【INTERVIEW】Colman Gota (Colman)

ありがとう!1991年に結成したInsanity Waveというバンドから、ソロ2作目となる最新作“Tape”まで、思えば本当に長い道のりを歩んでいるよ。
Q. Congratulations on new album release.There may be a new fan knowing you by this interview for the first time. Therefore, at first tell it from your simple profile.
Thanks!!! It´s been a long road from Insanity Wave to my second solo album “Tape”.

ここ5年は今までにない程たくさんの曲を書いたよ。私の1stソロ「Play to Lose」は、2013年の夏にレコーディングしたんだけど、発売は2015年初頭になったんだ。1stアルバムは、ある種の挑戦だった。バンドではなくソロとして、どう事を進めていくかというね。1度経験したら随分と楽になり、もっとリリースしたいという気持ちが湧いてきた。そして3月15日、私はレコーディングをしたいと思えるクールな選曲が浮かんできたんだ。よし!やろう!!って思ったよ。
Q.”Tape is awesome! When did you elaborate a plan from? When did you write these songs?
In the last five years I´ve been writing more songs than ever, “Play to Lose” my first album was recorded in the summer of 2013, but came out early in 2015. The first album was a sort of a challenge, in the sense of figuring out how to make things work, outside a band. Once I did it, the road was paved for more releases, and in March 15´ I found myself with a cool selection of songs who were asking to be recorded, so I thought let´s do it again!

あぁ!とても順調だったよ!終始良い雰囲気だったね。Chris Gargesという素晴らしいドラマーのおかげで、すごく楽に進んだよ。Mitch EasterとJohn Pfiffner、彼らの見る目は折り紙付きだしね。Pedro Barbadillo (Keys + backing vocals) やAlvaro Escribano (Guitar + backing vocals)、そして私のパートについても、何も言う事はなかった。しいて言えば、バッキング・ボーカルくらいかな。といっても、そんなに苦労したって程でもないけどね。
Q. Did the recording advance smoothly? Were there the points that had a hard time?
Absolutely. There was a great vibe. Recording with a great drummer like Chris Garges makes things always easier, and having Mitch Easter and John Pfiffner keeping an eye on things is a total guarantee. Needless to say that Pedro Barbadillo (Keys + backing vocals) and Alvaro Escribano (Guitar + backing vocals) and myself knew our parts and are pretty good too! The only rough spot was tracking backing vocals, but only because there were a hell of a lot and we were running out of time.

もちろん全曲さ!自信を持ってそう言えるね。ヒット・シングルみたいなのはないけど、“Let me be” とか、本当に最高だと思うよ。
Q. What is the highlight of this album which you recommend?
I recommend the whole album. I think there are no fillers. Although it is not probably the hit single on the record, I really like the way “Let me be” turned out.

ーMitch Easterについてお伺いします。私も含め、パワーポップのミュージシャンなら誰もが憧れる人です。Insanity Waveの頃からの関係ですね?今作ではプロデュースとギターで参加しているのでしょうか?
Mitch Easterとは1999年からの付き合いなんだ。Insanity Waveの「The minor league」「Late night shift」、そしてソロ・アルバム2作「Play to lose」「Tape」。彼は4枚のアルバムのプロデュースを担ってくれた。最新作はJohn Pfiffnerとの共同でね。ギターも弾いてくれてるよ。彼は紳士的で素晴らしい耳を持っているし、とんでもなくスゴいギタリストなんだ。ロックンロールとかパワーポップとか、この手の音楽に関する彼の知識と経験については説明することすら野暮ってものだよ。
Q. I ask about Mitch Easter. Including me, he is a person to have a crush on with all the musicians of the power pop. Are you a relation since the age of Insanity Wave with him? Did he participate in this work with produce and guitar?
I´ve been working with Mitch Easter since 1999. Two Insanity Wave´s records “The minor league” and “Late night shift” and two solo albums “Play to lose” and “Tape”. He has produced the four albums, the last one with John Pfiffner, and played guitar on all four. He is a southern gentleman, has really good ears and is a Kick-ass guitar player. He also understands this kind of music, call it r´n´r or power pop, no explanations needed.

“Tape”という曲は、実話を元に書いたんだ。以前、Lords of Altamontのライブを観に行った時、誰かに道で声をかけられたんだ「Colman!覚えてるかい?君が作ってくれたこのテープが、私の人生を変えたんだ!」って。そのテープは、たしかThe Celibate Rifles、The Hoodoo Gurus、the Angry Samoansとかを録音してた。
Q. Please tell me the origin of album title “Tape”.  By the way, cassette, vinyl, CD, digital, Which sound quality do you like?
This song is based on a true story. Not too long ago, before a Lords of Altamont gig, someone beckoned me on the street and said: “Colman, Don´t you remember? You made this tape for me, and that tape changed by llife!”….By the way that tape had stuff by The Celibate Rifles, The Hoodoo Gurus and the Angry Samoans, amongst other bands.
Concerning carriers, vinyl is ace for low frequencies, bass and drums. Cds have an all around good sound. These days it all comes down to an mp3, handy, but with no mystery. The days of Hi-fi equipments are also long gone,. The listening experience by itself doesn’t seem to have a wide appeal.

Q. What are the main equipments which you used? (I want to know Guitar, Bass, amp, effects pedal in particular, because I am a guitar player.)
1965年製と1978年製のプレシジョン・ベース、アンプは70年代製アンペグsvt CL。“A long week ahead”では、アコースティック・ギター(1995年製Taylor 810)も弾いた。Mitchは、たしたAlvaroの基本セッティングを使っていたと思う。
(編注:ギターのAlvaro Escribano、John Pfiffnerの使用機材は下記をご覧ください)
For the album I played, a 1965 and a 1978 fender precission  bass through an ampeg svt CL from the seventies. I played a 1995 Taylor 810(acoustic) on a “A long week ahead”
When it comes to guitars, Alvaro played:
Acoustic guitars:
1956 Gibson LG-1
Electric guitars: 
1955 Gibson Les Paul Junior/ 2010 Gibson SG w/ P90 pickups / 2006 Gretsch G6129T Silver Jet / Fender Telecaster Pink Paisley Made in Japan / Fender Custom Shop 1956 Stratocaster Reissue / 1972 Guild S60 / 1967 Danelectro DBS68 Baby Sitar
1971 Marshall Superlead 1959 / 1970 Marshall 1906B 4×12 (greenback speakers) / Guild Superstar / 1974 Matamp GT-100 / 1967 Vox Ac 30 / Matchless Lightning 15
John Pfiffner´s notes
I generally use the Barber Tone Press on almost everything, changing the blend as needed.
I think I used a good bit of a 1982 Tube Screamer on many things.
Essential is the Vox Tonelab Delay. It is far superior to the Line 6 delay.
Also useful was the Malekko 616 delay and the Blue Line 6 Mod pedal. 
Pre Chorus: I remember using a Boss T-Wah in reverse mode. 1980’s Tokai TST-56
Chorus: Gibson 335 Historic.
1971 Fender Princeton
“Talking to the Fridge”
Intro: Definitely SMOG: the Mando Guitar
Chorus: The Ambient stuff is definitely The Tokai TST-56
Fuzz Guitar: 80’s Yamaha Studio Lord with Univox Superfuzz
Other stuff: Mid Eighties Tokai Custom Edition Telecaster
1971 Marshall with 4×12
Silvertone 1334
“Sing Your Song”
Intro Verse: Gibson 335 Historic with secret Line 6 Amp Farm settings
Ibanez Flanger
Clean Stuff: Mid Eighties Tokai Custom Edition Telecaster
1971 Fender Princeton
1995 Taylor 810
“A long week ahead”
Verse:Mid Eighties Tokai Custom Edition Telecaster
Chorus: Gibson 335 Historic
1972 Fender Bandmaster with 2×12
“Let Me Be”
Intro/ Verse: 1955 Gibson Les Paul Junior  and Tokai Custom Edition Telecaster
Ibanez Tone-Loc Phaser
Solo: Tokai Custom Edition Telecaster
Fuzz Guitar: 1981 Ibanez Rocket Roll-ZVEX Mastotron-Direct into console
Riff Guitar: Yamaha Studio Lord
1971 Marshall with 4×12
1950’s Silvertone 1334
“Do What I Want”
Main Riff: Tokai TST-56 with TC Electronic SCF
Rhythm: Rickenbacker 330
Lead: Gibson 335 Historic
1971 Fender Princeton
1950’s Silvertone 1334
“What You Do”
Main: 1955 Gibson Les Paul Junior
Wah Guitar: 1981 Ibanez Rocket Roll with RMC Real McCoy Wizard Wah
Riff thing: Tokai TST-56 and Williams Pedal Steel
1950’s Silvertone 1334
Mid 60’s Vox Pathfinder
“Something I Don’t Need”
Slide guitar: Gibson 335 Historic
1950’s Silvertone 1334

Q. How about the power pop scene of recent Spain?
I´m not as well connected as I used to be, but I´m sure there is a healthy scene. Although not strictly power pop, Peralta is a really cool band, that I recommend.

歳をとればとる程、新しいバンドには疎くなってくるな。The DamnwellsとThe Whigsは、近年クールなアルバムを出したね。You am Iの最新作も良かった。Bob Mouldの「patch the sky」もなかなか良かったね。
Q. Is there the band to sympathize with recently?
As you get older it gets harder to get impressed by new bands. The Damnwells and The Whigs have put out cool albums in recent years. You am i latest album is also very good. Bob Mould’s “patch the sky” is pretty solid.

私は、レコードからCDへと移り変わった90年代前半に活動をスタートさせた。現在、それらはインターネットですべて一掃されたんだ。Insanity waveは、スペイン、アメリカ、ブラジルのインディー・レーベルにサインしたけど、正直な話、地獄だったよ。これらのレーベルがロイヤリティーを支払ってくれると信じるしかないね。
近年、アルバムを通して聴いてくれる人は本当に少なくなった。私は、いわゆる音楽業界とは無縁だと思ってる。正直なところ、結果はともあれYep Rocに送りたいと思うくらい。自分のことは自分で管理するよ。レコード会社に合わせる必要もない、もう遅すぎるしね。何の問題もないよ!
Q. The music industry has changed a lot . How do you feel the present music industry to be as a musician? What did it bring you?
I started in the early 90s. It was the end of vinyl and the start of the cd era and then it all was swept away by internet. Insanity wave signed with several Spanish, US and Brazilian indies. It wasn’t like heaven then and hell now. I believe indie labels still don´t pay royalties!
These days is extremely difficult to be listened to and it seems like it’s become impossible for some people to listen to an album thoroughly. Concerning the music industry today I´m a total outsider. To be honest I only care to send my stuff to Yep Roc, with no results whatsoever. I organize myself and my time. I can´t commit to a record company, it´s too late for that. No problem in licensing though!

Q. If you were stuck on a desert island what five albums/CDs could you not live without?
Off the top of my head….
1)The Replacements Pleased to meet me
いつだってフェイバリット・バンドはThe Replacements。彼らは良い歳の取り方をしてるし、今でも最高だよ!
They are my all-time favorite band. They have aged wonderfully and they are still totally relevant.
2)You am I # 4”
 Tim Rogersは素晴らしいソングライター。ソリッドな曲で演奏もアメイジングだ。
Tim Rogers is a phenomenal writer. Rock solid songs, played by an amazing band.
3)Velvet Crush Teenage symphonies to God”
詞も曲も素晴らしい!カントリー・ロックの雰囲気も美しくブレンドされているんだ。Mitch Easterのギターも最高だね。
Musically and lyrically it´s great. They also throw some country rock in the mix that blends beautifully with the rest of the songs. Mitch Easter plays some killer guitar.
4)Neil Young Everybody knows this is nowhere”
Neil Young is the best. No one can pull off a 10 minute song like he can. He is a true genius.
5)The Rolling Stones Sticky fingers”
They made r´n´r edgy and mean whilst recording true hits. Not a filler here.

Q. Please tell me your plans from now on. We will always be there for you!
Keep recording good albums! As long as the songs keep coming, I´ll try to record and deliver them to the world in the best possible way.

Q. Would you please provide some message to the fans in Japan?
Spread the word and enjoy my music as much as I enjoy recording and playing it!!!
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