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  • I became obsessed with records when I was about 12 years old.

    譯者: Lilian Chiu 審譯者: Yanyan Hong

  • My parents used to give me money to eat

    我大約在十二歲時迷上了唱片。

  • and on most days, instead of eating,

    我父母以前會給我吃飯錢,

  • I would save it and buy myself a record at the end of the week.

    大部分的日子,我沒去吃飯,

  • Here I am with a gigantic Walkman that's about half my leg --

    而是把錢存下來, 在一週結束時為自己買張唱片。

  • (Laughter)

    這是我,帶著有我腿 一半大的巨大型隨身聽——

  • It actually looks more like a VCR.

    (笑聲)

  • (Laughter)

    它看起來其實更像錄放影機。

  • So when I was a teenager,

    (笑聲)

  • the obsession of buying cassettes, vinyls and CDs just kept growing.

    我到了青少年時期,

  • I was even working in a record store for many years

    對於購買錄音帶、黑膠唱片、 CD 的迷戀仍然持續上長。

  • and only ever got paid in records.

    我甚至在一個唱片店裡工作了許多年,

  • One day I realized that I had thousands of records more

    且我得到的只有唱片,沒有薪水。

  • than I could even listen to in my life.

    有天,我發現我有數千張的唱片,

  • I became what many of us are:

    這樣的數量,我一輩子都聽不完。

  • record junkies --

    我變成和許多人一樣的:

  • or record diggers, as we like to call ourselves.

    唱片成癮者——

  • Record digging, as the name suggests,

    或者說是唱片挖掘者, 我們喜歡以此自稱。

  • means getting your hands dirty.

    唱片挖掘,正如其名,

  • It means spending hours rummaging through warehouses,

    就是要讓你親手下去挖。

  • church basements,

    這表示你要花數小時翻找唱片, 搜索地點包括倉庫、

  • yard sales, record stores --

    教堂地下室、

  • all to find records that have been forgotten for decades.

    庭院拍賣、唱片行——

  • Records that have become cultural waste.

    目的就是要找到 被遺忘了數十年的唱片。

  • The earliest record collectors from about the '30s to the 1960s

    已變成文化廢棄物的唱片。

  • found and preserved so many important records

    最早期大約三十年代 到六十年代的唱片收藏家

  • that would have been lost forever.

    發現並保存了好多重要的唱片,

  • In those days, most cultural and public institutions

    若不是他們,就會永久失傳。

  • didn't really care to preserve these treasures.

    在那時候,大部分的 文化和公共機構團體

  • In many cases, they were just throwing them into the garbage.

    並不在乎這些寶藏的保存。

  • Record digging is a lifestyle.

    在許多情況中, 他們就把唱片丟進垃圾堆去了。

  • We're absolutely obsessed with obscure records,

    唱片挖掘是一種生活方式。

  • expensive records, dollar-bin records,

    我們完完全全迷上鮮為人知的唱片、

  • crazy artwork,

    昂貴的唱片、dollar-bin (二手唱片店)的唱片、

  • sub-subgenres.

    瘋狂的藝術作品、

  • And all of the tiniest details that go with each release.

    子類別。

  • When the media talks about the vinyl revival

    以及每張發行專輯的 所有最細微之細節。

  • that's been happening these last few years,

    當媒體談到這些年重新流行起來的

  • they often forget to mention this community

    黑膠唱片時,

  • that's been keeping the vinyl and the tradition and the culture alive

    他們通常都會忘記提到這個社群,

  • for these last 30 years.

    過去三十年間,是這個社群 讓黑膠唱片以及傳統和文化

  • It's a very close-knit but competitive society, a little bit,

    能持續存活著。

  • because when you're hunting for extremely rare records,

    它是個結合非常緊密, 但有點競爭性的族群,

  • if you miss your opportunity,

    因為我們是在獵尋極度稀有的唱片,

  • you might not see that record ever in your life.

    如果你錯失你的機會,

  • But I guess the only person in here truly impressed by record collectors

    你可能一生都不會看到那張唱片了。

  • is another record collector.

    但我猜想,這裡唯一會真正 對唱片收藏家感到佩服的人,

  • To the outside world,

    是本身也收集唱片的人。

  • we seem like a very weird, oddball group of individuals.

    對於外面的世界,

  • And --

    我們似乎是非常奇異古怪的一群人。

  • (Laughter)

    而且——

  • And they're mostly right.

    (笑聲)

  • All the record collectors I know are obsessive maniacs.

    且他們通常是對的。

  • We know we're all crazy in some way.

    我認識的所有唱片收藏家 都是執著的狂人。

  • But I think we should be viewed a little bit more like this.

    我們都知道我們在 某種層面上是很瘋狂的。

  • (Laughter)

    但我認為我們更應該 被看作是這樣:

  • We're music archaeologists.

    (笑聲)

  • We're hunting down the lost artifact.

    我們是音樂考古學家。

  • We all have a list of records that we would do anything to get our hands on,

    我們在獵尋失落的工藝品。

  • that we've been chasing for years,

    我們都有張清單,

  • and we actually call this list our "holy grails."

    上面的唱片是我們願不計代價取得的,

  • When you're digging for records,

    是我們尋找多年的,

  • you're surrounded by music you don't know.

    我們把這清單稱為我們的「聖杯」。

  • You're surrounded by mystery and by all these dreams --

    當你在挖掘唱片時,

  • records that people once believed in.

    你被你不認識的音樂圍繞著。

  • Imagine the thousands of artists who were destined to be legends

    你被神秘感以及所有 這些夢想給圍繞著——

  • but for various reasons, were just overlooked.

    這些是人們曾經相信的唱片。

  • Many of these records only exist in a handful of copies,

    想像一下,數千名注定 成為傳奇的藝術家,

  • and some have never even been found,

    卻因為各種理由而被忽略了。

  • never been heard.

    裏頭有許多現在只剩下幾張唱片了,

  • They're literally endangered species.

    有些從來沒有被找到,

  • I'll tell you a story

    從來沒有被聽過。

  • that for me sort of sums up the value of the work of record diggers.

    它們真可說是瀕臨絕種。

  • The story of a brilliant Montreal musician and composer.

    讓我說個故事,

  • Henri-Pierre Noël was born and raised in Haiti,

    對我而言,這個故事總結出了 唱片挖掘者所做的事的價值。

  • but he lived briefly in the US and in Belgium.

    故事主角是一位聰明的 蒙特婁音樂家兼作曲家。

  • He passed through Montreal what was supposed to be for two weeks,

    亨利皮耶諾爾在海地出生和長大,

  • but he ended up staying for the next 40 years.

    但他在美國及比利時 住過短暫的時間。

  • When he was young, he learned to play piano

    他經過蒙特婁, 本來應該只要停留兩週,

  • and developed a very particular way of playing his instrument:

    但結果,他一待就待了四十年。

  • very fast and almost like a percussion.

    他年輕時學過鋼琴,

  • His style was a mix of his Haitian influences and folklore

    並自己開發出了一種 很特別的樂器彈奏方式:

  • mixed with the American influences that he grew up hearing.

    非常快速,幾乎就像打擊樂器。

  • So he created a mix of compas mixed with funk and jazz.

    他的風格混合了海地的影響和民俗,

  • As a young man,

    加上他成長過程聽到的美國影響。

  • he played and toured with live bands in the US and in Europe,

    所以他創造了一種 基本律動與放克和爵士的混合。

  • but had never recorded an album or a song before moving to Canada.

    年輕時,

  • It was in Montreal in 1979

    他和現場樂團一同 在美國及歐洲巡迴表演,

  • that he released his first album called, "Piano."

    但在搬到加拿大之前 從未錄製過一張專輯或一首歌。

  • Completely on his own, on Henri-Pierre Noël Records.

    1979 年,在蒙特婁,

  • He only made what he could afford: 2,000 copies of the record.

    他發行了他的首張專輯《鋼琴》。

  • The record received a little bit of airplay,

    完全靠自己,以亨利皮耶諾爾 唱片公司的名字獨立發行。

  • a little bit of support in Canada and in Haiti,

    他只能負擔得起發行兩千張。

  • but without a big label behind it,

    那張唱片有少數被電台播放的機會,

  • it was very, very difficult.

    在加拿大和海地得到一點點的支持,

  • Back then,

    但背後沒有大唱片公司,

  • if your record wasn't getting played on mainstream radio,

    是非常非常艱困的。

  • if you weren't in jukeboxes or if you weren't invited to play on TV,

    那時,

  • the odds were completely against you.

    若你的唱片沒有在主流電台播放,

  • Releasing an album as an independent artist

    若沒有在自動點唱機中, 若沒有人邀請你去電視上演出,

  • was so much more difficult than it is today,

    你成功的可能性就很低。

  • both in terms of being heard and just distributing the thing.

    以獨立藝術家的身份來發行專輯

  • So, soon after, he released a second album,

    在那時比現在困難很多很多,

  • kept a busy schedule playing piano in various clubs in the city,

    在被大眾聽到方面, 以及單純發行方面都是如此。

  • but his records started to accumulate dust slowly.

    所以,在他發行了 第二張專輯之後沒多久,

  • And those 2,000 copies in the span of 30 years

    忙碌地在城市內的 各個俱樂部演奏鋼琴,

  • easily started to get lost

    但他的唱片開始慢慢地累積灰塵。

  • until only a few copies in the world remained.

    在三十年間,那兩千張專輯

  • Then in the mid-2000s,

    很容易就開始被遺失,

  • a Montreal record digger that goes by the name Kobal

    直到全世界僅剩下幾張還存在。

  • was doing his weekly rounds of just hunting for records.

    在 21 世紀頭十年中期,

  • He was in a flea market

    在蒙特婁,一位名叫 柯白爾的唱片挖掘者

  • surrounded by thousands of other dirty, dusty, moldy records.

    在進行他每週例行的唱片獵尋。

  • That's where he found the "Piano" album.

    他到了一個跳蚤市場,

  • He wasn't specifically looking for it.

    被一大堆骯髒、滿佈灰塵、 發霉的唱片所包圍。

  • Actually, you could say it sort of found him.

    在那裡,他找到了《鋼琴》專輯。

  • You could also say that after 20 years of record digging every single week,

    他的本意並非去找那張專輯。

  • he had developed a sixth sense for finding the gold.

    事實上,你可以說 是那張專輯找到他的。

  • He took the record and inspected it:

    也可以說,在持續二十年 每週都去挖掘唱片之後,

  • the front, the artwork, the back, the liner notes,

    他已經發展出了找到金礦的第六感。

  • and he was intrigued by the fact that this Haitian musician made a record

    他拿著唱片並檢查它:

  • in Quebec in the late '70s,

    正面、藝術設計、 背面、封套說明文字,

  • so he was intrigued.

    他感到很好奇, 這位海地音樂家在七十年代末

  • He took out his little, plastic, portable turntable

    在魁北克製作了一張唱片,

  • that he brought with him whenever he was on these digging quests

    他的好奇心被激起了。

  • and put the record on.

    他拿出了他只要去挖寶時

  • So why don't we do the same thing?

    都會隨身攜帶的可攜式 小型塑膠唱機轉盤,

  • (Music)

    並把唱片放上去。

  • He fell in love with the music instantly,

    我們也來做相同的事吧。

  • but he had to know the backstory behind it.

    (音樂)

  • He didn't know where it came from.

    他馬上愛上了這音樂,

  • He knew the artist,

    但他得要知道它背後的故事。

  • at the time of the recording,

    它不知道它是打哪兒來的。

  • was living in Montreal,

    他知道這位藝術家

  • so for months, he tried to track him down.

    在錄音的時候

  • He even found Noël's business card inside the record sleeve.

    是住在蒙特婁的,

  • That's how DIY Henri-Pierre Noël was.

    所以他花了數個月的時間去追蹤他。

  • So he found the card inside the record sleeve --

    他甚至在唱片套內 找到了諾爾的名片。

  • of course he did try to call,

    亨利皮耶諾爾就是 這麼「自己動手做」。

  • but after 30 years, the number didn't work anymore.

    他在唱片套內找到了名片——

  • So it was only in Belgium,

    當然,他試著打電話去,

  • where the artist had once lived,

    但過了三十年,那個號碼已失效。

  • that Kobal managed to find someone that knew the artist personally

    只有在比利時, 那位藝術家曾經住過的地方,

  • and gave him the contact.

    柯白爾才找到了認識 那位藝術家本人的人,

  • So when he finally sat down with the artist,

    並給了他聯絡方式。

  • he made him a promise to someday find a way to get the album rereleased.

    所以,當他終於與 那位藝術家見面坐下談,

  • He then arranged for a British label called Wah Wah 45s

    他向他做了一個保證:有一天, 會找到方法來發行這張專輯。

  • to get the two albums reissued.

    他接著安排了一家英國唱片公司, 叫 Wah Wah 45s,

  • And what happens very often is,

    將兩張專輯重新發行。

  • in these reissue projects,

    在這類重新發行的計畫中

  • that it becomes very difficult to find the master tapes --

    很常見的狀況是,

  • the original recording of the sessions.

    非常難找到母帶——

  • Art can be destroyed by fires, floods, earthquakes,

    用來做拷貝的原始錄音。

  • thrown in the garbage,

    藝術有可能會被火災、 水災、地震給摧毀,

  • or just lost forever.

    或是丟到垃圾筒,

  • But thankfully,

    因而永遠遺失。

  • the Henri-Pierre Noël tapes were safe

    但,謝天謝地,

  • and they were ready for remastering.

    亨利皮耶諾爾的母帶很安全,

  • The record was finally rereleased

    它們都可以拿來重新灌製了。

  • and received praise from music critics, DJs and listeners worldwide --

    唱片終於被發行,

  • the praise that it should have received in 1979.

    得到了全世界音樂評論家、 DJ、聽眾的讚賞——

  • The artist was so inspired that he decided to revive his music career,

    它早在 1979 年就該得到這些讚賞的。

  • get back on a stage, and play for new audiences.

    這位藝術家受到很大的鼓舞, 決定重新開始他的音樂職涯、

  • The artist, now in his 60s,

    回到舞台上,為新觀眾演出。

  • told me, "This changed everything for me.

    這位藝術家現在已經六十幾歲了,

  • I went from planning my retirement

    他告訴我:「這改變了我的一切。

  • to playing on the BBC Radio in London, and on Radio Canada and more."

    我從規劃退休轉變成

  • But also it gave him a chance to play

    在倫敦 BBC 電台、加拿大廣播公司, 及許多其他廣播電台演出。」

  • in front of his three sons for the first time.

    他也因此有機會可以初次

  • To me, this story shows perfectly the work of record diggers at its best.

    在他的三個兒子面前演出。

  • Beyond the rarity and the dollar value --

    對我而言,這個故事完美呈現出了 唱片挖掘者的工作的理想狀況。

  • and I'll be honest, we're totally obsessed by that --

    在稀有度和金錢價值之外——

  • the true beauty is to give art a second chance;

    老實說,我們非常重視那些——

  • to save art from oblivion.

    真正美麗之處在於 給予藝術第二次機會;

  • The work of a good record digger is a constant loop of three phases.

    拯救藝術,讓它不被遺忘。

  • The first thing we do is hunt.

    好的唱片挖掘者,工作的方式 是採用三步驟的迴圈。

  • We spend hours, days, years of our lives

    我們做的第一件事是獵尋。

  • rummaging through dirty and dusty record bins.

    我們花費人生中幾小時、 幾天、幾年的時間,

  • Everything that we can do to find our hands on the gold.

    在骯髒滿佈灰塵的唱片倉中翻找。

  • Yes, you can find good records online,

    我們會盡一切可能, 希望能親手找到金礦。

  • but for the deepest treasures,

    是的,你可以上網找到好唱片,

  • you need to get off the couch and into the wild.

    但要找到最深的寶藏,

  • That's why we call it record digging and not record clicking.

    你得要離開沙發, 進入未開發的荒野。

  • (Laughter)

    那就是為什麼我們稱之為 唱片挖掘,而不是唱片點選。

  • So what we are is music archaeologists.

    (笑聲)

  • But then the next thing we do is we gather.

    所以,我們是音樂的考古學家。

  • Based on our taste, expertise, personal agenda,

    但我們接下來做的事情,是採集。

  • we choose carefully which records to save,

    依據我們的口味、專長、個人目的,

  • which records mean something to us.

    我們會小心挑選要保留哪些唱片,

  • We then try and find out every little thing we can about that record --

    哪些唱片對我們有意義。

  • the artist, the label

    接著,我們試著找出關於 那張唱片的所有瑣碎資訊——

  • and supervital information

    藝術家、唱片公司,

  • like "Who's that playing trumpet on track three?"

    以及超重要的資訊,

  • Then we file them, we contextualize them,

    像是「第三曲的喇叭是誰演奏的?」

  • and we keep them safe.

    接著我們會把它們建檔、脈絡化,

  • We are music archivists.

    並確保它們的安全。

  • And the last thing we do to close the loop is we share.

    我們是音樂檔案保管員。

  • Most record diggers that I know have some sort of a way

    完成迴圈的最後一件事,就是分享。

  • to share their discovery and elevate the artist

    我所知道的大部分 唱片挖掘者都有某種方式

  • through an album reissue,

    來分享他們的發現,並透過

  • a web article, a radio show.

    專輯重新發行、網路文章、

  • We give records back their rightful place in music history.

    廣播節目,來宣傳該藝術家。

  • We are tastemakers and curators.

    我們幫唱片找回它們 在音樂史上應有的地位。

  • We are musicologists.

    我們是時髦風尚之開創者及策展人。

  • So for myself

    我們是音樂學家。

  • and most of the record collectors I've encountered in 20 years,

    對我自己以及這二十年間

  • I think that we all have some sort of an outlet

    我所遇到的大部分唱片收藏家而言,

  • for these discoveries.

    我想,針對我們的發現,我們都有

  • I think it's our way to keep our sanity and sort of sense of purpose

    某種銷路管道。

  • in this very maddening obsession,

    我想,在我們這麼狂的迷戀當中,

  • because it can be sort of a lonely one.

    那是種保持理智和使命感的方式,

  • But I think we also do it because it serves the human need

    因為它其實還蠻孤獨的。

  • to pass along cultural knowledge.

    但我認為,我們去做的理由 也是因為它能滿足人類

  • Speaking of the need for curation,

    需要把文化知識傳下去的需求。

  • in an era of overwhelming choice,

    說到對策展的需求,

  • it's been demonstrated

    在一個選擇太多的時代中,

  • that too much choice actually hinders discovery.

    我們已經知道

  • For example,

    太多的選擇其實對於發掘是個阻礙。

  • if you're trying to watch something on Netflix,

    比如,

  • you're actually only browsing through a catalog of 6,000 titles.

    如果你想在 Netflix 上找影片看,

  • Now, compare that with Spotify;

    你只是快速掃視過了 六千個片名的目錄。

  • if you want to pick something to listen to,

    把它和 Spotify 做個比較,

  • you're browsing through a catalog of 30 million songs.

    如果你想要找音樂來聽,

  • So I think as you can see,

    你要看過三千萬條歌的目錄。

  • this notion of paralysis by choice

    不難理解,

  • affects music more than movies,

    選擇造成癱瘓的這個概念

  • for example.

    對音樂的影響高於電影,

  • And there's a few studies

    舉例而言。

  • that are starting to show the effects of this.

    有幾篇研究

  • A recent look at the UK music market

    談及這狀況造成的效應。

  • shows that the top one percent of artists in the UK are actually earning 77 percent

    近期有篇關於英國音樂市場的探討,

  • of the total revenues inside the music industry.

    指出在英國音樂產業中, 前 1% 的藝術家所賺的錢

  • That's 2013,

    就佔了產業總利潤的 77%。

  • and that's progressively getting worse,

    那是 2013 年的資料,

  • or progressing.

    且這個利潤百分比在日漸變糟,

  • Anyway, if you're in the one percent, I'm sure you're happy.

    或說在上升。

  • (Laughter)

    至少,如果你屬於那 1% 的人, 我相信你很開心。

  • So the takeaway for me is

    (笑聲)

  • it's easier for people to listen to music than ever before.

    所以,我學到的是,

  • People have more music at their disposal than ever before,

    現在要聽音樂,比以前容易多了。

  • yet people choose to listen to more of the same music than ever before.

    比起以前, 現代人有更多音樂可任意使用,

  • And that's a sad thing.

    但比起以前, 人們卻更會選擇聽同樣的音樂。

  • Inspired by my love for music research, record digging and curation,

    那很可惜。

  • I started a website called "Music Is My Sanctuary" in 2007.

    受到我對於音樂研究、唱片挖掘, 以及策展的熱愛所鼓舞,

  • Our slogan has always been "Future Classics and Forgotten Treasures."

    2007 年,我創立了一個網站, 叫「音樂是我的聖所」。