来源 :梵克雅宝 2019-12-15 23:18:53|创富高手论坛33177.hk



  The American musician Steve Gunn first heard of Sachiko Kanenobu a few years ago, when, at the advice of friends, he listened to her debut album “Misora,” recorded in Tokyo in 1972. Gunn, 41, is best known for his neo-folk guitar playing (and as a former member of Kurt Vile’s backing band, the Violators) and has more recently moved into producing albums for like-minded artists. He was instantly taken with Kanenobu’s lush guitar playing and multilayered psychedelic melodies, joining the singer-songwriter’s small but devoted fan base.

  Born in Osaka in 1948, Kanenobu started to garner attention in her late teens within her country’s burgeoning folk scene. But the year of her album’s release — and before her fame took hold — she quietly moved to New York City with Paul Williams, the music journalist and founder of Crawdaddy magazine, to start a family. Now based in California, she makes music on and off, both solo and with groups, returning periodically to Japan to perform.

  In 2017, Gunn rediscovered Kanenobu by chance when he heard an interview with her on WFMU radio in New York City, where he’s based; ultimately, a mutual friend connected the two musicians and a creative relationship flourished by text message. Next month, Kanenobu will perform songs from “Misora” for the first time in the States, opening a handful of Gunn’s tour dates tied to the release of his upcoming album, “The Unseen in Between.” Written in the wake of his father’s passing, the songs are sweeping, with intricate finger picking and rich instrumentation, the lyrics meditative and intimate. Gunn also pushed for the reissue of “Misora,” which is slated for next year.

  Ahead of all of this, the pair sat down at the kitchen table in Kanenobu’s home in Northern California to discuss their origins, the writing process and their varied inspirations.

  Steve Gunn: Sachiko, you just came back from Japan.

  Sachiko Kanenobu: Yes, it was a very special performance. I performed my “Misora” album in Japan, and I’ve never played that album before in public — and it’s 46 years after it was released. I went back to do this concert. It sold out the same month it was announced. I thought, “Wow there are going to be lots of gray-haired people,” but there were so many young people. I was shocked. To me, it’s like I rose from death, like they are seeing a ghost or something. [Laughs]

  I’m so excited to perform from that album with you — it’s one of my dreams. You really inspired me to play my guitar again. Each time before I play now, I put on your YouTube videos. Your music is just so calm. I’m 70 years old now, and I need that calm energy.

  Gunn: I do, too, it’s a big part of my music.

  Kanenobu: You also have a kind of psychedelic quality. That’s what really got me, because I grew up with that type of music, like the Beatles and such. I’ve been in California since 1976, and I lived in New York before that. I got there in 1972.

  Gunn: You were so steeped in music because of your relationship with Paul Williams.

  Kanenobu: Paul brought Bruce Springsteen to come see us in New York — it was very early on. He sang two songs for us with an acoustic guitar, that’s an amazing memory. Also, I met Bob Dylan — much later, though, when I was living in California. It was at a ball field in San Francisco, around 1980.

  Gunn: Had he known Paul?

  Kanenobu: Yes — and it was a very special concert because Bob Dylan was like a born-again Christian. He had these wonderful backup singers. However, the audience didn’t like it. It was terrible. They booed him. Paul and I went to see him at the end and we talked. I said, “Why do people do that?” And Bob Dylan said, “Change your style and they don’t like it.”

  Gunn: When I had met you in Sonoma last year and we were kind of becoming friends — and I started talking to you about this label, Light in the Attic, which is going to reissue “Misora” — I told my record-nerd friends that we hung out. And they were like, “Wait, what?” No one really believed me. I don’t think a lot of people knew that you were living in California or in the States.

  Kanenobu: In 1972, when I first moved to New York, I wasn’t making music because I had two babies, you know. I was mostly taking care of the kids. But Paul played music all the time and I was getting into that.

  Gunn: When did you start writing music again?

  Kanenobu: Really when I met Philip K. Dick. He changed my life and got me to play music again. Paul took me to meet Phil when he was living in Sonoma with his girlfriend. He asked, “Are you still writing songs?” I said, “No, I’m very busy, you know?” And he said, “You shouldn’t stop writing, you have a gift.” He made my eyes all jumbly. I was so touched, and felt so deeply. He really illuminated my heart and soul.

  T: Is it true he started producing one of your records before he died?

  Kanenobu: He did. He did one single record, “Fork in the Road / Tokyo Song.” At one point, Paul and I drove all the way to see Phil in Santa Ana, where he lived and brought him an older record of mine — he had this big fancy player — but when we tried to put it on, it didn’t work. Phil was really angry. He said, “I’m going to throw this whole system out the window,” and he really started picking it up, but we stopped him. Later, we played him the album and he loved it.

  I wrote some new English songs after Phil had told me I should, instead of in Japanese. He started talking about making an album together — he would produce it and he’d be in the studio this time. That was 1982, around February. I was so excited, and then he died in March. It was so sad, the darkest time in my life. He was like my muse. He always called me and encouraged me and read me short stories and made me laugh. I am actually writing a book about the whole thing.

  Steve, what was it like working on your new album?

  Gunn: Well, my producer, James Elkington, is someone that I’ve been playing music with for a bunch of years now, he and I became fast friends. I met him on the road. He’s from England and lived in London in the ’80s, so he’s kind of steeped in this English punk tradition, but he also knows a lot about the folk traditions from England.

  I’m a pretty idiosyncratic player, and I’ve got my own kind of self-taught style. I think if I was thrown into certain situations people might not really understand where I’m coming from. Jim really understood, he knew exactly what I wanted to do with the album, which was basically record it like the albums that I admire from the ’60s and ’70s, where you kind of hear the band playing live. I wanted this sort of live spontaneity to it. We also had the bassist Tony Garnier — he plays with Bob Dylan — and Daniel Schlett, the owner of the studio. We’re all sort of Dylan fanatics.

  Kanenobu: Steve, what inspires you?

  Gunn: I studied art history in college, and when I ended up moving to New York, I worked at a lot of art galleries and was kind of an art handler — I ended up moving a ton of artists’ works and in the process became educated in a lot of minimal artists from the ’60s. Some of them were very interested in music and also were musicians themselves. And a lot of their philosophies correlated with some of the things that I was exploring.

  Kanenobu: When I was in high school, I used to listen to this album by Donovan, and I actually tried to imitate him. [Laughs]

  Gunn: Do you remember what album?

  Kanenobu: The first one, I think. I tried copying it, but it was so difficult, and so I just created my songs out of attempting to play like that. In Japan around 1967, it was all folk and pop music — Peter, Paul and Mary, Pete Seeger, bands like that. Later, I got into the Okinawa scale, which is a unique scale, and not very Japanese in style. And then Takashi Nishioka from the band Five Red Balloons said, “Why don’t you come over and listen to this record? Don’t you feel like it’s kind of what you’re doing?” And it was Joni Mitchell. Then I got influenced by Bob Dylan, of course — I love his words. I started reading his song book and it was kind of like my bible. I also got into the group Pentangle.

  Gunn: Another favorite of mine.

  Kanenobu: I got into the guitar, more than the singing. I’m still not a great singer.

  Gunn: For me, I didn’t sing until later. At first, I was practicing guitar and learning different things and improvising. I got really into playing long-form meditative-style pieces. Also classical Indian music was influential to me. I was trying to figure out how to use that influence and I knew that people in the ’60s used that style, particularly a guitar player named Sandy Bull. When I heard his piece called “Blend,” I kind of emulated that for a number of years and was playing with different kinds of open tunings.

  T: Are you currently working on new music?

  Kanenobu: Yes, I’m working on new songs and it’s so exciting because, you know, I thought, “Wow, I’m dead.”

  Gunn: When “Misora” came out, did you play any shows, or did it just come out and you had already moved on from that?

  Kanenobu: I’d been playing for a few years before that came out. It’s interesting with that album because everyone said, “Oh, it’s a woman.” You know, back then, there were no women singing with an acoustic guitar. I remember in particular a performance I did in Germany in the late ’80s with my band Culture Shock. I can’t describe it, it was really amazing — everybody was one. I said “I love you” and everyone in the room said back, “I love you.” [Laughs] To me, when you play, it’s very important to give people goodness.

  Gunn: What’s also interesting for me, with your story, is all of the connections you’ve made throughout your life and how music particularly played a role in it. You can link these experiences because you picked up a guitar when you were a teenager.

  Kanenobu: If you’re curious and love something, when you get into it and express yourself, that’s what life is about.

  This interview has been edited and condensed.



  创富高手论坛33177.hk【庐】【帐】【中】【刚】【才】【还】【是】【酒】【笑】【欢】【畅】,【此】【刻】【一】【片】【冰】【寂】。 【艾】【和】【曼】【的】【父】【亲】【做】【葛】【禄】【族】【长】【的】【时】【候】,【为】【了】【除】【去】【叛】【逆】【谋】【变】【的】【长】【子】,【曾】【以】【赏】【赐】【财】【宝】【为】【由】,【趁】【长】【子】【打】【开】【宝】【箱】【抓】【捧】【财】【物】,【突】【然】【将】【箱】【盖】【关】【上】,【压】【其】【双】【手】,【横】【刀】【杀】【之】。 【此】【刻】【情】【形】【类】【似】,【艾】【和】【曼】【沉】【声】【质】【问】,【面】【上】【还】【算】【平】【静】,【心】【中】【早】【已】【怦】【怦】【急】【跳】。 【斛】【萨】【面】【孔】【酱】【紫】,【仍】【在】【奋】【力】【挣】【扎】,【兀】


“【猿】【飞】【老】【师】,【你】【太】【小】【看】【我】【了】【吧】!【就】【这】【些】【玩】【意】【还】【是】【别】【拿】【出】【来】【丢】【人】【显】【眼】【了】。” 【大】【蛇】【丸】【嘴】【上】【说】【着】,【手】【上】【的】【动】【作】【也】【不】【慢】,【飞】【快】【的】【结】【印】。 “【潜】【影】【蛇】【手】!” 【大】【蛇】【丸】【的】【左】【手】【瞬】【间】【化】【作】【一】【条】【巨】【蟒】,【狠】【狠】【的】【咬】【住】【了】【刚】【刚】【赶】【来】【的】【三】【代】【火】【影】。 【不】【对】,【大】【蛇】【丸】【察】【觉】【到】【不】【对】【劲】,【迅】【速】【的】【往】【后】【退】【去】。 “【土】【遁】,【土】【流】【大】【河】” 【瞬】【间】

  “【本】【宫】【不】【知】【道】【你】【到】【底】【在】【说】【些】【什】【么】,【你】【的】【女】【儿】【在】【何】【处】,【你】【难】【道】【自】【己】【不】【清】【楚】【吗】?【你】【来】【找】【本】【宫】【要】【孩】【子】,【莫】【不】【是】【疯】【了】【吧】!”【端】【靖】【大】【长】【公】【主】【拍】【着】【桌】【子】。 “【公】【主】,【奴】【婢】【真】【的】【只】【想】【见】【女】【儿】【一】【面】,【还】【请】【公】【主】【成】【亲】。”【妇】【人】【一】【下】【下】【的】【磕】【着】【头】。 “【宛】【彤】,【你】【也】【少】【在】【此】【处】【胡】【编】【乱】【造】,【当】【年】【你】【才】【伺】【候】【了】【几】【日】,【如】【今】【来】【说】【有】【个】【孩】【子】,【当】【真】【觉】【得】创富高手论坛33177.hk“【通】【天】【城】?【我】【一】【早】【刚】【从】【通】【天】【城】【出】【来】,【现】【在】【必】【须】【去】【霜】【狼】【镇】【找】【诺】【兰】,【她】【一】【定】【还】【在】【生】【我】【的】【气】。” 【安】【途】【不】【明】【白】【诺】【德】【为】【什】【么】【突】【然】【要】【让】【自】【己】【返】【回】【通】【天】【城】,【毕】【竟】【他】【刚】【解】【释】【了】【半】【天】,【看】【来】【诺】【德】【还】【是】【不】【能】【理】【解】【自】【己】【急】【迫】【的】【心】【情】。 【远】【处】【的】【慕】【峰】【看】【他】【们】【在】【路】【边】【争】【论】【了】【半】【天】,【好】【奇】【地】【伸】【长】【了】【脖】【子】【观】【望】,【还】【不】【忘】【和】【身】【边】【的】【青】【焰】【吐】【槽】【一】【番】。

  【听】【说】【【全】【球】【星】【卡】】【抄】【袭】【了】【我】,【谢】【谢】【大】【家】【的】【举】【报】,【同】【时】【我】【要】【说】【一】【句】,【【全】【球】【星】【卡】】【也】【是】【我】【写】【的】,【是】【这】【本】【书】【后】【传】。 【啊】【啊】【啊】【啊】【啊】【求】【求】【各】【位】【大】【大】【们】【给】【【全】【球】【星】【卡】】【一】【个】【五】【星】【好】【评】【吧】,【近】【期】【他】【在】【推】【荐】【上】,【和】【别】【人】pk,【就】【有】【人】【搞】【事】【故】【意】【打】【一】【星】【把】【评】【分】【刷】【低】,【想】【搞】【死】【我】【新】【书】! 【求】【求】【大】【家】,【给】【个】【五】【星】【好】【评】【去】,【真】【的】【好】【重】【要】,【我】【快】【哭】【了】!

  “【因】【为】【前】【几】【年】【并】【没】【有】【符】【合】【我】【们】【战】【略】【目】【标】【的】【明】【星】,【所】【以】,【我】【们】【也】【没】【有】【从】【内】【地】【挑】【选】,【而】【是】【挑】【选】【了】【周】【杰】【伦】,F4【这】【些】【港】【台】【明】【星】。” “【但】【是】,【现】【在】,【我】【发】【现】【了】【一】【件】【很】【有】【意】【思】【的】【事】【情】【那】【就】【是】【前】【段】【时】【间】【沸】【沸】【扬】【扬】【的】【社】【会】【热】【点】,【是】【因】【为】【一】【部】【电】【视】【剧】【而】【产】【生】【的】,【你】【们】【应】【该】【知】【道】【这】【意】【味】【着】【什】【么】【吧】?” 【现】【象】【级】! 【史】【密】【斯】【和】【威】【尔】【两】【人】

  【永】【夜】【国】,【国】【都】【南】【海】【城】,【三】【面】【临】【海】,【地】【势】【狭】【长】。**【若】【想】【收】【复】【南】【海】【城】,【有】【三】【条】【计】【策】。 【一】,【依】【靠】【强】【于】【永】【夜】【数】【倍】【的】【海】【上】【力】【量】,【东】【西】【南】【三】【路】【抢】【滩】【登】【陆】,【北】【陆】【再】【施】【加】【以】【压】【力】,【四】【面】【围】【攻】,【永】【夜】【必】【破】,【此】【为】【上】【策】。 【然】【百】【越】【皇】【朝】【政】【局】【复】【杂】,**【为】【五】【皇】【之】【末】,【御】【驾】【亲】【征】【只】【得】【万】【象】【城】【六】【大】【赏】【金】【猎】【人】【支】【持】。【既】【无】【雄】【厚】【财】【力】【购】【买】【战】【船】,

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