노엘에 관한 조니마의 일화

[collina]

출처 :
http://dcinside.com/view.php?id=Beemovie&no=612947

Ian [Johnny’s brother] was in and out of town quite a lot, and he was often given cassettes of bands' demos by people wanting him to 'pass this on to your kid'. He always conveniently forgot to bother passing anything on to me, having grown up with people asking him to do that kind of thing all the time. We were busy one day when he mentioned in passing that he had a friend who was putting a new band together, and then he mentioned it again a few weeks later, saying that he had bumped into this friend in town and the new band were pretty good. For Ian to say that a band was 'pretty good' meant 'very good' in any other language, and he passed me a cassette with a cover that had a picture of a Union Jack that looked like it was being flushed down a toilet. I put it on a shelf somewhere and forgot about it.
이안(조니마 동생)은 시내를 자주 돌아다녔는데, 사람들은 나한테 전해달라며 밴드 데모테잎들을 주곤했어. 걔는 어릴때부터 이런일을 맨날 부탁받았던터라 보통은 그냥 잊어버리고 말아. 이안이 언젠가 지나가면서 자기 친구가 밴드를 만들었다고 하더라고. 바빠서 까먹었는데 몇 주뒤에 이안이 그 친구를 우연히 만났는데 걔네 밴드가 꽤 괜찮다고 다시 얘길 꺼내더라. 이안이 " 꽤 괜찮다"는건 사실 "아주 잘한다"는 뜻이야. 그 말을 하면서 유니언잭이 변기통으로 내려가는 듯한 그림이 그려진 테이프를 건네줬어. 대충 선반위에 올려놓고는 잊어버렸지.

A few days later, we were driving through town when we passed a hunched figure in a duffel coat walking in the pouring rain.
`That's Noel' Ian said.
`Noel?' I asked.
`Yeah, Noel' said Ian, 'the guy whose tape I gave you a few weeks ago.'
It was raining hard and I pulled the car over and we shouted to Noel to get in. I said hello and he seemed fairly reserved. I was playing a Bob Marley and the Wailers live CD at full volume, and we drove around for a while before going to find a guitar shop. After that, we went for a cup of tea, and the first thing he asked me was what I thought of the tape, which I hadn't heard. Realising there had to be at least one song on it, I told him: 'I really like the first one, a lot.' I took to him straight away. He was smart and had an inscrutability about him. I saw his passion for what he was doing, and he was very serious about being a songwriter. It was obvious that he had a vision that he had to follow through.
며칠 뒤에 동네를 차타고 지나가는데 빗속에서 더플코트를 입은 구부정한 남자옆을 지나갔어.
"쟤가 노엘이야" 이안이 그랬어.
"노엘?" 내가 물었지.
"어.노엘" "내가 몇주전에 테이프 준 걔"
비가 세게 내리고 있어서 차를 세우고 노엘한테 타라고 소리쳤지. 내가 인사를 했고 노엘은 꽤 내성적인 타입 같았어. 밥말리랑 더웨일러즈의 공연실황을 큰 소리로 틀면서 드라이브를 하다가 기타 가게에 들어갔어. 그다음에 차 마시러 갔는데, 노엘이 제일 처음 물은게 데모는 어땠냐는 거였어. 사실 한번도 안틀어봤지만, 테이프에 적어도 두 곡 이상은 있겠거니 하면서 "첫 곡은 아주 마음에 들었어. 많이"라고 말해줬지. 나는 노엘한테 바로 호감이 생겼어. 노엘은 똑똑했고, 뭔가 신비한 면이 있었거든. 자기 일에 대한 열정이 보였고, 작곡가가 되는 것에 대해 아주 진지했어. 노엘에겐 자기 길이 있고 그 길대로 가야한다는건 분명했어.

After talking about Neil Young and guitars for a while, I dropped him off at his place, and when I got back to my studio I rifled through the cassettes on my shelf and pulled out the one with the flag on it and read some of the titles: 'Columbia', `Married with Children', 'Fade Away', 'Rock 'n' Roll Star'. I stuck it in the machine and pressed 'play'. What I heard sounded new yet immediately familiar in a good way. When music sounds familiar it can sometimes mean it's just ordinary, but it can also mean it’s very right. I recognised some reference points: it was flying the flag for classic rock but had a thing of its own, and there wasn't anything else like it. It was so… Manchester.
I listened more closely and then decided to call Noel now that I had examined his band more thoroughly. He picked up the phone and I told him that I liked his band and asked him if he had any shows coming up. He told me he was working on getting some gigs, and we arranged to meet at his place the following night to go and see The Verve, who were playing in town.
닐 영이랑 기타들에 대해서 얘기하다가 노엘을 자기 집앞에 내려줬어. 그리고 스튜디오에 돌아갔을 땐 책장을 샅샅이 뒤져서 유니언잭이 그려진 카세트를 찾아서 제목들을 흝어봤지. 'Columbia', `Married with Children', 'Fade Away', 'Rock 'n' Roll Star' 였어. 카세트 플레이어에 꽂고 재생 버튼을 눌렀어. 새로우면서도 듣자마자 좋은 의미로 친숙하게 들렸어. 음악이 친숙하게 들린다는 거는 어떨 땐 평범하다는 뜻이지만 제대로 됐다는 뜻일 수도 있거든. 몇가지 음악적 성향을 파악할 수 있었는데 : 겉으로는 고전적인 락이지만 자기만의 것이 있었고, 다른 것과는 전혀 달랐어. 정말..... 맨체스터 스러웠어.
더 자세히 듣어보고 밴드를 더 파악하자 노엘에게 전화하기로 마음 먹었어. 노엘이 전화를 받자 나는 너네 밴드가 마음에 들었고 혹시 공연 앞둔거 없냐고 물었어. 노엘은 무대 설 자리를 찾는 중이라고 말했고 나는 그의 집에서 만나서 동네에서 공연하는 버브를 만나러 가기로 했어.

Noel, along with nearly all of Manchester's bohemian aspirants, was living in an apartment block called India House. I knocked on his door, and when he let me in I was introduced to a young kid sitting on the couch with an amazing haircut - super short at the front and long at the sides - and who was flanked by two pretty young girls so enthralled by him and his hair that they didn't seem to notice anyone entering the tiny flat. I looked around the cramped space, and Noel proudly showed me his two most valuable possessions: an Epiphone guitar and a large fish tank.
I looked into the tank, pointed to one of the fish and said:
`What's that blue thing called?'
And then from behind me came the voice of Mr. Haircut, who said: ‘ fuckin' fish.'
`Oh,' I thought, 'attitude — very good' and we took off to go and see The Verve.
노엘은 거의 모든 맨체스터의 자유분방한 젊은이들처럼 (의역), '인디아 하우스'라고 불리는 아파트방에 살고 있었어. 문을 두드리고 들어가자, 카우치에 앉아있는 어떤 젊은이를 소개 받았지. 걔는 머리스타일이 끝내줬고 - 앞머리는 아주 짧고 옆머리는 긴 - 옆에 그 애랑 그애의 머리스타일에 정신이 팔려서 쬐그만 플랫에 누가 들어오는지도 모르는 예쁜 여자애들을 끼고 이었어. 나는 이 바글바글한 공간을 둘러봤는데, 노엘이 자랑스럽게 자기가 가장 아끼는 물건 두가지를 보여줬어. 에피폰 기타와 큰 물고기 수조였어. 그 수조안에 물고기 중 하나를 가리키며 물었지
"이 파란애는 이름이 뭐야?"
뒤에서 미스터 헤어컷이 목소리가 들려왔어.
"망할 생선"
"오" 나는 생각했어 "태도 좋은데?" (여기 어감 못살리겠다 ㅁㅇ)
그리고는 버브를 보러갔지

중략

The Verve played a new kind of rock for a new time. Based on the classic touchstones, their music was a reaffirmation of the values of guitar bands that had been put aside in recent years, and it resonated with a new generation of lads, who were tired of the contrived mainstream techno pop and who couldn't relate to the negativity of the new American bands. British kids were reclaiming punchy, catchy guitar culture, with the look and message to match. It had started with The La's, and I'd heard it in Noel's tape. Something was in the air and summer was coming.
버브는 새로운 시대에 어울리는 새로운 종류의 락을 했어. 고전적인 기준들을 기반으로, 최근 기타밴드들이 외면하던 가치들을 다시 확인해주는 듯 했지. 주류 테크노 팝에 질리고, 미국 밴드들의 우울함에 공감 못하는 신세대 청년들의 반향을 불러일으켰어. 영국 젊은이들은 캐치한 기타 음악과 거기에 어울리는 스타일, 메시지를 되찾으려고 했어. 더 라스로 시작된 이런 분위기를 노엘의 테이프에서 들을 수 있었지. 공기중에 뭔가가 있었고, 여름이 오는 중이었어.

I arranged with Noel to see his band play. He'd run round the corner to the students' union in Manchester and insisted that they give him a gig or else they'd burn the place down. They were the first band on that night, and so at seven o'clock Ian and I went to the top floor of the university building and waited for the show to start with the twelve other people who were in attendance.
그의 밴드를 보겠다고 약속을 잡았어. 노엘은 근처의 맨체스터 학생 연합으로 달려가서 공연을 하게 해주든지, 아니면 거길 불태워 버리겠다고 우겼어. 그들이 첫 공연이라서 이안이랑 나는 저녁 7시에 대학건물 꼭대기 층에서 다른 12명의 관객과 함께 기다렸지.

I didn't know who the other members of the band were, besides Noel, and as they walked on the stage I noticed the drummer had short curly hair — not Syd Barrett, weird-guy curly hair with groovy ringlets, more like Dave Barrett, normal-guy-who-sits-behind-you-in-science-class curly hair. Ok, I thought, he can always grow it. Then I saw the bass player, who Ian told me was called Guigsy. He looked very chilled out, and he was followed by a regular-looking fella carrying a hollow body guitar over to his amp.
노엘 말고는 밴드의 다른 멤버들을 몰랐어. 그들이 무대위에 올라오자 일단 드러머가 보였지. 짧은 곱슬머리의-시드 바렛보단 데이브 바렛 같은, 약간 이상한 놈들이 하는 구불구불한 머리에 멋진 파마, 수업시간에 뒷자리에 앉는 평범한 놈 스타일이었어. '좋아, 좀만 기를 수 있겠지'하고 생각했어. 그리고는 이안이 알려준 '귁시'라는 베이스 플레이어가 보였어. 엄청 차분해보였고, 그 뒤로는 할로우바디 기타를 앰프 쪽으로 들고가는 평범한 친구가 보였어.

‘Is that the singer?’ I thought.
‘Ian, who's that?' I said.
‘Him?' said Ian. 'He's Bonehead.'
‘What?’
‘Bonehead’, Ian confirmed.
‘Bonehead?’ I asked. 'The rest of the band call him Bonehead?'
I wondered if it was meant to be an insult or endearing or both - either way it was funny. At that point I noticed that Noel had sneaked on from behind his amp. He looked very serious with his Epiphone and he appeared to be scowling. He was surveying his equipment and inspecting the audience when on walks the kid who I'd met in the flat: Mr Haircut… Mr Fish. He sauntered over to the middle of the stage with his nose in the air and was looking around at everyone quizzically while shaking a white, star-shaped tambourine for no apparent reason.
'쟤가 보컬인가?' 나는 생각했지
"이안, 저건 누구야?"
"쟤?" 이안이 말했어 "본헤드야"
"뭐?"
"본헤드." 이안이 다시 말했지.
"본헤드? 밴드 멤버들이 쟤는 본헤드라고 부른단 말이야?"
그게 놀리는건지 친근한건지 아니면 둘다인지 모르지만 - 어쨌는 둘다 웃기긴 웃겼어. 그때쯤 되자 노엘이 앰프 뒤에서 슬그머니 나오는게 보였지. 에피폰을 만지작 대는 그는 진지해보였고 찡그리고 있는것 같았어. 그는 장비를 점검하고 관객들을 살펴봤어. 그때, 노엘의 플랫에서 만났던 미스터 헤어컷, 아니면 미스터 생선....이 나왔어. 그는 코를 치켜들고, 사람들을 의아한 눈빛으로 쳐다보며 무대중앙으로 어슬렁거리며 걸어갔어. 별 이유 없이 하얀색 별모양 탬버린을 흔들면서 말이야.


I thought he must be the dancer, like Bez from Happy Mondays, then Ian said to me: 'That's Liam, he's the singer.'
‘Well', I thought, 'if he sounds half as good as he thinks he looks then this is going to be interesting.'
I didn't know he was Noel's brother, but when I saw the two of them together I suddenly saw that this band had a real front line, and within a few seconds of howling feedback they crashed into a deafening assault on a tune that I slowly came to realise was 'I Am the Walrus'. The sound was massive and deliberate and electrifying, and thirty seconds into it I knew that a lot of people were going to like them. I had no idea how big they were going to be exactly, but I knew that they were going to with people and that they had something great and an authentic spirit.
나는 걔가 분명 댄서 일거라고 생각했어. 해피 먼데이즈의 베즈 처럼. 그때 이안이 "저건 리암이야. 싱어지"라고 말했어.
나는 '음, 쟤가 생긴거의 절반만큼이라도 잘 부르면 꽤 흥미롭겠는데'하고 생각했어. 그땐 걔가 노엘 동생이라는걸 몰랐는데, 그 둘이 같이 있는걸 보자마자 이 밴드 프론트 라인 (프론트맨 할때 그 프론트)은 진짜배기라는게 느껴졌어. 몇 초뒤에 찢어지듯한 음 몇개가 연주되고, 귀가 멀듯 노래가 시작됐어. 서서히 I am the walrus 는걸 깨달았어. 사운드는 거대했고, 신중하게 만들어졌으며, 흥분됐지. 30초정도 듣자마자 많은 사람들이 좋아할거라는걸 알았어. 그들이 얼마나 커질지는 모르지만 사람들의 도움이 있다면 분명 커질거라고, 그들에겐 대단한게 있다고, 진정한 스피릿이 있다고 생각했어.



They played a six or seven-song set, and when it was finished Noel came over and asked me what I thought. I told him I was blown away. I was happy for him that his band were so good, and over the following week I couldn't get that performance out of my mind. I called my manager, Marcus Russell, and told him all about this band and that he really should come to see them. I was persistent, and he agreed to check them out when they next had a show. I called Noel again and asked him if they had any shows and he immediately replied 'Yes, this Friday.' When I asked him where the gig was, he said it was at the university again. I don't know if he put the phone down and ran round the corner to sort it out, but I got back on to Marcus and said, `Oasis are playing on Friday, you have to come up,' and up he came.
그들은 한 여닐곱 곡을 연주했어. 끝나고 노엘이 다가와 어땠냐고 물었지. 나는 감동받았다고 말해줬어. 나는 그의 밴드가 끝내준다는게 기뻤고, 일주일 동안 그 공연을 머릿속에서 지울 수가 없었어. 내 매니저인 마커스 러셀에게 전화해서 이 밴드에 대해 다 말해주고 꼭 한번 보러와야한다고 말해줬어. 내가 계속 권유하자 마커스는 다음 공연이 잡히면 보러가겠다고 말했어. 노엘에게 다시 전화해서 공연이 있냐고 물으니까 바로 금요일에 있다고 대답했어. 어디냐고 했더니 지난번 그 대학교라고 했어. 전화기를 내려놓자마자 다시 거기로 달려가서 한판 벌였는지는 모르지만, 어쨌는 마커스에게 전화서 "와싯이 금요일에 공연한대. 꼭 와야돼"라고 했고 결국 그는 공연날 나타났어.

When we went to the university this time, the crowd had swelled to twenty-five. On come Tony — the drummer — Bonehead and Guigsy, and on come Noel and Liam, and they go into 'I Am the Walrus' very, very loud. The set was just as good as the last time, and when they were finished Marcus turned to me and asked, 'Well, what do you reckon?' Ian and I said, 'Yeah, they're fucking brilliant.' Noel came over to me and I introduced him to Marcus and they talked for a while. On the way back to my place I was thinking about the show and how good it was to see something new.
다시 그 대학건물로 갔을 때, 관중으 스물 다서으로 불어있었어. 드러머인 토니, 본헤드와 귁시, 노엘과 리암이 무대에 올라왔어. 그리고 'I Am the Walrus' 를 아주, 아주 크게 연주했지. 공연은 지난번처럼 훌륭했고, 마커스가 어땠냐고 물었어. 이안과 나는 둘다 "그래, 쟤넨 존나 쩔어" 하고 말했지. 노엘이 다가 오길래 마커스를 소개시켜줬고 둘이 잠시 이야기를 나눴어. 집에 가는 동안 공연을 생각하면서 새로운걸 보는게 얼마나 좋은지 생각했지.

A few days later I got a call from an unusually excited-sounding Noel to say that he'd played a show at King Tut's club in Glasgow and run into the Creation Label boss, Alan McGee, who'd offered them a record deal on the spot. Noel wanted to sign the deal but he didn't have a manager and he asked me what I thought. I interpreted his call as a scrupulous display of protocol to see if I was cool with him approaching my management, and I said, 'You and Marcus should get together.' He asked if I was sure and I assured him he should do it. I could already sense that some momentum was starting to build for the band.
며칠뒤 좀처럼 흥분하지 않는 노엘이 신나서 전화했어. 글래스고의 King Tut's club에서 공연하다 크리에이션의 사장 앨런 맥기와 즉석에서 계약 오퍼를 받았다고. 노엘은 계약을 하고 싶어했지만 매니저가 없어서 내게 어떻게 생각하냐고 전화한거였어. 나는 노엘이 내 매니지먼트에 접근해도 괜찮은지 떠보려는 것으로 판단하고 마커스랑 얘기해보라고 해줬지. 그는 그래도 괜찮겠냐고 물ㅇㅅ고 나는 당연하다고 했어. 이미 오아시스에게 가속도가 붙기 시작한게 느껴졌지.

I told Noel that if I had one bit of advice I could pass on to anyone it would be to keep writing more and more songs, because when you do everything can fall into place, but without the songs no amount of business can take care of anything. It was the smartest thing I could think of, although I'm pretty certain he knew it already.
Another thing I told him was to get a back-up guitar, because he was taking so long tuning up in between songs. `That's all right for you to say' he said. 'I've just got my Epiphone.'
I put the phone down and thought about it for a minute, then I went into the studio and looked at my guitars. I decided it would be good if I turned up with the 1960 Les Paul that I'd used on 'Panic' and 'London' with The Smiths and which used to belong to Pete Townshend. I put it in its case, drove round to his house and said: 'Here, you can use this.'
It was the only moment that I or anyone else has ever seen Noel Gallagher lost for words.
노엘에게 누구에게나 해줄수 있는 조언이 있다면 곡들을 더더욱 많이쓰라고, 그러면 일이 잘 굴러가지만 노래가 없다면 뭣도 안된다고 말해줬어. 내가 생각해낼 수 있는것 중 제일 괜찮은 거였지만, 노엘도 이미 알고 있었으리라고 확신해. 그리고 공연 중간에 기타 튜닝이 너무 오래 걸리니 백업 기타를 마련하라고 말했어. "당신이야 쉽죠" 노엘이 말했어. "나는 이 에피폰 한대 밖에 없어요"
전화를 내려놓고 잠시 생각한다음 스튜디오에 가서 내 기타들을 둘러봤어. 스미스의 패닉이랑 런던 녹음때 쓴 피트 타운셴드의 1960 레스폴을 가지고 가면 좋을것 같았어. 케이스에 넣고 노엘네 집으로 가서 "여기, 이거 써도 돼" 하고 전해줬어. 나나 다른 사람이 노엘 갤러거가 말을 잃은 모습을 본건 이 때가 유일할거야.

Oasis put their first record out and they immediately started to get a lot of attention and were suddenly everywhere. Noel was talking about the guitar, and he said the first thing he'd done with it was to write the song 'Live Forever'. I went to see the band, and when I saw him playing it I realised that the guitar belonged to him. The way he held it, the timing of us meeting, him starting out on his journey and the songs he was writing with it… it all felt right and it all made sense and I was very happy for him. I had no idea how big Oasis would be. I just liked Noel and I liked his band. Their success was so phenomenal it meant big changes in my office. What was originally just me and my manager and an assistant on a borrowed landing space in west London turned into a big new office with lots of extremely busy assistants and was complete madness in a very short space of time.
와싯이 첫 앨범을 내놓자마자 많은 관심을 받으며 여기저기 이름이 보이기 시작했지. 노엘이 그 기타에 대해 얘길했는데, 기타를 받고 가장 처음 한 일이 립포를 쓴거라더라. 오아시스 공연을 보러갔는데, 노엘이 그 기타를 연주하는걸 보고 그 기타는 원래 노엘의 것이었다는걸 깨달았어. 노엘이 그 기타를 드는 방식, 우리가 만난 타이밍, 노엘 자신의 여정을 시작한것, 노엘이 그 기타를 가지고 쓰는 노래들...... 모든게 맞아떨어졌고, 나는 노엘이 정말 잘 됐다고 생각해. 난 오아시스가 얼마나 거대해질지 몰랐어. 그저 노엘이랑 노엘의 밴드가 마음에 들었을뿐이야. 그들의 성공은 정말 경이로워서 내 사무실에게도 큰 변화가 찾아왔지. 원래 임대 사무실에 나랑 마커스랑 어시스턴트 한 명이었는데, 런던 서부의 커다란 새 사무실과 엄청나게 바쁜 어시스턴트들로 바뀌었어. 아주 짧은 시간만에 미친듯이 흘러갔지.

Midway through their first national tour, I got a manic phone call to tell me that the night before in Newcastle the band had got into a fight onstage with some of the audience and the Les Paul I'd given Noel had got damaged.
'So what do you want me to do about it?' I asked.
'Have you got another one we can use?' came the reply.
I looked at my guitars and reasoned: 'Well, he's accustomed to playing a 1960s Les Paul from The Smiths and The Who, so I can't send him something crappy.'
I grabbed my black 1970s Les Paul that I used on The Queen Is Dead and stuck it in its case with a note that said:
'It's a bit heavier, in weight and sound. If you get a really good swing on it, you'll take some fucker's head off — Love from Johnny' and I sent it up to Newcastle.
그들의 첫 전국투어가 반쯤 지나갔을때, 누군가 전화해서 전날 뉴캐슬 공연 중에 밴드가 관객 몇이랑 싸움이 나서 내가 노엘한테 준 기타가 망가졌다고 정신 없이 말했어.
"그래서 제가 뭘 해드리면 될까요?" 내가 물었어
"저희가 한대만 더 쓸 수 없을까요?" 답변이 돌아왔어.
내 기타들을 둘러보면서 생각했지. '더스미스랑 더후가 쓰던 1960년대 레스폴 기타에 익숙해졌으니 구린 기타를 보낼 순 없겠군'
The Queen Is Dead때 쓰던 검정 1970년대 레스폴와 쪽지를 케이스에 넣었어.
'약간 더 무거울거야. 무게나 소리가. 잘만 휘두르면 미친 새끼들 머리 좀 딸 수 있을걸? - 조니가'
그리고는 뉴캐슬로 보냈지.


Read more: http://live4ever.proboards.com/thread/85920/early-oasis-told-johnny-marr#ixzz4Tl7WL

[산울림짱]

진짜 흥미로운 얘기들이네요. 번역 감사합니다. ^^

[라마돌이]

재밌네요ㅎ 잘봤습니다~~

[으악새]

잘 읽었어요! 번역 감사합니다ㅎㅎ

[KEITH]

다시봐도 꿀잼이에요 ! ㅋㅋㅋㅋㅋㅋㅋ

[LIVEFOREVER]

감사합니다ㅎㅎ

[Dont panic!]

이거 너무 재미있는 인터뷰 같아요ㅋㅋㅋㅋㅋ 감사합니다!

[모링]

둘의 관계는 깊을 수밖에!