This Kind of Love

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艺人: Carly Simon
语种: 英语
厂牌: Columbia Records
发行时间: 2008年04月29日
专辑类别: 录音室专辑

专辑介绍

＊同时荣获奥斯卡、金球奖、葛莱美奖的肯定，永远的创作才女歌手跨入新世纪首张全创作大碟

*发行首週登陆全美流行专辑榜与网路专辑销售榜劲作!!!

*一张向巴西音乐传奇大师裘宾致敬的专辑

以007系列电影「海底城」主题曲"Nobody Does It Better"风靡全球，随后又以电影「上班女郎」主题曲"Let The River Run"荣获奥斯卡、金球奖、葛莱美奖等大奖，并于1994年获得「歌曲创作家名人殿堂」颁发终身成就奖的女歌手卡莉赛门（Carly Simon）发行了8年来首张全新创作专辑【爱是惟一This Kind of Love】，专辑在发行首週就登上全美流行专辑榜与网路专辑销售榜的第15名，这样的排行成绩足以说明在行走乐坛超过35个年头之后，卡莉赛门仍然是当代最受欢迎的女歌手。

专辑由卡莉与长期合作的葛莱美奖录音师法兰克费利佩提（Frank Filipetti *曾经帮芭芭拉史翠珊的专辑担任录音工程）以及葛莱美奖史上唯一同时获得最佳歌曲、音乐与弦乐编曲製作等大奖的创作者吉米韦伯（Jimmy Webb）携手製作，卡莉特地从巴西音乐中汲取创作灵感，并将这个音乐元素灌注到自己所创作的歌曲，在热情的旋律之中，探索浪漫，省思，忧鬱，气愤与幽默这些非常宽广且不同的人类情感。本辑不仅是卡莉赛门歌唱生涯以来最具个人情感色彩的专辑，同时也是风格最多样的创作，包括了融合了温柔的摇摆曲风与热情的森巴音乐的标题曲"This Kind Of Love"，有著华丽风情、优美雅致的旋律的"In My Dreams"，摇曳著节奏蓝调性感身影的爵士小品"So Many People To Love"，闪耀著打击乐节奏神采，混合了管弦乐以及由贝蒂戴维斯所主演的1950年电影「彗星美人」的对白的异类放克大作"People Say A Lot"。专辑瀰漫著性感迷人的气息，洋溢著浓浓情意，充满愉悦喜乐的好心情，卡莉还在专辑裡头与儿女班与莎莉泰勒（Ben & Sally Tayor）分别合写了"Island"、"When We`re Together"等歌曲。

经过「Moonlight Serenade」（*2005年登上全美流行专辑榜与网路专辑销售榜第7名，获得2006年葛莱美奖最佳传统流行演唱专辑提名）、「Into White」（*2007年勇夺网路专辑销售榜冠军，全美流行专辑榜与第13名）等两张重新诠释传统流行乐金曲的专辑之后，卡莉赛门（Carly Simon）渴望早点回归到创作型歌手的风格，她表示：「我在这段期间写了许多新歌，就在我彙整了非常多零散的歌曲时，Hear Music唱片公司跟我联繫，这家唱片公司要求的是原创歌曲，我感到相当兴奋。」在专辑内页文字中，卡莉回想在他的成长过程中，家裡所蒐藏的一大堆音乐，她说：「在我们的音乐蒐藏室总会举行巴西音乐的庆祝活动，家裡的蒐藏包括了安东尼欧卡洛斯裘宾（Antonio Carlos Jobim）、路易兹波伐（Luiz Bonfa）、马利亚托雷多（Maria Toledo）、罗林度艾尔密达（Laurindo Almeida）等巴西音乐人的唱片。」她也写道，发觉1959年经典电影「黑人奥菲尔」（Black Orpheus）的美感以及由裘宾跟波伐为电影所创作的旋律的渴望是一段改变人生的经验，这段经验让她了解「音乐比绘画或是舞蹈或其它的艺术形式都更可以唤起热情与悲剧。」不过，卡莉也提到，她最近发现了卡耶塔洛费洛索（Caetano Veloso）、乔治宾（Jorge Ben）等现代巴西艺人，她说：「你不必再透过演唱bossa nova或是森巴音乐去表现出巴西音乐的重要本质，有一些歌曲不属于特定的一种节奏，或是特定的类型，或歌曲曲式，它对听者的耳朵与情感产生不同的变化与看法，所有的东西都在歌曲裡头。」

卡莉表示，费洛索与乔治宾都是乐器的想法让她的新专辑有了核心焦点，「我被费洛索与乔治宾惊人的歌曲创作深深的打动，」她说，然后她笑著说：「深到我甚至在我的一些歌曲的编曲中`借用`了费洛索的概念。」在充满欢乐愉悦的歌曲"How Can You Ever Forget"中的合成乐弹奏部分借用费洛索的编曲风格就是最好的证明。当卡莉在专辑筹备期间想著巴西音乐的同时，非常意外的，吉米韦伯打电话给她，建议她走同样的音乐路线，她说：「我不太确定我们的珍贵点子是否是在同一时间出现的，不过，我很开心他想到这个点子。」吉米之前曾在卡莉1997年的专辑「Film Noir」中携手担任专辑的製作与编曲，而法兰克费利佩提也在该专辑中负责混音与母带製作。吉米与法兰克再度与卡莉合作【This Kind Of Love】这张专辑。卡莉除了拥有优秀的伴奏乐团帮她的专辑打造热情的巴西节奏之外，她的儿子班泰勒也在一些歌曲中担任吉他、键盘、贝斯与打击乐器的弹奏。专辑分别在纽约与洛杉矶进行录音。在此张新作中，卡莉唱了两首描述自己的宝贝儿女的歌曲—"Hold Out Your Heart"、"They Just Want You to Be There"，同时也以颇有华尔兹旋律感的歌曲"Too Soon To Say Goodbye "缅怀在2007年1月过世的华盛顿邮报漫画专栏作家好友亚特巴克华德（Art Buchwald）。在这些献给至亲好友的歌曲之外，卡莉还在"Sangre Dolce"这首描述一个从布宜诺斯艾利斯去到纽约市的年轻妈妈的悲剧故事的歌曲中展现动人的歌词文采。卡莉还与乐团以非常即兴的伴唱方式在家裡的厨房录了一首散发森巴热情的歌曲"Hola Soleil"。在这张向亚特巴克华德与裘宾致敬的专辑中，卡莉将她同时身为顶尖的歌手与歌曲创作家的歌唱生涯推进到下一个阶段，她说：「许多歌曲都是具有自传性色彩，我的歌曲总是来自于一些发生在我身上的事情，或是我从别人那裡听来的事情，或是受到一本书或是一部电影的启发，在这些歌曲裡头，有人带著我们走在里约热内卢的花园小径，大部分的时间，我们都没有婉拒呢！」

This Kind of Love is Carly Simon's debut for Starbucks' Hear Music imprint, and it is even stranger than 2007's Into White, where the seed for this recording was sown. Simon was approached by no less than songwriter Jimmy Webb to make a Brazilian record. According to her notes, this was an event of pure synchronicity, as she had been listening to a great deal of Jorge Ben's and Caetano Veloso's music. That may be, but it was on Into White where she recorded Luiz Bonfá's classic "Manha de Carnaval," the theme from the film Black Orpheus. Webb arranged and co-produced the album with Frank Filipetti, who also engineered the session, with musical direction by longtime collaborator Peter Calo. Some of the session players include the great percussionists Cyro Baptista and Rick Marotta; drummer Robby Ameen; bassist Lincoln Goines; Calo, Ben Mauro, David Saw, and others on guitars; and Webb doing everything from playing bass and acting as concertmaster to playing synth and piano. Simon is part of the band as a player this time out as well, playing piano and Fender Rhodes. Teese Gohl is back again doing orchestrations and Elena Barere acts as concertmaster on most tracks.

Inspiration and intention aside, this is not a bossa nova record, nor is it a samba date. Not in the least. Brazilian musicians may be here, but they serve to enhance the spiritual aesthetic of this recording. Brazil and its music are present primarily as inspirations and references to the textures, sounds, atmospheres, and colors that evoke the lush sensuality of its landscape, music, and people. There are Brazilian-style cuts here, such as "Hola Soleil," written by Simon, her son Ben Taylr, and Jacob Brackman. The guitars are pure samba, and the contrapuntal percussion lines of Baptista and Marotta wrap themselves around the sensuous guitar lines that rely as much on jazz as samba, as Simon's vocals are underscored and highlighted by strings and an 11-member children's choir. In contrast, Webb's "The Last Samba," written especially for Simon, uses a stripped-down band led by Webb with Marotta on cahones, a lilting flute solo by Aaron Heick, and a lovely upright bassline by Goines. The rhythms may be samba crisscrossed with bossa, but the melody is pure Webb adult pop. It's slow and sexy, and Simon in her lower register is positively elegant in her delivery. Ben Taylor wrote the truly beautiful "Island," among the album's highlights with its shimmering acoustic guitar lines, percussive interplay by Ameen and Baptista, and the rock-solid bottom bassline of Goines. Simon pulls out the depth of feeling in the tune; she underscores every single sorrowful line with the professionalism and honesty that only a real songwriter can deliver. Daughter Sally Taylor wrote more in the Bahia vein on "When We're Together," which would also be a great selection for Michael Franks to cover. The Dobro touch by Calo is unexpected and quite pleasant, Simon's vocal quavering in its delivery here, offering a scintillating portrait of the first flush of new love.

But the real delights are Simon's own songs — she wrote or co-wrote ten of the 13 on the disc. The aching "So Many People to Love" is a sparse, spontaneous, sadly sweet finger-popping swing tune she wrote with Carole Bayer Sager. It doesn't sound like anything else here, but that's because Wade Robson, who did the vocal arrangement, also produced it and recorded it in a different place. This is the kind of pop song that is perfect for Simon's voice; it slips and slides in the same way Rickie Lee Jones' voice does. And the small graininess in her delivery brings out the soul that none of her standards records could. The skeletal guitar that accompanies her on the first lines of "Hold Out Your Heart" are quietly stunning. When the strings and backing vocals enter, they wipe away the years of "pop music progression" and take listeners back to a purer time — when lyrics would communicate in sync with music written specifically to offer a dramatic aural portrait of an emotional slice of life or an episodic one. It's graceful and quite beautiful when it reaches up and everything swells. The only thing that doesn't work here is the weird take on rap that is "People Say a Lot," a jumble of Dobro, big strings, programmed loops, and Simon's delivery — a square, stiff reading of old-school rap for the entire intro that becomes a vocal counterpoint exercise in show music. It should have been left off the set, period. Her wily flamenco-tinged "They Just Want You to Be There," while using simple vernacular, more than makes up for it, though. The set closes with "Too Soon to Say Goodbye," written as a eulogy for Art Buchwald at his request. It's a slow '70s-sounding singer/songwriter balladic waltz, kissed by the New York cabarets and Broadway. For Carly Simon's fans, this will ultimately be a most welcome return to her songwriting form. This is the best album of mostly original material she's cut since 1979's Spy.

This Kind of Love

专辑介绍

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