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第十章:版权纠纷 (1982) (Legal Trouble)

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发表于 2012-11-16 09:21 | 显示全部楼层 |阅读模式
Chapter Ten: Legal Trouble (1982)

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      The 1982 American Music Awards took place on January 25. The event was held in Los Angeles and Air Supply was nominated in the Favorite Pop/Rock Band, Duo, or Group category. Air Supply, who were in Australia at the time, performed ‘Sweet Dreams’ beside the Sydney Harbour Bridge, which was broadcast via satellite back to L.A.. “It was in the daytime, which was rather unusual because we were going live to the U.S.,” recalls Russell. “We did the song and then we were seated on these two stools as we were nominated for an award. Just as we won the award, and were about to reply, they lost the feed. So we couldn’t even accept the congratulations or anything.” Air Supply beat out AC/DC, the Pointer Sisters and REO Speedwagon, and took home their first AMA. The award is still a sore spot among AC/DC fans. In an interesting twist, Russell cites AC/DC as his second favorite band of all time, after the Beatles.

     In 1981, Lance Reynolds and Fred Bestall were approached by film producer Andrew Gatty to secure a song from Air Supply for a movie soundtrack. Gatty was working on an Australian musical comedy called The Return of Captain Invincible, which was to be filmed in Sydney. The film had an estimated budget of $5 million, with parts of New York re-created inside a massive hanger. Reynolds and Bestall negotiated for Air Supply to record ten songs for the movie soundtrack after Gatty handed them responsibility for music content of the entire film. But, The Return of Captain Invincible was delayed until 1983, and Air Supply was dropped from the project because their relationship with the managers soured.

      Air Supply and the Little River Band were to record music for another Australian movie called The Pirate Movie, for which filming began in September, 1981. The film had secured a world-wide distribution deal with Twentieth-Century Fox, which guaranteed that at least $3 million would be spent on promotion. The deal was an important step for the Australian film industry, because it was the first time a major distributor had promised to promote an Australian film before seeing the finished product. The Pirate Movie, which featured American actors Christopher Atkins and Kristy McNichol, was released in 1982, and was a commercial flop. The movie did not include music from Air Supply or the Little River Band, choosing instead to use music from Kool & The Gang, The Peter Cupples Band, and the film’s cast.

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Billboard Ad - March 20, 1982

      By early 1982, it was no secret that Air Supply was not happy with the existing contract with Big Time. The contract gave Bestall & Reynolds 60% of all sums earned by Air Supply’s recordings, while a publishing pact with Graham paid him only 70% of the gross receipts from his compositions. Graham believed that his publishing pacts with Bestall & Reynolds would leave him with the copyrights and grand rights to his music, which was apparently not the case.

      The relationship between Air Supply and Bestall & Reynolds deteriorated after the managers fired the group’s tour manager, Henry Neuman, for what they claimed was Neuman’s inability to account for certain funds. Additionally, Bestall & Reynolds believed that Neuman had “undue influence” over the band thanks to his close personal relationship with Graham. Communication between Air Supply and their management team suddenly stopped as the band tried to distance themselves from their contracts with Bestall & Reynolds.

      On March 4, Bestall & Reynolds sued Air Supply in an Australian court for breach of contract, as they tried to recover $400,000 in advances made to the band. A second suit asked the court to clarify rights from clauses in a 1981 contract. A third suit sought validation of the 1978 recording agreement Air Supply members signed with Big Time Phonograph Records.

      On March 17, Air Supply filed a $35 million suit against Bestall & Reynolds and Careers Music in a Superior Court in Los Angeles. The suit charged the managers with breach of fiduciary duty, fraudulent representation, breach of contract, promissory fraud, conversion and breach of convenant. Air Supply alleged that the managers discouraged them from acquiring outside legal advice before signing with Big Time, and that the band members were naive in 1978. The suit also claimed that Bestall & Reynolds received $500,000 in advances from Arista and a similar sum from Careers which had not been accounted for or paid to the group. Up to $3 million may have been involved in this regard. Air Supply also claimed that Bestall & Reynolds converted musical equipment and stage props belonging to the group. A second suit was brought forward by former band member, Criston Barker, asking for $330,000 from the managers claiming the contract with Big Time was “harsh and unconscionable.” Lance Reynolds described the Air Supply suit as “clearly a sensational move on the part of the [group’s] attorneys here” in view of the prior Australian lawsuit, which Reynolds insisted would “uphold and prove valid” the band’s contracts. Reynolds’ Los Angeles attorney thought the suit as “born out of outright greed, rampant ingratitude and a desire to evade perfectly valid contracts.”

      “It’s real hard when you are the artist, because I always figure that we are the people that generate the whole thing,” said Russell. “Without the act or the music, there can’t be a manager, an agent, a video, a record or anything. So you feel that much more strongly about the whole thing, and you want to ensure that justice is served. It’s hard to deal with something like this, because you really feel like your heart and soul are being removed.”

      “It makes you angry,” said Graham, “because if you feel that someone does not deserve a piece and you say, ‘No, they are not getting it,’ then it just goes on and on. Finally, you have to ask yourself, is it worth all this antagonism when I should be getting on with my career.”

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      In April, Air Supply signed a worldwide management deal with the most infamous manager in the history of rock music - Don Arden. In England, where Arden had lead bands like the Small Faces, the Animals, Black Sabbath and ELO into stardom, he was called ‘the Al Capone of rock.’ Arden was short in stature, but tall in power. He started his own music label, Jet Records, while living in England, and opened an office in the States in 1972. He had a terrific track record musically, but he was best known for his questionable business methods. These alleged methods included beatings and the deployment of muscular assistants with firearms.

      Graham and Russell first heard from Don Arden when they were in Singapore, the first stop in a six week tour of Southeast Asia. Arden phoned them directly from his home in Los Angeles to ask if he could manage the band. Russell knew a little of Arden’s controversial past, but he figured that since Arden had turned ELO into stars, he could do the same for Graham and himself. Arden flew into Singapore the very next day with a business proposal in hand. They met in Arden’s hotel room, the presidential suite at the Mandarin. Air Supply was shocked, and extremely impressed, that someone of Arden’s stature in the music business would fly halfway across the world to meet with them on such short notice. Arden told them; “You’re going to hear a lot of things about me, that I’m some kind of gangster. I’d say about ten percent of it is true. But I’ll take care you you. Come with me, boys, I’ll make you superstars.”     

      Air Supply hoped that Arden could get them out of their existing management contract, and into a more lucrative deal with Jet Management. Arden had freed-up many bands in the past, often through intimidation, threats of violence or a lump-sum payment. Sometimes all three. “Air Supply were one of those successful but largely faceless rock acts that dominated mainstream radio in the U.S. in the early eighties,” said Arden in his 2004 autobiography titled Mr Big. “With a wonderful blend of top musicianship and catchy generic rock tunes, Air Supply were easy on the ear and very popular - but not the sort of group who were written about much in the press. Because of that they never made it in Britain or Europe, but in America they were gold dust for about five years.”

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Don Arden

      The attorney for Bestall & Reynolds contended that Air Supply remained under contract to his clients until the suit that firm brought against the band was resolved. “They have no right to enter into a conflicting management agreement with anyone until the issue is adjudicated,” said the attorney. The situation obviously angered Bestall & Reynolds, who must have been concerned when they learned that Arden once had his henchmen dangle a competing manager (Robert Stigwood) out a twentieth-floor window for trying to steal one of his bands.

      Arden wrote about the ‘window incident’ in his autobiography; “Contrary to legend, it wasn’t on the twentieth floor, or anything like it. Stigwood’s office was actually on the fourth floor. We walked in unannounced, my guys and I, and everybody just froze. Then, just as we had rehearsed it, a couple of guys locked the front door and took over the phones. I told everybody to stay calm and remain seated and said that we would be gone in a few minutes. Nobody moved. Then I walked into Stigwood’s office, followed by this triangle of guys, and just stood before him, looking down my nose at him. He began trembling. ‘Don,’ he said, ‘what a pleasant surprise.’ ‘Cut the Sh_t,’ I said. ‘You know why I’m here.’ ‘Is it about the Faces?’ I didn’t even bother to answer. I just looked at him and said, ‘You know, you really shouldn’t do things like that. That isn’t showbiz, that’s just bullsh_t. You should go out and find your own act, and build them, like I have done. Not try to steal them from other people - and especially not from me.’ He was squirming by now. ‘No Don,’ he said. ‘absolutely not!’ ‘Because if you do,’ I said, pausing for dramatic effect, ‘this is what’s going to happen.’ I lifted him out of his chair and dragged him over to the balcony. He was crying, ‘No Don!’ I stuck his head over the edge of the balcony rail and said, ‘You see that f_cking street down there? Well, that’s where you’re going the next time you f_ck with me!’ At which point I was going to give a couple of digs maybe and leave it at that. Job done. What I didn’t know, however, was that my guys had decided to play a little gag on me and rehearsed an extra little scene of their own. Just as I finished my little speech, one of them shouted, ‘Let’s sling him now!’ And they all rushed forward and took Stigwood out of my hands and lifted him up above their heads. Then they carried him right to the edge of the balcony and made as if to throw him off. Stigwood must have gone into shock because his body went completely limp. It was as if he’d died. We left him there on the floor, not even moving. He never bothered me again.”

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New York City - 1982

      Arguably, without Lance Reynolds and Fred Bestall, Air Supply would not have been successful in America. The managers orchestrated the Rod Stewart tours, and when Air Supply needed it most, having been dropped by CBS, they signed them to their label, Big Time. Without the record deal, the aptly named ‘Life Support’ album might not have been recorded, and Robie Porter would never have had the opportunity to shop ‘Lost In Love’ to labels in America. Regardless, now a deep bitterness developed between Air Supply and the managers.

      “You have to look at the person we’re talking about’s past record,” said Lance. “We made a few inquiries around the record industry and we realized who we were dealing with. Let’s just say we couldn’t believe what was going on. We didn’t even know there was a problem until the guys in the group wouldn’t return our calls. This whole thing was very slyly done. Now they’ve gone on TV calling us shady characters.” Lance talked about the situation in a 1985 interview for the Sydney Herald. “I’ve really only recovered in the last six months, and this is the first time I’ve talked about it publicly. What it did was to destroy my faith in human nature. I’m not nearly as trusting. Fred and I lived and worked for those guys for seven years, and then suddenly they denied our existence. What hurts the most is that we thought we had been working with a bunch of guys who had heart and integrity. But I guess that’s just not the case.”

       Rumours of bands splitting from management swept the music industry like wildfire in 1982: Billy Gaff and Rod Stewart, AC/DC and Ted Nugent, John Reid and Elton John, Derek Sutton and Styx and of coarse Bestall Reynolds and Air Supply. Brandon Phillips, president of Management West International, felt that some managers were treated unfairly. “As a manager I may be biased, but I am not naive,” he said. “In at least one of the above cases, now working its way through the courts, no apology need be given for the contribution of management, whose efforts in building a superstar act at least match that of the group itself or its record label. Where were all those so-called advisors and lawyers when the artist was starving and unknown? Shame on the lawyers who are quick to pick up the cause of an artist who can pay his bill, but are nowhere to be found early on when their advice is really needed.”

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Don Arden's Pool

      Don Arden took Air Supply under his wing and treated them like family. He referred to them as his ‘boys,’ and hosted Graham and Russell at his Hollywood mansion, even giving them access to the two guesthouses on his property. Many of Arden’s own business associates were escorted into his mansion like it was the secret hiding spot of America’s most wanted. “When I went to visit Don at his beautiful home in Hollywood,” said one business associate, “it was like something out of a Clint Eastwood movie. I was frisked, my family was frisked. Don just loved it. He loved this image of being the Godfather.” Arden had close friends in the Mafia, a fact he never tried to hide. The Mafia was instrumental in helping Arden reduce the number of pirates selling unofficial Air Supply merchandise outside concert venues.

      “In 1977, I bought my dream house,” said Arden. “Actually, I don’t think even my dreams ever stretched quite as far as something like this. It was actually the house that Howard Hughes had designed and built for himself back in the forties. This wasn’t just another Hollywood mansion: is was a self-contained world. I bought it from Charles Boyer, the French actor. Altogether, I paid $7 million for about eight acres of land and all the fabulous property Hughes had built on it. I then spent another $3 million renovating it. Of course, it caused a lot of envy among certain people. And I was always giving parties there for the people who worked for us: the staff at Jet and CBS - not just the heads, either, but the secretaries too, everybody, right down to the guys who ran the warehouses and pressing plants. I wanted them all to feel important and appreciated.”

      Arden was managing the solo career of Ozzy Osbourne, and in 1982, Ozzy married Arden’s daughter Sharon. Sharon was active in the music business, and as a wedding present, Arden gave her the Ozzy Osbourne management contract. The relationship between Arden and Sharon eventually soured after Sharon broke Osbourne’s recording contract with Jet Records and signed with another label. “Don Arden loved the power and he loved the fear that it put into people,” said Sharon. “I swear, after he saw The Godfather, it sent him bonkers. He thought he was the godfather. And he lived his life like that. He was a street fighter: he was brought up on the street, he had to fight for everything, and he’d had very little education. All of that I get. But he was a bad businessman and he came from the mentality of ‘You f_ck me, I’ll f_ck you twice.’ Instead of going to the lawyer or going to the police, he’d always deal with it himself in his own way.”
  
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Private Lessons OST                'Now and Forever'

      While the legal disputes filtered through the courts, Air Supply returned to the studio to  complete their next album. It was recorded in Sydney, with Harry Maslin returning as producer and engineer. The studio location was ideal for Russell because he was living with his wife and son in a spacious apartment in Sydney. Graham still lived on the Central Coast on a ranch in Avoca Beach, just an hour drive North of Sydney. He had recently bought a farm in Ourimbah, a small township and a suburb of the Central Coast. One of the tracks that stood out in the studio, and the last song added to the fourthcoming album, was ‘Now and Forever.’ Graham wrote the song for an independent Australian movie featuring Cheryl Ladd and Robert Coleby. Russell and Graham met Cheryl Ladd at a racquetball club in Sydney during a break in filming, and she asked if they would record a song for the movie. Graham went home and finished the song that night. It was used as the title track for the 1983 movie called Now and Forever.

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Yokohama, Japan - April 26, 1982

      In the spring of 1982, Air Supply completed a six week tour of Southeast Asia. They played 25 shows in seven different countries, with all dates sold out far in advance. The tour began in Singapore (where they first met Don Arden) then continued to Malaysia, Hong Kong, Thailand, the Philippines, Japan and Korea. Air Supply had performed in Japan previously, but this was the band’s first tour of the Asian continent. They played 13 concerts in Japan, where their popularity rivaled that of any band, past or present.

     Air Supply’s popularity in Japan was not simply the result of their success in North America. A hit on the Billboard charts did not mean it automatically appeared on the Japanese charts. International artists had to be processed for the Japanese market if they wished to increase sales. “Overseas record firms and artist management understand this point,” said Nobuya Ito, the president of Nippon Phonogram. “Artists built up in Japan like Air Supply can sell several hundred thousand copies of LPs, just as in the case of Japanese artists. This is an interesting development in the last two or three years. For Air Supply we designed an original album jacket appropriate for the Japanese market, and we changed the jacket design partway through the sales campaign. We took detailed care of the album. Before Air Supply even appeared on the charts, we saw its future possibilities and brought it to Japan on a promotion tour with Phonogram footing 100% of the cost. The big investment brought about major results.”     

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      Arista released the lead single, ‘Even The Nights Are Better,’ on May 19th. The album, ‘Now And Forever,’ was shipped gold a week later. ‘Even The Nights Are Better’ was another of Clive’s suggestions, and there was much hesitation from Graham and Russell to even record it. Russell thought it sounded too much like ‘Arthur’s Theme’ by Christopher Cross. “We were in the studio in Australia with our producer Harry Maslin,” said Graham, “and for some reason they wanted me to sing this song. On a lot of the older hits I would start off and Russell would come in, and I think they wanted to keep that formula. But it just didn’t sound right. Russell tried it and sang it first or second take, and it was great.”

      Within a few weeks, ‘Even The Nights Are Better’ hit #5 on Billboard. This was the seventh straight single to reach the Top 5 on the most important music chart in the world, something that had only been done by the Beatles. ‘Even The Nights Are Better’ was an international hit, and it told the world that Air Supply was back. In Australia, the song reached #35, another disappoint in Air Supply’s homeland. ‘Now And Forever’ album achieved platinum status in the U.S. (1 million units) and Canada (100,000 units) in early 1983, the third straight album to do so. ‘Now And Forever’s’ success was much needed for Arista, because the record label had no other albums reach platinum in 1982.  

      Air Supply promised fans and media that ‘Now And Forever’ would have a new sound. It would retain the basic emphasis on melody, but would also be more adventurous. “We’ll get a little spacey with the melody and harmony,” said Graham. “There will always be singles, but it will be nice to have a couple of songs radio is not so eager to play, songs that will appeal to left-wing listeners.” But music critics were disappointed because the album was filled with the same old sound. It was sure to satisfy Air Supply fans, but offered nothing new. From the record labels perspective, there was no reason to alter a successful formula that had sold millions of albums, and critics responded accordingly:

      The album, despite having material written by outsiders, is somehow too much in the Air Supply mold. First Graham sings in his low voice, and in the chorus or second verse, Russell breaks in with his voice that is so high that Italian macho opera singers are put to shame. ‘Now and Forever’ is not an achievement. It is merely a continuation of a tried-and-true formula that is getting stale. - New Straits Times, Malaysia

      The tracks on this album are vintage Air Supply with innumerable love songs and the old ‘I was lost till I found you and now life is wonderful’ type numbers. One thankful change from all the saccharine and mush is a really nice number called ‘Don’t Be Afraid.’ This one single song takes a moment to highlight the superb sounds of the two lead singers wearing their best harmony suits, and makes a welcome respite. All credit to Air Supply for its success where so many before have failed, but somehow I don’t think this one will be atop the collection in many living rooms. - Lisa Perry, The Canberra Times, Australia

      North American radio programmers were concerned with the lack of variety in Air Supply’s music, which might explain why ‘Even The Nights Are Better’ dropped from #6 to #42 on the Billboard Hot 100 in just one week. It was one of the quickest descents in the history of the Billboard Hot 100. Dave Anthony, program director of KZZP-FM radio in Phoenix, had skyrocketed his station from 3.0 to 5.8 overall market share, to become the top contemporary station in the market. He achieved these results by instilling a more upbeat rock sound designed for 18-34-year-olds. Rock artists such as Pat Benatar, Journey and Bob Seger were put into higher rotation. “Some artists we’re against,” says Anthony. “We don’t have one Barry Manilow song in there. I just don’t think that he’s a very relevant artist. I think Kenny Rogers will be there before long. Air Supply is headed in the same direction. They all seem to do the same song over and over.”

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‘Even The Nights Are Better’ - Japan & U.S. 7" Singles

      There was little time for the band to worry about what the critics were saying, because preparations were underway for an ambitious tour across North America. The tour was set to begin on June 15 at the World’s Fair in Knoxville, Tennessee, and finish in Hawaii on November 20. The new show featured flashy laser effects, and an elaborate set design that blew the bare bones tours of ’80 and ’81 out of the water. Plumbline Designs, who designed the Gothic castle used on Ozzy Osbourne’s tour, constructed a stage design for Air Supply that resembled a desert scene in Australia. The three-part stage set had sections that rotated to reveal members of the band. The simulated desert was made of 3,000 cubic feet of boulders, and a 500 square foot beige desert floor with monitor speakers hidden in the boulders. The boulders looked extremely heavy, but were light enough to be lifted by a single person. “What we gave Air Supply is a very realistic, scenic look as opposed to the slightly spacey, abstract look that all the other big acts have,” said Plumbline President, Simon Woodroffe. “It’s a rocky landscape that looks as if you’ve just stepped into the Australian desert.”

      The Air Supply show featured a sound system imported from England which was designed to give clarity of sound without excessive volume. A lighting system of 250 lights controlled by a computerized dimmer, and a laser setup capable of projecting three-dimensional images and holograms were added. The tour required six large trucks to move the $150,000 set between cities, and 24 crew members to assemble the stage. Russell felt the band owed it to their fans to create a spectacular show. “The price of tickets these days is astronomical, out of this world, and it’s out of our control, so we decided to give people something to remember us by,” said Russell. “The set and the lighting just enhance the songs. They put people in a better position to listen to the songs also.”

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      On June 11, Bestall & Reynolds shocked the music world with a huge cross-complaint suit against Air Supply in a Los Angeles Superior Court. The lawsuit was asking for $1.3 billion in punitive and exemplary damages, plus $100 million in special and general damages. They also threw in a $86 million claim for actual damages. The billion-plus suit was the largest in record industry history. Named in the action, in addition to Air Supply group members, was Arista Records and Arista’s Careers Music subsidiary, former Air Supply tour manager Henry Neuman, Careers Music chief Billy Meshel, two Air Supply-controlled music publishing companies, Studio Instrument Rentals and Don Arden. The lawsuit asserted that Air Supply’s recording pact with Big Time Records was still in force, with all options exercised, through March 31, 1986, that date established with the firming of a U.S. releasing arrangement through Arista Records.

      The suit charged Don Arden with making “threats of grievous personal and bodily injury” and “improper activities.” In addition, Bestall & Reynolds charged him with “threatening to financially and professionally ruin individuals employed by the cross-complainants.” The former managers claimed that between late 1981 and early 1982, Arden told Air Supply he could secure a better deal for them and informed the group that they were being cheated by Bestall & Reynolds.

      Bestall & Reynolds claimed that Arista, Neuman, Arden, Meshel and Careers Music induced Air Supply to breach its pacts by falsely representing that their agreements with Bestall & Reynolds were unfair and by offering them money, in the form of better financial terms, should they deal directly with them. In addition, the suit claimed that Arista informed Polygram Records, which released Air Supply’s records in Canada, that Bestall & Reynolds had engaged in fraud with respect to the band and that the group’s Big Time recording contract was not valid. To complicate matters, most of the law suits were filed in both Australian and American courts. Air Supply wanted to throw out the Australian suits because most of the litigants spent their time in the U.S. Bestall & Reynolds argued that most of the original contracts were signed in Australia, and that the courts down-under would hear the cases within a year, whereas they might take four to five years in the U.S.  

      “The situation is very simple,” said Reynolds. “We’ve had our band stolen away from us. In terms of what this band will make in the years to come, plus the seven years we put into building the group, [$1.3 billion] is not such an outrageous sum.” According to The Sydney Morning Herald, the legal battle carried on for two years and was settled out of court, mostly in the managers’ favour. Contrary to what was reported in the media, Lance Reynolds insists that he and his partner never got rich from managing Air Supply; “The cliches of the managers having houses and yachts have been repeated over the years in articles. To set the story straight, Fred Bestall bought a house with the financing from his wife back then. He rented a sailing boat, there was never any ‘yacht.’”

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Japan Tour Book  Apr 16 - May 1, 1982

      On June 15th, Air Supply began their fifth U.S. tour with sold-out arenas, universities, and everything in between. They sold a variety of merchandise at concerts, including shirts, hats and their first tour book. They introduced a new stage show with numerous special effects. “It was quite a process to get to the place we’re at now,” said Russell. “We’re able to incorporate state-of-the-art lighting and sound systems, as well as sophisticated laser technology, but we are careful that the special effects don’t detract from the music or overshadow it.”

      “The new stage effects were a challenge,” said Ed Auswack, President of Laser Media. “It involved a lot more creative thought to use the laser in a subtle way. One normally identifies the laser with hard rock and Star Wars type imagery, but we couldn’t do that with this group.”

      The sheer size of the tour meant it was not feasible for Air Supply to perform in some countries. “We haven’t played in Australia for over two years,” said Graham. “If we play there we want it to be with the set and our whole crew. At the moment financially, we couldn’t do that, because with 26 or 27 people in the entourage [Australia] is so far away that we would lose money on it. We can’t afford to do that right now. Air Supply has always tried to involve the audience as much as possible. We don’t want people leaving our concert saying, ‘Wasn’t that a pretty light show?’ We want the fans to get their money’s worth on all fronts.”

      The North American concert tour got mixed reviews from music critics:
      Although the group gushed about being ‘Lost In Love’ and mushed about ‘Young Love,’ it never managed to work up any more passion than actors in a well-produced perfume commercial. While Russell Hitchcock’s pure voice hit all its notes and sustained them with ease, it often lacked genuine warmth. But at least Hitchcock moved a bit. The rest of the band stood stationary, as if suffering from robotic inertia. - Divina Infarino, The Milwaukee Journal

      Amid a well-orchestrated light show, props that made it look as if the band was playing on a rocky hillside, and idyllic scenes projected onto a huge screen behind them, the group conjured up images of soft summer nights and turbulent affairs of the heart. Lead vocalists Graham Russell and Russell Hitchcock stole the show with perfectly balanced harmonies and between-song chatter. Hitchcock was in prime condition for the 90-minute performance. - Inge Langer, Ottawa Citizen

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      Australian soft-rockers Air Supply descended upon Radio City Music Hall [on July 22] amidst searing lights and spooky haze to open with their surprising hard-rock tune, ‘Can’t Get Excited.’ The high energy level held throughout the 90-minute show as the band ran through a mixed repertoire of their well-known hits, including ‘Lost In Love’ and ‘Every Woman In The World,’ and some beautiful cuts from their latest LP, ‘Now and Forever.’ Air Supply’s ability to really rock is impressive and surprising, as their albums seldom move from soft, melodic ballads. ‘Taking The Chance’ and ‘One Step Closer’ had the teenage sector of the sold-out crowd dancing in the aisles. Never neglecting the older audience, Russell Hitchcock and Graham Russell delivered consistently smooth harmonies on such mellow numbers as ‘Even The Nights Are Better’ and ‘All Out Of Love.’ Seeming as reluctant as the crowd to end the evening, the band returned after five minutes of cheering to tag on an appropriate encore with ‘Don’t Say The Morning’s Come’ (‘The One That You Love’). - Kim Freeman, Billboard   

      Regardless of what the critics were saying, Air Supply rode their wave of success. Musically, the band was in terrific shape. The current setup of seven musicians had been together for two years, and performed with professionalism on the road. Vocally, Russell was having some of his best concerts to date. “My voice is in better shape now than it has ever been,” said Russell. “In 1980, I really wore it out. We had to cancel the last couple of dates of the tour. I decided to approach singing different. I took it down into my chest a little more, instead of singing in my throat.”

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U.S. Pressing - Arista/Big Time

      In September, Arista released the single, ‘Young Love.’ When Air Supply played it live for the first time it got a warm reception from fans. A promotional music video, shot in New York during a short break in the tour, showed Graham on piano for the first time. Graham was surprised that ‘Young Love’ was chosen as the next North American single. He preferred ‘Now and Forever,’ because he felt it was the strongest track on the album. “It hasn’t been marketed [in North America] as a single yet, but I’m sure it will,” he said. “I like the title cuts to mean something and this song really points out what we’re trying to do. We’d like to cement ourselves in people’s minds.” In May of 1983, Big Time Records released ‘Now and Forever’ as a single in Australia.

      Billboard gave a mostly positive review of ‘Young Love,’ knowing that anything the band released was sure to be a hit with their loyal following:
      With one of the duo’s gentlest vocal deliveries yet, this soft rock ballad caters to their younger listeners. Expect that hook to buttress their mainstream response while the song’s wistful lyricism should pull their usual strong adult contemporary reaction.

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Russell With Cast After Breaking Wrist

      Air Supply continued their lengthy tour throughout the States, but it almost ended prematurely when Russell fell from the stage at the Minnesota State Fair on August 30. About an hour into the show, Russell had walked on a narrow ledge between the audience and the speaker system, and he lost his footing trying to return to the main stage. He fell about seven feet onto a concrete apron. The band finished the song without him, but the show was stopped shortly after. Coincidentally, the accident occurred while Air Supply was performing the song ‘One Step Closer.’ Russell was taken to a local hospital and treated for a broken wrist, three broken ribs and several bruises. “We were all rocking out,” said Graham, “and Russell was out there doing his thing, and all of a sudden he was gone! So I thought, ‘Oh that’s cool, he’s probably gone for a drink or something.’ Then suddenly I saw the ambulance and all the people on the floor. He was on the concrete below. There was this picture of him in the paper the next morning. He was lying flat on his back, and it looked like he was dying. He broke his arm, but was lucky as he could have broken his head.” Russell played the following show in Denver, Colorado, on September 3, wearing a cast and sitting on a stool. He was in obvious discomfort on stage, and told the crowd, “How do I feel? I feel like a guy who fell off a 10-foot stage.”

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'Come What May' - 7" Philippines        'Lost In Love' 7"

      ‘Young Love’ ended the streak of Top 5 songs on Billboard, when it peaked at #38 in October. Cracking the Top 40 was still an accomplishment, but the song’s limited success signaled a change in the musical landscape. A third single, ‘Two Less Lonely People In The World,’ was released in November. Clive Davis had composers Ken Hirsch and Howard Greenfield shape the song specifically for Air Supply, and it took radio by storm, especially in South America and Asia. The song became the wedding anthem of the early 80s, despite reaching just #38 on Billboard and #46 on the Kent Music Report.

       A fourth single, ‘Come What May,’ was released in some parts of Asia and Latin America. The song became very popular with fans in these regions, and had some success on local charts. The 7" single featured ‘Taking The Chance’ on the B-side. Russell felt that ‘Come What May’ was perhaps the strongest song on ‘Now And Forever,’ and was surprised it was not released on a wider scale: “This was another song that escaped recognition in North America, but was a big hit for us in Asia and in Latin America.”

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'One Step Closer' - Japan 7" Single

      In Japan, the upbeat track titled ‘One Step Closer’ was released as a single. Surprisingly, given Air Supply’s significant popularity in Japan, the song failed to gain much attention on radio.

       Legal troubles continued to pester Air Supply, when Big Secret Music, a California publisher, and Rare Blue Music, a U.K. publisher, brought litigation against the band in a Los Angeles court in November. The plaintiffs claimed that Graham Russell’s ‘Lost In Love’ infringed on their copyright of the song ‘Save Me,’ written by Guy Fletcher and Doug Flett. Named as defendants were Arista Records, B.R.M. Publishing, Arista Music, Big Time Phonograph Co. and Bestall/Reynolds Music. The suit sought a percentage of the profits and $1 million in punitive damages. The case took many years to filter through the courts, and was especially troublesome for Arista Records because they were required to calculate and disclose the net profits of ‘Lost In Love.’ This was a difficult and costly task, as Arista had to review hundreds of invoices and related data, complicated by the fact that ‘Lost In Love’ was released in the U.S. on two separate albums (‘Lost In Love’ LP and ‘Greatest Hits’ 1983 LP), as a single and as a ‘flash-back’ single. In addition, Arista had licensed several third parties in the U.S. the right to include ‘Lost In Love’ on various record compilation packages. To handle the workload, Arista hired close to 30 temporary employees who searched for documentation in over 300 boxes over a four week period. An accounting firm was retained to analyze the data and to calculate gross revenue and net profits. The financial cost of the legal proceedings and the extent of disruption to Arista’s business activities was extensive.      

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1982 Concert Stub & 1983 VHS

      The tour of America wrapped up in Hawaii with a show at the Neil Blaisdell Arena in Honolulu on November 20. The concert was recorded for an HBO TV special that aired on January 23, 1983, with Don Arden as the executive producer. Surprisingly, Air Supply did not include their two latest American singles in the live show, but did perform an upbeat song called ‘Late Again.’ In November, it was released as a single in Australia, and was included as an exclusive track on the Australian album ‘Now And Forever.’

      HBO aired the Hawaii concert again in 1984, plus it was released to retail ($29.95) in November on VHS, Beta, and LaserDisc and was a popular rental. North American video stores in the 80s tended to stock few Beta videos, so even non-Air Supply fans with Beta machines were more likely to rent Live in Hawaii based simply on limited options, and become fans through watching.

      Air Supply in Hawaii was released on video for two purposes: to please old fans and to gain new ones. The concert featured plenty of the old favourites that made Air Supply so popular, but also a few harder rock tunes carefully selected and placed at the beginning of the tape to shock and capture rock fans. The video begins with a breathtaking laser show and well-chosen soft lighting to enhance the concert footage without distracting the viewer form what Russell says is important to get across: the message of the music. There was limited editing and post production work on Air Supply in Hawaii, and a few mistakes made it to video. “I’ve seen the video three or four times,” said Russell, “and I’ve thought, ‘Oops, the vocals are off key.’ But that’s what we wanted people to see - us, really live. People had only heard us on records that were really slick with everything just perfect. We wanted them to see how an audience responds to us in a live situation and that we are capable of filling a place with a helluva lot of enthusiasm. People have not seen us. Because of the material we’ve released up to this point, we’ve been given this non-image. The video cassette is a great opportunity for us to broaden our audience and show people that we are capable of greatness in concert. And I think we are. I’m sure that people who accidentally saw the original production that was on HBO were pleasantly surprised.”
 楼主| 发表于 2012-11-16 09:43 | 显示全部楼层
译文: <转载请注明空气补给中文网>
      1982年的美国音乐大奖在1月25日举行。这次盛会在洛杉矶举行,Air Supply获得了最受欢迎流行/摇滚乐队,组合的提名。这个时候乐队已经回到澳大利亚,奋力制作他们的下一张专辑。Graham和Russell被要求在悉尼海湾大桥下演唱(‘Sweet Dreams’),并通过卫星直播到洛杉矶的现场。“在这里是白天,和平常晚上的演出非常不同,因为我们要把信号传到美国。”Russell说,“我们演完这首歌,然后我们被安排坐在两个凳子上,因为我们被提名这个奖项。就等我们赢得大奖后,等待发言,接下来就没有回应了,我们甚至不能接受祝贺,什么都不能。” Air Supply击败了AC/DC, the Pointer Sisters和REO Speedwagon把他们首座AMA奖杯带回了家。这座奖杯至今依然是AC/DC歌迷心中一个永远的痛,因为他们输给了他们的澳大利亚同行,而乐队的风格又是如此令人难以接受。有趣的是,AC/DC是Russell心中第二钟爱的乐队,仅次于Beatles。

  1981年,Lance Reynolds和Fred Bestall正决定安排让Air Supply参与Andrew Gatty制作的一部电影中的原声大碟。Gatty正在制作一部名叫The Return of Captain Invincible(无敌船长的回归) 的澳大利亚音乐戏剧,电影在澳大利亚拍摄。这部电影有大约5百万的预算,纽约的一部分被重新制作成巨型大吊。在Gatty让他们负责之后,Lance和Fred计划让Air Supply为整部电影原声录制10首歌。但是,The Return of Captain Invincible被延期到了1983年,Air Supply最终也因为和经纪人的关系破裂而被排除在最终计划之外了。

      Air Supply和 the Little River Band都在为另一部澳大利亚电影The Pirate Movie录制音乐,电影开始摄制于1981年9月。电影由20世纪福克斯在全球范围内发行,总用花费了大约300万美元在宣传上。这桩合同是澳大利亚电影史上最重要的一步,因为这是第一次有主流发行商来宣传电影。The Pirate Movie,包含了美国演员Christopher Atkins和Kristy McNichol,电影在1982年上映,在商业上是个彻底的失败。最终电影没有包含任何Air Supply或者the Little River Band的音乐,而取用Kool & The Gang,The Peter Cupples Band。

      直到1982年开始的时候,和Big Time的关系不和已经不是秘密了。合同注明给予Bestall & Reynolds Air Supply从唱片中获利总额的60%,而出版商和Graham的协议支付给他总收入中的70%。Graham相信他的出版商和Bestall & Reynolds将会给他歌曲版权和控制音乐的权利,但显然现实不是这样的。

      在Bestall & Reynolds解雇了乐队的巡演经理Henry Neuman之后,他们与Air Supply的关系开始恶化,他们解释说Neuman没法解释一些资金的来源。另外Bestall & Reynolds认为Neuman与Graham的个人关系会对乐队造成不好的影响。Air Supply与他们的经纪人团队突然停止交流了,乐队试图把他们从Bestall & Reynolds的合约中解脱出来。

      3月4日,Bestall & Reynolds在澳大利亚法庭起诉Air Supply违反合同,因为他们试图把40万美元转向乐队。第二次诉讼要求法庭澄清1981年合同中的条款。第三次诉讼试图验证1978年Air Supply与Big Time Phonograph Records的唱片合同。

  到了3月17日,Air Supply反驳在洛杉矶高级法院向他们的经纪人,Arista,提出3千5百万美元的诉讼。诉讼中指控的人员违反受托责任,虚假宣传,违反合同,承兑欺诈,转换和违反公约。Air Supply宣称他们的经纪人告诉他们和Big Time签约是个很好的举措,但是乐队称在1978年时太天真了。诉讼同时宣称Bestall & Reynolds从Arista收到50万美元没有记录在账上并支付给乐队。乐队可能有高达300万美元的这方面损失。Air Supply也称Bestall & Reynolds私自挪用音乐设备和舞台道具财产。第二次诉讼由他们前乐队成员Criston Barker提出,向经纪人提出索要33万美元赔偿,声称和Big Time的合同是严厉而不合理的。” Lance Reynolds描述Air Supply的起诉显然是耸人听闻,Reynolds坚持认为乐队的合同是证明有效的。Reynolds在洛杉矶的律师认为这次诉讼是一次“赤裸裸的贪婪,忘恩负义并且想要逃脱合法的合同。”

      “我一直相信是人造就了一切。” Russell说,“失去了音乐或者是艺术,他们就不是经纪人,或者代理人了,也没有唱片,录影,一切东西了。所以你对整件事情感受更强烈,你希望得到正义。这很难衡量,因为你的确感觉到了你的心和灵魂被偷走了。”

      4月,Air Supply突然和摇滚史上最声名狼藉的经纪人Don Arden签约。“Air Supply在80年代初统治美国主流电台,他们曾经是最成功的乐队,但也是最被低估的乐队。” Arden于2004年在他的自传《Mr Big》中提到,“完美的音乐盒动人的摇滚旋律相结合,Air Supply的歌朗朗上口而且异常流行 - 但不是那种容易引起媒体注意的乐队。因为他们从来没有在英国和欧洲成功过,但是在美国却度过了5年大红大紫的日子。” 在英格兰,Arden带领着Black Sabbath和ELO乐队成为明星, 他被称作 ‘流行界的阿尔卡彭’ 。他开设了自己的音乐厂牌,Jet Records。1972年他移居美国前一直生活在英格兰。Don在音乐上有着可怕的记录,但他也以他可疑的商业手段出名。这些所谓的方法手段包括殴打和安排持枪的助手。

      Graham和Russell第一次听说Don Arden是当他们在新加坡,他们6周东南亚巡演的第一站。Arden直接从洛杉矶的家中给他们打电话问是否能够经营他们的乐队。Russell对Arden那有争议的历史有所耳闻,但是由于他能让ELO成为明星,他也能让Graham 和他同样如此。Arden在第二天飞去西甲破处理商业上的事宜。他们在马尼拉的酒店的总统套房和Arden见了面。Air Supply震惊了,影响深刻,像Arden这样的音乐节大佬能够飞半个地球就为了和他们作一次如此短暂的会面。Arden告诉他们,“你们也许听到许多关于我是黑帮的新闻。我能告诉你那其中只有10%是正确的。但是我会照顾好你们,和我一起吧孩子们。我会让你们成为超级明星。”     

      Air Supply希望Arden能把他们从现有的经纪人合同中解脱出来,重新和Jet签订利润更丰厚的合同。Arden过去经常通过恐吓,暴力威胁或者一次性付款来解决问题 。有时候是三种手段并用。“ Air Supply是在80年代初期统治美国主流电台最成功又最不起眼的摇滚艺人。” Arden在2004年他的自传《Mr Big》中说道,“以美妙的音乐和朗朗上口的旋律,Air Supply的歌曲非常流行 - 但却不是那种经常在媒体上抛头露面的乐队。因为他们从来没有在欧洲,英国成功过。但是却在美国红透将近5年时间。”

      Bestall & Reynolds的律师称直到诉讼解决,Air Supply依然和Bestall Reynolds经纪公司在合同期内。“他们没有权利同时签订另一份经纪人合约,直到诉讼结束。” 律师说。这个窘境显然让Reynolds和Bestall极其愤怒,当Air Supply的经纪团队他们得知Don和他的手下想要从他的手上偷走他得乐队时,他们必须要去关心了。

      Arde在他的自传中写了一个故事 ‘window incident’ :“与传说相反,它不在20层楼,或者类似的。Stigwood的办公室实际上在第四层。我和我的人去暗访,所有人都好像被冻住了。然后就像我们排练的,一些人锁掉了前门拿走所有电话。我让所有人保持镇静,待在座位上,说我们在几分钟后就走。没有人动。然后我走进了Stigwood的办公室,坐在他面前。他开始颤抖。‘Don。’ 他说,‘真是个惊喜。’ ‘别打岔!’ 我说,‘你知道我为什么会在这里。’ ‘这是关于the Faces吗?’ 我还不想回答。我只是看着他,说,  ‘你明白吗,你真的没必要那样做。那可不是商业,那完全就是胡扯。你应该出去找你自己挑选的人,培养他,就像我做的那样。而不是从别人手上偷来 - 特别是别从我手里。’ 他到现在还在颤动。 ‘不Don。’ 他说,‘完全不是!’ ‘因为假如你那样做。’ 我说。别演戏了。‘这就是下场。’ 我把他从椅子上拎起来,拖到阳台上。他哭了。‘不Don!’ 我把他的头砸向阳台边上,说,‘你看到下面他妈的街道了吗?好吧,如果你下次再搞我,那里就是你的归宿!’ 。事情办妥。我和我的人开始开玩笑起来了。就像我完成了我的演讲,其中一个人叫了起来,‘让我们现在把他带走吧!’ 他们所有人都冲进去,把Stigwood举过头顶。他们把他架到阳台边缘,就像要把他扔出去那样。Stigwood吓死了。就像他要死了一样。我们把他扔在地板上,没有挪动。他再也不会来找我们麻烦了。”

      公平地说,如果没有Lance Reynolds和Fred Bestall,Air Supply不会在美国成功。经纪人们策划了他们参与Rod Stewart的巡演,而这正是Air Supply最需要的,而那时他们被CBS遗弃,他们签约了他们自己的品牌Big Time。如果没有这个唱片合约, ‘Life Support’ 专辑可能就不会录制,Robie Porter也不会有机会在美国靠 ‘Lost In Love’ 打响品牌。不管怎么样,Air Supply和他的经纪人之间的痛苦永远不会消失。

      “你不得不望着这个人,谈论着过去的记录。” Lance说。“我们在唱片工业界做了一些调查,意识到我们如今遇到的究竟是什么事情。这么说吧,这几乎无法让人相信。这整件事都是悄悄地在做。现在他们上电视节目称我们是可疑的人物。”  Lance被这件事深深地伤害了,他在1985年的悉尼Herald访谈中谈了一些他得感受。““在刚刚六个月里,我才刚刚恢复了,这次是我第一次在公开场合说这件事情。它摧毁了我的忠诚感。Fred和我在一起和这些家伙一起合作了7年了,而他们又是那么的正直,然后他们突然无视了我们的存在。我真的受伤了。我感觉那不是真的。”

       在1982年,经纪人和乐队之间的分离的谣言就像野火一样蔓延开来:Billy Gaff和Rod Stewart,AC/DC和Ted Nugent,John Reid和Elton John,Derek Sutton和Styx,当然还有Bestall Reynolds和Air Supply。西部国际的总裁Brandon Phillips感觉到对经纪人的对待确实不公平。“作为一名经理,我可能会有些偏见,但我不是愚昧的。” 他说,“至少有一件以上的事件,而今只能通过法庭来解决,而没有必要向他们的经纪团队道歉。当艺人们还没有出名的时候那些所谓的顾问和律师们都去哪里了呢?真为那些拿钱消灾的律师们感到羞愧,当真的需要建议的时候他们却跑得无影无踪了。”

      Don对待Air Supply就像亲人一样。他喜欢称他们为 '孩子们',经常带Graham和Russell去他从Howard Hughes手上买来的好莱坞大厦。几乎很少有人有这样的特权在Don的豪宅里玩。他邀请他们经常来玩这就证明了他对于Graham和Russell的钦佩。许多Don的商业伙伴都被邀请进这座大厦里,就像似这是美国最神秘的地方。一个他得商业伙伴记得他携家带口进入这个豪宅内玩时的情形,“当我去访问Don好莱坞的美丽家园里,这就像是克林特伊斯特伍德中电影中的场景。我被搜身,我家人也被搜身了。Don就是喜欢这样。他喜欢教父里的剧情。” Arden在黑手党内有朋友,这是一个他从来不会去掩饰的事实。黑手党被指示来帮助Arden削减唱片盗版数量,还有在演唱会外贩卖没有经过版权允许的纪念品周边产品。

      “1977年,我买了我的梦幻屋。” Arden说。“事实上,我不认为我的梦想像这样延伸。Howard Hughes在40年代设计和建造了这幢房子。这不是又一桩好莱坞式的大厦:这是我自己的世界。我从法国演员Charles Boyer手上买下来。尽管如此,我花费了7百万美元买下来8英亩和所有Hughes造的地产。然后我又花了另外3百万来翻新它。当然,这会导致很多人的嫉妒。我总是会在那里为给我做事的人举行派对:Jet公司的员工和CBS员工,不仅仅是那些大人物,也会让一些秘书来,几乎任何人,甚至那些负责仓库和植物的园丁。我想要他们全部人都感受到他们的重要性,和感激。”

      Don作为经纪人经营着Ozzy Osbourne的单飞生涯,在1982年,Ozzy娶了Don的女儿Sharon。Sharon开启了她的音乐生涯, 作为结婚礼物,Don给了她Ozzy Osbourne的经济合同。Don和Sharon最终关系恶化,因为Sharon想要打破原先与Jet Records的合同去和另一个厂牌签约。“Don Arden喜爱权利。” Sharon说,“我发誓,在他见到教父的时候,会让他疯狂。他认为自己是教父。他这样生活,也喜爱这样。他是斗士:他和任何东西斗争,他受教育不多。但是他是一个很坏的生意人,他总是认为“如果你搞过我一次,我必须要搞你两次。”。他从来不会去诉求法律和警察,他总是用自己的方式来解决问题。”

      当这个法律纠纷递上法庭时,Air Supply回到录音室录制他们的下一张专辑。整张专辑都再悉尼进行录音,Harry Maslin重返制作人和录音室的位置。Russell非常满意录音室的地理位置,因为他妻子和儿子都居住在悉尼一栋面积很大的公寓里。Graham依然住在Avoca海滩的牧场里,离悉尼北面仅仅一小时的车程。最近他在Ourimbah买了一块农场,位于中海岸的小镇和郊区。有一首歌在录音室里完成,并且将放进即将发行的新专辑里, ‘Now and Forever’。Graham为一部独立制作由Cheryl Ladd和Robert Coleby出演的澳大利亚电影写了这首歌。Russell和Graham在一个短网拍墙球俱乐部和Cheryl见了面,此时她正在拍摄这部电影。她问是否可以为这部电影录一首歌。Graham回到家当晚就写完了这首歌,这首歌也作为1983年的这部电影《Now And Forever》的标题曲。

      在1982年春天,Air Supply结束了6周的东南亚之旅。他们在7个不同国家演出了25场,所有的场次都提前售完。巡演开始于新加坡,经过马来西亚,香港,泰国,菲律宾,日本和韩国。Air Supply之前曾经在日本演出股,但这次是乐队首次亚洲连续演出。他们在日本演出了13场,受欢迎度可以媲美过去和现在的任何一支乐队。

     Air Supply在日本的流行度并不简简单单是因为他们在美国也成功。一支在公告牌上成功并不意味在日本排行榜也成功。国际艺人如果想要在日本增加销量他们必须去现场表演。“ 大洋对岸的经纪人都明白这一点。”  Nippon Phonogram的总裁Nobuya Ito说,“像Air Supply这样的艺人在日本像要建立起声望,卖出成千上万张LP,就像日本艺人一样。这在过去2,3年是个有趣的发展。对于Air Supply的专辑我们重新设计了原创的唱片封套。我们对待这张专辑很小心翼翼。在Air Supply出现在排行榜之前,我们已经看见了光明的未来,我把Air Supply带来进行宣传巡演。大的投资一定会带来大的收效。”     

      Arista在5月19日发行了首支单曲 ‘Even The Nights Are Better’ 。而专辑 ‘Now and Forever’ 也在一周后成为了金唱片。首支单曲是又一首由Clive建议选择的,Graham和Russell相当犹豫是否应该录制它。Russell认为这首歌太像Christopher Cross的 ‘Arthur’s Theme’ 。“当时我们和制作人Harry Maslin一起在澳大利亚录音室里。” Graham说,“不知道因为什么,他们就是希望我来唱这首歌。就像一些我们以前的好歌一样,我起前奏,Russell慢慢跟进来唱,我想可能他们就是想要我们保持这个风格吧。但这首歌听起来完全不对味。最后Russell试着唱了一或着两遍,真的太棒了。”

      仅仅过了几个星期 ‘Even The Nights Are Better’ 爬上了公告牌第#5位。这是他们连续第七首达到世界上最重要排行榜的Top 5位置。只有Beatles达到了这个高度。这首歌在国际范围内也是成绩卓著,他想世界宣告,Air Supply回来了。新专辑在排行榜上也是非常不错,在1983年开始,它就获得了白金销量,这是他们连续第三张LP专辑有如此佳绩。这张专辑的成功真是太及时了,因为Arista在1982年都没有任何一张专辑获得白金销量。

      Air Supply向歌迷保证 ‘Now and Forever’ 将会有特别的听觉感受。但是评论家失望得发现这张新专辑和之前的并无两样。这当然会满足Air Supply的歌迷们,但是却令那些期待新东西的人们失望了。唯一显而易见的东西就是团队对新专辑的贡献更大了,其他的团员相机都贡献了歌词。Rex Goh在两首歌专辑中重要的歌曲中都有参与。尽管有许多别的作曲家为专辑贡献了许多材料,专辑依然是非常传统的Air Supply风格,一名评论家这么写到:

     Graham第一次用他的低沉的嗓音,在高潮和和第二声部中演唱,Russell的嗓音真是令意大利男高音都羞愧。 ‘Now and Forever’ 并不是太成功。它仅仅是对一个久经考验的老风格进行了延续。- New Straits Times, Malaysia

      专辑中的歌曲非常复古,Air Supply的情歌数不胜数。其中一首歌从众多甜的发腻的情歌中有所改变的歌曲是 ‘Don’t Be Afraid’。这首歌花了一点时间来突出两位主唱完美的声音,和声。 - Lisa Perry, The Canberra Times, Australia

      北美电台的制作人对Air Supply的音乐不太感兴趣。Dave Anthony是凤凰城KZZP-FM电台的节目主持人,他把他的电台从评分3.0提到了5.8分的市场份额,成为了成人抒情节目中的头牌。他获得这样的成就因为他播放适合18岁到34岁听众收听的更动感的歌曲。像Pat Benatar,Journey和Bob Seger这样的摇滚艺人,会得到更高的播放率。“而一些艺人我们是比较反感的。” Anthony说。“我们没有任何一首Barry Manilow的歌。我不认为他是那种适合我们的歌手。我认为不久后Kenny Rogers将会到那个程度。Air Supply也在往同样的方向前进。他们似乎是那种只是在反复唱“一首”歌的歌手。”

      乐队可没有太多时间来关心乐评人说的,因为他们正在准备着雄心勃勃的北美巡演。巡演计划开始于6月15日在田纳西诺克斯维尔的World’s Fair开始,11月20日结束于夏威夷。80年和81年的巡演无疑是成功的,但是这次巡演把乐队带向了另一个新的高度。而新的演出包括了一些精心设计的闪烁的激光特效。Plumbline被雇来搭建舞台,重现澳大利亚的沙漠场景。Plumbline在Ozzy Osbourne的巡演中也有设计过一个类似的哥特式城堡。这三个部分的舞台分别可以用来旋转展示乐队成员。这个模拟的沙漠用3000立方英尺的巨石搭建而成,一个500平方英尺的米色与监视器扬声器隐藏在巨石沙漠的地板中。 “我们给予Air Supply的是一个非常真实,养眼,些许古怪,引人入胜的感觉。” Plumbline President说,Simon Woodroffe说 “这是一个充满岩石的场景,这就像你刚刚步入澳大利亚沙漠。”

      由于乐队正在准备一项雄心勃勃的跨越北美和日本的巡演,对于评论家的评论却依旧是有些令人担忧的。据说Air Supply选择这个澳大利亚风格的布景是因为他们想要赢回澳大利亚歌迷的支持。“

      Air Supply的巡演引进了英国的音响系统,用于在大音量下发声更清晰。电脑控制着250个灯光系统,激光装置可用于投影3D影像和全息图像。这场演出需要动用6辆大型卡车在城市之间来搬运所有价值15万美元的装备。24名工作人员来搭建这个舞台。Russell准备给他的歌迷们创造一场相当特别的演出。“这些天的演出门票简直到了天价,完全失控了,所以我们决定给观众一些难忘的记忆。” Russell说。“所有的设备和灯光都是为了歌曲。他们也把观众安排到了更好的位置来收听演出。”

      6月11日,Bestall和Reynolds以起诉Air Supply作为回应,震惊了音乐界。起诉要求13亿美元的赔偿和损失赔偿,外加100万美元的特殊和一般损害赔偿。他们还投入8千6百万美元来索赔实际损失。这起亿元诉讼是唱片史上最大的案件。涉及人员除Air Supply乐队成员之外,还有Arista Records和Arista附属的子公司Careers Music,前Air Supply巡演经纪人Henry Neuman,Careers Music主席Billy Meshel,两家Air Supply控制的音乐发行商,乐器租赁商和Don Arden。诉讼声称直到1986年3月31日,Air Supply和Big Time唱片公司的和约依然在生效中,所有条目都有效。

      诉讼也同样指控Air Supply的经纪人Don Arden “严重威胁危害个人身体安危”和“不正当行为” 。另外,Bestall和Reynolds指控他威胁金融与专业采用十字投诉者个人破产。” 过去的经纪人声称在1981年和1982年早时,Arden告诉Air Supply他可以为他们签到更好的合同,并且告诉乐队他们现在被Bestall & Reynolds欺骗了。

      Bestall和Reynolds称Arista,Neuman,Arden,Meshel和Careers Music,包括Air Supply在内对违反公约的虚假地表示和Bestall和Reynolds达成的协议是不公平的,为他们提供资金,在金融方面的形式,他们应该直接与他们的交易。此外,诉讼声称Arista通知在澳大利亚发行Air Supply唱片的Polygram Records,Bestall和Reynolds和Big Time recording的合同是无效的。让事情变得更复杂的是,大多数诉讼在澳大利亚和美国法庭同时开庭。Air Supply想要扔下澳大利亚的诉讼案,因为大多数人都在美国生活。Bestall & Reynolds争辩说大多数原始的合同都是在澳大利亚签署的,法院将会在一年内对这个案子做听证,而在美国可能将会花费4到5年时间。

      “情况就这么简单。” Reynolds说。“我们的乐队被人从手上偷走了。在未来几年中将和乐队进行谈判, 加上我们花了7年时间来打造这支乐队。所以1.3亿美元并不是这样一个无耻的总和。” 根据悉尼先驱晨报报道说,版权战争持续了两年,最终庭外和解了,大多数结果都是有利于经纪人的。相反的,在媒体上报道的,Lance Reynolds坚持说他和他的搭档伙伴从来没有从管理Air Supply中获利;“关于经纪人们拥有豪宅和游艇的陈词滥调在这几年不绝于耳。为了让这个故事圆满,Fred Bestall从他妻子这里融资来买了一幢房子,然后租了一艘游艇,接下来就再也没有游艇的传闻了。”

      6月15日,Air Supply开始了他们第五次全美巡演,同时,门票全部售罄。乐队在演出现场也卖出了许多纪念品,包括T恤。海报,和第一本巡演纪念册。新的舞台背景和特效被粉丝们大为赞扬。Air Supply有了这些舞台效果增强,但是他们会很小心处理尽量不让这些东西的风头盖过了实际的音响效果。“这是一个必须的过程,” Russell说。“我们可以组成最先进的灯光和音响系统,以及先进的激光技术, 但我们必须小心处理,因为这些特效会分散演出的音乐,甚至盖过它。”

      “这是一个挑战。” 激光媒体的总裁Ed Auswack说,“这涉及到更多创造性思维来处理激光效果。一个通常的用法就是像星球大战的风格,但是我们不能把它用在这个乐队上。”

      这次规模庞大的巡演意味着Air Supply在一些国家演出不太容易了。“我们已经没在澳大利亚演出超过2年了。” Graham说,“假如我们在那里演出意味着无法带着完整的阵容参加。在那时财政上,我们也无法达到这个要求,因为带着26或者27人的阵容在澳大利亚,我们可能将会到赤字。现在我们还不能承担这些。”

      北美的演出有着各种不同的评论:
      尽管组合有 ‘Lost In Love’ 还有‘Young Love’ 根本比一个演员演出一个精心制作的香水广告多投入不了多少热情。同时Russell Hitchcock纯净的嗓音轻而易举得冲击着任何一个音符,这往往缺少真正的热情。但至少Hitchcock在台上走来走去,而乐队的其他成员站着纹丝不动,就好像机器人一样。- Divina Infarino, The Milwaukee Journal

      一场精心设计的灯光秀,看上去乐队就好像真的站在岩石山坡上一样,田园背景投影到背后的大屏幕上。主唱Graham Russell和Russell Hitchcock完美的带领演出。Hitchcock在90分钟的演出里,永远保持着兴奋的状态。- Inge Langer, Ottawa Citizen

      澳大利亚软摇滚组合Air Supply降临Radio City Music Hall,他们伴随着灼热的灯光和幽灵般的烟雾唱出了摇滚曲 ‘Can’t Get Excited’ 。这场长达90分钟高能量的演出伴随着乐队为人熟知的经典曲目,包括 ‘Lost In Love’ 和 ‘Every Woman In The World’ 和一首来自最新专辑中国优美的歌曲‘Now and Forever’ 。Air Supply的摇滚让人惊讶和印象深刻。而唱到 ‘Taking The Chance’ 和 ‘One Step Closer’的时候,很多10多岁的年轻人都在过道上跳着舞。他们不会忽略年纪大的观众,Russell Hitchcock和Graham Russell也唱着抒情曲诸如,‘Even The Nights Are Better’ 和 ‘All Out Of Love’ 到晚上演出结束,人们不情愿的留在场内,乐队5分钟后返场,并演唱了 ‘Don’t Say The Morning’s Come’ (‘The One That You Love’)。 - Kim Freeman, Billboard

      无论评论家们怎么说,Air Supply带着他们的成功前进着,音乐性上,乐队一直保持着他们的风格。当前的7位成员已经在一起2年了。声音上,Russell处于他最好的状态。“我的嗓音从来没有像现在这么好过。” Russell说。“在1980年,我真的消耗了很多。我们不得不取消最近几场演出。我决定试着尝试不同的唱法。更多使用胸腔来发声,而不是用我的喉咙。”

      9月,Arista发行了单曲 ‘Young Love’。这首歌在当前的巡演项目中被演唱,渐渐地被观众接受。一部宣传音乐录影带在巡演间歇期在纽约摄制成功,人们第一次看到Graham弹奏钢琴。Graham惊讶这首歌竟被选作下一首单曲。他更喜欢 ‘Now and Forever,’ 因为他觉得这是专辑中最强大的歌曲。“它还没被选作单曲发行,但最终一定会的。” 他说。“我喜欢用标题来意喻着什么, 而这首歌真的表现了我们的心态。我们想要在人们脑海中永远回荡。” 在1983年5月,Big Time Records在澳大利亚发行了单曲 ‘Now and Forever’。

      Billboard公告牌杂志给了‘Young Love’最正面的评价,知道乐队发行的任何东西都会被忠实的歌迷追随,并且将会成为一个金曲:
  随着两人温柔的声音相互融合,这首软摇滚情歌迎合了许多年轻听众。期望引起主流媒体的反应,而这首歌的必定会在成人抒情榜上有所斩获。

      Air Supply继续在美国进行大规模的巡演,但8月30日由于Russell从明尼苏达演出舞台上摔下,巡演几乎过早的终止了。大约在演出进行了1小时的时候,Russell走在音响和听众之间很窄的边缘,在他试着回到主舞台的时候失足了。他从大约7英尺的地方摔在了水泥挡板上。乐队在没有他的情况下完成了歌曲,但是演出很快终止了。巧合的是,意外发生在Air Supply演唱 ‘One Step Closer’的时候。Russell被送往一个当地的医院,治疗胳膊骨折,淤青和肋骨疼痛。 “我们都在玩的很high的时候。” Graham说,“Russell在自己演唱,突然之间他人就不见了!我心想, ‘噢,太酷了,他可能去喝饮料去了。’ 然后,突然我就看到救护车和所有人都围在地板上。他平躺在水泥地上。第二天报纸上就登出了他得照片。他背面平躺着,看起来就像是死了一样。他摔断了他得手臂,幸运的是没有伤到他得头。” Russell接下来继续在科罗拉多丹佛演出,带着保护装备,坐在凳子上。很显然在舞台上很不舒服,告诉观众, “知道我感觉像什么吗?我就像是从10英尺的舞台上摔下来。”

       ‘Young Love’ 结束了他们在排行榜上连续摘得Top 5的表现,10月摘得第#38位的成绩。进入前Top 40依然是一个不小的成就,但是这首歌有限的成功却是发出了一个信号。第三首单曲 ‘Two Less Lonely People In The World’ 在11月发行。Clive Davis让作曲者Ken Hirsch和Howard Greenfield把这首歌修改得更适合Air Supply一点,然后歌曲在电台刮起旋风,特别是在南美和亚洲。到那时这首歌却成为了80年代早期的婚礼进行曲,尽管歌曲只有登上Billboard排行榜第38位和 Kent Music Report第#46位。

       第四支单曲 ‘Come What May’只有在亚洲部分国家和拉丁美洲发行。歌曲立刻在这些地区国家流行起来,在当地的排行榜上取得了一些成功。这个7" 单曲包含了B面歌曲 ‘Taking The Chance’ 。Russell觉得 ‘Come What May’ 可能是 ‘Now And Forever’专辑中最强的歌曲了,而惊讶没有大规模的作为单曲发行。“这是他们另外一首没能在北美发行的歌,但是在亚洲和拉丁美洲却走红。” Russell回忆。

      在日本,快节奏歌曲 ‘One Step Closer’ 作为单曲发行。惊讶的是,Air Supply在日本明显走红起来,这首歌在电台引起了诸多注意。

       版权麻烦继续纠缠着Air Supply。1982年11月,Big Secret Music,一家加利福尼亚的发行商,和Rare Blue Music,一家英国的发行商,在洛杉矶向乐队提起诉讼。原告宣称Graham Russell写的 ‘Lost In Love’侵犯了Guy Fletcher和Doug Flett写的 ‘Save Me,’的版权。同时列为被告的还有Arista Records, B.R.M. Publishing, Arista Music, Big Time Phonograph Co. 和Bestall/Reynolds Music。诉讼寻求一个百分比的利润和100万美元的惩罚性损害赔偿。这起官司持续了好多年,特别是困扰了Arista唱片公司因为他们被要求计算和透露 ‘Lost In Love’ 产生的利润。这是一个艰巨的任务,因为Arista不得不重新审查发票和相关日期,同时 ‘Lost In Love’ 在北美同时收录在两张专辑中 (‘Lost In Love’ LP 和 ‘Greatest Hits’ 1983 LP) ,作为单曲和作为一张 ‘flash-back’ 单曲。另外,Arista同意许多合集专辑收录 ‘Lost In Love’ 。为了完成这项工作,Arista新雇佣了将近30位临时工在300个盒子里,搜寻文档超过4星期。会计师事务所保留的数据进行分析和计算总收入和净利润。法律诉讼的财务成本和对Arista的业务活动的影响是巨大的。     

      美国巡演于11月20日在夏威夷Neil Blaisdell Arena in Honolulu落下帷幕。这场音乐会在1983年1月23日由HBO电视台录制成特别节目。Don Arden是执行制作人。惊讶的是,Air Supply没有演唱最近两首新单曲,但是演唱了一首快节奏的歌 ‘Late Again’。美这首歌被收录进澳大利亚版的 ‘Now And Forever’ LP大碟中,并且10月在澳大利亚作为单曲发行。

      HBO继续在1984年播送这场演唱会,并且在1983年发行了VHS录音带,Beta, 和LaserDisc(LD视频唱片),同年租赁店火热销售。80年代的音像店都几乎都不怎么储存Beta videos,因为没什么可选择的,所以那些有Beta播放器但非Air Supply歌迷都去租赁Live In Hawaii,就这样成为了Air Supply的粉丝。

      Air Supply 发行in Hawaii录影带有两个目的:一是为了取悦老歌迷,和获得新歌迷。演唱会上包括了许多经典老歌,也有一些硬摇滚歌曲,能够捕获一些摇滚歌迷的心。这个录影带开始于一场激光秀。视频几乎没有进行剪辑,很少有错误。“我看过那个录影带3,4遍。” Russell说,“我心想, ‘欧,声音有点跑调。’ 但是那也是我们想要歌迷们看的 - 这是场真正的演出。人们仅仅在唱片中听过我们。我们想要他们看看听众们在现场是如何激动的。人们还没有看到过我们。由于这些原因,所以我们在这个时间发行了这套录影带。这套VHS是绝好的良机让歌迷们看到这场激动人心的演唱会。我确定人们如果不小心看到这个HBO发行的录影带的时候会被震惊的。”
 楼主| 发表于 2012-11-20 16:51 | 显示全部楼层
更新完毕!大家可以看了!这篇好长好长的。
发表于 2012-11-20 19:06 | 显示全部楼层
这篇好长好长的。
发表于 2012-12-8 18:50 | 显示全部楼层
好长啊...一上来就读了这么一大篇 您可真有功夫给翻译过来...辛苦啦
发表于 2012-12-29 00:59 | 显示全部楼层
翻译这么长了...
 楼主| 发表于 2013-2-26 14:14 | 显示全部楼层
修订的图片和文字均已更新完毕!
 楼主| 发表于 2015-2-3 20:16 | 显示全部楼层
大图和更新资料已经更新。
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