>>739
音っていいよなあ
何でなんだろ
ただの振動なのにな
>>739
音っていいよなあ
何でなんだろ
ただの振動なのにな
https://www.songwritingmagazine.co.uk/how-i-wrote/enola-gay-omd
“So, Paul was out and I was at his house and I just started writing the chords on the organ and the melody. Once I got those primary ingredients I then had the blueprint to write the song. It’s a typical linear OMD song, it is the same four chords all the way through and it never varies. The verse, the melody, the middle eight, it’s all the same.
“Melodically it is very strong. One of the other elements is that, for people for whom English is not their first language, it’s one of those early OMD songs where there is no sung chorus. The synth melody is the chorus, so even if you can’t speak English you can sing along. It’s international, you don’t need to know the words because there are no words. I also think there were a certain element of geeky young men and girls who also found appeal in its
intellectual content.
“I am proud of writing it and I do genuinely think it was a great piece of work. I was very young when I wrote it. I think it shows a distillation of the songwriting craft that Paul and I had both been developing together since we were 16. But there have been times when I’ve asked myself how appropriate it is to feel proud about writing about such an atrocious incident.
“I do sometimes catch myself on stage playing the song, with the audience going crazy and jumping up and down, clapping and shouting, and it does cross my mind that there’s something rather strange about the fact that we’re closing a euphoric set with a song about something so appalling. So there remains an ambivalence about it, which is also part of its strength. It has a depth and a darkness and a requirement to ask yourself moral questions.”
https://www.theguardian.com/music/2013/jan/07/orchestral-manoeuvres-dark-enola-gay
Paul Humphreys, keyboards
I was always uneasy about the fact that Enola Gay was a bright, perky pop song about a nuclear holocaust, but it was insanely catchy. We’d intended the song to go on our eponymously titled first album, but hadn’t quite got it right. When we signed to Virgin, they put us with producer Mike Howlett, ex-bass player with space rockers Gong, and he helped us improve it. He took us to this lovely studio, at Ridge Farm in Dorking, our first venture into proper recording. In those days, you didn’t have sequencers, where you can just chuck something in and edit it; it all had to be done manually. So, as I was a much better keyboardist than Andy at the time, I programmed the synths and played everything on the keyboards.
Our great inspiration was Kraftwerk, though we didn’t have the technology to emulate them. This helped us define our own sound. We were never purist and robotic, and there was a certain romance in our melodies. Today, making our new album, I’ve got about a billion synths and the possibilities are endless; but back then, proper synths cost thousands. Ours were really quite cheesy. Most of the melodic parts of Enola Gay were recorded on a Korg Micro-Preset bought from a mail order catalogue – the cheapest one you could buy.
Andy found the master tape recently . The single might sound big and grand, but when you listen to the solo parts on the master, everything is so small; 60 per cent of that sound must have come from the reverb effects we used in the studio. When we reformed the band a few years ago, we bought up a load of old synths on eBay; we didn’t want to come over like a band using modern instruments to try to sound like OMD. Songs are like capsules that catch a moment. When you perform them correctly, audiences are transported back to when they first heard them.
もちろん
原爆投下は戦争終結に必要じゃなかった
もう死にかけの年齢になったエノラゲイの乗組員の一人が
再び同じ状況になったらまた投下するかときかれて
する
と答えていた
そりゃそうだと思った
原爆投下は秘密任務で爆発に巻き込まれて投下する機も無事に逃げられるかは率直に不明
エノラゲイのチームには投下一日前に招集がかかってる
だからそういうやつを選んだはずなんだから
別の映像で機長のインタビューがあり
これは昔のだけどカラー映像だった (いつのかは失念)
原爆投下について尋ねられて
残念だが必要な任務だったとか何とか
だけど音を消して表情だけ見ればわかるけれど彼はそうは思ってはいない
任務の成功とその結果に喜んでいて、しかしそれを隠し悲しげに見せようとしている
誰も機長を責めることはできない
彼は軍人でこれは戦争だった
彼は自分を責める必要もないし悔いる理由は一つもない
だが
二度の原爆投下を俺は絶対に許さない
ベイルートの爆発で市長が広島長崎を比較にだしていて
あんな線香花火と原爆をくらべるなざけんじゃねえと思った
そしておそらく海外の普通の人たちにはそれくらいの認識しかないのだろうと思った
小浜のあれを離職前の歴史作りのためのパフォーマンスという人もいるけど
映像を見て小浜のスピーチを聞いて
嬉しかった
OMD - Organisation -1980 /LP Album
https://youtu.be/PPXq8FdGR1I
Korg Micro-Presetである。
このスレッドは書き込み数が1000を超えました！