Bryan Adams talks past, future en route to solo acoustic show at the Mendel
By JEREMY D. BONFIGLIO - H-P Features Writer
Published: Thursday, May 6, 2010 1:24 PM EDT
BENTON TOWNSHIP - Bryan Adams has long been lauded for his distinctive vocals and blue-collar songwriting skills.
Since launching a solo career in 1980 with his self-titled debut, the Canadian-born rocker has had 19 hits, including chart-toppers "Heaven," "Have You Ever Really Loved a Woman?" and "All For Love," but he may be best known for the power ballad "Everything I Do (I Do It for You)" that broke chart records and made him an international star.
Adams has since received Grammy and Oscar nominations for his work on movie soundtracks - his most recent single is "You've Been a Friend to Me" from "Old Dogs" - and has balanced an unassuming music career by starting a foundation that aims to improve the quality of people's lives, and branching out as a fashion photographer whose work has been published in British Vogue, Harper's Bazaar and Vanity Fair.
Adams, who is 50, is currently traveling the U.S. on The Bare Bones solo acoustic tour, which makes a stop Monday at Lake Michigan College's Mendel Center Mainstage Theatre. He says the tour is designed not only to support his latest album release, "11" - which he hints could be his last - but offers what he describes as an acoustic accounting of his 30 years in the music business.
JB: I know you were born in Ontario. Did you have a musical family? When did you first pick up a guitar and when did you realize that this was something you wanted to be able to do for a while?
BA: In the early years, before I was a teen, I spent most of my life in Europe. We had moments in Ontario, as my father was a foreign service diplomat. I was given an acoustic guitar by him at age 10 while we were in England. I wanted to be a drummer, but was steered towards guitar, for which I'm most grateful.
JB: OK, I'm sure it didn't seem fast at the time, but from the late '70s to the early '80s you went from being a studio musician to opening for The Kinks to landing in Billboard's Hot 100 chart, which is a pretty big career change. Can you talk about that transition and how quickly life changed for you?
BA: It was quite a ride. The songs I'd written between the age of 18 and 22 were working live and by the time I'd made a record or two, I'd started to receive airplay on FM rock radio. That got me onto The Kinks tour and the transition from there was nothing but long tours, sometimes playing three shows a day - noon-hour radio broadcasts, support and then a club show. Life became work and work became life, and that was perfect at the time.
JB: In '83 and '84 you really seemed to come into your own as a songwriter with he albums "Cuts Like a Knife" and "Reckless." Suddenly you're 25, have six Top 20 hits (all of which still hold up today), including a duet with Tina Turner. At the time you were making those albums, did it feel like you had found your voice? And can you talk about being so young with a No. 1 album?
BA: Thanks, I suppose I'd found my voice because I'd toured so much. I knew what worked and what didn't, and I sat with Jim Vallance, my co-writer (and drummer), for hours in his basement churning out songs, and some of them were good ones. Making the records was full-on, as well. I'd rehearse the band on demos we'd made, making them learn the demos note for note, and then we'd smash it about in the studio until it sounded like a record, making sure they were more exciting than the demos.
In some ways, "Reckless" should have been called relentless, because I worked so hard on making those songs feel right, almost to the point where I had alienated everyone I was working with.
I can remember working in New York City on overdubs and the only time the studio would give me was from 6 in the evening until 6 in the morning, so I took it, and my routine was after work I'd crawl back to the hotel wake up in the afternoon, go and get a curry and go back to the studio.
During some recordings in Canada I can remember actually sleeping on the sofa of the studio and waking up and starting again.
We were beyond happy when the album went to No. 1 because I love the music, but I was not enjoying being famous. It took me some time to come to terms with it.
JB: Let's jump to the early '90s where there seemed to be a shift in your music from driving guitar songs to ballads, most famously "(Everything I Do) I Do It for You." Can you talk about that transition in songwriting styles? Was in a conscious decision?
BA: You think "Heaven" and "Straight from the Heart" were rockers? (laughs). There was no conscious transition, I'd started working with a new producer Mutt Lange and the dream was to make the best record we could. That record turned into "Waking Up the Neighbours" and it's a rocking album. The thing was, we just happened to write "(Everything I Do) I Do It for You" during a week off between final mixes, and I put it on that album.
No one had any idea that it would eclipse almost every song I'd ever written. I mean, it went to No. 1 in every country in the world that had a chart. Even the (countries) without a chart, played the hell out of it. The interesting thing that happened as a result was it took all the older songs, like the ones from "Reckless," and made them into hits around the world. Up until that song was released, my music was really only known in the U.S., Canada and a tiny bit in the U.K. That changed overnight.
As far as songwriting styles, around the same time, I had met film composer Michael Kamen, and we wrote three No. 1s together and got Grammys and got nominated for Oscars.
JB: Speaking of writing songs for films, is film work something you sought out, or did it just happen, and can you tell me how writing a song for a film differs from your typical writing process?
BA: It's an interesting process to write for film. It's like stepping outside of yourself for a moment. It always brings something different, and sometimes you get to work and collaborate with different musicians. For example, in the past 20 years I've worked with Hans Zimmer, Marvin Hamlish, Kamen, Harry Gregson-Williams and the fantastic Paco De Lucia, all thanks to working in film.
One thing to note about working with Kamen was he used to write the most extraordinary melodies, things I would never have written. That's what's interesting, how do you make them work as songs? Love that question. The most recent film project is for the John Travolta film "Old Dogs." The song is called "You've Been a Friend to Me."
JB: Although your music has continued to chart well in Canada, the U.K. and throughout Europe, it hasn't found that same success in the U.S. since the late 1990s. What do you attribute that to (other than Americans' lack of taste)? And what prompted your move to the U.K. - was it career inspired or your love of soccer?
BA: I haven't had a record company in the U.S.A. for 10 years, that is the main reason. I moved to the U.K. (because) I found a little place here I liked, it felt easy living here, plus my grandparents were getting old, and I wanted to be around for them.
JB: You've always been an iron man when it comes to touring, and your support of "11" has been no different. Can you talk a little about the decision to add these solo acoustic shows to that mix and what it allows you to do on stage with not only new material, but with the songs most fans have only heard with your full band?
BA: It was something I'd wanted to do deep down for a long time, probably since the "Unplugged" album in 1997, but this was a step further, this is as raw as it gets - me and a microphone and a guitar. Bring on the raw. It's bare bones. I am joined sometimes by a pianist (Gary Breit). Other than that, it's all acoustic; it gets deep inside the songs.
JB: What are some of the songs that can fans expect to hear when you play here in Michigan?
BA: It's a cross section of 30 years of the songs I've written. Some you know well, some you don't and some of course requested. It's like that. ...
JB: You recently received the Allan Waters Humanitarian Award and will receive the Governor General's Performing Arts Award for Lifetime Artistic Achievement. What's it like for you, an artist who is still churning out quality music, to receive accolades usually meant for the end of one's career?
BA:Completely humbling.
JB: I saw somewhere that you said "11" may actually be your last record? Any truth to that? And if so, why are you moving on?
BA: I think I'd rather just put out songs one at a time. So it's not a question of moving on. I'll always continue to make new music - that I can't help - the question I had was, is it worth spending the time to put out albums and try to promote them when no one buys albums anymore? The record world has changed. ...
JB: I'd be remiss if I didn't at least mention that you remain my sister Jenny's favorite musician of all time. She still has all your '80s albums on vinyl. So is there a message I can pass along to her that will make my life easier after she realizes that we've done this interview?
BA: Tell Jenny "Hi and thanks, and I hope she can come along to the show!"
jbonfiglio@TheH-P.com
Source: http://www.heraldpalladium.com/articles/2010/05/06/features/1384855.txt