supply在4月开始了为期6周的全美巡演,大多都在集市和大礼堂里演出。5月份,他们在欧洲作宣传,包括在伦敦为流行电视节目Top Of The Pops演出。在阿姆斯特丹结束,参加了电视特别节目,Paul Simon,Dionne Warwick,James Taylor和Gino Vannelli也同时参加。紧接着他们于6月短暂地访问了日本,然后他们回到了美国,于7月开始了一次长时间的全美及加拿大巡演。

      当他们抵达加拿大的时候,乐队已经成就了42张金唱片和银唱片。他们被迫把他们包裹起来运回家,因为太重无法带着参加巡演。Air Supply在加拿大的流行度空前的高涨。在安大略的汉密尔顿市演出后,当1000名尖叫的孩子挡住更衣室的们时,后台完全是一片混乱。警察被呼叫出动来帮住让疯狂的人群镇静。在被要求加演一整月的演出后,北美巡演的最后一场于9月结束。Air Supply和他得的24人随行阵容在他们的美国巡演中总共旅行了32000英里,他们在大巴上安装了床,电视机,高保真设备,和微波炉。  

      8月,Air Supply在洛杉矶雅典剧院举行了两场演出。雅典剧院的演出特别为突出Russel雅典剧院的演出特别为突出Russell,因为他的妻子Di作为听众在台下观看。这被视为是一个罕见的例外,因为Air Supply的乐队规定妻子和女友不得在巡演途中作陪伴。Di不清楚Air Supply在美国是变得如何的流行。当看到早晨7点排队买票的长队时被震惊了。“我在洛杉矶雅典剧院陪伴他们两场演出,也就是Neil Diamond作“热力八月夜”的地方,而这真是热力四射。” Di说道,好几周前门票就已经售完了,演出真是棒!Russel和我悄悄离开了2天,在Disneyland有个人放弃了长长的排队队伍,苦等了半小时直到我们下车,并和Russell合了影才离去。”  

      Air Supply在雅典剧院的演出是为了纪念澳大利亚流行电视节目Sounds的主持人Donnie Sutherland。Donnie一行三人飞往美国前去设置电影特别内容,包含Air Supply和乐队的奢华生活和在美国的波斯米亚生活态度。这些镜头都用在一部纪录片中,这是一部名为Oz Rock Abroad的记录澳大利亚音乐在美国的电影,主要聚焦Air Supply,Rick Springfield和Little River Band。“这真是迷人。”Donnie说。“雅典剧院是精美绝伦的户外场馆,靠近格里菲斯公园小山丘的一边,就在洛杉矶。在剧院外,有衣蛾巨大的公告牌用来显示过去和即将上演的节目。能看到我们澳大利亚乐队[Air Supply]真是温暖人心,一副巨大的红色售完标志在海报中央。这几天我们大多数都在和他们在一起。不管他们做什么我们也同样。我们坐豪华桥车去参加他们的派对。很是壮观。”  

      Donnie计划在雅典剧院拍摄一部Air Supply的影片,所以在Air Supply乐队成员的帮助下,他们在露天剧场内组建了声音和图像效果设备。“我们已经录制了一开始的两段,” Donnie解释道,“所有事都运行的很好。然后突发事件打乱了我们。然后一些帅小伙让我们出去。我们迅速把装备都拖了出去。后来我们知道这些人和当地娱乐场所有“协议”。他们投入了很高的费用在录制这些演唱会上。我天真的问他们有多少钱,他们说15万美元。很幸运我们拍到了一些镜头。这晚是乐队的巨大的成功,演唱会之后所有人在贝弗利山酒店庆祝到深夜。”这次纪录片,Oz Rock Abroad,于1982年1月5日在澳大利亚播放。  

      没有把希腊剧院的演出进行录像后来被正面对于Air Supply的经纪人来说是个代价昂贵的错误。美国音乐人联合会向Bestall & Reynolds提出了法律诉讼,声称被告通知公会他们要对Air Supply的演出进行录影。Bestall & Reynolds接下来取消了这个计划但是这没有能够提前96个小时通知到公会。公会声称Bestall & Reynolds欠他们和一些其他成员$17,421。

      每次巡演的最后一场演出都成为了一个传统,乐队成员和巡演人员都互相恶作剧。不幸的是,1981年夏季巡演的最后一场演出因大雨取消,所以所有的日程安排和恶作剧都只能推迟到第二年了。“去年。” 鼓手Ralph Cooper说,“演出灯光开始,我开始打鼓,突然间我被乌云笼罩。有人把一层薄薄的婴儿爽身粉撒在我的鼓上。当我击打的时候,粉都扑到我脸上来了!”

      这是一个漫长而又艰苦的旅行。但是管理层知道把乐队尽快带回公众视线前是件非常重要的事情。很多歌迷依然不知道Air Supply究竟是什么样的。音乐电视在80年代早期变得越来越流行,但是Air Supply的节目却很少被播放。 “他们发布了一张唱片,人们惊叹这歌,并且喜爱上它。” ICM音乐会机构的Air Supply代理人Tom Ross说,“但是人们从来不会把他们与谁谁谁联系在一起,直到在舞台上看到他们演出。60年代,唱片封套是你唯一能够了解乐队成员长什么样的方法。贝斯手是不是真的金发,或者乐队的女孩是不是真的很漂亮?你只能从封套上了解,内页只有歌词。你必须得去看现场演出,来看看这个乐队是不是货真价值,是不是能够在现场复制录音室中的声音。人们总是想要去看现场演出,因为那带给人多维化的感觉。”

  Russell记得有一个歌手在北美发现他竟是个男人时惊讶的情形。“一个在美国拥有大热门歌曲的歌手想要和air supply的女主唱约会。” 而当Graham和Russell在一次采访时现身时,这个歌手发现了这个事实。 “  

      尽管已经拥有4首公告牌Top 5的金曲,许多北美歌迷依然认为Air Supply主唱是个女的。Russell记得一位著名的好莱坞唱片制作人发现他是男的后的情形。这位制作人第一次听到Air Supply,跟他的助手说 “我要和那位歌手约会。” Graham觉得更加滑稽,当他们两人在录音室里进行采访后,那位制作人被突如其来的真相搞得晕头转向了。

      6月,Air Supply出席了两个重要奖项。BMI (Broadcast Music, Inc.) 颁发本年度杰出贡献歌曲作者和发行商。Graham于几天前飞到美国,乐队其余成员和经纪人Fred Bestall和Lance Reynolds 参加在洛杉矶贝弗利Wilshire酒店举行的一次活动。当晚的最重要奖项是颁发1980年最佳歌曲,Graham所写的 ‘Lost In Love’ 被授予此奖。Graham代表的BMI通过社会的互惠协议与Graham的澳大利亚的维权组织和发行商Bestall Reynolds Music,Careers Music和Riva Music Ltd. 收到了一份特别制作的玻璃雕花纪念牌作为纪念 ‘Lost In Love’ 的成就。直到1983, ‘Lost In Love’ 已经有超过1百万次播放量,一个没什么歌曲能做到的了不的成就。BMI副总裁,Ron Anton同年前去澳大利亚为澳大利亚录音版权协会颁发一个奖项来表彰协会在 ‘Lost In Love’ 的成功背后做出的贡献。  

      1980年的音乐奖项由NARM (National Association of Recorded Merchandise)颁发,同样在6月举行。Air Supply回到家乡接受新人最热卖专辑 (‘Lost In Love’) 奖。

     Air Supply在美国的成功激起了一些对乐队早期录音的兴趣。April Music, 这个CBS唱片国际部的附属发行商,控制着所有Air Supply在当时签约CBS旗下的所有专辑和音乐。按照April Music公司高管说,对 ‘Love and Other Bruises’,‘Empty Pages’ 和 ‘Ready For You’的兴趣明显激增。在日本,April的相应发行了 Mr. Go的翻唱版本。在美国Barry Manilow也对录制 ‘Empty Pages’   有兴趣。  

      新专辑 ‘The One That You Love,’ 在7月份发行了,唱片店的架子瞬间被席卷一空。 很快这张专辑便获得了白金销量,成为乐队第二张获得白金销量的专辑。当公众开始接受这张专辑的时候,音乐批评家的口中却没有多少赞扬之词。媒体和乐队之间的关系也是爱憎分明。一个在匹兹堡的记者是这样描述这张专辑的:

      歌曲都听上去太相似了。在动听旋律的表面,音乐和歌词上几乎都没什么区别,感觉不到有什么主唱的声音。歌曲都把标志性和熟悉的东西全部牺牲掉了。- Ron Weiskind, Pittsburgh Post-Gazette

      “每当我们发行一张单曲,或是在一起制作专辑的时候,你只能尽你最大努力去做。” Russell说,“然后就完全取决于听众了。如果他们喜欢,那就太棒了。假如他们不喜欢,那你就真的要开始担心了。你完全不能想当然。所以我猜你得听从一些乐评人的意见。大多数乐评人不喜欢我们的音乐。硬摇滚媒体认为我们很奇特。他们会认为我们是同性恋。我从不认为我有一丁点的柔弱。我们只是比较敏感。我想他们只是要批评我们的音乐,因为我们太成功了。但是他们一直对于评论音乐不诚实,因为他们是被人雇佣来评论的。我对于他们讨论我的声音很讨厌 - 说我鼻音太重,或者叫起来像驴子,真是胡说八道。大多数时候他们都没有给我任何建议。我可以中肯的说,他们最近的10条或者20条评论中只有大约2条是和音乐有关的。”

      当AC/DC说Air Supply并不是一支主流乐队而仅仅是一支电台乐队的时候,Graham很快维护了他的成功,“我能理解像Agnus或者其他那样的人的想法。我想AC/DC是全世界最好的乐队之一 。他们也是我最喜欢的乐队之一。我能理解他的感受。他们这些年努力一直在巡演。当你这5,6年间一直在世界上摸爬滚打巡演,突然间,另外一支乐队突然走红了,这一定会有某种形式的怨恨。他们在美国的确很红。太可怕了。但是他完全不知道。我们在美国和加拿大卖出了数百万张专辑和单曲,所以我们不仅仅是电台乐队。去年10月我们刚刚进行了第一次美国巡演,40场中的36场全部售完。这个夏天6月的美国巡演,我们将在15000人座位的体育场内演出。”

      但是不是所有对于The One That You Love的评论是负面的。许多评论家惊讶我们的现场表演真是和录音室的声音一模一样。Air Supply在1981年巡演中投入了大量金钱和时间以保证能够在演唱会上再现录音室版的声音。 ‘The One That You Love’ 包含了浓重的弦乐,评论家惊讶于Frank Esler-Smith是如何把这些声音复制到演唱会中去的。“最困难的在于如何让一个7人乐队复制那些在录音始终,只有能够在40人的管弦乐团里才能有的声音 ”Graham说,“但是我们会尽最大可能去重现这些声音。为了这些,我们不停地在排练。我们从来不自命不凡得幻想不实际的东西。 - 没有烟雾弹和别的什么。我们靠的是真正的实力和我们梦幻般的声音,而不是那些噱头。我们能把生活中每个细节变成音符。如果不亲身体会你永远不可能知道人们真正喜欢歌里的哪部分。”

      “乐队在这里[北美]的反响真是异常强烈。” Fred Bestall说。“在美国音乐界我们没有任何消极因素。所有事情都太惊奇了。当然有很多声音说Air Supply仅仅是第一张专辑获得了成功而已。‘Lost In Love’ 的成功主要是由于有三支单曲。然而新专辑发行了,也位于Top 20。第二张专辑已经发行,证明了Air Supply可以成功 - 并且会保持下去。幸运的是,我们没有被选入成人流行排行榜的类别中。我们被放进了全类别曲目目录,摇滚电台也可以评选这首歌。”  

      Arista在9月12日发行了第二支单曲 ‘Here I Am’。标题曲经常被加上 ‘Just When I Thought I Was Over You’ 的备注,避免和他们的金曲 ‘The One That You Love’ 混淆,因为两首歌都有同样的一句歌词。美国歌手,作者Norman Saleet写了这首歌 ‘Here I Am’ 并且在1980年和RCA唱片公司录制了这首歌的样带。在歌曲授权给Air Supply之后,1982年他把这首歌收录进了他第一张也是唯一一张同名专辑 ‘Here I Am’ 。 当1980年Saleet把这首歌寄给Clive Davis的时候,起先Barry Manilow也想录制这首歌。“2天后,[Arista]冻结了这首歌。” Saleet说,“之后的一个月我没有听到任何消息。然后他们打电话给我说他们把这首歌给了Air Supply,而不是Manilow。”

      ‘Here I Am’立刻在1981年成为了一首金曲,不间断地在电台播放。 再一次的,这首歌展现出了Russell超强的嗓音,很明显,Russell的声音是Air Supply以后的前进方向。 11月21日,‘Here I Am’ 爬升到Billboard第#5位,成为了连续第五首Top 5的Air Supply的单曲。‘Here I Am’ 在澳大利亚的处境显然就没那么好了,最高只在11月2日排名第#43位。

      当 ‘Here I Am’ 成为Air Supply连续第五首横扫排行榜Top 5的Air Supply的单曲时,它也同时打破了Arista之前由Barry Manilow保持的记录。Manilow从1975年的 ‘Mandy’开始到1978年的 ‘Can’t Smile Without You’ 结束总共有连续4首Top 5单曲。Air Supply的成就很是惊艳,特别是在Arista的历史中,总共只有13首Top5金曲。Arista旗下像Dionne Warwick,the Bay City Rollers 和Eric Carmen这些如此有天赋的音乐家那时都仅仅只有1首Top 5金曲。

      “我们的办公室中充满了兴奋。” Clive Davis说,“所有事情都在飞速进展。在每周的员工午宴时,有更多的新闻需要汇报,更多的音乐需要分享,更多关于销量和电台播放量需要汇报。之前,Arista的唱片销量和宣传小组不得不通过电话来进行沟通,然后通过零售商和电台来汇报。他们会走进会议室,等我来询问每个唱片的销售情况。每个市场创纪录的表现还是不错的,或下滑,每一个进步的迹象或问题是仔细研究和分析。”  

       直到夏末,打开电台,想听不到Air Supply的声音变的太难了。乐队处于音乐界的巅峰,并且想摇滚贵族那样的生活着。“12个月前,没有人认识我们。” Graham说。“而现在我们需要30个保安守在舞台门口。我买了一幢房子,这不是一间很贵的房子。我花费了6万4千美元。我去银行用现金结清款项。我写了张6万4千美元的支票在柜台上。我想银行经理一定会很惊讶的,因为认为我会贷款,但没想到我直接一次性付清了。这是在悉尼海滩上的一栋老房子,位置非常好。房子一边是沙滩,另一边是小河。我有一条独木舟,我可以去钓鱼和虾。”

      Di Hitchcock记得在她最近一次去美国旅行时,“Air Supply的巡演经理住在在比佛利威尔特郡的套房,Warren Beatty在那里住了好多年。”  她说,“我在那里闲逛,随意拍些照片 - 包括厕所。” 除了名声, 荣誉和光明的前景,他们感觉经济上的改变远远不是想象中应有的。他们感觉经济上的改变远远不是想象中应有的。   

      Fred Bestall和Lance Reynolds在美国开了一家办公室,同时计划建造一间录音棚。Bestall Reynolds Inc计划洽谈发行一部名叫Sherwood的电影,由Graham撰写。电影有派拉蒙作背后支持,预计在1983年夏天上映。一张双唱片的电影原声大碟预计和电影一同发行,Air Supply和其他艺人将会演唱歌曲。在最近12个月里,Big Time和出版商Bestall Reynolds Music已经签了四位作者,包括Patricia Berrell和新西兰人Jon Stevens。我们已经签了一支加拿大乐队Doug and the Slugs到我们的发行商公司,”  Fred Bestall说,“他们在加拿大有了巨大的成功,并且即将在美国发行专辑。”  

      尽管有着现在的荣誉,还有光明的前景,Air Supply还是认为和Big Time的唱片合同是有问题的。自然的,Lance和Fred百分百的站在乐队的背后。经理们试图在北美给乐队一个不同的形象而区别于音乐上的感觉。“为了给予他们一个新的形象,我们12个月内巡演了三次。” Fred解释道,“我们在大学演出,也同样在礼堂和交易会上演出。我们那么频繁的演出为了让听众知道他们不仅仅是只会唱那些优美的抒情曲而已。” Bestall相信这样频繁的巡演必定有着丰厚的回报。“每个人都觉得他们会像Oak Ridge Boys一样,身着西装,不玩乐器,只会跳一些舞。“其实他们穿的像一个正常的摇滚乐队一样,牛仔裤和休闲衫。正因为如此他们才不像人们想象中期待的那样。”  

      Bestall 和Reynolds继续向Air Supply施压,让他们进入娱乐圈的新领域, 包括一部电影的计划。经理人们在伦敦西区收获了许多在舞台表演上的经验,所以他们够格让Air Supply 进军电影圈。计划包含了让Air Supply和Rod Stewart共同为电影唱一首主题曲。电影基于Rod的歌,‘The Killing of Georgie’,Rod在其中饰演角色并唱歌。Billy Gaff要Air Supply和John Cougar一同在电影里处境。Graham已经在舞台音乐剧中有所涉足了好些年,所以他非常想要加入这个项目。一个电影原声大碟也准备录制,但是究竟Air Supply会不会参演还是个未知数。不幸的是,当公司得知Rod和WEA的唱片合同不允许他们发行电影的时候,整个计划最终失败。Meta电影协会已经投入了12万5千美元进入这个计划,到了12月,他们起诉Rod和Billy,声称他们应该已经知道和WEA唱片公司的合约内容,这是使这个计划从一开始就是不可能的。

      在第三首单曲发行前,关于歌曲的选择,有太多的争议。‘The One That You Love’ 一直在电台中回绕,所以发行下一首单曲并不是太容易选择。Air Supply锁定 ‘Sweet Dreams’,因为和之前的所有单曲相比节奏更快。最终,Clive Davis和Arista作出了决定。12月1日,‘Sweet Dreams’ 在世界范围内发行,在大多数国家成为了一首超级金曲。在美国和加拿大排行榜上爬升速度也非常迅速,立即成为了连续第六首Billboard Top 5金曲。不幸的是,这首歌最终没能在澳大利亚和英国上榜。 ‘Sweet Dreams’被许多音乐评论家认为是Air Supply最具创造性的歌曲。

     Air Supply用这首旋律优美的情歌拿下了他们连续第六首Top 5金曲。流畅的声音,丰富的弦乐编曲和感伤的歌词让这首歌成为了迄今为止这个组合最强有力的录音作品。- Billboard

      这是乐队一段时间内最棒的东西,WEZB-FM program的导演John Shomby说,像REO Speedwagon那样多元发展,超过了Manilow先生。- John Shomby, WEZB-FM Program Director

      到了1981年底,显然打开英国市场比一开始预想的要困难的多。最后一支在英国榜上上榜的歌曲是 ‘All Out Of Love’。 Graham承认乐队可能需要加把劲来提高他们在欧洲的地位。像Air Supply这样认为他们可以攻克美国市场的人不在少数。澳大利亚乐队在美国和欧洲大多数国家都不再会被忽视了。在精心的挑选和训练下,他们奇迹般的成为了第二个Little River Band或是Air Supply。“像Little River Band,Cold Chisel和Air Supply这样的乐队能够在海外能够成功真是太不可思议了。” 澳大利亚唱片工业协会的Stewart Silver认为道。Countdown的Molly Meldrum相信,“按照在英国和美国的人们认为,80年代的澳大利亚将会成为60年代的利物浦。”  

       在80年代早起在英国的电台竞争会因为有第二波大不列颠入侵而变的更加困难。诸如乐队Duran Duran,Culture Club,Billy Idol,Wham!,the Pretenders,the Police,和Spandau Ballet,他们留下给乐队的空间太少,况且乐队也不符合当时的新趋势。新浪潮音乐是当时80年代早期的风格,Air Supply在这个领域并不擅长。大不列颠入侵持续了一到两年甚至更长时间冲击到美国,这甚至已经影响到了Air Supply的成功。在此之前,他们已经卖出了许许多多的唱片,也同样在世界各地,别的国家。     
      Air Supply当他们全美巡演结束从美国回到澳大利亚的时候依然只能引起小部分澳大利亚粉丝的注意力。在他们最近一次回到悉尼时,乐队在几场无法引起那种像在全美巡演上接近骚乱的场景。人们只是和他们的女友和妻子简单的坐在机场贵宾休息室里,小孩在毯子上爬行。机场外没有囤积的歌迷。“我们在澳大利亚并不是非常的知名。” Graham说。“我认为这恰好是一个优势,因为我们可以大摇大摆的在街上走,没有人来索要签名的干扰。”Air Supply更喜欢这个家庭版的场景,没有明星的炒作和烦恼,在澳大利亚缺乏知名度并不会烦到他们。因此,电台播放Air Supply已经为时已晚。“在这里的运作已经迟到了。” Rex Goh肯定的说到。澳大利亚市场和其他国家像美国,日本,西德,英国和法国比起来小得多,但那里有世界上第二高的人均购买唱片率,仅次于瑞典。所以澳大利亚市场依旧是相当重要的。

      Nippon Phonogram发行了他们另外一首单曲 ‘I’ll Never Get Enough of You’,这变成了日本的超级金曲。这首歌被用作日本流行电视节目的主题曲。Air Supply把这首歌加到了他们日本巡演的曲目单中,因为这首歌在别的地方巡演并不好包括。

     Bertelsmann AG的副牌Ariola Records在很多欧洲国家发行了一支单曲,‘Keeping The Love Alive’。单曲在这些国家电台播放,在东南亚国家变得非常流行。“从来没有哪首在美国的单曲,能大洋对岸依旧变得流行。”Graham重申道,“我记得当我们在菲律宾时他们问起我们是否会演唱 ‘Keeping The Love Alive’。我高速他们我们甚至还没有排练过,因为我们从来没有在现场演唱过这首歌。他们说,这首歌在大多数亚洲国家就像他们的国歌,所以,我们在那晚一起演唱了这首歌。”   

      在12月1日,国家软饮料协会在洛杉矶举办了他们的年度大会。这场盛会对于这个顶级软饮料品牌来说异常的重要,因为他们的独立装瓶厂和供应商想要获得营销资金支持。诸如可口可乐,百事和Dr. Pepper这样的品牌,经常用大会来对新的宣传和市场营销活动进行揭幕。Dr. Pepper宣布他们取消了长期运行的 ‘Pied Pepper’ 主题并且启用新的营销活动,包括Happy Days fame的Scott Baio。他们也同时宣布未来电台广告将会包含摇滚乐队Air Supply和乡村明星Alabama。Dr. Pepper在他的冗长的广告历史上有许多舞蹈和音乐。 现在,将启用新的主题 ‘All you gotta do is taste’,Air Supply为Dr. Pepper录制了这首广告歌:

Graham - “To be a pepper, original like a pepper, all you gotta do is taste.”
Russell - “To know the pleasure of a flavour you will treasure, all you gotta do is taste.”
Both - “Be a pepper. The flavour’s got a feeling, original and appealing, and all you gotta do is taste.”
Russell - “To be a pepper, open up a Dr. Pepper and all you gotta do is taste. To be a pepper, open up a Dr. Pepper and all you gotta do is taste. Be a pepper, drink Dr. Pepper”...fade...

  Dr. Pepper销量下降导致了公司不得不面临压力,在新的一年里扭转乾坤。这个决定就包括了在1981年让Air Supply在一个这样的关键时期给予品牌一个这样的市场方向。

      在12月上旬,Arista制作了一个为期一小时左右的Air Supply电台直播演出。电台同步在80年代迅速发展,大多数公司都会这样去制作节目,但是Air Supply的假期特别节目是Arista的第一个以厂牌为名义的特别节目。这次9首歌的Air Supply节日特别节目并不是刻意计划的结果。乐队已经在1981年夏天录制了一套现场演唱会节目。当Arista的导演Abbey Konowitch听到这盘带子后,他认为这演出好到足以来制作电台特辑。Harry Maslin为这盘带子作了混音,制作成LP的形式,寄给了大约100个Top 40和A/C电台。电台免费获得这盘带子,尽管Arista保留了一半他们自己的广告在里面。由于这是以厂牌名义制作的,所以Arista对哪个电台会收到这带子有很好的控制。“把已有的录音进行混音并不是太昂贵。” Konowitch说,“但是特别化时间。”
 楼主| 发表于 2013-2-10 14:14 | 显示全部楼层
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