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Est-ce qu'une transcription aiderait ? Voilà ce que j'ai pu déchiffrer de la première moitié, avec quelques trous (Lanois parle trop dans sa barbe, grunt).

RICH TERFRY : Rolling Stone Magazine called Oh Mercy "the strongest album from the singer-songwriter in a decade." Bob Dylan hired Daniel Lanois to produce the record based on a suggestion from Bono of U2, and the rest, as they say, is history. Well this week, Daniel Lanois has joined me in the studio to reflect on some of the most memorable albums he's produced, and this week he'll be inducted into the Canadian Music Industry Hall of Fame, and it is certainly my pleasure to welcome Daniel Lanois into the Radio 2 Drive Studio.

DANIEL LANOIS: Very nice to be here with you today.

RT: Now, you interrupted working on your own album, Acadie, to work with Bob Dylan on his record, so what did it mean to you to have a chance to work with him?

DL: Well, to have a chance to work with one of the national treasures of America was a big thrill for me, as a Canadian kid... As it turns out, Bob was on the road at the time and I had a studio set up in New Orleans 'cause I was recording the Neville Brothers, we made a record called Yellow Moon, a very good and strong record. Bob stopped in, we played him a couple of tracks and he was really excited about what was going on, 'cause we had created our own environment in this whole funky place on St. Charles in New Orleans. And we had recorded two of his songs, Aaron Neville wanted to record "The Ballad of Hollis Brown", and another song of Bob's called "God on Our Side". And I played Bob these two songs and he was a bit quiet, he looked up and he says: "That sounds like a record." And that was a big compliment, coming from Bob. I think he understood that we captured a great emotion from one of America's great singers [Aaron Neville?] and that we were able to do it in quite a humble environment, and there was not a lot of razzmatazz, it was pretty much "sleeves rolled-up and let's get the job done". So I think he knew that my little Canadian team was quite portent at that time. [laughs]

RT: So, when he stopped by the studio there in New Orleans during the recording of the Neville Brother's record, were you meeting him for the first time then or had you met before?

DL: That was the first time I met Bob, it was in New Orleans, that's right.

RT: Yes, must have been a great thrill. You're often praised for your ability to bring out the best in an artist, so I'm wondering how you went about that with somebody like Bob Dylan, I mean, an icon who'd already been in the business for... about thirty years at that point. I mean, I can't help but wonder if there was any sort of sense of intimidation, or was it more just like he said, "well, look, we've got a job to do here, I'm gonna roll up my sleeves and just get busy."

DL: Oh, I'm intimidated every day in my life! I'm a very insecure person... the milkman comes at the door, should there be such a person left on the planet, and I get intimidated: "shall I take the two per cent, or..." [laughs] But, Bob certainly recognized that we were committed, and it's hard to come by, to be committed to... I wouldn't wish it upon anyone, but I'm very committed, and I live and breathe my work, and... I think Bob really felt that we had built something for the Neville Brothers. When he visited us in New Orleans, we had actually built the studio for the Brothers, this was not just a generic studio down the street: we rented a building, I brought in my Canadian team, I bought the equipment for the project, you know, it was designed for the Neville Brothers, because I love them and I wanted to make a masterpiece with them. And Bob felt that when he came in, and I think he just decided that these people are a [motherlode?] of sorts, and I think I'm happy to be operating, to jump on their train, [... ?] for a while.

RT: Yeah, right.

DL: And he agreed, I said: "let's huddle up in the spring", I said: "I'll look after everything: I'll get a building, I'll put a [nice solo?] band together, all the equipment, instruments, just turn up with your songs." And that's what he did, he just turned up with pieces of paper and we got on with the record. The Neville Brothers lived just downstreet, so at any time we could bring in Mean Willie Green on the drums and whoever else, maybe Cyril [Neville]'d come in to sing some backups or play the congas and so on.

RT: Well, in those are some heavy guys to be able to call on [... ?]

DL: Yes, very very great people, very very great.

RT: And so, you mentioned that he just showed up, and he's got those songs, he's got these pieces of paper. Was it immediately to work, or was there a period of discussion, philosophizing, with ideas? Did you talk before setting down to work or did you jump right in?

DL: Well, I had been to Bob's house somewhere between the initial meeting and the beginning of the sessions, and he had played me a few songs, so I was a bit familiar with what he had. He already had the song "Most of the Time", which I loved, beautiful love song... I think it goes "most of the time, I'm clear focused all around, most of the time, I can keep both feet on the ground, I can handle whatever I stumble upon, I don't even notice she's gone, most of the time". So I thought that was a very tender way of looking at love and looking at missing somebody, and that was the beginning of [... ?], he had a few others that... there was a rock and roll song called "Everything's Broken". "Broken plates, broken idols, broken treaties, any time you go away, everything's broken", [... ?] of the song, so another love song, I thought "OK, we're onto something here". But aside from that, there was... we saw him a few months later, when he turned up on the doorstep. And that was it, that was the beginning of it.

Je continuerai demain. Entre parenthèses, l'album Acadie de Lanois est superbe, à écouter !

génial
Merci mon bon Winsterhand ! avec l'aide d'un dico je m'en sors à peut près bien là

Most Of The Time est donc la chanson qui a tout de suite marqué Daniel Lanois ..tu m'étonnes, c'est sans doute une des plus belles chansons de Bob Dylan depuis 50 ans

Sinon c'est marrant quand Bob entend ses chansons interprétés par les Nevilles Brothers et qu'il dit " ca somme comme un disque!"
Lanois prend ca comme un compliment..Pourtant quand on sait ce que Bobby pense de la production des disques en rêgle générale je suis frappé par le doute sur le sens réel de cette phrase

Voilà la fin.

RT: In Bob Dylan's, well, autobiographical work, we'll call it, he wrote that the sessions for Oh Mercy were difficult at times, and that he wasn't always happy with the results, but then the reviews were overwhelmingly positive, and clearly it all worked out very nicely in the end. So, I'm curious to know what sort of challenges you ran into along the way and how they were dealt with, and if dealing with them was easy or difficult.

DL: Well, simply put, Bob was used to having a band around him. Aside from his solo records very early on he always had a really nice band around him and those band members would come up with parts and so everything happened quickly. I didn't want to have a band around, because I wanted to hear Bob, not a band. So I invited him to sit on a chair, as we are sitting here, you're Bob and I'm me, and we're just a couple of feet apart, and he's got a guitar in his hand, I've got a guitar in mine, a couple of tiny amps, and I'd put a big ass [wedge ??] right in front of my [stage marcher ???], and everything was cut to a rhythm box, everything was cut to a roll and [???], so I had fixed time, which meant I could add Mean Willie Green on afterwards, I didn't want Mean Willie Green in the room with Bob, I wanted Willie Green in after we got the vocals. So for me it was about get your center together, get the center of the picture, nice, big and full, with a lot of spirit and a lot of soul, a lot of meaning, and once you've got that then you can frame it with whatever you select. Bamboo? [Would you maybe??] a little bit of grass? Or a grass frame? Or should we put a little starlit night behind Bob? Let's [blue string ???] something. You can do whatever you want once you've got the center. If you haven't got the center and you've got a big frame, you've got a big problem. So that was my philosophy, and it took Bob a little time to wrap his head around that, that it was gonna be two guys on a porch. But once I got the center right, then everything else made sense. And it's a beautiful high-fidelity record that I stand behind to this day.

RT: As I mentioned earlier, you were asked to pick five albums for us to talk about this week, so what it is about this record, Oh Mercy, that you're most proud of? I mean, you've mentioned a few things, but is there any particular aspects of it that stand out for you all these years later?

DL: Oh Mercy is a great night-time record, because it was made in the night-time. It got to a point where Bob wouldn't allow any work to be done in the day, when he finally figured out that this was gonna be a good midnight record. And it was definitely a New Orleans record, in fact the song "Man in a Long Black Coat" was written when he was in New Orleans working on the album. And that's got a very, very sort of strong tonality to it, for anyone who ever thought they might run away with the circus, they'll probably love "Man in a Long Black Coat". I think some of the lyrics is: "Crickets are chirpin', the water is high, there's a soft cotton dress on the line hangin' dry, window wide open, African trees bent over backwards from the hurricane breeze, not a word of goodbye, not even a note, she's gone with the man in the long black coat." So it sets a certain kind of tone, but even story aside, I think there's something that resonates in that song, something that lurks in the shadows of that song that keeps the listener interested. For anyone who ever thought of running away with the circus.

RT: And do you think that's something about New Orleans, we've talked about Berlin a couple of days ago, do you think the city you find yourself in affects the work that's being done, or is it more immediate environment that is created in the studio? Do you think where you are in the world has any sort of effect on the work that's being done?

DL: Well, we've all said it before and lived by before that a change is as good a vacation as any, and, you know, different geographical locations certainly provides you with a change and, you know, excitment for a while... It's not to suggest that environment has to make its way into the music stylisticly, you know, we might go to Brazil to make a record doesn't mean to say we've got to be Brazilian, we want to be in Brazil maybe to get away from our rotten kids, or to not receive the usual phone calls and not to be looking at the same coffee shops. So change of scenery might suit someone that's written a new body of work, you know, just... plus, if you build a [renegade?] studio, as we like to do, then it's like "Oh, my goodness! A studio has been built for that project, we'd better take it seriously!" So there's certain things to can do to introduce a tone of respect, and that goes a long way, and when you respect the people you're working with, then they will respect you, and you get a snowball, or domino effect of that, and then art work will reach a [paradigm?].

RT: The iconic record producer, and artist, Daniel Lanois has been my guest in the studio. Today, we were talking about Bob Dylan's 1989 record Oh Mercy, an album that many dubbed a comeback album for Bob Dylan, it's one of many career-defining records produced by Daniel Lanois. And this week, he'll be recognized for that and celebrated as he'll be inducted into the Canadian Music Industry Hall of Fame, and that's why we've asked him to come in here and pick five records that he's produced to reflect on them in the run-up to this great honor. So thanks for coming in.

DL: Yeah, of course.

Merci beaucoup Winsterhand..bon là il va falloir que je revienne dessus car j'ai pas compris grand chose à cette deuxième partie

Quelqu'un connaissait ce clip?


J'adore!

Merci beaucoup Winsterhand..bon là il va falloir que je revienne dessus car j'ai pas compris grand chose à cette deuxième partie

Hey Vox, si tu veux apprécier Dylan à sa juste valeur, il faut que tu te mettes sérieusement à l'anglais !
Voilà un bon site pour commencer :

Oui je sais

Quelqu'un connaissait ce clip?


J'adore!

Je l'avais vu à sa sortie en 2007. A la base, c'était une promo pour la sortie du best-of "Dylan". C'est un remix par le DJ et producteur anglais Mark Ronson (Sean Paul, Lily Allen, Amy Winehouse, Robbie Williams tout ca tout ca).
Le clip est très bien, par contre le remix je ne vois pas vraiment l'utilité ni l'originalité (au final, il n'a fait que rajouter une rythmique plus "moderne" et des cuivres).

Chouette photo algernon

Sinon les rumeurs continuent sur le prochain disque /
La dernière en date dit que l'album contiendrait une chanson de 14 minutes qui parlerait de la tragédie du titanic

C'est l'anniversaire du Vieux aujourd'hui

Fait étrange, le Zim' est devenu numéro 7 des singles charts ITunes en Slovénie avec le titre 'Bunkhouse Theme' de la B.O. de "Pat Garrett & Billy the Kid". C'est du jamais vu jusqu'à présent.

Ah, en effet c'est pour le moins étrange..c'est peut être lié à une cause locale (utilisation de la chanson pour une série ou un film qui marche bien là bas par ex)

Allez en attendant le retour de winsterhand (plus vite, plus vite..)voici une liste de dix chefs d'oeuvres que je n'ai plus écouté depuis plusieurs semaines ou mois..et pourtant j'adore ces chansons ..mais c'est tout simplement pas le moment

1) Not Dark Yet
2) Blind willie Mc tell
3) Dirge
4) Can't Wait
5) I`ll Keep It With Mine
6) Mississippi
7) Girl From The North Country
8) You're a Big Girl Now
9) Ain't talking
10) Highlands

Vivement une période plus mélancolique que je me remette ces chefs d'oeuvres entre les esgourdes

Je viens de tomber là-dessus