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Les interviews relatives à "The Next Day"
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MessagePosté le: 11 Jan 2013 22:11    Sujet du message: Les interviews relatives à "The Next Day" Répondre en citant

Je propose de stocker ici les différentes interviews qui apportent du contenu inédit sur le nouvel album de David Bowie. En effet souvent elles disparaissent très vite ou les liens changent. Je commence avec celle du 8 janvier 2013 sur la création de la pochette si controversée de l'album.

Citation:

David Bowie: The Next Day. That album cover design

There has been much discussion surrounding the cover of the new David Bowie album The Next Day so thought I would answer a few questions that people have asked about it.

– Why not a new image for the cover?
We wanted to do something different with it – very difficult in an area where everything has been done before – but we dare to think this is something new. Normally using an image from the past means, ‘recycle’ or ‘greatest hits’ but here we are referring to the title The Next Day. The “Heroes” cover obscured by the white square is about the spirit of great pop or rock music which is ‘of the moment’, forgetting or obliterating the past.

However, we all know that this is never quite the case, no matter how much we try, we cannot break free from the past. When you are creative, it manifests itself in every way – it seeps out in every new mark you make (particularly in the case of an artist like Bowie). It always looms large and people will judge you always in relation to your history, no matter how much you try to escape it. The obscuring of an image from the past is also about the wider human condition; we move on relentlessly in our lives to the next day, leaving the past because we have no choice but to.

– Why “Heroes”?
If you are going to subvert an album by David Bowie there are many to choose from but this is one of his most revered, it had to be an image that would really jar if it were subverted in some way and we thought “Heroes” worked best on all counts. Also the new album is very contemplative and the “Heroes” cover matched this mood. The song Where are we now? is a comparison between Berlin when the wall fell and Berlin today. Most people know of Bowie’s heritage in Berlin and we want people to think about the time when the original album was produced and now.

– Why the white square obscuring the image?
We worked on hundreds of designs using the concept of obscuring this cover but the strongest ones were the simplest – it had to be something that was in direct contrast to the image underneath but that wasn’t too contrived (we know all design is contrived, that is the essence of the word ‘design’). It would have been clearer to many people if we had scribbled all over the cover but that didn’t have the detachment of intent necessary to express the melancholy of the songs on the album. Obscuring Bowie’s image is also reference to his identity, not only in the past when he changed endlessly but that he has been absent from the music scene for the past ten years. Was this an act to hide his identity or that he has simply become more comfortable with it?

– Why is there no colour?
The title of the album The Next Day evokes numerous reference points, notably Macbeth’s speech ‘Tomorrow, and tomorrow and tomorrow ’ which deals with the relentless onward push that any unnatural position of power requires. It also has the existential element of Waiting for Godot with waiting for The Next Day – these all seem to question the nature of existence so a monochrome palette seemed most appropriate to this feeling.

– Why didn’t you do a logo, or new design of his name on the cover?
We wanted the cover to be as minimal and undesigned as possible, we felt the most elegant solution was to use the original one from “Heroes” and simply cross out the title of the old album. It has the detachment appropriate for the atmosphere of the new album.

– What is the font you used for the main title?
It is a new font that we are working on called Doctrine – this is the first major use of it. Doctrine will be released in the coming weeks at VirusFonts.

– What is Bowie like to work with?
He is quite a private person, so no need to say too much about him other than that he is a pleasure to work with. Very intelligent, funny, serious when he needs to be and generous in his thoughts and actions.

– Is there anything else you can add?
Yes, having said all this, we know it is only an album cover with a white square on it but often in design it can be a long journey to get at something quite simple which works and that simplicity can work on many levels – often the most simple ideas can be the most radical. We understand that many would have preferred a nice new picture of Bowie but we believed that would be far less interesting and not acknowledge many of the things we have tried to discuss by doing this design. Finally we would like to give David Bowie great credit, he simply did what he always does which is to go with a radical idea and that takes courage and intelligence. That is why we love his music and love working for him.



Source : Barnbrook Blog
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Dernière édition par JilStardust le 11 Jan 2013 22:25; édité 1 fois
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MessagePosté le: 11 Jan 2013 22:24    Sujet du message: Répondre en citant

J'ajoute celle de Tony Visconti publiée le 11 janvier 2013

Citation:

Inside David Bowie's Stealth Comeback: Q&A With Tony Visconti

During much of the past two years, Tony Visconti has been "walking around the streets of New York with my headphones," listening to the music that became "The Next Day," David Bowie's first new album in 10 years. Visconti -- who's worked with Bowie on "David Live," "Young Americans," the so-called Berlin Trilogy, "Scary Monsters" and 2003's "Reality" -- has been involved with the new project from even before Bowie started recording demos and oversaw sessions at The Magic Shop studios in New York's Soho section with a corps of Bowie regulars. With Bowie himself choosing not to do interviews for "The Next Day," Visconti has become the voice of the album -- and, not surprisingly, he has plenty to say about it...

It's hard to say if the greatest achievement of "The Next Day" is making it -- or keeping it so entirely secret as you did. How does it feel now that the world knows about it?
Oh, well, I'm ecstatic. I'm really, really happy. I've been keeping this a secret for two years...so to finally have the dam break loose and have the world know about it, I actually had a physical reaction to it, a big relief in my body.

How did you manage to keep the news from leaking?
The members of the band and the engineers, the people who bring us coffee in the studio, everybody who was involved in this had to sign a (non-disclosure agreement) to keep this a secret. The people who played on this album, most of them have worked wtih David for a long time; to sign an NDA would have been unnecessary for most of them. But we had some new people and a new recording studio we didn't have an old, long-standing relationship with, so we took the precaution. Everyone had to sign it. No one objected; they said, "It's just an absolute joy to be working with David Bowie." The way we kept it a secret was on an honor system -- not that we were worried about being sued or anything like that. It was so cool to be part of this club. That's what it was really about.

What was the timetable for all of this?
Well, (Bowie) started writing it two years ago. David's one of my oldest friends. We'd been communicating over e.mail all the time and we'd meet up for lunch occasionally in New York. The last few times I met with him I saw a twinkle in his ye that wasn't there before, which meant he was writing. I knew the call was gonna come one day, and he contacted me and said "I'd like to go in and make some demos." We went into a studio about two years ago with myself on bass and Sterling Campbell on drums and Gerry Leonard on guitar and we just jammed for a week or two on the ideas that David had. We lived with those demos for a few months and we walked into an actual studio maybe 18 months ago and put down the first serious tracks and worked from there. We'd go two weeks a time and then take a month off or as long as two months off. We probably spent about three months in the studio, but spread out over 18.

Was David conscious that it had been such a long time people had kind of written off the idea of ever hearing from him again?
He seemed to be amused by the world kind of thinking he retired or was in ill health. It didn't bother him at all. I think he was a little tired of having to make an album because it was in his contract to do another one in a certain time period. He just gave all that up. He just wanted to have a private life and think about when he would go back in the studio. He's a very confident person; "I'll make a record when I'm ready, when I really have something to say." It never really did bother him what people thought about his absence.

He looks pretty healthy in the video for "Where Are We Now?"
I've seen him steadily since he had the health problem (an angioplasty) in 2004 and he's very healthy. He's kind of rosy-cheeked. And in the studio his stamina was fantastic. It was as if he never stopped doing this for a 10-year period. He was singing with every live take; quite often he'd play piano or guitar at the same time. And when it came time to do the final vocals, he was just as loud as he ever was.

The personnel was kind of like old home week, too, wasn't it?
Oh, yeah. We had his longtime guitarist Gerry Leonard and his longtime guitarist Earl Slick and his longtime guitarist -- since 2001, anyway -- David Torn. So we had three absolutely wonderful guitarists who have their own specialties. Earl Slick was the tearing-it-up lead guitarist, and then both Gerry and David have different versions of ambient guitar, very dreamy, washy kind of guitar sounds. So the three guitarists were very complementary. And we used Zachary Alford on drums and Sterling Campbell on drums; these are all old Bowie band members from different tours and albums. And Gail Ann Dorsey played most of the bass on the album and sang backup vocals. We had Tony Levin, who's a wonderful bass player, come in for a few tracks as well. And then we had string players come in, wonderful string players who play in Broadway musicals and things like that, and various other people. It was a nice, small combination. I'd say at most a dozen musicians were involved.

Any guest vocalists or featured rappers?
(laughs) No, not at all. This was an exclusive, closed-door David Bowie album being made under secretive wrap.



Source : www.billboard.com
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Dernière édition par JilStardust le 11 Jan 2013 22:50; édité 1 fois
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MessagePosté le: 11 Jan 2013 22:27    Sujet du message: Répondre en citant

La suite :

Citation:

Is "Where Are We Now?" indicative of the sound of the album?
That is the only song like it on the album. Most of the album is uptempo rock songs, with some very innovative new styles as well. I can't give too much away, but there's some very familiar Bowie on it. Obviously you're going to get some classic Bowie, but then there are some tracks that are so far out he's never recorded anything like them before. And they sound oddly commercial, the really far out ones. It's really exciting; I've listened to this album for two years now, analyzing it, tweaking it, writing notes, and I've never grown tired of it. It's amazing every time I hear it.

Tell us about some of the far-out tracks.
There's one called "Dirty Boys," and "If You Could See Me" is extremely far out there -- if anything, a bit jazzy. Bowie writes a lot of songs on keyboards now, and when he writes on keyboards he goes into this jazz thing which is quite remarkable. But he's always had songs that have sophisticated chords in them. There's another one, "How Does the Grass Grow," that's very, very different, new Bowie, new-style Bowie.

Did you work on more than the 17 songs that are coming out between the regular and deluxe versions of the album?
We over-recorded, yeah -- I think 29 songs in all...and some of them were abandoned within weeks. They just didn't work out. He often writes without lyrics or melody; we're just going for a groove or something that's pre-lyric stage. I think maybe some of the others, if we record again, they'll be re-written or re-arranged, but they didn't fit the immediacy of this album. The 17 we settled on were really the hot ones. I think there are three or four others that are hot, but we disagree on that. (laughs)

Where in the process did "Where Are We Now?" surface?
Early, but I didn't hear the lyrics until about five months after it was recorded. It was just a pretty ballad; it was called something else, but I forget what. He came i one day and said, "I've written words for that. I wrote a song about Berlin," and I thought, "How nice. That's really cool." And he gave me a copy (of the lyrics) and got on mic and started warming up, and I read the lyrics and it gave me goosebumps because I spent quite awhile in Berlin, too, making the three albums that are called the Berlin Trilogy. I knew hat he was talking about, because in those days when we were making those albums he didn't live in a very expensive apartment. He lived in the bad part of town, and he and Iggy Pop and I used to go around to just ordinary beer gardens and sit around and pretend we were German and drink beer. He got that feeling in that song with those lyrics.

What else does he sing about on the album?
("Where Are We Now?") seems personal, but some of it is historical. He's been reading history books, and we were having great conversations in the studio about, well, British monarchy for a start and stories related to them. A couple of songs on this album are about historical subjects. Some of the lyrics are blood-curdling, they really are -- very, very strong lyrics about old wars, things like that. The title track...is one of the gorier songs. It's kind of like a Hammer Horror film lyric to it, pretty gory. But I think David's very multi-level; "The Next Day" could also mean this is the new day or this is a new album, this is a new me. But I'm speculating.

You mention possibly returning to some of the material that wasn't used. Are you confident that "if" will become a "when?"
I don't know. There's no "when" yet, obviously. I'm not booked to do another album with him. But we talked about recorded more after this. We ended the album on such a high, and he said, "I can't wait to get back in the studio" -- but that's a long way off. This album's going to run its course. We might get together this year. I really don't know.

Did he say anything about touring or playing live?
He said no, absolutely not. He said to me, "I've played live for 30-odd years and given interviews, and I don't want to do either of them anymore." They kind of fall into the same bag, the way he thinks. He just wants to make records. He feels like that's what he's entitled to do now.


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MessagePosté le: 11 Jan 2013 22:49    Sujet du message: Répondre en citant

Et voici celle d'Earl Slick du 10 janvier 2012 :

Citation:

Guitarist Earl Slick Reveals New David Bowie Album Details

Earl Slick needs no introduction. A killer rhythm guitarist and long-time David Bowie collaborator, the 60-year-old played on John Lennon’s ‘Double Fantasy,’ has recorded with Ian Hunter and played in the post-Stray Cats group Phantom, Rocker & Slick.

In recent years, the Staten Island native toured with the New York Dolls (including the summer 2011 tour with Motley Crue) and started designing a line of hand-painted guitar straps called Slick Straps. He also regularly visits School Of Rock outposts all over the U.S., jamming and speaking with the students.

Slick is already having quite a busy 2013: He has plans to make a record with Austin guitarist Rosie Flores, and he’s in the works of setting up some of his own tour dates sometime before the end of the year—“depending on what happens with the other guy that just put a record out [Tuesday] for the first time in 10 years,” he laughs dryly.

That “other guy,” of course, is Bowie, who released a new single, ‘Where Are We Now?’ and announced a new album, ‘The Next Day,’ on his birthday, Jan. 8. Slick has played with Bowie off and on for better part of the last 40 years, both on tour (including Bowie’s last round of concerts, in the early ’00s) and on classic albums such as ‘Young Americans’ and ‘Station To Station.’ During a 45-minute interview, Slick was clearly happy to finally be talking about the new Bowie album — for which he recorded parts in summer 2012.

“I’ve had a gag on since last May,” he says. “David got in touch with me out of the blue, and he said, ‘I’m ready to go back in. What are you doing? Are you around? Are you touring?’ I said, ‘No, just get me some dates.’ We started banging dates around — and he was already recording — and I went in and did all my stuff in July. But do you have any idea how many interviews I’ve done since May, with this under my belt, which I couldn’t say anything about? It was horrible!” Slick laughs.

‘The Next Day’ also features contributions from an impressive lineup of musicians in addition to Slick, including familiar Bowie collaborators such as drummers Sterling Campbell and Zachary Alford, guitarists Gerry Leonard and David Torn, and bassist Gail Ann Dorsey. Tony Visconti, who also produced ‘The Next Day,’ contributes bass, as does Tony Levin, who’s known for his work with Peter Gabriel.

Slick gave UCR some insights into ‘The Next Day,’ talking about his contributions and how the rest of the album shaped up.

Were you surprised when Bowie called you to do some recording?
Nothing he ever does surprises me. It doesn’t surprise me when he shows up; it doesn’t surprise me when he disappears. It’s just DB.

I was really impressed by the secrecy. That’s almost unheard of, for no news to leak about something like this.
Oh, I know. And especially because I had the cover for the Christmas issue of ‘Guitar Player’ magazine. That was the hardest one — it’s a double issue and it stays on the stands longer, and they did a 14-page spread on me, and I’m thinking, “Christ, and I can’t even say anything.” Anyway, he appreciated that — and I got a nice thank you for keeping my big mouth shut.

Was the secrecy built in from the start?
Oh yeah, right from the beginning. Because he didn’t know when it was going to be done.

You did all your parts last summer. How much of the record was done when you came in?
It was weird; I’m not really sure, because he had been cutting tracks. And then I went in and I cut three from scratch with me and David and Sterling Campbell on drums, and Tony Visconti playing bass. And then he had other tracks that were already done, that were missing some guitars he needed from me, and I did those.

Do you even know what the entire album sounds like? Have you heard the entire record?
Yes, I have. I don’t want to give too much away, but it’s really, really, really good. And it’s a bit eclectic, so it’s not all like what you heard.
Tony Visconti did an interview with the BBC earlier this week, and he said that the single is very different in tone from the rest of the record.

It is. Okay, so he’s let the cat out of the bag a little bit, then — good. It’s rocking. There’s a lot of rockers on there, I can tell you that.
That’s what he said: “It’s quite a rock album, the rest of the songs.”

Yeah, it is. I mean, there’s a few kind of really cool mid-tempo ones in there as well, but I’m the go-to guy for the rock stuff with David. And that’s why I’m always there.

What was your methodology when you were adding your music? How did you motivate the performance you wanted to get? How much direction did you get?
You know, we’ve been doing this since day one, and what we’ll do is, we’ll sit down and we’ll listen to the stuff. And he’ll ask me how it hits me — how does this hit you, how does that hit you? Or he’ll go, “This one you gotta be on.” And we’ll sit down, we’ll listen to the song — well, we’ll sit in the control room with a couple of acoustic guitars and then we just bang ideas around. I’ll go, “What do you think about this?” He goes, “What do you think about that?” It’s not like taking direction as a session player would take direction, because that’s why I don’t do sessions—cause I can’t take direction. [Laughs.]

What he’s done since day one — and still continues to do — is, he knows exactly what it is that I bring to the table, and that’s what he wants. He doesn’t want me to sound like anybody but me. So we just sit there and we just hash through ideas until something hits one of us, and then we record it. It’s real casual — you know, you throw a couple cups of coffee on the table and you pick up a few guitars and we listen through some tracks. And he already knows pretty much what he wants me on, but then I’ll say, “Well, let me play you these and see if these hit you. If they do, let’s work out some parts.” It’s really casual. And that’s why it gets done quickly and efficiently, because it’s all done organically.
The music I really like tends to be the more spontaneous music — not very meticulous. There’s a time and a place for that, but it can sound so airless and stuffy.

It’s really funny, as sophisticated as some of his records sound, he’s not anal about this stuff. And neither am I, and that’s why we get along so well. I’ll do a take that’s really not perfect, but it is perfect, because it feels great. Therein lies the perfection: It lies in what it feels like and what it does to you emotionally, not the exact notes. I can play a note that’s a little bit on the outside — like, “What the hell was that?” — and then we listen back to it and we go, “Wow, that felt really good.” And we just leave it alone. Whereas some guys will sit there and they’ll try to fix a weird note. Those weird notes, to me, is what really makes it happen. Of course—listen to the Stones. Keith Richards is my hero. In my mind, he’s the best guitar player ever. And Keith’s stuff has definitely got some urgency to it, and it’s definitely not perfect. But boy, when it comes to feel, it doesn’t get any more perfect than Keith.
I think the term is “loose.”

It is — it’s loose, and it’s emotional. That’s what it is. And that’s, to me, what rock and roll is supposed to be about. If you want perfection, go see a symphony orchestra.

How was the studio atmosphere? People might be surprised to hear that it might be relaxed.
That’s what it is. It’s just a really relaxed, casual, hanging out… I wouldn’t liken it any different than if we were just sitting in my living room, only there happened to be a recording machine in here. That’s what it feels like.

When you were collaborating, did you get any inkling as to why now finally it was time for Bowie to put out a new record?
You know, I don’t even bother asking. Obviously, it was time.
There are some things you don’t question.

No, you know, you really don’t. I don’t question much of anything like that; it’s not in my nature. I don’t need to know why — I just need to be there, that’s all. [Laughs.]

When you guys were bouncing ideas off of each other, were there any specific influences you wanted to bring? Or any that stood out to you that ended up happening?
Well, I can tell you that there’s a couple of the rock songs…cause, you know, admittedly — and it’s not any big mystery — my rhythm guitar playing is very likened to Keith [Richards]. Because he’s the guy I’ve been listening to — and still do every single day — since I’ve been 12 years old. You’ll be getting some of that on some of the rock tracks from me. He would say, “Do that you-know-what.” [Laughs.] You know somebody that long, and if he says “you-know-what,” you completely get it. [Laughs.] And you know what, not only is it awesome—it’s priceless.
When you’re playing with someone for so long…

Almost 40 years!

How did this experience compare to some of the other times you guys have recorded in the past? Was there anything that stood out to you?
The only thing was is that this one had a lot more secrecy going on. [Laughs.] I mean, one day I went out to have a cigarette in front of the studio, and something felt weird. Cause I would hang out in the doorway, in a little alcove; I didn’t even walk into the street. And something felt weird, and I peered across the street, and there was a guy there with a camera on a tripod. So I put my cigarette out and went back inside. [Laughs.] Cause if they see me, they can put two and two together.
That’s kind of fun to think you’re making a record and nobody knows about it. It’s like you’re on a spy mission or something.

It was fun for a little while, but then when I started doing interviews — and after I got all excited after I finished doing the tracks and I was bursting — it wasn’t fun anymore.

Are there any thematic things that really stand out to you on the album? Everyone has said the lead single is very introspective and inward-looking and looking backward…
It’s not all like that. Some of them, the lyrics are as straight ahead as David can write a lyric — cause he’s not known for writing straight-ahead lyrics. He hadn’t finished the lyrics when we were in there, either. The way he writes is, we’ll get a basic thing down, and he’ll have a basic melody going on, but it’s done so much organically and off-the-cuff, that he will go back later and finish the lyrics. You get an inkling when you’re in there, but you’re not quite sure what it’s going to be until later. There’s a bit of mystery that we even have, because I left the studio thinking…I mean, I played on it, and I’m going, “Boy, I’m curious to hear what this is going to sound like!” [Laughs.]

Is Bowie going to be touring? I think that’s what everyone wants to know.
We don’t know. Obviously, we want him to. But right now, that’s a big if. Like I said before, sometimes he shows up and sometimes he doesn’t. I could get a phone call tomorrow saying, “Hey, you know what? Here’s the setlist.” I don’t know. I can’t speak for him or the organization. Obviously, the band would love to go out. Even if it’s not a huge tour, we would like to go out and do some gigs. But that’s yet to be seen.



Source : ultimateclassicrock.com
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Dernière édition par JilStardust le 11 Jan 2013 22:50; édité 1 fois
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MessagePosté le: 11 Jan 2013 22:50    Sujet du message: Répondre en citant

Jil reprend du service. Cool
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MessagePosté le: 11 Jan 2013 22:51    Sujet du message: Répondre en citant

Mylène peut aller se rhabiller Laughing
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MessagePosté le: 11 Jan 2013 22:52    Sujet du message: Répondre en citant

C'est bon ca !!!!! Laughing
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MessagePosté le: 11 Jan 2013 23:04    Sujet du message: Répondre en citant

Encore le producteur le 11 janvier 2013 :

Citation:

David Bowie Producer Talks New Music, Health Scare: 'Album is Physical Evidence That He's Fine' (Q&A)

In a candid conversation with THR, Tony Visconti sheds light on his work with the elusive singer while taking issue with today's pop stars ("Everyone is Auto-Tuned to death and the songs are flimsy") and industry blogger Bob Lefsetz ("He's an old fart").
Perhaps Jarvis Cocker put it best during an interview with the BBC on Tuesday. Reacting to David Bowie’s just released single “Where Are We Now?,” the reclusive singer’s first in nearly a decade, the Pulp frontman noted that Bowie’s decision to release it on his 66th birthday -- typically a day when one would expect to receive presents and good tidings -- was really a gift to us, his fans.

Indeed, the long-awaited but completely unexpected arrival of new music -- a full album, no less, called The Next Day and due out in March -- did not go unappreciated as the melancholy tune made its way across the Internet and around the world. It proved, among other things, that the influential artist (in the truest sense of the word), whose monumental 1972 album The Rise and Fall of Ziggy Stardust and the Spiders from Mars celebrated its 40th anniversary in 2012, is as missed as ever.

But is the Bowie of 2013 relevant? It’s a question that could have crossed even the most casual listener’s mind, and in hearing the melancholy, reflective and, you could even say, elegiac “Where Are We Now?,” with its haunting piano chords over that distinctive forlorn voice, the answer seems clear: absolutely. Today’s self-curating genre-defying music lovers don’t need or even look toward a radio station to tell them what to listen to. No longer guided by a minefield of research data, if a song moves you, as “Where Are We Now,” even upon first listen, certainly does, then it has every right to exist alongside hits by Rihanna, Bruno Mars, Taylor Swift and the like.

But where those pop stars, with their millions of Twitter followers and Facebook fans, find it hard to disconnect for even a second, Bowie is on a whole other tip -- laying low for two years while working on a new batch of material that he refused to call an “album” until it became unavoidably obvious. Instead, says producer Tony Visconti, recording sessions were always referred to as an “experiment.” Bowie’s longtime collaborator, who’s worked on more than 10 of his albums and will next team up with Soft Cell’s Marc Almond, spoke with The Hollywood Reporter about the top-secret project and provided answers to some nagging questions, chief among them: Bowie’s health.

The Hollywood Reporter: In this day and age, how do you keep something like this secret?
Tony Visconti : We respected David's wishes. Simple as that. We had to sign NDAs, non-disclosure agreements, but that wasn't necessary. We love him so much and everyone in the project except for a few were old timers -- people who made albums or toured with him. So of course, we didn’t Tweet or put it on Facebook or even tell our best friend. That was the hard part because people close to me wanted to know what I was working on and I couldn't tell them. I knew if I told one of them, somebody would leak it and it would be all over the world in a day. I didn't even tell my children what I was doing.

THR: Is it that you don’t trust your friends or is it because knowledge of the project would be too overwhelming?
Visconti: I don't trust Bowie fans. And all my friends are Bowie fans.

THR: It’s been 10 years since Bowie last put out new music, and a lot can change in a decade when it comes to the music business. What was it like to see that instant globalization on release night?
Visconti: Fantastic. It was his idea to release it on his birthday. He came up with that plan about two months ago and the countdown was unbearable. When it was finally released, I stared at my computer for 15 minutes until the first person realized it was simply dropped in iTunes.

THR: Having worked with Bowie for so long, what was different about the process this time around?
Visconti: Nothing except the secrecy. He and I work in a certain way -- we would record the music first when he had only a vague idea of what the song was about. We would then have a working title and for the melody, he would sing live in the studio.

David would also work on the songs musically in his own home studio and he'd bring demos in. Then we'd learn it and flesh it out a lot more. But he still didn't have a really serious title. And certainly the lyrics were the farthest from his mind at that point. So it was great to work up these sonic gems based on a gut feeling. And then he would take it away for a month or two and come back with lyrics. Over an 18-month period, we only spent three months recording.

THR: You both live in New York City. When you weren't recording, is David someone you’d see with any regularity?
Visconti: I did. We used to meet up about once every two months for lunch. We would catch up on the latest British comedy -- Ricky Gervais, Peter Cooke and Dudley Moore, Harry and Paul, which probably means nothing to Americans -- and we'd talk about our lives, what's happening to the economy, anything anyone else talks about. I guess I'm one of his few American friends who can relate to him on this level. We have a good time when we get together over a couple of pieces of sushi or a coffee.

THR: You told the BBC that unlike the first single, the album is “rocking.” Is that something that revealed itself right away or did it come later?
Visconti:There are a lot of rock tracks on it -- some that he could go right out on stage and play very loud and have the audience clapping and dancing along, but it's not essentially totally a rock album: It's a David Bowie album.

THR: That could mean so many things, can you elaborate?
Visconti: It's very diverse. Some songs are up-tempo and driving and some are completely far out. ... A couple of new things people haven’t heard before on a Bowie album so he's been very innovative on several tracks. Some tracks sound like they would belong on Scary Monsters, others like they would be on Heathen, two albums that we made together, but that's because it's him. And we actually were listening to a lot of our own records when making this album. We weren't listening to anything current. We're not very impressed with today's music. And we didn't have any guest artists, either.

THR: What is it about today's music that you abhor?
Visconti: It all sounds like it was made by the same person. It’s very computerized. There's a style and a sound in all these modern records where they're interchangeable. It could be the same production crew, it could be the same singer, everybody is auto-tuned to death and the songs are very flimsy, it all relies on beats rather than quality lyrics.

These days, if a kid gets a new laptop and there's Garage Band on it, within five minutes they sound like somebody on the radio. This can't be good. It's either the radio is bland or people have lower expectations.

THR: Is there a contemporary artist you do like?
Visconti: Groups like Florence + the Machine -- that's a little closer to the ethics of '70s recordings. And when young groups are at their best, they're emulating the '70s, it seems. But when they're at their worst, they're doing this cut and paste, watered down, hip-hop and R&B music. It's just so bland at the moment.

THR: You expressed surprise that the first single is, in essence, a ballad…
Visconti: Traditionally people will lead an album with an up-tempo song. And I should know better. Bowie is never traditional. He always breaks the rules.

THR: Why do you think he decided on “Where Are We Now?”
Visconti: First, I think he understood immediately -- before I even did -- that people had to deal with the shock that he was back. That, in itself, is news breaking. So like the song, maybe he was easing people in with a slow ballad. I'm just theorizing her, but it's very nostalgic about the Berlin period, especially in the video, where there are some vintage shots of Berlin in the '70s. It made me almost cry. I did weep, actually. I'll confess. The first time I saw it, I got so choked up because I had been in those places with him. But it's more about being at a certain place in your life where everything was really good and happening. I think that evokes nostalgic feelings in people. That's definitely the theme of the video, having so much vintage footage in it.

THR: Do you know who the woman in the video is?
Visconti: It's the director's wife. And David didn’t tell me this, but I read that they were looking for someone who looked like Coco. Because at the time, she, Iggy Pop and David were constant companions during that period. Looking at it now, she does bear a passing resemblance to Coco in those years. But I don't know. I read this on the internet.

THR: Speaking of the web, there had been rumors that Bowie was in ill health, can you shed light on that?
Visconti: That was his own doing. We all know he had a health scare. I hate to hear it described as a major heart attack -- it was not a major heart attack -- but he had surgery in 2004 and he's been healthy ever since. Because he hasn't come out and said anything, people suspect the worst. And it was frustrating. I would have lunch with him and I’d tell people that he looks fantastic and he sounds great and all that. And people would not believe me. Someone recently said to me, 'Well, why didn't he make a statement?' And I mean, that's silly -- can you imagine David Bowie getting on television and saying, “I'd like to tell everyone that I'm healthy?” So what could he do? Nothing. This album is physical evidence that he's fine.

THR: How is his voice?
Visconti: Loud. He hurts my ears when he sings. When I'm right up close to him, I have to back off very quickly and go into the other room.

THR: While you were recording, was there ever a sense of pressure?
Visconti: No. David always prefaced every session [saying’ that it was experimental and that it might not be an album, so let's just get together and make some music. It was never pressure. It was fun, fun, fun, the whole time.

THR: Any expectations now in terms of its release?
Visconti: I don't know. It's hard to predict. But I've heard that we're outselling Rihanna and that is wonderful. Not that I have anything against Rihanna, I love her dearly, but it's like there's something real now, and if this starts a copy cat trend, people might be making good records from now on. Maybe David has started this new trend. … But honestly, it's because it's so refreshing. You can tell it's a studio-made record, it's not done on a computer. It's really beautiful and organic and it sounds good on the radio too.

THR: Industry pundit Bob Lefsetz shared his thoughts on Bowie’s return in a blog post Jan. 9, writing: “Yesterday’s news. I'm not talking about the man himself so much as his new track, his new album. A circle jerk publicity campaign that the old wave ate up and we've already moved on from. I mean, how can someone who used to get it so right, who was on the bleeding edge, get it so wrong?” He goes on to blast the notion of putting out a full album, rather than singles, among other gripes. Care to respond?
Visconti: Well, he used to be cutting-edge but he's an old jerk now. He is so out of touch with what people want. This album is already No. 1 in 20 countries and it hasn't even been released yet, so that's evidence that the album is the way to go. It might be not be for everybody because, honestly, people don't write enough good material to fill an album anymore. So Lefsetz is a complete asshole. At one time, a few years ago, he had his day in the sun but now he is basically an old fart and I am bored with what he says.



Source : www.hollywoodreporter.com
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MessagePosté le: 11 Jan 2013 23:10    Sujet du message: Répondre en citant

Bon allez ça fait assez de lecture pour ce soir. Moi aussi je sais faire du copier-coller Wink
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MessagePosté le: 11 Jan 2013 23:22    Sujet du message: Répondre en citant

Finalement non car voici Tony Visconti pour la BBC (8 janvier 2013) :

Citation:

Tony Visconti On New David Bowie Material

In BBC interview, producer gives a fine bill of health and promise of rockier tracks!

More great news on David Bowie, following the surprise appearance of the brilliant new track 'Where Are We Now' this morning. Tonight, the BBC has spoken with Tony Visconti, and the producer talked not only about the recording of the new material, but also given very encouraging reports about Bowie's health. "David is extremely healthy, he's rosy-cheeked, he smiles a lot," Visconti said via Skype from New York. "During the recording he was smiling, he was so happy to be back in the studio. From the old days I recall that he was the loudest singer I've ever worked with. When he starts singing I'd have to back off, and go into another room and just leave him in front of a microphone, he still has that power in that chest and in his voice. We all know he had a health scare in 2003, 2004, but he's a very healthy man I can assure you, I've been saying this for the past few years. I couldn't explain why I know that, but I worked with a very healthy and happy David Bowie in the studio."

Visconti also gave some insights into the sessions for forthcoming album The Next Day "We never spent more than two to three weeks at a time recording, then we might take off as much as two months," he said. "Usually we'd work on one or two songs in an afternoon, and whip them into shape so they'd sound like great rock tracks. At that part there won't be any final vocals, there won't be lyrics. That's the way I've been working with him since The Man Who Sold The World, he hasn't really changed in his approach."

Intriguingly, Visconti said he was as surprised as anyone else by Bowie's choice of track to make his return on his 66th birthday, and says that the album, when it arrives, is very diverse: "I think it's a very reflective track for David. He certainly is looking back on his Berlin period and it evokes this feeling… it's very melancholy, I think. It's the only track on the album that goes this much inward for him. It's quite a rock album, the rest of the songs, so I thought to myself why is David coming out with this very slow, albeit beautiful, ballad why is he doing this? He should come out with a bang. But he is a master of his own life. I think this was a very smart move, linking the past with the future, and I think the next thing you hear from him is going to be quite different.

"I've been listening to this on headphones walking through the streets of New York for the past two years, and I have not tired of a single song. I think the material on this album is extremely strong and beautiful, and if people are looking for classic Bowie they'll find it on this album, if they're looking for innovative Bowie, new directions, they're going to find that on this album too."



Sources :
- www.bbc.co.uk
- thequietus.com

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MessagePosté le: 12 Jan 2013 14:25    Sujet du message: Répondre en citant

Un autre article intéressant à partir de propos de Tont Visconti (12 janvier 2013) : "29 titres enregistrés et peut-être un retour en studio dans l'année" Shocked

Citation:

The inside story of how David Bowie made The Next Day

David Bowie sprang the biggest surprise the pop industry has seen in years by recording his new single Where Are We Now? and a new album in complete secrecy. Producer Tony Visconti, guitarist Earl Slick and others in the know reveal how it happened – and spill more about the singer's plans

On Tuesday morning, the astonishment that greeted the release of David Bowie's first single in a decade seemed almost universal. The shock was not merely that Bowie – long since presumed retired – was back, with an album, The Next Day, to follow in March; it was that one of the biggest stars in the history of rock music had managed to spend two years making a record without even a hint of rumour reaching the wider world. This in an age of cameraphones and gossip websites and social media.

"We haven't seen this before, a real legend dropping the announcement, the music, the photographs, everything in the blink of an eye," says Tim Ingham, editor of music industry magazine Music Week. "At 66, he's run the whole machinery of the music industry and the music media ragged, and he's run social media ragged too. Social media by its very nature demands facts or – in the absence of facts – speculation; if it doesn't know, it'll make it up itself. But the lack of chatter enhanced the PR impact. In terms of a basic product announcement, which is all this is, he's come back with more of a media storm than any other artist has produced in recent years."

At least part of the reason Bowie was able to keep his comeback a secret until the last minute is down to the remarkably low-key nature of his business arrangements: a reaction, long-standing producer Tony Visconti suggests, to the early 70s, when Bowie's management company Mainman "had about 45 people looking after him, or allegedly looking after him", an arrangement that ended in chaos and litigation. Today, his New York office has a staff of one. He has no official manager, relying instead on his business manager Bill Zysblat – a figure "as low-key as you can get," according to Bowie's biographer Paul Trynka – who began life as the Rolling Stones' tour accountant before joining Bowie in the early 80s, and his fiercely loyal PA Corrine "Coco" Schwab. The latter is something of a legend in Bowie mythology and rumoured to be the subject of his song Never Let Me Down. "She's been with him since the mid-70s," says Trynka. "Some of the musicians who worked with him hated her, but they invariably point out she's smart, sometimes intimidatingly so, and utterly devoted to Bowie. He trusts her absolutely."

"It means you can react to things very quickly, you can do things incredibly secretively, which you couldn't do if it was one of those situations where there are 20 different managers involved," says a source close to Bowie. "When David comes into Britain to do something like his appearance on [Ricky Gervais sitcom] Extras, nobody knows he's here. He's very good at being low-key. How many times over the last 10 years have you seen pictures of him? There have maybe been two or three paparazzi shots of him in a decade. He's not a recluse, but he's seen when he wants to be seen."

His deal with his record label seems equally unique: he has no A&R man supervising his work, which, says Visconti, "is not normal for any star". Even Rob Stringer, the president of the Sony Music Label Group and one of the most powerful men in the music industry, only became aware of The Next Day's existence a month ago, when he was invited to the studio in New York to hear some tracks. "We still haven't given him a copy of the album," chuckles Visconti. "He came to the studio. He was thrilled. He said 'what about the PR campaign?' And David said, 'there is no PR campaign. We're just going to drop it on 8 January. That's it.' It's such a simple idea, but Bowie came up with it."

So relieved to talk about the new DB album after 2 years of silence on the subject, like a dam broke.
— Tony Visconti (@Tonuspomus) January 9, 2013

Meanwhile, when I contact the British arm of Sony, they won't discuss the project at all, which could be related to rumours that while Bowie's UK PR company, the Outside Organisation, were given notice last Friday, the label itself knew nothing right up until the point at which Where Are We Now? materialised on iTunes at 5am on Tuesday. "They certainly seemed as surprised as the rest of us," notes Ingham wryly.

By contrast, the people who actually worked on the album seem not so much happy as desperate to talk about The Next Day. "I was on the cover of Guitar Player magazine," laments Earl Slick, the Bowie sideman responsible for, among other things, the astonishing soloing on 1976's Station to Station. "It was the Christmas issue, the one you want to be on the cover of, the one that's on the newsstands twice as long. And I'm making a new Bowie album and I can't tell them anything. The only person I told was my manager."

Tony Visconti, who says he only finished work on the album last week and wasn't expecting it to be announced on Tuesday – "I thought they were just going to put out a single" – also seems delighted to be rid of two years of subterfuge, non-disclosure agreements and, as he bluntly puts it, "bare-faced lies". He told only his partner and his children what was going on. "People would ask 'what are you working on at the moment?'. About a year ago, I started saying well, I'm working on a very big project but I can't tell you what it is. That satisfied most people, but then a few people would say 'it's Bowie, isn't it?'. And I'd go, I can't tell you who it is, even if you said the person's name I can't say yes or no. And they'd go 'it's Bowie'. And I'd go 'no, really it isn't'. I was a little uncomfortable with that, but it was the only way to do it."

Now he's free to gush about the album at will. The elegiac balladry of Where Are We Now? isn't particularly representative, he says. "The album is eclectic, it's got five really blistering rock tracks. The rest is really mid-tempo, mysterious and evocative. He's been obsessed with medieval English history, which, believe it or not, makes great material for a rock song. And contemporary Russian history, which makes a great rock song. The subject matter he choses to write about is amazing. The Next Day is a song about a tyrant, let me leave it at that. One thing the album's got is a lot of substance. You're going to have to listen to it many times, because the lyrical content's going to take a long time to absorb.

" He's been obsessed with medieval English history, which, believe it or not, makes great material for a rock song. "

"It's got an instantly familiar sound, because the band are rocking away and it's David Bowie's voice. He's singing very low-key on the single. A lot of people have misinterpreted that, thinking that he's going to sound old and frail on this record, but for that song he wanted to sound vulnerable. Big difference. Elsewhere, he's singing in full voice, that voice you hear on Heroes, so loud that I literally had to step away from him in the studio."

Visconti says he wasn't surprised when Bowie contacted him about recording two years ago, despite the fact that the singer had told him barely a year before that he had no interest in making more music and furthermore hadn't written any songs, a statement he now thinks was a fib. "You know, he's an artist, he can't sit on his creativity forever. You could tell from the beginning that the songs were stunning even in primitive form. They were obviously things that had built up over the past 10 years, sketches he had all along."

Complete secrecy was a precondition from the start: early on, they were obliged to move studios after the owners allegedly leaked information about who was working there. "We told them to keep it a secret and they blew it within 24 hours. We hadn't even started the album but we got a phone call: 'is it true you're making a record at such and such a studio?'. We just denied everything. Even when we made the first demos, we were sworn to secrecy. The three musicians working on them – me, Sterling Campbell on drums and Jerry Leonard on guitar – had to sign a non-disclosure agreement. It was unnecessary with the the three of us, we were long-time Bowie people – if he'd just said keep it a secret and don't tell a soul, we would have done that without signing – but later on, as the crew on the album got bigger, the NDAs were necessary because we didn't know everyone that well. We got lucky with the studio, a place called The Magic Shop in SoHo. Normally there are interns at studios, but whenever we were there, they gave their interns time off. They didn't want them to witness it. When we were working there, they had a skeleton staff of two, which is not normal."

Did the secrecy affect the sessions? "Definitely. We had to talk about it about it as a group, share our experience of the insanity, the frustration. And David would just sit there smiling. The fun we were having in the studio overshadowed all the neuroses, but there definitely were neuroses."

Even with security so strict that when Earl Slick turned up to work on the album last July, not even his own roadie was allowed in the studio – "I told him to pick me up Tuesday at 1pm and drop me off at the studio, but I said, they got guys to haul the gear in at the studio, you just sit in the truck" – Visconti seems astonished than no one found out. "The evidence was there, but no one put all the pieces together. He was photographed near the studio. Over a year ago, he asked Robert Fripp to play on the album and Robert Fripp put it on his blog, something like 'David Bowie's asked me to play on his album but I'm too busy', and no one believed it! If someone was actually monitoring all these leaks, they could have put it together."

"I know we have the makings of another album"

No one did, enabling an artist who has always thrived on mystique to return in suitably mysterious style. "There might be a lesson in there for the wider music industry," suggests Tim Ingham. "We live in an age when distraction is everywhere, consumers are multi-screening – and multi-screening is actually an acceptable verb – and the industry assumes that to get what marketing departments call cut-through or mind-share for music you have to bombard people: artists are supposed to be in a constant dialogue with their fans, via Twitter or blogs or Facebook. It's a timely reminder that mystique is a valuable commodity. You can perhaps give people more by giving them less."

As for Bowie, Tony Visconti seems confident that The Next Day is a new beginning rather than simply one last hurrah. They ended up recording 29 songs, he says, and even on the deluxe edition of the album, there are only 17 tracks. "We have tracks left over that are really great, that just didn't fit with this batch, so I know we have the makings of another album. And I know he wants to keep recording. I'm not sure when, but I think he'll be back in the studio later this year."

Meanwhile, despite the fact that no live dates have been announced for the forseeable future, Earl Slick says he'd like to tour the album. "Of course I would! I'm the biggest roadhog on the planet." He's not holding his breath, he says, but "as far as I'm concerned, anything he says or does could change. Nothing he does surprises me, ever. Never has, never will. When he contacted me about working on the album it was like, what's this about? 'Are you available?' Yeah, I'm available, what's going on? 'Well I wanna do some recording,' – like he was asking you to go have a cup of tea."

In the meantime, he says, he's trying to work out which of the songs on The Next Day feature him. "You gotta understand, I haven't heard the finished thing yet. He was still finishing and polishing the lyrics when I left. I can't actually figure out the titles I've seen. I don't know which ones I actually played on."

The last time Slick heard from Bowie, he says, it was via email: "I got a nice message from him saying 'thank you for keeping quiet'." He laughs. "He knows what I'm like. I'm a Brooklyn Italian, you know what I mean? I got a big fuckin' mouth."



Source : www.guardian.co.uk
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MessagePosté le: 15 Jan 2013 18:52    Sujet du message: Répondre en citant

Et voici...
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MessagePosté le: 15 Jan 2013 18:52    Sujet du message: Répondre en citant

... une autre interview...
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MessagePosté le: 15 Jan 2013 18:52    Sujet du message: Répondre en citant

de Tony Visconti Wink
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MessagePosté le: 15 Jan 2013 18:53    Sujet du message: Répondre en citant

... dans RollingStone...
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