找回密码

Air Supply空气补给中文网 | 华人全球唯一空气补给乐队中文论坛

查看: 1540|回复: 3

第十三章:时代正在改变 (1985) (Times Are Changing)

[复制链接]
发表于 2013-1-19 15:29 | 显示全部楼层 |阅读模式
Chapter Thirteen: Times Are Changing (1985)

grlondon 1985.jpg
U.K. Photo Shoot

      Air Supply spent the first few months of 1985 completing the new record, which would become the band’s second self-titled album. It was not their intention to release a second eponymous album, but they could not agree on a suitable title. After much debate, the band figured that since they were starting a new chapter in their careers, a self-titled album would portray a new and fresh beginning. “We made the decision after the ‘Greatest Hits’ album was released,” said Russell, “that it was the end of a section of Air Supply’s career. We were concerned that the next [album] would probably be the most important one.” According to Russell, Air Supply planned to release the album in the second half of 1983, but an “unexpectedly profitable ‘Greatest Hits’ tour delayed it by six months.” The disappointing results from the Montserrat sessions delayed it further. To help pull the album together, Arista hired two producers: Peter Collins and Bob Ezrin.

      Air Supply recorded with Peter Collins in London, England, in December, 1984. Collins, a slight, bearded 34-year-old from Redding, England, was known for his meticulous production and heavily synthesized sound. He had turned out hit tunes for Tracey Ullman and Nik Kershaw, and was mainly responsible for giving Air Supply a distinctly European pop edge. “We told [Peter Collins] we wanted to get away from the big production of the past, and make the songs as contemporary as possible,” said Russell. “He’s very aggressive in his approach, and I think they’re the best-sounding tracks we’ve ever cut. The idea of two producers was to move the group ahead, but not to freak people too much. I don’t think the English-sounding stuff is too radical, and we have more of the traditional Air Supply.”

1985 Air Supply Tour Guide Photo edit.jpg

      The other half of the album was recorded in Los Angeles and Toronto, and was produced by Bob Ezrin. Ezrin, an established Canadian music producer, created a name for himself after producing many of the early Pink Floyd and Alice Cooper albums. Unlike the songs recorded in England, the Ezrin produced tracks would be recognized as classic Air Supply, and would satisfy the existing fan base. “We were cautious not to change direction completely,” said Graham. “That’s why half the album has the type of sound people are used to hearing from us. But my favourite tracks are the ones cut in England.”

      Bob Ezrin had a unique ability to bring out the best in a band. Before producing a record, he went to great lengths to understand the strengths and weaknesses of who he was working with. “The key is to pay attention,” said Ezrin. “Go to some shows, listen to some demos, and listen to their albums, and somewhere in all that you will hear moments of brilliance. You kind of have an invisible meter in your head, like an applause meter, that goes up when you hear certain levels of excellence. And when you hear those magical moments, or see those magical moments, the applause meter goes all the way up to a nine, and you say, ‘That’s it. That is what they are capable of, and nothing short of that will be acceptable for the project we’re about to do.’”

      The sound of the new album was shaping up to have more ‘muscle’ than previous efforts, thanks to stronger drumming from Ralph Cooper and basslines by Don Cromwell. This was evident in the band’s own press release titled, ‘Tough Talk From Air Supply.’ “We are not intending to make a radical image change,” said Russell. “But I think some people might be surprised when they hear our new album. It’s synthesizer-based and more high-tech than our previous work. We wanted to retain our trademark sound, while incorporating a distinct modern edge. I think people that have enjoyed the stuff before will really love it, and hopefully with some of the new sounds on it, we might even broaden our audience.” Graham adds, “It’s something we’ve been wanting to do, and working towards for two years now. We had to get our direction changed for ourselves. These new songs sound terrifically up-to-date. They have a sharp high-tech sound, and what an education it was recording over there [in England]. It was pretty frightening at first working with all the computers and digital equipment.”

     The lead single, ‘Just As I Am,’ was released in May, and was accompanied with a flashy video shot at the Sunrise Musical Theatre in Fort Lauderdale. The video brought together some of the most talented producers in television. It was directed by John Hopson, who also directed such videos as Hall & Oates’ ‘Method of Modern Love’ and ‘Out of Touch.’ The director of photography of the concert footage was Daniel Pearl, who also did the concert footage on the Cars’ ‘Drive’ and Duran Duran’s ‘The Reflex’ videos. The director of photography for the documentary scenes was Jimmy Contner, who was responsible for NBC’s Miami Vice.

Just As I Am Promotional Rob Hegel.jpg
'Just As I Am' Promo Single - Rob Hegel

      ‘Just As I Am’ was written by Rob Hegel and Dick Wagner, and was first released by Hegel as a single with Mercury Records. It had limited success on radio because on the day of its release everyone in the A&R and promotions department at Polydor/Mercury was fired. “My girlfriend at the time was working at a management company and Dick Wagner was one of their clients,” said Rob Hegel. “He and I expressed interest in meeting each other and that meeting led to ‘Hey, let’s write a song.’ He came over to my apartment at 86th and Madison and I played him a melody I was working on - the verse and chorus of what would become ‘Just As I Am.’ Dick added the transition between the two (the ‘I’m not easy to understand’), and we had it done that night. We recorded it for Mercury Records and it was released in January of 1982. Needles to say, [after the staff at Mercury was let go], Dick and I knew our recording would probably end up in the lost and not found department. It did get a little airplay, but nothing to hang a hat on. Dave Carpin (A&R at Arista) heard the record and took it to Clive Davis. Clive knew me from prior dealings with [my publisher] Don Kirshner, and from my RCA recording ‘Tommy, Judy & Me,’ which he loved and thought I should rewrite to make it less controversial. He gave ‘Just As I Am’ to Air Supply, and told them it was going to be their follow-up single to ‘Making Love Out Of Nothing At All.’ Having just had their biggest single to date, and a number of Top 5 singles, Graham and Russell balked at the idea of being told what they would record, so they refused for two years. Clive eventually won out, but the music scene was changing. Air Supply had not been heard of for two years, and the song was their last Top 20 release. I liked their version (though I thought it was a bit loud compared to the way I had recorded the ballad), and it became the video of the year of VH-1. I thought that was cool.”

      Legendary guitarist Dick Wagner, who had done studio work with Kiss, Alice Cooper and Aerosmith, performed all seven tracks of guitars on ‘Just As I Am.’ “Clive Davis had graciously allowed me to submit the occasional song including, ‘Just As I Am,’ a song I had written with Rob Hegel,” said Wagner. “I had submitted the song to Clive three years earlier, before he found a place for it. I was on the phone with Bob Ezrin, and he says that he is producing Air Supply, and ‘Clive Davis wants us to do a song that I don’t particularly want to do because I don’t like it. Air Supply hate it, and they want nothing to do with it because they only want to do their own material. But Clive insists that it’s a smash and we have to do it.’ So I asked him what was the name of the song? And he says, ‘Just As I Am.’ I told him that it was my song! Suddenly Bob said, ‘OK, then I LOVE the song!’ So he invited me to come up to Toronto to record the guitars.”  

      ‘Just As I Am’ quickly gained airplay around the world, and it looked as if Air Supply would once again dominate the pop charts. In June, following the release of the new album, ‘Just As I Am’ reached #19 on Billboard, and remained on the chart for 15 weeks. This would be the highest chart position that Air Supply obtained in the U.S. in the years ahead. ‘Just As I Am’ did slightly better in Canada, peaking at #10. The flip-side of ‘Just As I Am’ contained the song ‘Crazy Love,’ which was advertised as a ‘special bonus track available only on this record.’ ‘Crazy Love’ was much admired by Air Supply fans, and requests to have it released on CD continue to this day.

1985 UK 5 Song Mini LP 45rpm 12inch  revised copy.jpg
            U.K. Mini LP                    May 18 - Air Supply Day

      Arista released ‘Just As I Am’ in the U.K. as a unique 5-song mini-LP to help promote the new single and forthcoming album. Mini-LPs became popular in the early 80s with record companies who targeted customers who were reluctant to pay full-price for full-albums. The ‘Just As I Am’ 12" mini-LP included the songs ‘Crazy Love,’ ‘Lost In Love,’ ‘All Out Of Love’ and ‘Even The Nights Are Better.’

      On May 18, the mayor of Los Angeles, Tom Bradley, declared it ‘Air Supply Day.’ Graham and Russell were presented with a certificate to commemorate the occasion, and some radio stations played Air Supply music for 24 hours straight.

      The 1985 World ‘Power of Love Tour’ began in early March in Sydney, Australia. On stage, the band’s new image was clearly evident, as Graham and Russell performed in flashy outfits, with more glitter than previous years. Russell wore a black spangled jacket, while Graham wore a salmon coloured suit. Russell had lost weight, and was flashing a new smile after having significant dental work done. The new stage show featured plenty of fog, and an elaborate light show, operated by lead lighting technician Chris Taylor. “We have new lights called Vari-Lites,” said Russell. “They’re very versatile and very mobile, so there are some beautiful effects with those, but the staging is a lot simpler than it has been in the past. Because the show is not as overwhelming, the emphasis is back onstage with the musicians, and I can say people are listening more than they have been.” Since the tour started, Russell said he had noticed that the audiences were changing. “The audiences have grown up, and they are a lot older now than they used to be. But still, it has always been more into the middle of the road market. Hopefully, people who are interested in a little harder music will give us a listen.”  
Air Supply 1985 Merged.jpg

      Before heading back to America, Air Supply performed on the Hawaiian Tropic-sponsored pageant The Most Beautiful Girl in the World in Sydney. They sang, ‘I Wanna Hold You Tonight’ and ‘Every Woman In The World,’ beside the Archibald Fountain in Sydney‘s Hyde Park, while the girls in the competition danced in the background. The pageant was broadcast worldwide.  

      Air Supply entered into a partnership with newly formed music channel VH-1: Video Hits One. The deal included full sponsorship of Air Supply’s North American tour. VH-1 was owned by MTV, and its content targeted an older audience, the 18 to 35 year old. While MTV ignored Air Supply for years, its new sister channel aired adult-friendly music videos like Barry Manilow, Lionel Richie, Elton John and Air Supply.

      Don Arden felt the VH-1 partnership, unlike the 1983 Jordache deal that favoured the company, would benefit the artist as much as it does the corporation. “I don’t think they bring the groups anything at all, other than the money,” said Arden. “It does the product a lot of good, but it can’t help the group’s career in any shape or form.” Arden would not say how much money Jordache paid Air Supply, but he implied it was not close to what the most popular artists were getting for sponsorships at the time. “Naturally, if a Lionel Richie or a Michael Jackson can get $8 to $10 million from Pepsi, they’re not going to bother whether it does their career any good or not.”

1985 Resized Air Supply.jpg

      Nonetheless, the deal with VH-1 was very lucrative for Air Supply. The music channel agreed to pay the band what Arden characterized as “a lot of money.” In addition, VH-1 was in a unique position to market the band, and provide considerable exposure on their 24-hour music program. The deal stipulated that VH-1 would air eight spots a day, advertising the venues that Air Supply was performing in that week, in addition to airing the video of the band’s single, ‘Just As I Am.’ This certainly played a role when ‘Just As I Am’ won the VH-1 award for Music Video of the Year, based on the cable outlet’s 1985 viewer’s poll and the number of times the video aired. VH-1 also agreed to have station VJs make local appearances at selected concert dates, and to feature Air Supply regularly in interview segments. Arden was sure the new partnership would mean more records sold for Air Supply. When VH-1 launched in January of 1985, sales of the ‘Greatest Hits’ album experienced a resurgence. “I think this is going to help sell an extra million records,” said Arden. “[VH-1] played ‘Making Love Out Of Nothing At All’ every hour. As a result, we did about 200,000 albums in four months.”

Good Air Supply 1985 Revised Cover copy.jpg

      In June 1985, Air Supply was in the middle of a lengthy tour in support of their new album. Released on June 1, the album sold 600,000 copies in the first two weeks. Thousands of copies were sold through Columbia Record Club, which was made possible after Clive Davis negotiated a deal with Columbia Records for the rights to sell music by Arista’s artists in the successful record club. Shortly after its release, Air Supply’s album was the featured Columbia Record Club Soft Rock & Pop selection of the month.

      Air Supply had hoped to release the new album before the start of the summer tour, but according to Russell, “political rubbish” between the record company and the group caused a delay. The release date was pushed back because Clive Davis insisted on making last minute changes, which Air Supply believed were not necessary. When Bob Ezrin delivered the finished album to Arista it did not include ‘Just As I Am.’ Clive Davis was livid, and refused to accept the album. He forced Ezrin to take Air Supply back into the studio in Toronto, Canada, to record ‘Just As I Am,’ which he still believed would be a huge hit.  

      “At the time they were [Clive’s] number-one group,” said Don Arden. “It all began to turn sour between us, though, when the band were making what should have been their biggest album yet. Clive wanted to dictate how the record should sound to Bob Ezrin, the producer. I’d listened to Ezrin’s mix and was happy with it; it sounded great. But Clive wasn’t satisfied and had the album remixed. Clive had a lot success over the years, but in my opinion he’d ruined the new album of one of my best-selling groups. When I found out, I was close to murdering him. I stormed into his office and told him what I thought of him in front of his whole staff.”

      The ‘Power of Love Tour’ was extended into November, making it another long and grueling tour. Russell wanted to pursue solo projects when the tour was over, and Graham wanted to write film scores. But Arista hoped to start recording another Air Supply album before the end of the year. “It’s a pretty strange lifestyle,” admits Russell. “You go from a Ramada Inn to a taco stand and onto the next Holiday Inn. It’s definitely a form of insanity. You have to be prepared for overnight drives, less than desirable cuisine and plenty of physical exertion. And when you get off the road, it’s a bizarre experience. For the first two weeks, you can’t even sleep. And then you want to go out on tour again. But we ultimately deal with the drawbacks, because we’re addicted to the stage and performing to our fans. I really do believe now that the people who enjoy us play will be just as interested in what we do individually. I just don’t want people to think, ‘Oh, this is the end of Air Supply,’ because we are going to keep doing this because it’s our first love.”

      Music critics applauded Air Supply for experimenting with new sounds during the tour of 1985. The 16-song set list clipped through old - ‘Lost In Love,’ ‘Here I Am,’ ‘Even The Nights Are Better,’ ‘The One That You Love,’ ‘All Out Of Love,’ ‘Making Love Out Of Nothing At All,’ and ‘Sweet Dreams,’ - and new, ‘Just As I Am,’ ‘I Can’t Let Go,’ ‘Black and Blue’ and ‘I Wanna Hold You Tonight,’ from the group’s newest album.

Air Supply 1985 Image_edited-1.jpg

      Air Supply demonstrated they can take things up a notch, if they want to. ‘I Can’t Stay Away,’ a rocker written by the group’s bassist, Donald Cromwell, brought a few folks into the aisle for a little Air Supply get-down-and-boogie. An explosive rendition of the dramatic ‘Making Love Out Of Nothing At All’ featured Hitchcock demonstrating more aptly his vocal range, drummer Ralph Cooper underscoring with a pounding rhythm, lead guitarist Wally Stocker (doing his Keith Richards imitation with dangling cigarette and a bottle on the side) getting a rare chance to sizzle, and the rest of the band bringing it all home. - Syracuse Herald

      Although the ballad approach remains the heart of the new album, the set is well-balanced and the vocals of Graham Russell and Russell Hitchcock seem to pack some emotion, and the full orchestral backup helps. You’ve probably heard the first single on the radio. However, ‘Power Of Love,’ ‘Make It Right’ and ‘Sunset’ are equally as strong. There are a few songs that are on the uptempo side, but sound out of place. Overall, the new LP is superb. - Jack Kegg, Cumberland Sunday Times
With the newly released ‘Air Supply,’ these exponents of adult-oriented pop have beefed up their usual sugar-coated sound on such numbers as ‘Black and Blue,’ ‘After All’ and ‘I Wanna Hold You Tonight,’ and the tougher edge might even win them a new crop of fans from the youth market. - Anonymous critic


Air Supply 1985 High Res Merged.jpg

      Most of the new songs were well received, with the one exception being the cover of Bruce Springsteen’s 1973 hit ‘Sandy.’ Originally titled ‘4th of July, Asbury Park (Sandy),’ Air Supply recorded the song on the advice of Clive Davis. Neither Graham or Russell liked the song, but Clive insisted it be included as one of his three selections. He told Air Supply that if they did not record ‘Sandy’ the entire album would not see the light of day. “I was surprised,” said Russell. “It’s not a typical Air Supply song by any means. It was very difficult for me to sing. I’m not familiar with the boardwalk and Atlantic City. I’ve certainly never met a New York virgin. I still have not decided whether I like it or not.” Music critics agreed with Russell:

      They [Air Supply] must lose marks, however, for their treatment of the old Bruce Springsteen song ‘Sandy.’ A highly descriptive piece of poetry. This beautiful streetwise ballad depicts some of the seamier sides of urban life. But in the the Air Supply version, whole chunks of the song have been dropped, apparently having been deemed too contrary to the group’s image.

      While Air Supply’s self-titled album spent eleven weeks on the Billboard album charts, Graham focused on his Robin Hood project, and anxiously waited for a lengthy break in his schedule to complete it. “Hopefully we’re going to take some time off during the first part of the year [1986] to work on a couple projects, one of which would be ‘Sherwood,’” he said. “It is one of our priorities. It’s just a matter of finding the time to do it.” The vocals for ‘Sherwood’ were recorded several years earlier, and the 32 songs had grown into a three-album project and Broadway show. “Russell will play the lead, and I’ll have some small part.” said Graham. “We’ll bring in other big names for other parts. We’re looking for a Marian right now, but I can’t release any names. It would be embarrassing if the people I mentioned decided not to join us. If the albums really take off, we’d like to take the show to Broadway.”

1985 concert photo.jpg

      Russell hoped to record a solo album, which he planned to start after the release of the next Air Supply album. “I’m in the process of starting inquiring about doing a solo album,” said Russell. “I believe our audience, bless ‘em, will take just as much interest in our individual pursuits as in Air Supply. I think this will give us a new mental lease on life to come back next March and do another album. One of my ultimate ambitions is to return to acting. But I would have to take a lot of time off. I’d have to take acting lessons. I’d have to throw myself into it one hundred percent. I don’t want to be another singer in a rock and roll band who decided he could act. I don’t say because I’ve been successful in one field I could necessarily be successful in another.”

      The second single, ‘The Power Of Love,’ was released in August. Arista hoped the song would propel the album up the charts, the same way ‘All Out Of Love’ did with the ‘Lost In Love’ album. Air Supply was still considered one of the heavyweights in the Arista lineup, but other artists under the label were having much better results in 1985. Whitney Houston, Billy Ocean and Aretha Franklin were selling millions of albums, and were pushing Air Supply off their pedestal.

      Times were most certainly changing. Sales of ‘Air Supply’ plunged in its second month, and was the bands first album with Arista to not reach platinum. It peaked on Billboard at #26 on July 20, and went gold in Canada, Japan and the States. Quite an accomplishment for many bands, but for Air Supply it was a big disappointment. They were, after all, called one of the top bands of the 80s by Billboard. “I think our fans were disappointed because it was a departure for us,” said Graham. “There weren’t as many ballads. I also think ‘Power Of Love‘ would have been a monster hit if it had been the first single released. The record company’s timing was off.”

Billboard Powre Of Love Promo 1985.jpg

      Contrary to popular belief, Air Supply were not first to release ‘The Power Of Love.’ Jennifer Rush co-wrote the song in 1984 and released it as a single later that same year for CBS in Germany. It was the fourth single off her 1984 self titled album, and it peaked at #9 on the German charts in March, 1985.

      CBS London President, Paul Russell, had heard Jennifer Rush perform at a CBS Records convention in Hawaii in 1984, and this convinced him to release ‘The Power Of Love’ in the U.K. It debuted at #97, but after Rush performed it on the popular TV show Top of the Pops, it quickly jumped to #1, and stayed there for five weeks. It became Britain’s best selling single ever by a female singer.

      Peter Collins got a copy of ‘The Power Of Love’ while Air Supply was in England in the dead of winter. “We went to England to do the album,” said Russell. “Peter called me at two in the morning after we were done at the studio and I was back at my apartment. Peter said, ‘I just found this song that was a big hit for this woman called Jennifer Rush. I’ve got to come over right away so I can play it for you.’ I thought it was spectacular. So I called Graham and told him this was going to be one of the biggest things we ever record. I loved the arrangement, the vocals, just everything about it.”

      Jennifer Rush was particularly hurt that her version was covered by Air Supply because she hoped to release the song in America herself. CBS had held off releasing her version in America because they felt the song was too European sounding. After Air Supply released it in North America, Rush released her own version on a much wider scale. Her song reached #1 in Ireland, New Zealand, Australia, Norway, Austria and South Africa. “It was fabulous,” said Rush. “I loved watching the money come rolling in. I could sit back and do nothing for the rest of my life, but I wanted more success and better records. I wanted everything I did to be as popular as ‘The Power of Love.’”

revised.jpg

      It was disappointing for Air Supply when ‘The Power Of Love’ peaked at #68 on Billboard. The song had all the elements of a major hit; outstanding vocal from Russell, powerful and catchy bassline from Don Cromwell. There are many who beleive that it underachieved because it was poorly edited by Arista, and it shared the same title as the Huey Lewis #1 hit, which debuted on radio a month before. Arista had released Air Supply’s single one month too late. Clive Davis and everyone in the band knew right away that their timing was off. “We were in New Jersey,” recalls Don Cromwell, “and I got a call in my room from the tour manager saying, ‘DC turn on your radio quickly!’ It was Huey Lewis singing ‘The Power Of Love.’ The same frickin’ title!”

      “For some reason, Arista cut out the middle section of the song for radio,” said Russell. “We got into quite an argument. It was like taking the middle out of ‘Marking Love Out Of Nothing At All.’ It didn’t make any sense, and that was the first time that radio in the U.S. turned on us. They said it was not up to their standards, and that really devastated me.”

      Jennifer Rush later said she felt gratified when Air Supply failed to crack the U.S. Top 40, because it allowed her to release her own version in North America in January of 1986. Her song went to #1 in Canada, but stalled at #57 in the U.S. Laura Branigan recorded and released ‘The Power of Love’ in October, 1987. Her version had some success in the U.S. reaching #26 on Billboard, but it failed to make a splash internationally. The Jennifer Rush version had already saturated those markets. ‘The Power Of Love’ experienced its most success when Canadian singer, Celine Dion, recorded it for her 1993 album titled, ‘The Colour Of My Love.’ Her version was #1 in the U.S., Canada and Australia, and Top 10 in many countries around the world.

IMG_2493.JPG

      Air Supply’s 1984 performance at Sun City in South Africa created trouble for the band after they were targeted by an anti-apartheid group based in Toronto, Canada, called the Biko-Malcolm-Rodney coalition. The coalition was part of the Black Music Association (BMA) who worked on the cultural boycott of South Africa and apartheid, and they demonstrated against artists who visited and performed in South Africa. A United Nations-backed boycott of South Africa failed because the country was prepared to pay huge sums of money to attract the very best musicians to perform at Sun City’s massive auditorium. The BMA gave awards to artists who turned down lucrative contracts to perform in the region, which included such artists as Roberta Flack, Dan Hill and The Mighty Sparrow. Before Air Supply performed at the O’Keefe Centre in Toronto on October 29, 1985, the Biko-Malcolm-Rodney coalition demanded a boycott of the concert. According to coalition spokesperson, Norman Otis Richmond, “The Toronto chapter was the most outspoken chapter when it came to the question of South African apartheid.” Air Supply road manager, Bernie Boyle, issued a formal apology for the bands performance in South Africa, including a letter of apology that was sent to the coalition headquarters in Toronto. Other artists to issue formal apologies included Kenny Rogers, Tina Turner, Barry Manilow, Queen and Elton John. The coalition was instrumental in Air Supply’s decision to not further play in South Africa.

      Despite the protest hassles, and having to wake up at 6 A.M. to show their passports upon arrival at the Canadian border, Air Supply put on a spectacular show before a sold-out crowd at the Toronto O’Keefe Centre. Even the skeptical media could not ignore the low-key hysteria that Air Supply aroused in their fans:

      All night long the Australian duo were the targets of roses, teddy bears, hastily scribbled notes and shy kisses. The screams were terse. When told to return to their seats, the girls did so obediently. Even the one girl who fainted did so quietly. The whole audience seemed to be made up of Grade 8 honour students. What they saw and heard was something resembling a cartoon version of a Barry Manilow concert. Graham Russell’s songs, which are pleasant and innocuous enough when taken in small doses, too easily displayed their formulaic structure when strung together. Paul McCartney would call them silly little love songs, be he probably wouldn’t have dressed them up with so much gloss (two synthesizers, two guitars, more lights than Niagara Falls on an August night). Hitchcock did display a strong, clear voice and oodles of charm, however, both of which are guaranteed to keep this band at or near the top of the singles charts. But oddly enough, perhaps the finest single moment of the evening came when Hitchcock left the stage to the more serious Russell. Using just the two synthesizers (and a ton of echo) for support, Russell sang a song called ‘Don’t Be Afraid,’ which was reminiscent of ex-Zombie Colin Blunstone at his breathless best. - Alan Niester, The Globe and Mail

      Air Supply embarked on a major tour of Japan from September 10 to October 3 as part of the Power of Love Tour. They played 11 cities including Tokyo, Sapporo and Hiroshima. They also performed in Hong Kong. Air Supply prepared for the trip by doing a live satellite broadcast, from Salt Lake City on August 21st, of the the album’s first single, ‘Just As I Am.’ It was shown live on the Japanese TV show Yoruni Hit Studio. The broadcast was done at 5:30 A.M. Mountain Time in order for it be telecast to the show’s 20 million viewers during Japanese prime time.

greatest hits vol 2.JPG
‘Greatest Hits Vol. 2’

      With both the album and ‘The Power Of Love’ single still riding the charts in Japan, Nippon Phonogram released ‘Greatest Hits Vol. 2.’ It included songs from the previous hits album, but also some lesser known tracks such as ‘American Hearts’ and ‘One Step Closer.’ ‘Greatest Hits Vol. 2’ reached gold status (25,000 units) in Hong Kong, and was reissued on CD in 1989 by BMG Pacific Ltd.

      Russell believed Air Supply was still popular in Asia because they maintained a strong relationship with music retailers. “Retailers can be very creative, and can affect sales in a big way,” he said. “Buying records is not like going to the grocery store because you need bread. If you’re not at the front of the rack, or if your display isn’t as seductive as the next guy’s, when a customer only has seven or eight dollars to spend on a record, you’re going to lose a sale. In Japan, the competition between retailers for the most attractive display for us has become an Air Supply institution. And it’s the result of having the best possible relationship with the retailer and the record company. Having a good relationship with the stores is as important as the relationship between any of the other people involved in your business.”

IMG_1690.JPG

      Following in Graham’s footsteps, Russell moved to L.A. to live with his girlfriend Paula. The move was necessary because most of the band’s operations were now based in the U.S. “From 1980, we have toured North America all the time,” said Russell. “Our MO was to make an album in Australia over Christmas, and then come back to the U.S. in February and start touring. We would not get back home to Australia until October or November. Plus we would go back to Australia three or four times a year. But everything was pushing us back to the U.S., and it seemed obvious that we would have to move to Los Angeles specifically. We were doing every TV show during these years, and if you are in Australia you’re not accessible for them, as they can’t call you up and ask if you can be there in two days. Plus, our management was in Los Angeles, our record company was in New York with an office in L.A. I do much the same here as I did in Sydney. I lead a real quiet life when I’m not on the road or in the recording studio. I like to go out and eat in restaurants, and I also love to stay home and watch a lot of television. And see my girlfriend as much as I can. We’re still proud of being from Australia. I mean, we’re not taking up citizenship here in America.” Russell and Paula hoped to get married in early 1986. “We took the risk of leaving Australia and leaving what we had behind,” said Graham. “We knew that once we left we could not come back but that was the risk we wanted to to take.”
 楼主| 发表于 2013-1-19 15:42 | 显示全部楼层
译文: <转载请注明空气补给中文网>
      Air Supply在1985年开始花了几个星期来制作新专辑,也是乐队的第二张同名专辑。而发行第二张同名专辑并不是他们的意图,但是他们也找不到另一个合适的标题。经过激烈的争辩,乐队觉得既然他们决定要在生涯中开启一个新的篇章,一张同名专辑也可以是寓意着新的开始。“我们最终决定,在精选辑 ‘Greatest Hits’发行之后,Air Supply的音乐生涯将由此展开新的篇章。“Russell说。按照Russell的说法,Air Supply原本希望这张专辑在1983年下半年发行,但是在“ ‘Greatest Hits’ 巡演意外盈利后推迟了6个月。” 而在蒙特塞拉特录音之后的失望的结果更加推迟了专辑的发行。为了帮助新专辑的制作,Arista雇了两位新制作人:英格兰人Peter Collins和加拿大人Bob Ezrin。“

      1984年12月,Air Supply在伦敦和Peter Collins录制专辑。34岁的Peter Collin来自英格兰雷丁,以他的厚重的电子合成乐著名。他为Tracey Ullman和Nik Kershaw制作了一些热门歌曲,而当前主要负责给Air Supply创作独特的欧洲风格的声音。“我们告诉他[Peter Collins]我们想要和过去的音乐有所不同,风格尽可能的更加现代。” Russell说。“他对此非常积极,我认为这是我们做过的最棒的剪辑。两位制作人一致认为要让乐队向前进,而不是让人们感到害怕。我不认为英格兰风格很激进,我们需要更多传统的英格兰声音。”

      另一半专辑在洛杉矶和多伦多的几个录音棚内录制,由Bob Ezrin制作。Ezrin是一名加拿大音乐制作人,创立了一个自己名字的工作室,为Pink Floyd和Alice Cooper制作了许多早期的专辑。和在英格兰录制的那些歌有所不同,Ezrin制作的那些歌曲和Air Supply那些经典歌曲的风格一样,这会取悦到那些老歌迷。“我们在风格改变上作的非常小心。那正是为什么专辑中一半歌曲的风格和我们过去的一样。但我最喜欢的歌曲却是在英格兰制作的。”Graham说。

      Bob Ezrin有种神奇的力量能把最好的东西带给乐队。在制作专辑之前,他竭尽全力来理解长处和弱点。“这是需要注意的地方。” Ezrin说。“去看现场演唱会,听样带,听他们的专辑,你能听到所有闪光的地方。在你的头顶上有一盏看不见的表,就像节奏器一样,上升到一个很高的水平。当你听到或者看到那些神奇的时刻,你会说,‘就是这个了。那就是他们的能力。’”

      新专辑的声音塑造比起以往显的更有力量,感谢鼓手Ralph Cooper 和贝司Don Cromwell。‘Air Supply强调。' “我们不打算做出过激的改变,”Russell说。“但是我觉得人们在听到这张新专辑后会相当惊讶的。这是基于合成器的,比起过去的专辑更加显得具有高科技。在游走在现代边缘的同时,我们想要保留我们标志性的声音。” “这是我们一直想要做的东西,并且一直坚持了2年直到现在。“ Graham说。“我们不得不为我们自己改变音乐路线。这些新的声音听上去相当能跟上时代。尖锐的高科技声音,并且在英格兰录制。第一次和这些电脑和数码设备一起工作真是令人害怕。”

     首支单曲,‘Just As I Am,’ 在5月上旬发行,同时伴着一支华丽的在Fort Lauderdale的日落音乐剧院拍摄的音乐录音带一起发行。这支录影带集齐了许多电视节才华横溢的制作人。John Hopson负责导演,他也导演过Hall & Oates的,‘Method of Modern Love’ 和 ‘Out of Touch’。影片脚本摄影是Daniel Pearl,他也参与过’ ‘Drive’ 和 Duran Duran的 ‘The Reflex’ 录影带。Jimmy Contner负责摄制这支录音带,他也是NBC的迈阿密风云的负责人。

      ‘Just As I Am’ 由Rob Hegel和Dick Wagner创作,由Hegel在1983年Mercury Records唱片公司作为首支单曲发行。当时在电台中仅有有限的成功,因为那时所有在Polydor/Mercury的A&R和宣传部门的工作人员都被解雇了。“我那时的女朋友在经纪人公司工作,Dick Wagner他们的客户之一。” Rob Hegel说,“他和我在会面后表示了浓厚的兴趣, ‘嗨,让我们一起写首歌把。’ 他来到我的公寓,我给他弹了一些我正在写的曲子 - 也就是后来的 ‘Just As I Am’。Dick 对歌词做了些改变 ( ‘I’m not easy to understand’),在那天晚上我们完成了它。我们为Mercury唱片公司录制了这首歌,并且在1982年1月发行。Dick 和 我知道我们的歌有可能从此消失。电台播放率甚微。Dave Carpin ( AristaA&R部门) 听到这首歌,并且拿给了Clive Davis。他把这首歌给了 ‘Just As I Am’ Air Supply,告诉他们这首歌将是他们 ‘Making Love Out Of Nothing At All’之后的另一首单曲。刚刚获得了他们迄今为止最牛的单曲,一首Top 5金曲,但是Graham和Russell被拒绝告知他们接下来将要录制什么,所以他们抵制了这首歌两年。Clive最终获胜了,但是音乐环境已经变了。Air Supply已经消失了2年时间, 这首歌是他么最近的Top 20歌曲。我喜欢他们的版本 (尽管我觉得相比我的版本有些吵),这首歌成为了当年的VH-1最佳录影带,这太酷了。”

      传奇吉他手Dick Wagner曾经在录音室和Kiss,Alice Cooper和Aerosmith等一起合作过,并且在 ‘Just As I Am’歌曲里演奏所有的吉他。“Clive Davis允许我提交一些歌曲包括 ‘Just As I Am,’ 一首我和Rob Hegel一起写的歌。” Wagner说,“这首歌3年前我就已经提交给Clive了。我正在和Bob Ezrin通话,他说他正在制作Air Supply的专辑,‘Clive Davis想要我们制作一首歌,我不是特别想,因为我不喜欢这首歌。Air Supply也不喜欢。但是Clive坚持说这是首好歌,我们不得不去制作。’ 所以我问他这首歌有名字吗?他说, ‘Just As I Am’。我告诉他这是我的歌!突然Bob说,‘这样啊,那我会喜欢这首歌的!’ 所以他要请我一起来多伦多录制这首歌的吉他部分。”  

      这首歌很快在世界风靡,看起来Air Supply将会继续统治流行音乐排行榜。到了6月,伴着新专辑的发行,‘Just As I Am’ 攀上了Billboard第19位,并且维持了15周。这将是Air Supply未来在美国榜上的最高位置了。‘Just As I Am’ 在加拿大表现更为出色一些排到第10位。而B-side是单曲‘Crazy Love’ ,被标示为特别歌曲。‘Crazy Love’ 如今在市面上非常罕见。直到今天,这首歌依旧有呼声要求在CD上发行。

      Arista在英国发行 ‘Just As I Am’,由一张包含5首歌的迷你LP用来宣传新单曲和即将发行的专辑。迷你LP在80年代早期相当流行,目标消费人群是那些不情愿购买全价完整专辑的歌迷。‘Just As I Am’ 的12"寸mini-LP包含了歌曲 ‘Crazy Love’, ‘Lost In Love’, ‘All Out Of Love’ 和 ‘Even The Nights Are Better’。

      5月18日,洛杉矶市长Tom Bradley宣布这天是 ‘Air Supply日’ ,Graham和Russell出席仪式,一些电台24小时播放Air Supply的歌。

      1985年‘Power of Love Tour’世界巡演3月早些时候在悉尼开始。舞台上,乐队的新形象异常明显,Graham和Russell身着比以往更闪亮的衣服。Russell穿着一件闪闪发光的夹克, 而Graham穿着一件鲑鱼色的西装,让人想起了冰淇淋推销员。Russell明显减了很多体重,在做了明显的牙齿手术后展现出不一样的笑容。新舞台包含了大量的烟雾效果,和精心制作的光效果,由首席灯光师Chris Taylor操纵。 “我们的新灯光效果叫Vari-Lites。” Russell说。 “用途非常广泛,并且很便携,效果非常惊人,但舞台比以往显得更简单。因为重点在于音乐本身,我敢说人们听到的声音要比以往更好。” 因为巡演已经开始,Russell说他注意到了听众们正在改变。“听众们正在长大,比以往的歌迷都年长了一些。但是,依旧是很热烈的。”

      在回到美国之前,乐队在悉尼世界最美丽女性评选大会上演出。他们在悉尼海德公园阿奇博尔喷泉旁演唱了‘I Wanna Hold You Tonight’ ,那些参加比赛的女孩们为他们伴舞。

  他们和新成立的频道VH-1: Video Hits One谈妥一桩合同。合同包括了乐队北美部分巡演中的全额赞助。VH-1频道是MTV旗下的,目标群是那些18到35岁稍年长的观众。MTV频道此时已经遗忘Air Supply好多年,她的新成立的姐妹频道播出面向成人的音乐录音到诸如Barry Manilow,Lionel Richie,Elton John和Air Supply。尽管时间上晚了好些年,但这对Air Supply来说依然是好事。

      Don Arden觉得和VH-1的合作关系并不像1983年和Jordache的合作那样有利。Arden觉得和Jordache的合同对公司更有利。“我觉得这次合作带给乐队的除了钱就没有什么了。”Arden说。“尽管形式上非常好,但却无法给乐队的音乐生涯带来任何帮助。”Arden没有说Jordache支付给Air Supply多少钱,他暗示这与当时最著名艺人的赞助费用无法相比。“自然,如果Lionel Richie或者Michael Jackson可以从百事身上得到8百万到1千万的代言费,那他们也不用担心这到底会对他们的音乐生涯有没有帮助了。”

      不过,与VH-1的合同对Air Supply来说依旧是个不错的选择,因为这个新成立的电视频道处于一个特殊的位置,他能在24小时中为观众给乐队提供一个可观的曝光率。部分协议规定,VH-1要在8点档播出Air Supply在那周演出的地点,另加播出乐队的下一首单曲 ‘Just As I Am’。而无疑在 ‘Just As I Am’ 获得VH-1年度音乐录音带大奖中发挥了重要的作用。这个音乐频道同样同意支付乐队,用Arden的话来形容是“一大笔钱”。作为回报,整个‘Power of Love Tour’巡演由VH-1来赞助,大多数演唱会纪念品印有公司的商标。在签订这桩合同后,Arden确信这个新的合作将会给Air Supply带来更多的唱片销量。“我觉得这将会帮我们卖掉额外的几百万张专辑。” 他说。当VH-1频道在1985年1月正式推出后,精选辑 ‘Greatest Hits’的销量得到了复苏。“他们每小时都在播放‘Making Love Out Of Nothing At All’ ” Arden说。“结果是,我们在4个月内卖出了20万张专辑。”

      1985年6月,Air Supply已经在漫长的巡演中度过了一半的时间。伴随着宣传6月1日发行的新专辑,这张专辑已经在开始的两周内卖出了60万张。Air Supply希望在巡演开始前就发行新专辑,但是按照Russell的说法,“政治垃圾” 充斥在唱片公司和乐队之间,所以造成了延迟。不管怎样,一开始专辑的销量是十分强劲的。“这正是我们希望的。” Russell说。“但是,请你们为我们祈祷吧。”

      Air Supply希望在夏季巡演前发行新专辑,按照Russell的说法,“政治垃圾” 充斥在唱片公司和乐队之间,导致了延期。发行日期被推迟,因为Clive Davis在最后时刻坚持做一些Air Supply认为是不必要的改变。Bob Ezrin递给Arista最终完成的唱片中并没有包括 ‘Just As I Am’。Clive Davis大怒,拒绝接受这张唱片。他强迫Ezrin把Air Supply带回多伦多的录音室,去录制 ‘Just As I Am’ ,他依旧认为这首歌将会成为一首大热金曲。

      “那时他们是 [Clive的] 头号乐队。” Don Arden说,“所有一切在我们之间都开始变味,尽管如此,他们做的专辑依然应该是最强大的。Clive想要为制作人Bob Ezrin决定新专辑应该是什么样的。我听过Ezrin的成品,我觉得听起来很棒,我很高兴。但是Clive并不满意,他要专辑重新进行混音。Clive这些年一直成功,但是我的意见是他这样做会毁了这张新专辑和我最那销量最棒的乐队。当我知道这件事后,我几乎要杀了他。我冲进他的办公室,在他的全部员工面前告诉他我是怎么想的。”

       ‘Power of Love Tour’ 被延长到了11月,这变成了乐队又一个冗长又艰苦的巡演。Russell想要在巡演结束后开启自己的独唱计划,Graham想要写电影插曲。但是Arista已经制定了在年底录制新专辑的计划。“这真是一个奇怪的生活方式。” Russell承认,“就好像你不得不准备开夜车,不理想的饮食和身体上消耗的太多。一开始的两个星期,你几乎不能睡觉。然后你将继续上路巡演。但是我们沉迷于在舞台上表演给我们的歌迷看。我确定哪些喜欢我们的人们也会对我们分开的个人计划感兴趣的。我不希望人们这样想, ‘噢,Air Supply要玩完了。’ 因为我们会继续唱下去,因为这就像是我们的初恋。” Graham觉得接下去的两年是 Air Supply的重要时期,伴随着摇滚音乐剧罗宾汉的发布。“多元发展会让我们变得更好。” Graham说。“我们可以适应任何东西,我们也已经做好准备做些不一样的事情了。”

      乐评人对于Air Supply在1985年巡演上表现出的新声音大加赞赏。这份16首歌的曲目单从老歌 - ‘Lost In Love,’ ‘Here I Am,’ ‘Even The Nights Are Better,’ ‘The One That You Love,’ ‘All Out Of Love,’ ‘Making Love Out Of Nothing At All,’ 和 ‘Sweet Dreams,’ - 到新专辑中的新歌, ‘Just As I Am,’ ‘I Can’t Let Go,’ ‘Black and Blue’ 和 ‘I Wanna Hold You Tonight,’ 。

      Air Supply证明了自己,只要他们愿意。 ‘I Can’t Stay Away’ 这首摇滚歌曲由乐队的贝斯手Donald Cromwell谱写。 ‘Making Love Out Of Nothing At All’ 表演了具有戏剧性的爆发力,Hitchcock证明了更合适自己的音域, 鼓手Ralph Cooper带动的节奏更具跳跃性,主音吉他Wally Stocker (风格很像Keith Richards,叼着香烟,酒瓶随身) 得到了很罕见的机会来表现 - Syracuse Herald

      Although the ballad approach remains the heart of the new album, the set is well-balanced and the vocals of Graham Russell and Russell Hitchcock seem to pack some emotion, and the full orchestral backup helps. You’ve probably heard the first single on the radio. However, ‘Power Of Love,’ ‘Make It Right’ and ‘Sunset’ are equally as strong. There are a few songs that are on the uptempo side, but sound out of place. Overall, the new LP is superb. - Jack Kegg, Cumberland Sunday Times
伴随着新专辑‘Air Supply’的发行,像‘Black and Blue,’ ‘After All’ 和‘I Wanna Hold You Tonight,’ 这样的新歌让以往像是包裹着糖衣一样的情歌增加了许多成人流行乐的感觉,也同样会为他们在年轻歌迷身上得到许多支持。- Anonymous critic

      大多歌曲都得到了好评,除了一首翻唱Bruce Springsteen1973年的金曲 ‘Sandy’ 。歌曲原名是 ‘4th of July, Asbury Park (Sandy)’ ,Air Supply在Clive Davis的建议下录制了这首歌。Graham和Russell都不喜欢这首歌,但Clive坚持这首歌要包含在他的三首保留选曲中。“I我太惊讶了。” Russell说。“无论如何这都不是Air Supply歌曲的风格。对我来说很难唱。我对boardwalk和 Atlantic City都不太熟悉。当然我也从来没有见过任何一个纽约的小妞。到现在我还不知道我到底喜不喜欢。” 大多评论人都赞同Russell,并且没有一点点正面的评论:

      他们[Air Supply] 失去了自己的标志。Springsteen老歌'Sandy’,这是一首描述性很强的诗。这首美丽的街头情歌描述了一些乱象丛生的城市生活。但在Air Supply版本中,许多东西都被抛弃了,显然和乐队的风格大相径庭。

      当Air Supply的同名专辑在Billboard专辑榜上待了7周的时候,Graham也把注意力都集中在他的Robin Hood项目上,希望得到一些空闲时间来让他完成。“真心希望我们在1986年开始能够有一些时间来做些别的事情,其中之一就是 ‘Sherwood’” 他说。“这是我们最想做的。这只是一个需要我们一些时间来做的事情。”  ‘Sherwood’ 的声音部分在好些年前就已经录好了,这32首歌需要被装进3张专辑和百老汇舞台“。Russell将会主唱,我也会参与其中一小部分。”Graham说。“我们将会寻找圣母玛丽亚的扮演人,但我不会透露任何名字。因为假如这些人最后决定不参加那就太尴尬了。假如这张专辑最终真的成形,我们将会乐意在百老汇演出。”

      Russell希望录制一张个人专辑,在发行下一张Air Supply专辑之后他就开始计划制作了。“我开始制作一张个人专辑了。” Russell说。“我希望我们的歌迷,也能对我们的个人计划同样支持,就像对Air Supply一样。另一个我的终极梦想就是能够做演员。但我不得不忙里偷闲,我要去上表演课程。并且要百分百的投入。我不想成为另一个在摇滚乐队中想要做演员的人。我不会说因为我在一个领域相当成功了,在另一个领域就一定也能成功。” “我已经鼓励他去做一张个人专辑了。” Graham说。“我试着去说服他去干,他的嗓音太棒了。”

      第二支单曲‘The Power of Love’ 在1985年8月发行。Arista希望这首歌能推动专辑在排行榜上爬升 ,就像 ‘All Out Of Love’ 推动 ‘Lost In Love’ 专辑那样。Air Supply依旧在Arista公司中被认为是重量级的明星,但旗下其他艺人在1985年则有着更好的成绩。Whitney Houston,Billy Ocean和Aretha Franklin都卖出了几百万张专辑,他们都在微微撼动Air Supply的地位。

      时代的确在改变了。Air Supply同名专辑在7月20日摘得了第#26位,并且成为了一张金唱片。这对许多乐队来说是个不小的成就了,但对Air Supply来说,这是极大的失望。毕竟他们曾经80年代最流行乐队。这是Air Supply第一张在Arista旗下没能获得白金销量的唱片。“我想我们的歌迷非常失望。” Graham说。“我同样认为假如 ‘Power of Love‘ 作为首支单曲,它一定会成为一首金曲。唱片公司掌握的时机不对头。”

      恰恰相反的是,Air Supply并不是第一个发行 ‘The Power of Love’的歌手。Jennifer Rush在1984年写了这首歌并且由CBS于1985年3月在德国发行单曲。这是她1984年同名专辑中的第四首单曲,1985年3月在德国排行榜上摘得第九名的成绩。

      CBS伦敦的总裁,Paul Russell听到Rush1984年在夏威夷CBS大会上的演唱,这让他决定在英国发行 ‘The Power of Love’ 。歌曲首次亮相在第97位,但是在Rush在流行电视节目Top of the Pops演唱之后,歌曲迅速窜升至冠军,并且待了不可思议的5个星期。它成为了英国最好卖单曲的女歌手。

      Peter Collins得到一份 ‘The Power Of Love’ 的拷贝,此时Air Supply正在英格兰度过那死寂的冬天。“我们在英格兰做这张专辑。” Russell说,“Peter在凌晨两天打我电话,而我正在我的公寓中。Peter说,‘我刚刚找到一首歌,是Jennifer Rush的金曲。我得立刻过来弹给你听。’ 我想真是惊人。所以我打给Graham告诉他这次我们有首金曲要录制了。我喜欢这首歌的编排,人声,喜欢这首歌的所有元素。”

      Jennifer Rush伤心了,由于Air Supply翻唱了她的歌,因为他希望在美国发行她自己的版本。CBS搁置了在美国发行她的版本,因为他们觉得这首歌听起来太过于欧洲化。在Air Supply于北美发行他们自己的版本后,Rush在更多地方发行了 ‘The Power of Love’ 。她的歌在爱尔兰,新西兰,澳大利亚,挪威,奥地利和南非都拿到了冠军。“这太不可思议了。” Rush说。“我就是爱看着金钱滚滚来。我超负荷运作了,现在我可以休息了,在接下去都可以安逸的生活了。但是我想要更多的成功,和更多好的唱片。我希望我写的所有歌都可以像 ‘The Power of Love’一样流行”。  

      而当Air Supply的 ‘The Power of Love’仅仅拿到Billboard第#68位后太失望了。这首歌拥有所有金曲的潜质。Russell声音表现异常出色,Don Cromwell的贝司强有力并且容易记住。“。“当我们在英格兰演唱这首歌的时候,我们觉得这首歌一定会在世界上取得佳绩。但是许多其他艺人在听到我们的演唱后录制了这首歌,并且击败了我们。” Graham说。“我们不在现场表演正是因为这个原因。”许多乐评人觉得Air Supply的版本在排行榜上表现差的原因有由于他们和Huey Lewis的冠军曲拥有同样相同的名字,那首歌在7月在电台播放。Arista在一个月之后发行Air Supply的单曲显然已经太晚了。Clive Davis和任何乐队中的人都知道他们的时机已经错过了。“那时我们在新泽西。” Don Cromwell说, “我们的巡演经纪人打电话给我说, ‘DC赶快打开电台!’ Huey Lewis正在唱‘The Power Of Love.’ 该死的一样的名字!”  

      “出于某些原因,Arista剪切了这首歌的中间部分给电台。” Russell说,“我们吵得很激烈。这就像是把 ‘Marking Love Out Of Nothing At All’中间部分去掉一样,完全没道理。他们说这不符合他们的标准,这真是让我惊呆了。”

      Jennifer Rush后来说当她得知Air Supply的版本没能进入美国榜Top40后觉得稍稍有些欣慰,因为失败的表现可以让Rush于1986年1月在北美发行了她自己的版本。歌曲在加拿大拿到了冠军,但是在美国却在第57位止步不前。Laura Branigan同样在1987年10月发行了自己的版本。她的版本在Billboard上取得些许成功,排名第26位,但却没能在世界范围内成功。Jennifer Rush的版本已经影响了那些市场。而一名加拿大歌手最终把这首歌‘The Power of Love’推向最成功,Celine Dion,在1993年她的专辑 ‘The Colour of My Love’ 中,她的版本在美国,加拿大,澳大利亚获得冠军。并且在世界上许多国家获得了前10的成绩。

      Air Supply在1984年在南非太阳城的演出制造了许多麻烦,他们被反种族隔离组织的人盯上了,他们地基地在加拿大多伦多,名字叫Biko-Malcolm-Rodney联盟。这个联盟是Black Music Association (BMA)的一部分,他们进行着南非文化抵制运动和种族隔离,他们抵制任何访问南非和在南非表演的乐队。由联合国支持的南非文化地址失败了,因为这个国家准备花重金来吸引顶尖的艺人来太阳城大礼堂演出。BMA给予那些拒绝重金来这些地方演出的艺人颁发嘉奖,包括 Roberta Flack, Dan Hill 和The Mighty Sparrow。在Air Supply1985年10月29日在多伦多O’Keefe Centre演出之前,Biko-Malcolm-Rodney联盟要求抵制演唱会。按照联盟发言人Norman Otis Richmond的说法,“当涉及到南非种族隔离问题时,多伦多是最直言不讳的。” Air Supply的巡演经理人Bernie Boyce,发布了一份官方道歉,由于乐队在南非演出,包括了一份发到联盟总部多伦多的道歉信。其他艺人也同样发布道歉,包括Kenny Rogers, Tina Turner, Barry Manilow, Queen 和 Elton John。Air Supply决定以后不在南非演出。   

      尽管有抗议的麻烦,不得不在早上6点起床,在加拿大海关出示他们的护照,Air Supply在多伦多O’Keefe Centre门前演出了一场特别的演出。甚至那些持怀疑态度的媒体也无法忽略这次事件:

      All night long the Australian duo were the targets of roses, teddy bears, hastily scribbled notes and shy kisses. The screams were terse. When told to return to their seats, the girls did so obediently. Even the one girl who fainted did so quietly. The whole audience seemed to be made up of Grade 8 honour students. What they saw and heard was something resembling a cartoon version of a Barry Manilow concert. Graham Russell’s songs, which are pleasant and innocuous enough when taken in small doses, too easily displayed their formulaic structure when strung together. Paul McCartney would call them silly little love songs, be he probably wouldn’t have dressed them up with so much gloss (two synthesizers, two guitars, more lights than Niagara Falls on an August night). Hitchcock did display a strong, clear voice and oodles of charm, however, both of which are guaranteed to keep this band at or near the top of the singles charts. But oddly enough, perhaps the finest single moment of the evening came when Hitchcock left the stage to the more serious Russell. Using just the two synthesizers (and a ton of echo) for support, Russell sang a song called ‘Don’t Be Afraid,’ which was reminiscent of ex-Zombie Colin Blunstone at his breathless best. - Alan Niester, The Globe and Mail

      作为The Power of Love巡演的一部分,Air Supply从9月10日到10月3日在日本巡演。他们在11个城市演唱,包括了东京,札幌和广岛。他们也在香港演出。Air Supply准备8月21日在盐湖城进行一次卫星直播表演,演唱专辑的首支单曲 ‘Just As I Am’。节目在日本电视节目Yoruni Hit Studio中被实况转播。这次直播在当地时间早上5点半开始,为了能够在日本黄金时间的电视台中为2千万民众播放。

      随着新专辑 和单曲‘The Power Of Love’ 在日本排行榜上驰骋,Nippon Phonogram 准备发行 ‘Greatest Hits Vol. 2.’ 这张专辑包含了之前畅销专辑中的几首歌,也包含了一些不太为人知的歌诸如 ‘American Hearts’ 和 ‘One Step Closer’ 。‘Greatest Hits Vol. 2’ 在香港获得金唱片销量(2万5千张),并且于1989由BMG Pacific Ltd.发行CD版本。

      Russell相信Air Supply在亚洲依旧流行,因为和唱片零售商保持着良好的关系。“零售商的销售手段很有创意,甚至能巨大影响唱片的销量。” 他说。“买唱片不像去杂货店买必须的面包。假如唱片没能放在货架的前排,或者摆放顺序没能按字母排序,当一名顾客只有带着7,8美元准备来买一张唱片的时候,你就输给别人了。所以在日本,零售商之间的竞争最显眼位置成为了惯例,结果就是取决于零售商和唱片公司的良好的关系。”  

      跟着Graham的脚步,Russell搬到了洛杉矶和女友Paula一起居住。这次搬家是必须的,因为乐队主要根据地已经是在美国了。“从1980开始,我们就一直在北美巡演了,” Russell说。“我们准备在澳大利亚过圣诞节并且录制一张专辑,然后在2月份回到美国开始巡演,直到10月或11月再回到澳大利亚。加上原本我们打算一年回澳大利亚3到4次。但是太多太多事情要把我们拉回美国了,显然特别是这次我们不得不搬到洛杉矶。这些年我们会参加任何一档电视节目,而当你身在澳大利亚时,这就不太可能了,他们不能打电话给你问你是否这几天能够参加。加上我们的经纪人住在洛杉矶,我们的唱片公司在纽约,洛杉矶也有办公室。当我不在巡演路上或者录音室的时候我尽情享受宁静的生活。我想要出去走走,在餐馆里吃饭,我也喜欢待在家里看电视。和我女朋友尽可能多的在一起。”Russell和Paula希望在1986年早些时候结婚。“我们冒着风险离开澳大利亚,并且抛开过去拥有的。” Graham说。“我们知道一旦我们离开了,我们再也不会回去了,但是这个风险我们愿意去承担。”  
 楼主| 发表于 2013-2-28 16:42 | 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 2015-2-5 21:17 | 显示全部楼层
大图和更新资料已经更新完毕!
您需要登录后才可以回帖 登录 | 注册Airhead

本版积分规则

小黑屋|手机版|Archiver|联系站长| Air Supply China Fan Site (Since 2009.4.6)

Copyright © 2009-2017 Air Supply China Fan Site.   All Rights Reserved.

Powered by Discuz! X3.2( 沪ICP备09064890号 )

快速回复 返回顶部 返回列表