（传说中的唱片封套，BC手上的斑不知道是什么，他似乎很喜欢秀这些红斑）
译/甜瓜牧羊犬
Billy Corgan on TheFutureEmbrace
Here's what Billy Corgan says about the places TheFutureEmbrace, his first solo album, took him:
以下是Billy自己解析首张个人专辑中的歌曲：
ALL THINGS CHANGE:
This was the zero point for the record. We'd been messing around for a couple months, but "All Things Change" was the first time we found the feeling we were going for musically. I knew I wanted to sing something at the end, and the words "We can change the world" came into my head when I was driving around. I thought, "Oh man, you're asking for it." But there's something so car-crash about someone actually saying something like that -- you don't want to look but you have to. The feeling is authentic. I do feel we can change the world, but it's not a Michael Jackson sense. There's a sense here that it's not going to be easy.
这是这张唱片的起点。好几个月，我们弄得乱七八糟的，当我们重新开始进行下去的时候发现一切都变了。我开着车四处溜达，突然明白了我想唱什么，“我们能改变世界”浮现出来。我想，“噢，这正是我孜孜以求的！”但有一些东西是你不得不考虑的，就像车祸一样，你不想看却又不得不看。这种感觉很真实。我觉得我们能改变世界，但不是迈克尔·杰克逊想的那样。这一点也不容易。
MINA LOY (M.O.H):
The guys I worked with on the album would label the soundscapes I had. This song was originally called "My Old Heart" and they abbreviated the name in the sound file as "M.O.H." At first I wasn't sure about my lyrics to "Mina Loy" because I felt like I was returning to one of my old themes -- rage. Yet it expressed my general feeling of paranoia. I live in Chicago and I love my city so much -- I love it like a woman. I was thinking how I'd feel if anyone ever set off a dirty bomb and destroyed this place I love so much. This is not some vague Soviet threat. It's the thought that someone on a whim can put their finger on a map and destroy something beautiful.
我的合作伙伴们标注了这首歌。这首歌原来叫《My Old Heart》，他们把它简写成“M.O.H”。刚开始，对于为《Mina Loy》写的歌词，我不能确定自己是否该怎么写，因为我想要走过去的老路——狂暴。我觉得自己又成了原来那个妄想狂。我住在芝加哥，我非常喜欢这个城市，我爱它就像爱一个女人，我寻思着如果某个家伙朝这里扔下一个“赃弹”毁了这个地方我会有怎么想。这绝不是那种似是而非的苏维埃威胁，我就是有这样一个奇怪的想法，总觉得有人能够指着地图然后毁掉这美好的一切。
THECAMERAEYE:
This is like one of those poems where you vaguely know what it's about, but can't quite explain it. It has something to do with this feeling that love is constantly being perverted. You're constantly asking yourself what true love really is. I've been with women and I thought I found my true love and it's turned out to be the worst, most hurtful thing. You think, is that true love? I've been with woman who are completely devoted and would lie across a railroad track for me, and I think this is kind of boring. So what is true love anyway? Somehow the words and the images in "TheCameraEye" communicate that to me.
这首歌就像一首诗，只能意会，不能言传。大家想必都有这样的感觉，爱情常常被曲解。你总是问自己真爱是何物，而我呢，每次跟一个女人在一起的时候都认定自己找到了真爱，可最后却变得很糟糕。然后你开始怀疑，这真的是真爱吗？而且，当我跟一个全身心投入甚至会为我赴汤蹈火的女人在一起，我反倒会觉得无聊。所以，真爱到底是什么？不知道为什么，我想到了“TheCameraEye”这个题材。
TO LOVE SOMEBODY:
The original song by the Bee Gees is in a major key and very up-sounding, and I knew it wouldn't fit that way. So I slipped it all into a minor key, so it's the same melody but sadder. We finished the demo and my engineer thought it was one of the best things we've ever done -- and that was just the demo. So I'm pretty good friends with Robert Smith from the Cure who were a big influence on me. We're not just rock buddies, we sort of have a loving relationship from afar. So I called Robert up and said, "Will you sing on my record?" He said, "Sure, whatever you want." I said, "It's a Bee Gees song." Over the Transatlantic line I hear Robert Smith going "The Bee Gees?" I said, "Trust me, just do your thing and it will be fine." He did and it was great.
这首由Bee Gees原唱的作品本来是大调，调很高，我觉得并不适合我。所以我把它改为小调，使它听起来虽然旋律相同，但比较伤感。我们完成小样之后，录音师觉得这是我们一起完成的最好的作品，尽管那只是一个小样。之后，我找来了我的好朋友，The Cure乐队的Robert Smith。我们不常在一起玩儿摇滚，却因距离产生美，保持着很好的友谊。我问他说：“你愿意在我的唱片中演唱吗？”他回答：“当然，无论你想要什么。”我说：“那是一首Bee Gees的歌。”“The Bee Gees?”Robert Smith吃惊的声音从大西洋的彼岸传过来，我对他说：“相信我，你做好你自己就成。”他这么做了，很棒！
A100:
Just your typical God is Disco Love Song. I come from Chicago, the home of house music. We grow up there in a place where for a lot of people it's really all about the kick drum. That's why New Order was so big in Chicago -- they really captured that feeling. There's still something in me that just resonates to that Big techno moment. That said, the song is still semi-sarcastic. I've got my tongue in my cheek a little bit there.
上帝就是Disco！我来自芝加哥，House音乐的发源地。我们生长的这个地方对很多人来说一切都跟底鼓有关。所以New Order乐队才能在芝加哥走红吧——他们捕捉到了这种感觉。我至今仍然能触摸到当年Techno时代的脉搏。这首歌是半讽刺性的，我用我的屁股来歌唱。
DIA:
One of the last songs written for the album. I figured out some new ways to write songs this time and by this point in the process I'd gotten comfortable with new approach. So I went back to my old process. To me, it's sort of an old school song written in a new way. "DIA" has got a nice Gothic vibe. Actually, Courtney Love was staying at my house at the time. She抎 come into town for me to write songs for her record. I had this one and another one. I liked the other one, but Courtney picked this song.
这是这张专辑最后写完的作品之一。在这张专辑的制作过程中，我找到了一些新的让我觉得很舒服的创作方式。同时，我也返回去省视原来的过程。对我来说，这首歌是一首用新方式写成的老歌。DIA的灵感来自于一种奇妙的哥特式的感应。那个时候，Courtney Love正好待在我的屋子里，她让我为她的唱片写歌，我给她提供了两首候选作品，我喜欢另外一首，可她偏偏看上了这首。
NOW (AND THEN):
This one's just really sad -- some fucked up, weird tale of teenage isolation that never really happened to me. It's a sad devotional about willing to be hurt and consumed by someone. At first the song had a different feel and I was ambivalent about it. Perhaps it was a bit too Pumpkins for me right now. Then Bon said he really loved the song, and thought it was the best thing we'd worked on. He said, "Mind if I f*ck it up for you?" So then I went away, came back and thought what Bon had done was really beautiful. Then the whole song clicked for me.
这首歌非常伤感——关于孤独少年的乱七八糟的故事，跟我没有任何关系。其探究的是那种渴望受到伤害或被毁灭的悲剧性的虔诚。最初我觉得写这样一首歌很怪。它对我来说可能太“碎瓜”了。但Bon却对我说他真的很喜欢这首歌，而且他认为这是我们合作过的最好的作品。他问：“我是不是把你弄糊涂了？”然后我就出去了，回来的时候觉得Bon确实干得不赖。之后一切都很顺利。
I'M READY:
Bjorn wanted me to take this one off. He said, "It's not that I don't like it, I'm just not sure if it fits the record." And in a way, that's what I do like about "I'm Ready" .It comes at the point in the record where you need a different feeling. I often like the underdog songs on any album. And to me, there's something satisfying about knowing it will be someone抯 favorite song.
Bjorn 让我把这首歌拿掉，他说他并不是不喜欢这首歌，只是觉得它可能不太适合这张专辑。可是从某种意义上说，这正是 我喜欢"I'm Ready"的原因。专辑中总是需要一些突兀的感觉。像我就喜欢一些专辑中的所谓的失败之作。如果它能成为某些人的私人珍藏（而不是大家都认可），我会感到很满足。
WALKING SHADE:
I like where this song comes on the album. Someone I work with told me, "It's that point where you want to put your foot on the accelerator and drive a little faster." Without it, the album tailed off into a blissful thing, and I didn't want that. I wrote this song at the last possible second -- I wasn't sure what I was writing about. Then a week later, this whole thing blew up with this girl, and I had pretty much written what was going to happen but a week before. It's the psychic breakup song. We've made a video for it with all my pasts coming back to haunt me.
我喜欢这首歌在专辑中所处的地位。我的一个工作伙伴对我说，这便是你打算把脚踩到油门上准备开快一点儿的当口。没有它，整张专辑将会变得虎头蛇尾。我几乎是最后一秒才写好这首歌，我一直无法确定自己写的是什么。一个星期之后，整个作品的创作突飞猛进，我写出的东西比一个星期以前好很多。这首歌跟精神崩溃有关，我们为此拍了一个诡异的MV，镜头中，过去的我又跑了回来。
SORROWS (IN BLUE):
Now that's a weird one. Besides "All Things Change," I think this song captures what I was trying to say emotionally and sonically with the album. But it's a strange song and I don't even know what I'm trying to say exactly. It's definitely a feeling-based song and not at all intellectualized.
这同样是一首不可思议的作品。除了“一切都变了”这样的感觉外，我觉得这首歌也能代表我对于这张专辑的想法。只是，它太诡异了，以至于连我都清楚自己到底在说什么。毫无疑问，它是感性的、无法言喻的。
PRETTY PRETTY STAR:
Yes, this is the most Bowiesque title imaginable and that's the point. It was my way of winking and saying that I know what's going on here and I'm not going to pretend I抦 not going there. I know David halfway decently, and I've always been open about my love for his work. Then having played with Mike Garson who was the Aladdin Sane pianist and all that stuff, my heart is close to that feeling.
没错，这是我能想到的最典型的Bowie式的标题。那是我的一种存在方式，我明白曾经发生了什么，我不能假装自己从未这么活过。我并不十分了解David，但我总是毫无保留地展示自己对他的作品的热爱。尤其是当我跟Mike Garson——Bowie的专辑《Aladdin Sane》的钢琴手合作的时候，这种感觉尤为强烈。
STRAYZ:
This is just one of those things we did and everybody loved it. If I even brought up ever taking it off, there would have been a mutiny -- which was nice. The guys I was working with on this album really made an emotional investment in this music. They really helped me fight for the idea that the best music should be on the album. And I hope that it is.
这只是我们创作的作品中的一支，但所有人都喜欢它。如果我打算把它从专辑中拿掉，其他人一定会跟我没完。我的合作伙伴们在这张专辑中投入了很多的心血，我们一起为“最好的音乐应该出现在专辑中”而战，但愿如此！
背景音乐：《Eye》 The Smashing Pumpkins
Trackback: http://tb.donews.net/TrackBack.aspx?PostId=375922