【翻译】Under Pressure的创作过程-来自Brian May

A couple or three hours later, we’re back in the studio. “What was that riff, you had, Deacy?” says David B. “I was like this”, says John Deacon. “No it wasn’t, says Bowie – it was like this”. This was a funny moment because I can just see DB going over and putting his hand on John's fretting hand and stopping him. It was also a tense moment because it could have gone either way. Deacy did not take kindly to being told what to do, especially by physical interferences while he was playing! But he was good-natured, and it all went ahead. Then we began playing around – using the riff as a starting point. Now normally, if it had been just us, we probably would have gone away and thought about it, and started mapping out a song structure.
几个钟头后，我们回到了工作室。David Bowie问起Deacy那个Riff。Deacy说，“是这样的”，Bowie说，“不对，是这样的”。
看到Bowie一边过着那段音乐一边阻止Deacy摸索着的手真是件滑稽的事儿。那也是个紧张的时刻——因为这段音乐很可能就这样被忘了然后再也回不来了。
Deacy不爱乖乖听别人的话照做，尤其不想让别人在自己弹的时候碰自己。不过他很有天赋，一切便都顺利地进行下去。于是我们就用那个riff作开头继续试着往下合。要是现在我们可能会放掉那个开始构思这首歌的结构。

David said something like “We should just press on instinctively. Something will happen.” And he was right. It did. I put a little tinkling guitar riff on top of John’s bass riff (David later was adamant it ought to be played on a 12-string, so I overdubbed that later at some point). And then we all mucked in with ideas to develop a backing track. The track had something that sounded like a verse, then a quiet contemplative bit, which built up ready for a climax. I managed to get my heavy riff in here. I remember saying … "cool – it sounds like The Who!” At which point David frowned a little and said “It won’t sound like The Who by the time we’re finished!”
David大概说了句“我们应该凭感觉信马由缰，这样一定会产生些奇妙的东西。”
他说对了。
的确，奇妙的东西产生了。我在Deacy的贝斯riff上面加了点闪闪的吉他riff（后来Bowie坚持说那个应该用十二弦吉他来弹，所以我此后又叠了一段录音上去）。随后我们齐心协力写了伴奏，那一轨听上去仿佛诗篇一般，带着沉思默想只为迎接高潮的来临。
我在这儿加了我的那个重金属的riff，还记得我说，“Cool，这听上去好像The Who（一支六十年代的英国摇滚乐队-译注）！” Bowie皱了皱眉说道，“等我们完成后听着就不会像The Who了！”

He’d been working with a bunch of people who developed a technique for creating the top line by ‘democracy’ as well as the backing track. The procedure was each of us went into the vocal booth consecutively, without listening to each other, and, listening to the track, vocalised the first things that came into our heads, including any words which came to mind, working with the existing chord structure. At this point Freddie laid down his amazing De Dah Day bits, very unusual, which actually made it to the final mix.
与Bowie共事过的那群人发明了一种“很民主的”创作方法，过程是这样的：我们事先不听其他人的，每个人依次进入录音棚，在已有的和弦基础上把听到伴奏时第一个出现在脑子里的东西唱出来，包括想到的任何词语。就在这个时候Freddie搞出了他那个惊艳的"De Dah Day~"，很特别，后来被我们放进了最终混音里。

The next step was to cut up everybody’s bits and make a kind of compilation ‘best of’ vocal track – which would then be used as the template for the final vocals. It came out pretty strange, but very different. We all went home that night with a rough mix which was provisionally called ‘People on Streets’, because these words were part of the rough. 下一步就是把大家贡献的部分编辑起来作为最终版的模板。那玩意听上去很怪，但也很独特。那天晚上我们把那个临时取名为“people on street”的小样带回家，之所以这么叫是因为那个小样里有这样一句歌词。

The next day we reconvened, and I think I was prepared to try some new ideas out. But David was in there first, and told us he wanted to take the track over, because he knew what he wanted it to be about. So, to cut a long story short, that is what happened. We all backed off and David put down a lyric which now focussed on the ‘Under Pressure’ part of the existing lyric. It was unusual for us all to relinquish control like that but really David was having a genius moment – because that is a very telling lyric.
第二天我们又聚在一起，我想试些新点子。不过Bowie先到了，说想把歌拿过去，因为他知道他想让歌变成什么样子。简单来说，我们做出了让步，于是Bowie写下了那段“Under Pressure”的歌词。我们很少像这样对歌的掌控做出让步，但Bowie真是才气焕发，那段歌词很棒。

【梅爷爷嘴好碎，翻得我好饿……

Now Roger stayed close to David from then on. We all frequently bumped into each other in Montreux at the Jazz Festival, at Claude Knobs’s house (creator of the Festival) or at the house of Charlie Chaplin, close by in Vevey – his last wife was a friend of David’s and very hospitable. So the links were there, and I remember David was always very patient with my small boy Jimmy … playing with him on the floor with Claude’s toys.
自此以后Roger一直和Bowie关系很近。我们常常在在蒙特勒的爵士音乐节、Claude Knob（音乐节的主办）家或是Charlie Chaplin靠近韦威【瑞士西部城镇-译注】的家碰见对方——Charlie Chaplin的前妻是Bowie的朋友而且十分好客。我还记得Bowie一直对我的小儿子Jimmy很有耐心，跟他在地板上一起玩Claude的玩具。

But the next time we really spent serious time together was at the rehearsals for the Freddie Tribute Show, which Roger and I put together after we lost Freddie. There was one bizarre moment, when I looked around in the rehearsal room and realised that, on some makeshift chairs, in a line waiting for their rehearsal spots, sat Roger Daltrey, Robert Plant, George Michael, and David Bowie. David, as I remember, was very mellow by then, and made a wonderful contribution to the show, including a literally show-stopping moment when he went down on one knee and recited the Lord’s Prayer. If you look at our faces on the video for that moment, you can see that it was just as big a surprise to us as it was to the audience!! David’s duet with Annie Lennox that night is legendary. But pretty much everything David did was legendary.
然而我们再一次的正式碰面是在我们失去Freddie后我和Roger办的纪念演唱会的彩排上。那一刻的感觉真奇异，我环视彩排间，看见临时坐席上Roger Daltrey, Robert Plant, George Michael和David Bowie坐成一排等待着彩排的开始。
在我记忆中，那时的Bowie温和而成熟。随后，他为我们带来了精彩绝伦的表演，包括那历史性的一刻了——他单膝跪地，诵读着上帝的祈祷。如果你去看录像上那一刻我们的表情，就会明白当时的我们和观众们是多么吃惊！当晚Bowie和Annie Lennox的二重唱亦十分传奇，尽管David Bowie做过的太多事都带着传奇色彩。

Never predictable, never classifiable, immensely lateral thinking and fearless, he stands as one of Britain’s greatest musical creators. I’m certainly proud to have worked with him.
从不循规蹈矩，从不能被轻易分类，那样充满奇思妙想又如斯大胆。
他是英国最棒的音乐人之一。我为能有幸与他共事而感到自豪。
RIP David.
安息吧David。
Bri
翻译/Del

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终于翻好啦。。
当时看到这篇还是有点想哭的，真的是一个时代的远去啊。
TAT
翻的过程中碰到一些专业用语和一些不熟的人名都去查了查有点吃力，如果有什么疏漏之处欢迎指正！渣翻凑合着看吧！
以及不要转载噢

Queen和Bowie合作的照片。

楼主辛苦👍免了我努力翻译的决心，其实我才翻译完一半。翻译得真心不错，很有Brian啰嗦的语言风格

楼主好棒