Petr Widow: When I hear good music, I smile, when I go crazy, I frown

Was recording a solo birthday album an obvious choice?

It wasn’t clear until Supraphon’s people called me and said if I wanted to record a solo album in my eighties. I told them I wanted to, because I love writing, writing lyrics and recording. I really enjoyed the process of making the whole album.

Do you attach as much importance to him as the previous two solos?

In the first two, I didn’t speculate much about their content. It wasn’t until the third that I thought I’d have to do it completely differently than I’ve been aiming for so far, including the one with the Olympics. I knew I was going to record a genre I had never used before, that it was going to be a different record.

The first solo album What’s Good and What’s Bad from 1998 was the pop rock hit I’m So Line. It’s a song and I think it’s quite successful. The second album Once yes, once not from 2008 was not so successful. Over time, I consider it torn, not having a landline. I’m happy with the new album so far, but I admit that I don’t have the necessary distance from it. I’ll be wiser in half a year.

You’ve scored a clear voice with the author’s handwriting and singing expressions. Is it difficult to realize a board that should be different?

Just by bringing other players into the backing band, it gets a different sound. Keyboardist Ondřej Fencl, bassist Adam Stivín and drummer Lukáš Pavlík played with me. I am also married to another co-producer, Lukáš Pavlík, who plays drums in the band Chinaski and is two generations younger than me.

The third step is to invite a number of different guests. And I’m also trying to make songs that aren’t for the olympics.

Petr Widow

Photo: Lucie Levá

Střepy’s jazz song surprised…

Yes, but I’m not writing here now, but around 1975, when I went to the Jaroslav Ježek Conservatory. That is a counter task. Since then, the song has been in my head, because I think I did pretty well. Now I finally filmed it.

Likewise with Jand’s wedding procession. I’ve wanted to hold my own wedding march for years, but I knew it wouldn’t work with Olympiak. It was a solo record that suited me.

Why is the album called I guess I wouldn’t want it?

It was an image of my soul, something I thought about. I have two small children here, and when the time comes to leave, I may not want to. I wonder how it will all turn out. I have a total of four daughters and I try to make sure that they don’t suffer in the future. Two small ones in particular.

When I started recording and didn’t have the lyrics for the title track, I already knew it was going to be called. I don’t think I want it. And I also knew it would be the title track.

What else do you know?

That the Mladej kmet album, which Ondřej Fencl composed for me five years ago, would be recorded. He said “I will find a new sun.” I really enjoyed it, so when you look at the album cover, I’m standing under the sun, which shines on me faintly. I’m looking for a new sun. Originally, the song was written in my seventies. I now have to edit the text for those five years.

He gave them a duet with your daughter Marta. What is this about?

About a good prostitute who finds her profession to be fun. He went to work at night and in the morning the sun rose when he left him he flapped his wings and went to sleep. This is a slightly different scene from the oldest craft in the world.

Interestingly, it was one of the first songs I wrote on the Olympika Kaťata album. But he didn’t make it into the band because the pop was too big. So I use it for solo.

Didn’t Marta have a problem with the text?

He didn’t, because he trusted me so much musically. It is a pleasure to work with him. He always prepares well, and he’s just like me, so we usually sing songs for the first time in the studio.

Do you enjoy how he is doing in the world of music?

I think he still has something ahead of him. She is an amazing singer and is far from the peak of her career. I went to almost all of his concerts in the Czech Republic. He has a great band, I really enjoyed it.

I also hope he continues to work with his German band Die Happy. He has a great history and I don’t think he said the last word. He has to set a new record this year, I’m looking forward to it.

Pavel porcl is a guest at JS Bach. At first it was Bach’s motive…

It was from his Concerto in D minor for two violins and an orchestra that accompanied me throughout my life. I have played it with my father and my violin teacher. I’ve watched his performances many times, everyone plays it a little differently. Every violinist knows him. I took the motif, added my melody and invited Pavel Porcel, who played some really amazing stuff in the song.

Petr Widow

Photo: Lucie Levá

In the song I Like This I Like the Good Evening Quintet. What connects you to him?

I’ve seen it on TV several times, and as I wrote this song, I realized how useful it was to me in the chorus. I called Edward Thomas, the manager, and asked if they would come to my studio to sing.

At the same time, I told him that God would pay for it. You know, I didn’t have the budget for that album. Everyone who visits it does so for free. At the same time, we all believe that something will sell and we will get something to record. It’s sad, but that’s the truth.

So, good night the quintet arrived and Ondřej Ruml, who sang bass in it, also came with him. And they sing it great.

Lukáš Koranda wrote some of the lyrics for the album, he also sang some of the vocals. How did he get into the creative team?

Lukáš is a zoo expert, working in a cowshed. He sings, writes lyrics and gets lucky. He once wrote to me if I wanted some of his lyrics for a new Olympic record. I gave him a song prepared for the recording of Kaťata and he wrote an excellent text Pálím tvář for it. So I wrote to him that I would like to work with him in the future.

It was recorded in your Abyss studio. Is it fun with so many guests?

Yes, it’s a lot of fun. Some came and listened to those who were recording, and then they went to record, and those who had just finished recording went to listen to them. There was a great creative atmosphere, several musicians talking to each other about their work. It was sensational.

You know, I believe this record is one of those things that if I played it in a few years, I’d be smiling. I smile when I hear good music. When I hear stupid music, I frown. Just this morning, I was listening to AC/DC Highway To Hell in my car and I was smiling.

Camilla Salazar

"Unapologetic social media guru. General reader. Incurable pop culture specialist."

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