Famous five: Why The Traveling Wilburys are the ultimate supergroup
By Andy Gill Belfast Telegraph — Tuesday, June 19, 2007
Rock history is brimming with supergroups. But none can match the pedigree of The Traveling Wilburys. As they top the charts yet again, Andy Gill tells the story of the band that’s got the lot One of this year’s more surprising and impressive music-biz successes is surely that of The Traveling Wilburys, whose 2CD/DVD compilation The Traveling Wilburys Collection entered the album chart this week at No 1, outselling the likes of Bon Jovi, Paul McCartney and Queens of the Stone Age, and turfing the lissom R&B diva Rihanna off the top spot. Indeed, it may be the only album this year to reach this level of success without the assistance of MySpace, YouTube or any of the internet-associated aids which, we are constantly told, are vital promotional tools in today’s pop marketplace. But then, what might be on their MySpace site? “Hi kids, we’re The Traveling Wilburys! We’re old enough to be your grandads – in fact, two of us are so old we’re dead, and the rest aren’t feeling too good at the moment. We make the kind of music you probably hate.” Their MySpace friends, however, would number in the hundreds of millions, comprising as they would the combined fan-bases of The Beatles, Bob Dylan, Roy Orbison, ELO and Tom Petty & The Heartbreakers. (Of course, this reissue has sparked both YouTube and MySpace activity, though judging by the usual parade of sad self-publicists who attach themselves to such sites, the Wilburys are not vetting those who claim their friendship.) With hindsight, however, it’s possible to discern the factors underlying the Wilburys’ current success. Since the release of their debut album in 1988, the “dad rock” phenomenon has become a force in music sales as ageing baby-boomers and Sixties kids refused to abandon their interest in rock, bringing the weight of their huge disposable income to bear on both the charts and the media. The rise of mature music magazines such as Mojo, Uncut and The Word has been paralleled even in the staid world of BBC radio by the re-branding of Radio 2 as a sort of Sixties’ oldies station, whose regard for pop heritage and roots is balanced by its eye for what’s currently hip. And The Traveling Wilburys, Vol 1 may be the perfect Radio 2 record, featuring as it does five well-known, respected talents of a certain age, each wielding serious industry clout and historical weight, peddling a bunch of jaunty, singalong songs rooted in the mulch of rock’n'roll heritage and performed with the minimum of synthetic studio assistance and the maximum amount of harmonies that can be crammed into 10 tracks. It’s a sort of Sing Something Simple formula for another generation, except that these Wilburys are also songwriters skilled enough to write new songs that promptly take up residence in one’s memory like old friends, whether you want them to or not. Hearing songs such as “Handle With Care” and “End of the Line” for the first time, many listeners were struck by just how familiar they sounded, as if they were cover versions of classic hits. And of course, in a sense they were: to ears that grew up on Dylan, Orbison, ELO and The Beatles, not to mention the wealth of influences, from Buddy Holly to The Byrds, that course through Tom Petty’s work – their chord changes, intervals, harmonies and melodic tropes tapped into a host of comforting memories, like endorphins slotting into an addict’s neuroreceptors. The result was pure pleasure, unmediated by the constraints of fashion or duty. The album went on to sell some five million copies, making it the most successful “supergroup” album of all time. The pop supergroup has something of a chequered history, which helps to prepare one for the disappointment that often attends the actual music. The idea derives from jazz, where individual players would combine and re-combine in different aggregations for purely exploratory purposes, to see how they might push each other’s performances in new directions. The most famous are probably Miles Davis’s two quintets that aligned the trumpeter with the likes of John Coltrane, Herbie Hancock, Cannonball Adderley and Wayne Shorter, and the great bebop summit of Charlie Parker, Dizzy Gillespie, Bud Powell, Charles Mingus and Max Roach that produced the legendary Massey Hall concert of 1953. The first rock’n'roll supergroup was undoubtedly the impromptu meeting of Elvis Presley, Johnny Cash, Carl Perkins and Jerry Lee Lewis at Sun Studios, the off-the-cuff recordings of which were released under the bullish – but ultimately undervaluing – rubric of The Million Dollar Quartet. Through the Sixties, supergroups hatched, flew briefly and then died, like mayflies seeking mates. Session musicians like Al Kooper and Mike Bloomfield were elevated to serious player status by their “supersession” jams, while authentic stars like Clapton, Baker, Bruce and Winwood became global icons through the success of Cream and the deeply underwhelming Blind Faith project. For a while in the Seventies, Crosby, Stills, Nash & Young were the biggest-selling group in the world. Even the more marginal music genres threw up their own supergroups, most notably the Pentangle aggregation, which combined virtuoso folk guitarists Bert Jansch and John Renbourn with singer Jacqui McShee and the jazz rhythm section of Danny Thompson and Terry Cox. But the rock supergroup quickly became a byword for ego, excess and interminable soloing, most spectacularly in the case of Emerson, Lake & Palmer, a prog-tastic alliance whose stodgy, quasi-classical music filled stadiums, but not souls. With the advent of punk, the supergroup’s days were numbered; the notion became not just musically dubious, but a representation of the morally reprehensible separation of artists from their audiences. Now, as Andy Warhol and Sly Stone had claimed, everybody was a star, and to profess one’s superiority was just about the only form of bad manners recognised by the punk movement. For a decade or so, the supergroup fell out of favour, along with the idea of virtuosity. Outside America, the accent in the Eighties was more on amateurism and unashamed artifice, whether as ironic commentary on the business of pop, or as celebration of its sleek, flimsy surfaces. The only significant supergroup projects were charity one-offs like Band Aid’s ” Do They Know It’s Christmas?”, in which the participants’ names mattered rather more than their musical abilities. Save for the Wilburys, that has remained the case ever since, as each new disaster prompts its own charity record. So, when the Wilburys got together in 1988, few notions were as utterly discredited as that of the supergroup, which may be a contributory reason for the players’ pseudonyms: Nelson (George Harrison), Lucky (Bob Dylan), Lefty (Roy Orbison), Otis (Jeff Lynne) and Charlie T Wilbury Jr (Tom Petty). The group’s genesis came when Harrison was trying to come up with a new B side to “This Is Love”, the single from his Cloud Nine album. He contacted his chum Lynne, who was working with Orbison on the latter’s Mystery Girl album, and persuaded both of them to lend a hand. When George visited Tom Petty to reappropriate a borrowed guitar he wished to use, Petty was roped in, swiftly followed by Dylan. “And so everybody was there,” Harrison recalled later, “and I thought, ‘I’m not gonna just sing it myself, I’ve got Roy Orbison standing there – I’m gonna write a bit for Roy to sing.’ And then as it progressed, I thought I might as well push it a bit and get Tom and Bob to sing the bridge. ” When Warner Brothers head Mo Ostin and A&R chief Lenny Waronker heard the resulting “Handle With Care”, complete with the contributions from George’s heavy friends, they realised that it was too good to languish on the flip side and manoeuvred for an entire album by the group. With all members bar Orbison contributing songs, the album was completed within three weeks in a makeshift studio erected in Dave Stewart’s kitchen in Los Angeles. Its relaxed, genial tone is indicative of the low-pressure nature of the sessions. Harrison’s “Handle With Care” and ” End of the Line” were the obvious standout tracks, both charting as singles. Dylan’s trio of songs highlighted his various strengths: “Congratulations” was a melancholy heartbreak anthem and “Tweeter and the Monkey Man” a typical shaggy-dog-story street-life narrative, while “Dirty World” offered a surprisingly serviceable variation on the standard rock’n'roll automotive sexual metaphor, the tangle-haired bard indulging in saucy flattery such as “You don’t need no wax job/ You’re smooth enough for me” before the rest of the band chipped in their cryptic commendations. Lynne’s production nous ensured that none of the individual players was favoured, and Petty’s talent for cementing styles together proved invaluable throughout. Orbison, meanwhile, was a magisterial presence, his operatic grace lending a classy, high-gloss finish to performances that were, in effect, enthusiastic and affectionate celebrations of the musicians’ roots in rockabilly, hootenanny and skiffle. Like the album packaging and parodic sleevenotes (by “Hugh Jampton, the EF Norti-Bitz Reader In Applied Jacket, University of Krakatoa”, aka George’s Pythonic chum Michael Palin), the band’s name was a light-hearted trifle, deriving from a studio in-joke of Lynne and Harrison’s, referring either to effects devices they dubbed “wilburys”, as in ” trembling wilbury”, or to the use of such devices at a project’s mix-down stage, as in “we’ll bury it in the mix”. Trembling, it was subsequently decided, was a less attractive prospect than Traveling. Advance promotion, meanwhile, was restricted to little more than a few postcards proclaiming “The Traveling Wilburys are coming!” over sepia photos of eccentric modes of transport, an understated campaign that gave no hint of the project’s genealogy, nor its ultimate sales success. Despite the minimal promotional work, and the lack of live performances to support it, the first album shifted five million units, a considerable improvement on the individual members’ flagging sales profiles at that point. A follow-up was unavoidable, but shortly after the debut’s appearance, Roy Orbison died. Rumours that Del Shannon was to replace him proved unfounded, and any prospect was ultimately dashed by the singer’s suicide; in the end, the four remaining Wilburys – now re-named Spike (George), Boo (Bob), Clayton (Jeff) and Muddy (Tom) – dedicated the second album, Vol 3, to their late pal Lefty. This follow-up album was both heavier and more refined than the debut, while the participants were less afraid to damage their individual reputations: Dylan, for instance, incorporated a hilarious scatted refrain in “You Took My Breath Away”, and his doowop-styled “Seven Deadly Sins” employed the same kind of nursery-rhyme counting-song lyrical simplicity that he featured on his contemporary Under The Red Sky album. “Cool Dry Place ” included an offhand reference to Jeff Lynne’s old band The Idle Race, while the opening “She’s My Baby” was by far the toughest item in their slim repertoire. But the lacklustre dance-parody closer “Wilbury Twist” confirmed that the joke was getting rather thin by this point, and Vol 3 proved to be substantially less successful than its predecessor. Until now, that is. With both Wilburys albums having been deleted with what, considering their lineage, seems indecent haste, a groundswell of interest has built up over the subsequent years. George Harrison’s plans to reissue remastered versions of the albums were scuppered by his passing, but his widow Olivia has helped to ensure that his wishes have finally been realised. Ironically, the albums sound less out of step with current trends than they did on their original release, suggesting that the Wilburys have perhaps exerted a much greater influence in the intervening years than had ever seemed likely on their first appearance.
By Chris Willman Reading Eagle — Friday, November 30, 1990
If respectable, middle-aged rock ‘n’ roll is suddenly enjoying a second childhood, then the Traveling Wilburys are the superstar enfants terrible of the back-to-basics movement, major artists and elder statesmen who’ve joined forces to collectively cast off the onus of artistic sobriety. And proud of it, man. “There’s nothing worse than a serious pop singer,” says Tom Petty, prompting laughter from his fellow bandmates at the table, George Harrison and Jeff Lynne — all Wilburys and each one a convicted Ex-Serious Pop Singer in his own right. Fans who first heard that these three were getting together with fellow rock legends Bob Dylan and Roy Orbison in 1988 to record an alb um might have expected some sort of timely summit from these beacons of several generations. Instead, the Wilburys took the only logical approach that important talents can take in collaboration: serious slumming. A classic of deadpan humor and sly nods to pop tradition, it was more of a barroom battle of the bon mots than a weighty meeting of the minds. Orbison died shortly after the release of the heralded “Vol. 1″ album two years ago, but the four remaining members have recorded a follow-up, purposely misnamed “Vol. 3.” Released in October, it is currently climbing the charts. And, if anything, this delightful and defiantly unimportant album is even rootsier and even cornier than the first one. “You can still say things while you’re lightening up,” Petty says, “But I think we’re all weary of people who come on for an entire LP … and give you the impression that this person is trying to tell you real serious things that they couldn’t possibly have an impact on. A lot of the lyrics that I hear on the radio these days sound pompous. I’m not against people being serious with their work, I just think they have to be careful that it doesn’t come off as pretentious.” The loose, roughneck Wilbury spirit has infected the solo work of its individual members as well. Though it was recorded prior to the Wilburys’ working together, Harrison’s last solo effort, the comeback “Cloud Nine,” showed evidence of a definite lightening of sensibilities — as do Lynne’s “Armchair Theatre” and Petty’s smash hit “Full Moon Fever,” both post-Wilbury releases. And Dylan? One listen to “Wiggle Wiggle” — the leadoff track that treads the fine line between sexual suggestiveness and infantilism — demonstrates beyond the shadow of a doubt that he, too, has succumbed to Wilbury-itis. The three Wilburys on hand for this interview admit that their more serious instincts tend to melt away when they’re around one another. Says Petty, “I think that last album (the Lynne produced “Full Moon Fever”) was more like me, more honest in a lot of ways, than a lot of them I’ve made. I feel like I’m more comfortable being myself than I have been in a while. Because I’ve always had a sense of humor, but I (used to feel) that if I used it, that it would perhaps give the impression that I was throwing away things or just fooling around.” Harrison concurs that working with the Wilburys “gave us a big more freedom than we’d have had individually,” says Harrison. “Well, I’m talking about us three, not really Bob. He always did what he wanted when he wanted all the time.” The first and most obvious question this time around: What happened to “Vol. 2″? “We haven’t made that yet,” quips Harrison. “Is that an obvious enough answer?” The title is indeed probably just an offhand joke — just as the group’s moniker is — though one might speculate that the missing volume could be, by implication, a sort of tribute to the missing Orbison, and what could have been had he lived to record with the group further. In the two years since the release of the first Wilburys album, most speculation centered on whether there would even be a follow-up, and if so, who would replace Orbison in the lineup. Veterans Del Shannon and Roger McGuinn were most often named, perhaps because Lynne produced some tracks for Shannon (who has since committed suicide) and Petty did some studio work with McGuinn. The group dismisses the idea of a need for an Orbison replacement out of hand. Says Petty, “Whoever we worked with after that album was ‘the next Wilbury’” — but only in the imaginations of the press and other onlookers. “It never came from us or Del Shannon or Roger McGuinn.” Harrison maintains that it never occurred to the surviving members to bring someone else in because “we didn’t really bring Roy in. He just happened to be there, you know, and that’s how it came about. So there was no reason to go looking for somebody … I mean, there’s already enough of us, anyway.” Harrison, Petty, and Lynne had all worked together on various projects in the meantime, but the instigation to dig in and begin work on a Wilburys album actually came from Dylan, according to the other members. That’s surprising, because the popular assumption might be that Dylan is the most reluctant Wilbury. Rumor had it that he nearly refused to participate in making the video for “Handle With Care” when the first album came out, and he’s alone among the group in declining to do interviews to support the new album (as is usually the case when it comes to promoting his own albums as well). The image of Dylan as someone who just gets dragged into the process is belied, however, by the fact he easily does the most lead singing of any of the members on “Vol 3.” This fact, pointed out to the other three, gives them a good laugh. “We love to hear Bob sing,” says Petty, chuckling. “It was hard to rub Bob off the track once he sang something, because he’s a really good singer.” Good is in the ear of the beholder, of course, and Dylan’s famed penchant for first-take spontaneity is obvious on “Vol. 3″ as his not-so-smooth pipes stand in enjoyable contrast with the near-perfect “stacks” of vocal harmonies which Lynne (the former mastermind of ELO) is famous for creating. It’s almost like putting the old blues singer who’s crooning for quarters down on the corner in front of the town choir, but it works. “You’re right,” says Harrison, “it sounds like the kind of raggedy Bob, or what you expect is just one-off or a second attempt or something. Then the backing voices smooth it out. That’s quite a good thing, because if Bob wasn’t in it, it’d turn out sounding a little too smooth. He gives that edge to it, the roughness, which is really nice.” Dylan wasn’t the only one who worked spontaneously, though. The entire album was put together in about six weeks — recording and writing. All 11 of the songs were conceived by all four members as a group. The first song recorded, “Inside Out,” was written “within an hour or two of arriving” at Harrison’s private studio for the first session. The rest of the album followed at a similar pace. “That’s one thing we’ve done over both albums — everything was done at a really quick pace,” Petty says, “without much room for second-guessing anything. “It is hard for some people to understand. It would be hard for me to understand if I wasn’t there. Just the whole concept of writing a song with four people sitting there all contributing things at once is not done that often. But for some reason with this combination of people it works, and it’s even enjoyable. I think we’ve all had enough success that we never had any ego conflicts or anything.” The difference from the first album is apparent. Whereas “Vol. 1″ had songs that stood out as individual showcases — “Not Alone Any More” having obviously been crafted as an Orbison ballad, and “Tweeter and the Monkey Man” being in the tradition of Dylan story-songs, for example — it’s much harder to differentiate between members’ roles and functions this time. It’s hard to disagree with Petty when he says that they’ve now “come up with a sound that really sounds like the Wilburys more than any one of us. It’s a group.” Don’t expect to see the Traveling Wilburys actually traveling, though. Harrison and Lynne both hate touring with a passion. The ex-Beatle hasn’t taken his act on the road since 1975, and studio hound Lynne tired of the live circuit with ELO a decade ago. Dylan and Petty are road regulars, but it’s unlikely they’d convert their more reclusive partners to their way of thinking. “No, they all knew that I don’t…” said Harrison, trailing off. “I never liked to tour,” piped in Lynne, a bit more firmly. “So I’m not gonna miss it much if we don’t.”
"Bob Dylan's 115th Dream" (Bringing it All Back Home, 1965) Herman Melville meets Henny Youngman in this frisky tour of American history. Dylan's deadpan comic timing is perfect: "I ordered some suzette / I said, could you please make that crepe?"
"If You Gotta Go, Go Now" (The Bootleg Series Vol. 1-3, 1991) Dylan requests a little girlie action, laughing his way into her pants. In the Philharmonic Hall version from Halloween 1964, he has the crowd rolling in the aisles from the intro ("I have my Bob Dylan mask on") to the final come-on: "I'll be sleeping soon, and it'll be too dark for you to find the door."
"Tweeter and the Monkey Man" (Traveling Wilburys-Volume 1, 1988) When the Traveling Wilburys album came out in 1988, this outrageous self-parody landed on the fan community like a bomb, from the Springsteen jokes to the fact that it beat the crap out of any song he'd put on any of his own albums lately. Rumors that this song inspired the plot of The Big Lebowski have never been confirmed.
"I Want You" (Blonde on Blonde, 1966) Poor Bob – hounded by the ladies, coaxed into their beds, when all he really wants is to get back to ... what was your name again? The final verse where he fumbles for rhymes – "because he liiied, because he took you for a riiide, uh, because time is on his siiiide" – might be his funniest moment ever.
"Po' Boy" (Love and Theft, 2001) The poet of his generation turns into a Borscht Belt stand-up, stealing gags from Groucho Marx ("calls down to room service, says send up a room") and busting out a knock-knock joke. Try the veal, folks – it's so good William Zanzinger ordered seconds!
Есть авторский перевод с битлсру,причем обратите внимание на посвящение автора.
Автор: Серг ЦветкOFF (Ph.D.)
Tweeter and the Monkey Man
Tweeter and the Monkey Man were hard up for cash They stayed up all night selling cocaine and hash To an undercover cop who had a sister named Jan For reasons unexplained she loved the Monkey Man
Tweeter was a boy scout before she went to Vietnam And found out the hard way nobody gives a damn They knew that they found freedom just across the Jersey Line So they hopped into a stolen car took Highway 99
And the walls came down all the way to hell Never saw them when they're standing Never saw them when they fell
The undercover cop never liked the Monkey Man Even back in childhood he wanted to see him in the can Jan got married at fourteen to a racketeer named Bill She made secret calls to the Monkey Man from a mansion on the hill
It was out on thunder road - Tweeter at the wheel They crashed into paradise - they could hear them tires squeal The undercover cop pulled up and said "Everyone of you's a liar If you don't surrender now it's gonna go down to the wire
And the walls came down all the way to hell Never saw them when they're standing Never saw them when they fell
An ambulance rolled up - a state trooper close behind Tweeter took his gun away and messed up his mind The undercover cop was left tied up to a tree Near the souvenir stand by the old abandoned factory
Next day the undercover cop was hot in pursuit He was taking the whole thing personal He didn't care about the loot Jan had told him many times it was you to me who taught In Jersey anything's legal as long as you don't get caught
And the walls came down all the way to hell Never saw them when they're standing Never saw them when they fell
Someplace by Rahway prison they ran out of gas The undercover cop had cornered them said "Boy, you didn't think that this could last" Jan jumped out of bed said "There's someplace I gotta go" She took a gun out of the drawer and said "It's best if you don't know"
The undercover cop was found face down in a field The monkey man was on the river bridge using Tweeter as a shield Jan said to the Monkey Man "I'm not fooled by Tweeter's curl I knew him long before he ever became a Jersey girl"
And the walls came down all the way to hell Never saw them when they're standing Never saw them when they fell
Now the town of Jersey City is quieting down again I'm sitting in a gambling club called the Lion's Den The TV set been blown up, every bit of it is gone Ever since the nightly news show that the Monkey Man was on
I guess I'll go to Florida and get myself some sun There ain't no more opportunity here, everything's been done Sometime I think of Tweeter, sometime I think of Jan Sometime I don't think about nothing but the Monkey Man
And the walls came down all the way to hell Never saw them when they're standing Never saw them when they fell
Ниже следует пропаганда наркотиков, насилия и внебрачных сексуальных связей. Тем, кто считает, что форум – не место для этого: не читать.
Посвящается Sweet Little Qweenie, bk, EVAMARIA и прочим блюстителям ндравствственности.
У Свистуна с Мартыном был с налом напряг Пришлось толкать им план по два бакса за косяк Мусорку, который закосил под блатаря. Его сеструху Яну тер Мартын втихаря.
Свистун был пионером, после угодил в Афган. Там усомнился в вере и пристрастился курить план. Теперь ждала свобода их – лишь руку протяни… Хватай любую тачку и гони, гони, гони…
Стены рухнули С глаз спала пелена Порою жизнь – подарок Только чаще – ни хрена.
Мусорок Мартына еще с детства не любил, Была бы его воля – давно б его убил. В четырнадцать неполных Яна вышла за Бугра, Мартын ходил к ней тайно и уходил в три утра.
Грохот на дороге – Свистун взят в оборот. Он истекает кровью, мусор в мегафон орет: «Еще ребенком был я, а штучки ваши знал. Сдавайтесь, и немедленно, иначе вам хана!»
Стены рухнули С глаз спала пелена Порою жизнь – подарок Только чаще – ни хрена.
По дороге в госпиталь Свистун сумел сбежать Убит им при побеге был конвоир-сержант. А мусор-сука связан и брошен мордой в пыль Быть может, подберет его какой автомобиль…
День следущий. Погоня. Мусор просто взбешен. Прикончить негодяев, наплевать на закон! Сестра ему: учил ты сам меня до сих пор, Что в нашем городишке кто не пойман – не вор!
Стены рухнули С глаз спала пелена Порою жизнь – подарок Только чаще – ни хрена.
Загнали их, как зверя. Сил бежать больше нет. Ржет мусор: «Выпал вам несчастливый билет!» Сестра, вскочив с постели, собирается в путь. Достала револьвер, в барабане – шесть пуль.
…И мусор мордой вниз среди поля лежит, Мартын на мост забрался, держит Свистуна, как щит. Не одурачить Яну париком Свистуна: «Мне и отсюда видно, то что он – не она».
Стены рухнули С глаз спала пелена Порою жизнь – подарок Только чаще – ни хрена.
Все стихло, город скоро позабудет про все. Я в казино играю, только мне не везет. Взорвался телевизор, и обратился в дым От новости, что все еще не схвачен Мартын…
Мне кажется, что скоро я покину этот край, Сменяю этот климат на приморский рай. О Свистуне я думаю, о Яне иногда И только о Мартыне я не вспомню никогда…
Отправлено:19.05.11 10:14.Заголовок:Music Review: The Sw..
Music Review: The Sweetback Sisters - Looking For A Fight
Like a pair of luxurious soft cashmere socks for your ears, the silky vocal harmonies of Emily Miller and Zara Bode are a decadent treat.
The Sweetback Sisters are a group of very uniquely talented musicians whose personal histories are quite varied, diverse and definitely not your typical country music pedigrees. But when they come together on a song, hoo boy it's magic; you'd think they'd been playing together since they were babies (shh, their home base these days is Brooklyn).
With a new album coming out on May 31, courtesy of Signature Sounds Records, entitled Looking For A Fight, the band is sure to woo a huge new fan base. Heck, you don't even have to like the Nashville sound to enjoy this funky pairing of country roots and rockabilly retro. Says Bode: "Sometimes what we deliver is straight out of the '50s; other times it's BR549 meets The B52s."
Think "Indigo Girls Meet Sweethearts of the Rodeo and Get Possessed by the Ghost of Patsy Cline While Riding Shot Gun with Bob Wills in a 1939 Ford Pickup," or even "Dale Evans With Attitude and Swagger" and you might be closer to a description of the band's special sound.
For obvious reasons, the Sweetback Sisters' rendition of Laurie Lewis' "Texas Bluebonnets" is a winner for me, as is the original song by Emily Miller, "Run Home and Cry," with its jaunty down home humourous lyrics and finger-snapping melody.
One track was unexpected: "Rattled," which some of you Traveling Wilburys fans will recognize. The band's take on this favorite tune is more retro and more rockabilly style than the '80s version of the original recording. It's a great interpretation by The Sweetback Sisters.
Looking For A Fight has another delight in store for you: The tunes were recorded on analogue tape with vocals sung around an RCA 44 ribbon mic. All this throwback technology is industry-wide known for producing the richest, most pleasing sound of recorded music. Perfect combination for this soulful, yet edgy band.
This CD will be played a lot around our house and on long road trips. It's fun and easy listening with just the right icing of nostalgia on songs your mother should know. Hmm Hmm good.]
Автор обеих некий Фредерик Миллер. Величина первой - 100 стр., второй - 170 стр. Неясно одно: учитывая, что как говорится в анонсе, материал книг взят из Википедии и открытых источников в интернете, объём великоват. Что, к примеру, можно описывать на 100 страницах про одну песню End Of The Line ?
Отправлено:28.06.11 11:51.Заголовок:Одна, как я понял, р..
Одна, как я понял, разбор песни End Of The Line, а вторая - разбор аж целого альбома (второго). Я представляю себе там различные статьи и высказывания разных изданий. Не исключено, что там есть интересная информация. Цена только кусается за такое издание.
Отправлено:02.08.11 10:19.Заголовок:У американцев есть с..
У американцев есть своя трибьют группа.
THE TRAVELING BEATLEBURYS
The TRAVELING BEATLEBURYS were formed in 2006, by PETER, SAM PELLEGRINO(guitar/vocals), and PHIL BERUBE(bass/vocals). KEVIN ASHBA(keyboards/vocals) joined in 2007, and BRUCE GOLL(drums/percussion) joined the line-up in 2008. PETER & SAM both started out as solo performers at AROTR in its first home of Cleveland, OH, and in 2004, they began sitting in on each other’s solo sets, before meeting PHIL and officially forming The TRAVELING BEATLEBURYS at 2006’s AROTR, in it's current home of Louisville, KY. The BEATLEBURYS play songs by the Beatles (group & solo hits), the Traveling Wilburys (group & solo hits) and songs from the "British Invasion" era. The band has played shows in Mid-west and in Canada and will eventually travel and play in your town. More information on the indivudal BEATLEBURYS can be found on the "Beatleburys Bio" page.
Interview with the 12-year-old that got Bob Dylan's autograph at the Ryman
When Bob Dylan played the Ryman Auditorium on August 1, he did the unthinkable - He autographed the harmonica of a 12-year-old boy standing in the front row.
The boy in question was Dylan Thomas May, named not after the Welsh poet, but two members of the Traveling Wilburys.
His mother, Kerry, had always wanted to take her son to see Bob Dylan when he was old enough, but did not hear about the concert at the Ryman until it had already sold out.
After many negotiations, dramas, and financial transactions, Kerry was able to obtain front row seats for the show.
Before leaving for the concert, young Dylan picked out one of his harmonicas to bring to the show - a 1937 Hohner. It had belonged to his grandfather, who had died three years before. Despite the odds, he hoped to get it autographed by Bob Dylan.
While biding their time between picking up the tickets and the start of the show, the family waited in the alley to the left of the Ryman, hoping to see a glimpse of Dylan entering the venue. While that didn’t happen, the lucky young Dylan was able to get guitarist Charlie Sexton and bassist Tony Garnier to autograph his T-shirt.
All night, things kept going Dylan’s way, as one of Leon Russell’s guitarists (either Chris Simmons or Beau Charron) threw the boy his guitar pick, and drummer Brandon Holder walked over and handed him his pre-signed drum stick.
During the encore, after “Blowin’ In The Wind,” young Dylan waved the harmonica and a Sharpie, yelling, “Bob, please!” As the band was leaving, the elder Dylan walked toward the microphone, paused, then went up to the boy, took the Sharpie and harmonica and, without saying a word or making eye-contact, signed the instrument.
I spoke to May on the phone a few days after the show. He was a very nice, polite, and articulate young man, and appeared to be wise beyond his years. Here’s what he had to say:
So, you’ve had a very exciting week!
How did you get into Bob Dylan?
Well, I’ve listened to his music as long as I can remember, so I automatically liked it.
Yeah, “Forever Young,” “Tangled Up In Blue.”
Have you ever been to a rock concert before?
This was my first.
Did you sense Bob Dylan was looking at you during the show?
Oh yeah - The whole time! My mom told me that everyone wants to think (the performer) is looking at you, but he was staring straight at me the whole time. When he was in front of me, he would be singing, he’d pause, look around, then when he stopped, he’d look at me again.
Where do you keep the harmonica?
Well, we’re hoping to get a glass case to put it in, and a picture of him signing it. It’s in my room. I look at it a lot.
Did your mom make you go to sleep after the show, or did you stay up late?
Well, we got home, we were tired but still very excited. My mom and I stayed up and talked about the show and getting the autograph until it was almost daylight and we couldn't figure out whether the harmonica case should be opened or closed. We were afraid it would rub the autograph off if we closed it. We closed it and kept checking it!
Are you a celebrity in school? Do the other kids even know who Bob Dylan is?
Just me ... I don’t even think they know his name, so I didn’t even go there. My teachers know who he is. They think it is great! Some of them knew it before I told them. The story spread fast!
How do you listen to music, and who do you like?
On my computer, CDs. I’ve liked classical music ever since I first heard it in band, Bob Dylan, Johnny Cash, Elvis. I was even Johnny Cash for Halloween last year. I don’t like new music.
You must have heard of Bob Dylan’s Buddy Holly quote by now.
(And I just want to say that when I was sixteen or seventeen years old, I went to see Buddy Holly play at Duluth National Guard Armory and I was three feet away from him...and he looked at me. And I just have some sort of feeling that he was — I don't know how or why — but I know he was with us all the time we were making this record in some kind of way - Grammy Awards, February, 1998.)
Do you know who he was?
Yeah, we had just watched (the movie) La Bamba a few months ago. (The story of Ritchie Valens, who went down in the same plane that killed Holly and “The Big Bopper.”)
There’s a video of you playing “Nearer My God To Thee” on piano and harmonica. What instruments do you play?
I play French horn, piano, trumpet, and harmonica. I tried harmonica before, but not seriously. After the concert, I was gonna record myself on the piano only, to put it on YouTube. I just started to play it on the harmonica while my mom went out shopping, and it sounded really good. So I wanted to play both, but I only have two hands! So we went to Sam Ash and got one of the harmonica holders you put around your neck. I made up the harmonica part to that song in an hour! Actually, you can see the (signed) harmonica in the “Nearer My God To Thee” video, on top of the piano.
In the video of your Tchaikovsky French horn recital, I noticed you’d only been playing for a few months by that time. How much do you practice? Does it seem like fun, or is it hard work?
Well, I go in early every day to school. On a normal day, I usually practice 45 minutes to an hour before school, and I usually stay after about one-and-a-half, two hours. Then I practice when I get home. I often practice seven hours a day - I think it’s fun!
So what would you like to be when you grow up?
As of right now, I’d like to play for a classical music orchestra.
Was there anything about the show that you wish had happened?
The only other thing I have to say - The only thing a little bit disappointing was that I’d like to have a conversation with (Bob Dylan) about music. But I’d heard that he doesn’t really do that.
Отправлено:17.08.11 09:08.Заголовок:Super troopers: The ..
Super troopers: The rise of the Supergroup
Mick Jagger, Dave Stewart and Joss Stone have released an unlikely collaboration
By Andy Gill
The world is awash with supergroups. Barely an hour goes by without some new, unforeseen alliance of musical talent being announced. Unforeseen, in many cases, because so ridiculously improbable.
Take the new project SuperHeavy, featuring Mick Jagger, Dave Stewart, Joss Stone, Damian Marley and AR Rahman. What on earth is that going to sound like, once the competing forces of rock, reggae, soul, pop, psychedelia and Indian film music have fought their way to an acceptable rapprochement? It remains to be seen whether SuperHeavy amount to much more than a frisson of publicity, though the doughty Stewart has a better track record than most of bringing improbable projects to completion, and may be able to drive this weird wagon-train of disparate talent to market.
One problem for supergroups is reconciling the inevitable ego clashes between musicians who unsurprisingly consider themselves super. This is a conundrum that can be solved by the organisational abilities of a catalyst like Stewart. The Traveling Wilburys may have been a dream alliance of Beatle (George Harrison), Bob (Dylan) and Big "O" (Roy Orbison), as well as Tom Petty, but without Jeff Lynne to make everything sound right, would they have become anything more than a couch-bound jam session? (Прямо бальзам для линноманов) Not that having a fixer/producer in the ranks guarantees success: the Thom Yorke/Flea project Atoms For Peace may have included the Radiohead producer Nigel Godrich, but we have yet to hear any actual music.
In some cases, what appears to be a supergroup may turn out simply to be a vehicle for the creative overspill of a single member, whose sheer determination drives the project along. Currently, two such notables are making their whims reality on a frequent basis.
Damon Albarn is an artistic gadfly seemingly able to turn his hand to any musical form, from Afro-pop crossover to Chinese opera, and he wields the persuasive power of success. When the Clash bassist Paul Simonon, Verve guitarist Simon Tong and Afrobeat legend Tony Allen joined him for The Good, The Bad & The Queen, they must have been reassured that however tentative it appeared in theory, the project would yield listenable results.
Likewise, when Jack White gets an idea – whether for neo-prog-rock combo The Raconteurs or neo-Goth-rockers The Dead Weather – it is going to bear fruit whoever else is involved, even if Jack ends up just stuck behind the drums.
Some supergroups exist more as occasional side projects, indulging the shared musical interests of their members. One thinks of the guitar virtuosi supergroup G3, which has involved Joe Satriani, Steve Vai, Yngwie Malmsteen and Robert Fripp, among others; or the avant-guitar ensemble French, Frith, Kaiser, Thompson; or, most recently, Buddy Miller's Majestic Silver Strings, in which the country guitarist is joined by the pedal steel player Greg Leisz and the six-string polymaths Bill Frisell and Marc Ribot. For others, it is impossible to discern the attraction that brings the members together: what, one wonders, could various members of Hanson, Cheap Trick, Smashing Pumpkins and Fountains Of Wayne possibly have in common that might bring them together as Tinted Windows?
Sometimes, a supergroup arises from some ulterior motive: John Lennon's Plastic Ono Band was essentially a vehicle for his political activism, initially at least. More recently, the Mario Caldato-led Bottletop Band is intended to promote and help fund the Bottletop charity, promoting aid projects in the third world.
The more successful recent supergroups, though, have been those whose members fit together stylistically. The alliance of Josh Homme, John Paul Jones and Dave Grohl in Them Crooked Vultures resulted in an album of focused rock power, while the intentions of Conor Oberst, Mike Mogis, Jim James and M. Ward were well signalled in their chosen name, Monsters Of Folk. The Scottish folk-pop supergroup The Burns Unit grew out of a workshop and conference celebrating the poet Robert Burns – which may account for the low-key but artistically potent success of the band's work.
The roots of the supergroup as it is most commonly recognised derive from jazz, particularly after bebop introduced the notion of technical virtuosity as an end in itself. The very first supergroup was that which played the legendary Massey Hall Concert in 1953 – a mouth-watering line-up of Charlie Parker, Dizzy Gillespie, Bud Powell, Charles Mingus and Max Roach subsequently became known as The Quintet. Later aggregations of jazz players, notably Miles Davis's two great quintets and the fusion supergroup Weather Report, likewise relied on shared virtuosity, resulting in lengthy bouts of soloing.
The first rock supergroup (unless one counts Sun Records' Million Dollar Quartet of Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins, not a supergroup in the sense used here) was Cream, formed in 1966 by Eric Clapton, Jack Bruce and Ginger Baker as an improvising blues-rock trio of talents considered nonpareil.
The irony is that Cream's singles, such as "I Feel Free", "White Room" and "Badge", are their legacy, while the interminable workouts for which they were renowned at the time – such as the live disc of the double album Wheels Of Fire – have not aged well at all, presenting musicians seemingly battling for space rather than reacting to each other. But Cream were hugely successful, selling shedloads of albums in what had until then been a niche market.
As prog-rock began to dominate the music business, Emerson Lake & Palmer took the supergroup to grandiose levels, befitting their intention to fuse rock and classical music. (Interestingly, they might have been known as HELP rather than ELP, had Jimi Hendrix not died before the alliance could be consummated.)
The greatest American supergroup, however, placed no undue importance on solo-heavy improvisations. Crosby, Stills, Nash & Young's virtuosity resided primarily in their vocal talent, combined with all four members' abilities as songwriters. Unlike most supergroup recordings, CSNY's first couple of albums are eminently listenable four decades on, even inspiring a new generation of folk-rock close-harmony groups. The reason for their enduring quality is the exact opposite of that driving most supergroups: rather than jamming and releasing the occasional yard or two of improvisation as an album, CSNY paid painstaking attention to the writing of the songs, then to the arrangement of the cut-glass harmonies and finally to the recording. Their albums were exercises in meticulosity, rather than virtuosity.
This focus on excellence, combined with the collective talent involved, made CSNY, effectively, the American equivalent of The Beatles, just as that band was splitting apart. And like The Beatles, there was a certain amount of droit de seigneur involved in their position. CSNY became the social embodiment of a counter-cultural elite centred in the Laurel Canyon district of Los Angeles, living a life of good food, great drugs and gorgeous women. At an early series of shows at New York's Fillmore East, each member reportedly had to have a different cuisine catered in their dressing room each night. Crosby might have Chinese food, Stills Jewish, Nash Italian, and Young Japanese. The next night it would switch around. And if the wrong beer was placed in a member's cooler, they would go off in a hump.
At first, everything was hunky-dory between the members. Graham Nash was delighted to realise ambitions beyond those envisaged by the cabaret-bound Hollies; David Crosby was delighted that his songs were recorded, and beautifully so; Stephen Stills was delighted to be the undisputed musical prime-mover; and Neil Young was delighted to get a little commercial as well as critical success. And all of them were euphoric about the way their voices blended together.
But just as oil and vinegar make a nice French dressing when shaken together, after a while they separated out. The group became a revolving door of splits and reunions, with diminishing returns, although it was perhaps to their credit that they were more likely to fall out over musical differences than Crosby's well-documented personal indulgences. At one point, a studio argument about a single harmony resulted in Nash refusing to talk to Stills for two years. That is dedication to one's art.
What one wonders, when considering the prospects for SuperHeavy, is how much the project depends on the kind of social aspects which came to figure so heavily in CSNY. It is well-known that the new band came about largely through the geographical proximity of Jagger and Stewart's Jamaican residences, and Stewart's role as Stone's producer, with Marley drafted in to provide a touch of island spirit and Rahman involved for heaven only knows what reason. Maybe he was on holiday and bumped into Dave down the market. But what kind of supergroup is it where music seems to be a subsidiary consideration to socialising?
Отправлено:19.08.11 09:26.Заголовок:Роберт Портер на сво..
Роберт Портер на своем сайте добавил в список совместное выступление Тома с группой и Джеффом в 2006 году.
Tom Petty & the Heartbreakers and Jeff Lynne - Handle With Care [Album Version]
During a September 26, 2006 concert at Hollywood Bowl in Los Angeles, on the Tom Petty & The Heartbreakers' 30th anniversary tour, Jeff Lynne was invited on stage to perform Handle With Care with the band. Jeff played rhythm guitar and sang Roy Orbison's parts during the song.
"Tom Petty was in a celebratory mood last night (Sept. 26) at the Hollywood Bowl in Los Angeles, coercing Jeff Lynne on stage to perform the Traveling Wilburys' hit Handle With Care with he and the Heartbreakers in front of a sold-out crowd. 'It's a treat because we can never get this guy out,' Petty joked of Lynne." Brian Cohen (September 27, 2006 - Billboard magazine online)
"Tom Petty staged a semi-reunion of supergroup The Traveling Wilburys onstage at the Hollywood Bowl in Los Angeles last night (26SEP06) when he invited British rocker Jeff Lynne to join him. The Learning To Fly singer was midway through his two-hour set with backing group The Heartbreakers when he took time out to pay tribute to the star-studded group he and Lynne formed with Roy Orbison, George Harrison and Bob Dylan. Electric Light Orchestra star Lynne joined Petty and the band for a rendition of The Traveling Wilburys' Handle With Care hit." Unknown (September 27, 2006 - Contact Music online article)
"Longtime Petty collaborator and fellow Wilbury Jeff Lynne came onstage to add the Roy Orbison parts to Handle With Care, which came off as well as or better than any Petty original." Erik Pedersen (September 27, 2006 - Reuters news story)
"But to have E.L.O. main man and Petty's longtime producer Jeff Lynne peek out of his studio hermitage to handle the Roy Orbison parts on the Traveling Wilburys' Handle With Care - see, that's one of those things that will keep people talking about this gig for years." Ben Wener (September 27, 2006 - The Orange County Register)
Running Time: 3:10 Record Date: September 26, 2006 Record Location: Hollywood Bowl, Los Angeles, California Written By: George Harrison, Bob Dylan, Jeff Lynne, Tom Petty and Roy Orbison Produced By: Tom Petty & the Heartbreakers Engineered By: Unknown Performed By: Tom Petty (guitar, vocals), Jeff Lynne (guitar, vocals), Mike Campbell (guitar), Benmont Tench (piano, backing vocals), Howie Epstein (bass guitar, backing vocals), Scott Thurston (guitar, harmonica, backing vocals), Steve Ferrone (drums)
Это точно. С нетерпением ждём 6 сентября, когда выйдет кавер 'Words Of Love', да и вообще сам альбом (не путать с сольником Джеффа ). Кстати, кавер Джеффа всего 2.06 минуты , но его почерк в сэмпле услышал сразу.
Bob Dylan content in Scorsese's George Harrison documentary, or the lack thereof
Martin Scorsese's documentary, George Harrison: Living In The Material World, premiered in the U.S. over the last two nights on HBO.
Bob Dylan, like Harrison, enjoys his privacy and rarely participates in projects such as this. However, Dylan and Harrison were such good friends that it would be impossible to leave Dylan out of the picture entirely. Scorsese and Olivia Harrison, George's widow, must have made some difficult decisions of what to include in Living In The Material World. Harrison did not need to be overshadowed by Dylan as he had been in the Beatles.
In part one, Dylan is only acknowledged in two passing images - The chart placing of "Like A Rolling Stone" just below a Beatles' single, and Harrison seen reading the paperback version of Dont Look Back. (See video at left).
The start of the second half features a couple of photographs of Dylan and Harrison, presumably taken at Dylan's Woodstock home in late 1968, although his name in not mentioned. Dylan's name is finally uttered during the segment about the unexpected success of the Harrison-produced "Hare Krishna Mantra" by the Radha Krishna Temple. The record was played between acts at Dylan's 1969 Isle of Wight concert.
It was up to producer Phil Spector to discuss Dylan's appearance at 1971's Concert For Bangladesh, explaining how he went to Dylan's apartment to retrieve the reluctant musician. Later, while it is not an obvious reference, Harrison's recycled riff from Dylan's "I Want You" can be heard in "Give Me Love (Peace On Earth)."
The Dylan-Harrison composition, "I'd Have You Anytime," was used as a juxtaposition for a series of family home movies after a sequence about financing the controversial film, Monty Python's Life Of Brian.
It was interesting that an unreleased recording of Harrison covering "Let It Be Me" was used in the film after the report of the 1980 murder of John Lennon. In 1981, Dylan unexpectedly issued his second version of the song as the b-side of "Heart Of Mine" in Europe. I wonder if there is any connection.
Dylan's presence is most felt in the Traveling Wilburys' segment. He is first seen in a photograph behind a microphone, wearing headphones and holding up a sheet of paper, while Tom Petty recalled the origins of the band. The video "Handle With Care" was shown next, with Petty describing how the song was written.
The previously unseen footage of Dylan snapping his fingers, then swaying back and forth while listening for instructions as he was recording his vocals for "Margarita," was probably the highlight for Dylan fans. There's also a clip from the end of the "Dirty World" recording session, when each Wilbury took a turn at the mic. Some of this footage was used with a voice over in the documentary The True History of the Traveling Wilburys, but this is "clean" with a slightly different edit.
Toward the end of the movie, there's a revealing scene when Olivia Harrison interprets George's lyrics of "I'd Have You Anytime" as a way for him to communicate with Dylan about letting Harrison into his life, while a photo of both musicians from 1968 was shown on the screen.
The three-and-a-half hour documentary barely scratched the surface of Harrison's life. The pacing reminded me of A Hard Day's Night, which started off claustrophobic, then featured a liberating escape sequence half way through. In the case of Living In The Material World, Harrison was able to free himself from the Beatles and forge his own path, although the pressures of fame still waited in the shadows.
Unfortunately, many aspects of Harrison's life were not covered, including most of his solo recording career, the success of Cloud Nine and his 1991 tour of Japan with Eric Clapton. There could also have been more about George and Bob, including the joy of hanging out with Dylan and the Band in 1968 and how it contrasted with the tension within the Beatles, stories of Harrison secretly taping Dylan's performances, and other anecdotes.
However, this is Harrison's story. In the first half, Harrison could barely get a word in. In the second, the "Quiet Beatle" finally had his say.
Отправлено:17.10.11 15:06.Заголовок:Listen to George Har..
Listen to George Harrison cover two Bob Dylan songs, from new U.K. box set
As previously reported here, the new U.K. only box set, George Harrison: Living In The Material World, includes a bonus CD of ten unreleased tracks, including versions of Bob Dylan's "Mama, You Been On My Mind" and the Dylan/Harrison collaboration, "I'd Have You Any Time."
"Mama, You Been On My Mind" (listed as "Mama You've Been On My Mind") is a demo version with simple overdubs. Harrison must have been a big fan of this composition, as he played a beautiful acoustic version during the Beatles' January, 1969, Get Back/Let It Be sessions, and jammed on the song with Dylan on May 1, 1970, at an informal session in New York.
"I'd Have You Any Time" is an early take from the All Thing Must Pass sessions. Harrison once said that he used the song to open his first real solo album because he could hide behind Eric Clapton's guitar and (some of) Dylan's lyrics.
Большое трехдисковое издание выпускает "ROCK & ROLL HALL OF FAME" ,среди треков есть два живых выступления непосредственно касающихся участников нашего коллектива.
Best of Rock & Roll Hall of Fame + Museum Live
Disco: 2 1. Sunshine of Your Love - Cream 2. While My Guitar Gently Weeps - Tom Petty, Jeff Lynne, Steve Winwood, Dhani Harrison and Prince 3. Green River - John Fogerty & Friends 4. Beck s Bolero - Jeff Beck with Jimmy Page 5. Woodstock - James Taylor 6. Won t Get Fooled Again - The Who and the Rock Hall Jam Band 7. Dear Mr. Fantasy - Traffic 8. Midnight Rider - The Allman Brothers Band with Sheryl Crow 9. Who ll Stop the Rain - John Fogerty & Friends 10. Fire and Rain - James Taylor 11. Crossroads - Cream 12. Iron Man - Metallica 13. Roadhouse Blues - The Doors with Eddie Vedder 14. Sweet Home Alabama - Lynryd Skynyrd 15. Born on the Bayou - John Fogerty & Friends 16. La Grange - ZZ Top 17. Tired of Being Alone - Al Green
Disco: 3 1. Tie Your Mother Down - Queen with Dave Grohl and Taylor Hawkins 2. Say You Love Me - Fleetwood Mac 3. Sweet Emotion - Aerosmith with Kid Rock 4. Tenth Avenue Freeze-Out - Bruce Springsteen & the E Street Band 5. Landslide - Stevie Nicks and Lindsey Buckingham 6. Only the Good Die Young - Billy Joel 7. American Girl - Tom Petty & the Heartbreakers 8. Blitzkrieg Bop - Green Day 9. The Promised Land - Bruce Springsteen & the E Street Band 10. Running on Empty - Jackson Browne 11. Pink Houses - John Mellencamp 12. Pride (In the Name of Love) - U2 13. R.O.C.K. in the USA - John Mellencamp 14. I Still Haven t Found What I m Looking For - U2 with Bruce Springsteen 15. Handle with Care - Tom Petty, Jeff Lynne, Steve Winwood and Dhani Harrison 16. Man on the Moon - R.E.M. with Eddie Vedder
Послушал альбомчик новой "супер" группы Мика Джагера в всязи с которой всуе часто упоминали наш любимый коллектив.Не понял.Не понял как это вообще можно сравнивать.Всё думал может дождусь,что нибудь от Дейва Стюарта,нет,не дождался,а мастеринг такой ,что мозги выносит навылет.Даже в оформлении обложки альбома,есть мотивы из антологии Тома.
Отправлено:25.10.11 23:08.Заголовок:А я недавно тоже пос..
А я недавно тоже послушал, Володь. Двоякое ощущение. Часть песен вроде как ничего, а часть - откровенная хрень. По мне, так лучше б дитя Марли вместе с девицей не участвовали. Касательно обложки - действительно ощущение, что у Тома и тут один дизайнер работал. Или кто-то с кого-то...
Отправлено:05.12.11 21:23.Заголовок:Один из наших журнал..
Один из наших журналюг тоже решил почтить память Джоржа...ну лучше бы не делал этого.В конце статейки он конечно как то акценты расставляет,но вот в середине;
3. End Of The Line
Подношение супергруппы Travelling Wilburys их первому покойнику: Рой Орбисон (Roy Orbison) успел записать гитару и вокал для этой песни, но в клипе сняться не успел. Джордж тогда придумал основную идею клипа: давайте сделаем так, как будто Рой просто куда-то уехал, а нам надо снимать клип. Позднее тот же самый прием он предложит Полу и Ринго — над архивными демо Леннона они будут работать по тому же принципу: представили, что Леннон укатил отдыхать в Испанию, а корешам оставил наспех слабанные демо — вот, я тут наваял, а вы делайте, что считаете нужным, я вам доверяю. Безотказный приемчик, Джордж, просто безотказный.
Drivin’ ‘N’ Cryin’ put on an old fashioned rock show Friday night
When you look up “Rock & Roll” in the dictionary you see a picture of Drivin’ ‘N’ Cryin’ (DNC). Well, not really, but you should, especially after the show they put on last night. The Atlanta band hit the stage at the Tabernacle a little before 10pm and didn’t leave until well after midnight. For those keeping score at home, that is over 2 hours of tunes. The show was loud and long and DNC jammed classic tunes, new material, and some pretty sweet covers. Kevn’s vocals and guitar playing were tight, Tim and Dave laid down the pounding rhythms on bass & drums and new comer Sadler Vaden destroyed the guitar.
The Tabernacle was packed, the crowd was loud and rowdy and filled with people of all ages who came to rock their asses off. DNC did not disappoint, they pulled blistering performances of “Fly Me Courageous”, “Honeysuckle Blue”, “Build A Fire” “Scarred But Smarter” and “Powerhouse” out of Kevn’s black cowboy hat. They dusted off “Check Your Tears At The Door” and “Look What You’ve Done To Your Brother”, classics not heard live too often. Mixed throughout the show were some new tunes, the ode to REM called “REM”, “Baloney”, “Ain’t Waitin’ On Tomorrow” and “Where’s My Country”. While played live before, DNC fans anxiously await them showing up on an album. To even out the night the boys mixed in an ample amount of cover tunes. The always popular “Here Come The Regulars” (Replacements) “Rockin In The Free World” (Neil Young) and “This Land Is Your Land” (Woody Guthrie) were there, and a damn fine version of “All You Need Is Love” (Beatles) graced the set. They also rolled out “Handle With Care” (Traveling Wilburys) and “Father Christmas” (Kinks) which were pleasant surprises on a night filled with so many great tunes. Oh yeah, we cannot forget the sing-a-long favorite “Straight To Hell”, it wouldn’t be a DNC show without that staple, whether you dig the tune or not.
Отправлено:14.01.12 00:31.Заголовок:Obama to Combine Six..
Obama to Combine Six Federal Agencies into One Enormous Boring Agency
Причем здесь Вилбурис?Шутники из Вэнети Фейр предлагают Обаме так назвать новое супер агенство.
The effected agencies include “the Commerce Department’s core business and trade functions; the Office of the U.S. Trade Representative, the Small Business Administration; the Export-Import Bank; the Overseas Private Investments; and the Trade and Development Agency.” That souvenir sweatshirt from the Small Business Administration gift shop is going to be worth so much someday.
Hopefully the president will propose a cool name for the super-agency—something like the Traveling Wilburys. No, no, wait: Velvet Revolver!
Отправлено:19.01.12 22:46.Заголовок:Вот кто присоветовал..
Вот кто присоветовал парням носить кеды с пинджаками.
Glen Palmer Makes Clothes for Rock Gods
Living on Tom Petty's Malibu Estate, He's Tailored Duds for Everyone From Bob Dylan to Fleetwood Mac/
On a sunbaked afternoon in Malibu, rock & roll tailor Glen Palmer rummages through a congested closet, pulling out some of the various elegant vests, sport coats and three-piece suits he has designed over the years. His home is cramped, his existence spartan; for the past decade the British expat has lived in a sequestered guesthouse on Tom Petty's beachfront estate, around the corner from the singer-songwriter's front door and next to his home studio.
Palmer lays piece after piece on his bed, including a black leather vest worn by Petty on tour and a rockabilly-style jacket — accented by velvet cuffs and elongated lapels — that once draped the shoulders of Brian Setzer of the Stray Cats. A guitar player's strap, Palmer explains, tends to scrunch up a suit. "I noticed at times how the front part of Tom's jacket would drape forward and throw off the look," he says, gesturing to another jacket. "I designed this one with a shorter length to mend the problem."
Each garment is in pristine condition, pressed and vibrant, fitting for someone whose work belongs in a museum. Palmer's creations include the Renaissance-tinged garments Fleetwood Mac members wear on the cover of Rumours, the wild yellow jumpsuits sported by funk group the Brothers Johnson for their album Right on Time and the Western wear Bob Dylan and George Harrison donned with the Traveling Wilburys.
Palmer once worked in retail; in the 1980s he ran the now-defunct Sunset Boulevard boutique Granny Takes a Trip, an offshoot of the London original, which is considered to be the first purveyor of psychedelic couture. Palmer's store became a bustling hot spot for acts like Ringo Starr and T. Rex, not to mention layfolk seeking glam-rock apparel and drug paraphernalia.
Approaching 60, Palmer gives off an aura that's something between aging rock star and grizzled tradesman. His cracked grin reveals a golden tooth with an embossed star. He retains a dapper elegance, and his small, thin frame belies a booming, unapologetic personality. You ask him a question about clothing and it inevitably unfurls into a musical memory, as if the two were linked like chromosomal ladders.
Though largely unknown except among the artists he services, Palmer has nonetheless become part of rock history, casting Middle American dreamers and poets as outlaws and bad boys, and imagining a new type of heroism characterized by a brash, captivating energy. He sometimes behaves like a rock star, certainly; if he doesn't like a band's music, he won't design their clothes.
"It's not about some fairy telling you this is hip this week," he says. "I would never want to outfit contestants on American Idol. I'd be ashamed."
"There's really nothing he can't do," offers Petty, for whom Palmer fashioned his trademark rodeo-style cut more than 30 years ago. "He's taken note of every artist from the '50s to now. If you said to him, 'I want a pair of pants like Elvis is wearing in Loving You, he'll go, 'Oh, I know those pants' and whip them up. ... He puts his heart into those clothes the same way I would write a song."
Palmer has been busy since the year started, but that's not always the case these days. A canceled Heartbreakers tour last year — which he'd signed on to outfit — left him scrambling for work. The entire new generation of indie rockers, meanwhile, lacks a coherent sartorial vision, seemingly content to wear onstage the clothes they slept in. What's a fashioner of scarlet velvets to do?
Hailing from the English industrial steel town of Sheffield, Palmer was raised by a couture dressmaker mother and a jazz-enthusiast father. Mum taught him to sew, and they would re-create Western outfits from John Wayne's The Alamo. The night before a 1967 Jimi Hendrix concert in Sheffield, a 15-year-old Palmer ventured to London to purchase an outfit: velvet jacket and pants, blue ruffled shirt and boots, completed by an Afro perm, in homage to Hendrix.
Attempting to enter the show venue through the front, he was told to use the rear instead. "They thought I was in the band!" Palmer says with a laugh. "This impressed the crap out of me — the fact that I could do this just by the way I was looking."
Palmer moved to L.A. in 1975; it's not entirely clear why, though he mentions a dope habit and the birth of his first child (with Joe Cocker's former girlfriend). At Granny's, he sought to re-create the glam-rock apparel by hand instead of importing it, and later bought the store. But before long its style had become passé.
Still, Granny's exposed him to a wide range of musical celebrities, who would become his clients: John Mellencamp, Joe Walsh, Jeff Lynne, Rod Stewart, Ronnie Wood and Emerson, Lake and Palmer. At the Whisky A Go Go in 1976, Palmer met Petty, after he'd opened for Blondie. Petty's brand of Americana rock needed a costume to bring his anthems to life, and Palmer's vision of the rough-and-tumblin' type fit the bill: Western pockets, round lapels, multiple buttons, details like visible stitching around the border of a suit.
"People say that they can tell something looks very much like me," Petty says. "Glen is probably one of the most truly rock & roll people I have ever met." He laughs and adds: "We've been through a lot, he's been through tough times, but we're still cookin'."
Palmer is similarly vague when it comes to his drug-related incarceration, which ran from 1998 to 2001. Petty then extended an invitation to Palmer to live in his Malibu home and recuperate with his family. The two grew comfortable together, and a temporary situation became a permanent fix.
Palmer now works out of his living space; he's busy designing outfits for John Gilbert Getty of the Getty Trust, the Foo Fighters and Joe Walsh. He spends some of his time on the Malibu bar scene with his cronies, guitarist C.C. Adcock and guitarmaker James Trussart, and carousing with the occasional stripper is a favorite pastime. He clearly still gets his kicks in. But one gets the sense he pines for the bad old days.
"Rock & roll has almost become a dirty word," he says, absentmindedly taking a drag from his cigarette. "It's like some dental assistant putting on some jeans, saying, 'Ooh, these are so rock & roll.' It meant something at one point; now it doesn't mean anything."
It's hard not to empathize with him, as you don't have to be an old-timer to bemoan a scene that has gone from Hendrix guitar anthems to canned karaoke performed by perky American Idol candidates.
Indeed, Palmer is not some dangling vestige but rather a vestigial tail. The same day we stop hearing Hendrix's "Voo Doo Chile" coming out of speakers, one fears, is the day Palmer fades away.
From Conversations with Tom Petty [Omnibus] by Paul Zollo. Many of Paul’s recent interviews can be found at Bluerailroad, www.bluerailroad.com.
TOM PETTY: We hadn’t heard Dylan [growing up in Florida] until “Like A Rolling Stone” came out as a single. And we loved that right away. We learned that, did it in the show. We learned all his singles. We didn’t have Dylan albums until Blonde on Blonde . I had heard Highway 61 Revisited . A friend of mine had that. But I actually bought Blonde on Blonde. That’s where I really got into Bob. And I started to really dig his thing.
He influenced my songwriting, of course. He influenced everybody’s songwriting. There’s no way around it. No one had ever really left the love song before, lyrically. So in that respect, I think he influenced everybody, because you suddenly realized you could write about other things.
I met him in ’77 or ’78 [in Los Angeles]. We went to see him [in concert]. Me and Bugs [Weidel, longtime roadie] got two comps. We left the Shelter studio, and we drove to the Universal Amphitheater, had a flat tire, and both of us got out on the road trying to change the tire. So we were just covered with grease and dirt. And we got to Universal, found our seats. The show had just begun. And then midway through the show, Bob introduced the celebrities in the audience, which was kind of unusual for Bob.
It was like “Joni Mitchell’s here” and there’d be applause. And then suddenly he said, “Tom Petty’s here.” And there was applause. And that was the first time it really hit me that people knew who we were. Because I’d only made two records then. Then a guy came up to us where we were sitting in our seats, and said “Bob would like you to come backstage.” So we went backstage and had a brief conversation. Nothing of any substance. But I had met Bob.
When Bob played in Live Aid [July 13, 1985 at Wembley Stadium in London and JFK Stadium in Philadelphia] he went on right before the finale with only acoustic guitars, and people were tuning up behind him, and it was pretty disastrous. So when Willie Nelson invited him to perform in Farm Aid, Bob didn’t want to play acoustic, he wanted to have an electric band behind him. So we went down and rehearsed. We rehearsed a lot. Played a lot of songs. He loved The Heartbreakers. It was quick and easy. You could just throw something out, and The Heartbreakers were good at grabbing it and going for it. We rehearsed and learned more songs than we needed.
He would lead the rehearsals. He would just play us a little bit of what he wanted to do, and he would play it on guitar so we could see what the changes were. And then we’d just start to play. And he kind of got it to where he wanted it to be.
So we backed him up at Farm Aid and it went really well. And then afterwards in the trailer, Bob came back and said, “Hey, what would you think of doing a tour? I’ve got a tour of Australia  I want to do, and what would you guys think of doing that?” And we’d all been huge Dylan fans, and we were very intrigued by the idea of playing with Bob. So off we went. And that went on for two years. We’d do part of it and then more would get added on, and then more would get added on. We really did the world with Bob Dylan.
If you’re going to play with Bob, it’s a little like playing with a jazz artist. They improvise. And in those days he would improvise. Or maybe he’d do a song jut with Benmont [Tench, Heartbreakers keyboardist] . He’d throw out an obscure song, like an Inkspots song. And none of us knew it, except for Benmont. [Laughs]
He had a lot of material. Some nights we’d do a different show. Every night we’d do something we hadn’t done. It wasn’t like I had never heard anyone say how hard it is to play with Bob because he’s so erratic. But he wasn’t. He was professional. He knew what the show was going to be, and we usually knew what the show was going to be.
Bob highly values his privacy, and has to go through a little bit of struggle to have it. He is not the kind of person who is going to tell you everything about himself. But I found him to be a good guy. I like him. Liked him then, like him now. He’s a really good musician, and a great songwriter.
One of the nicest things about Bob is that he’s an honest guy. Really, really honest. Not someone who would ever lie. Not someone who would blow his own horn. And I enjoyed all those years of working with him, and I think we had a genuine friendship. Still do. We had a lot of long talks.
He knows a lot about music. He could go back to sea chanties. Folk music. He really knew a lot of folk songs, a lot of early R&B, a lot of early rock and roll songs, fairly obscure songs that I didn’t know. Some of the times I remember the fondest are the rehearsals where Bob might start playing some songs that we didn’t know, and you’d discover something new.
When you have that kind of success, and you’re the best songwriter who ever lived, a lot of myth is built up around you. And it’s quite a lot to carry around every day. But I admire him for remaining a good guy, an honest guy.
I’ll tell you this about him: I saw a lot of people running circles around Bob, being afraid of him, or afraid to say what was on their mind. Trying to anticipate what he was trying to say or do. I always found that if I asked Bob a direct question, I would get a direct answer. So maybe our friendship wasn’t that difficult, because I made up my mind that I would treat him like anybody else. Though I was certainly in awe of his talent. But people are just people [Laughs] And I don’t remember ever asking him a question when he didn’t give me a direct answer.
I found Bob to really put his family first, and to have a great concern about his children. The man himself is a professional musician and a family man. A troubadour of the truest sense.
He can enunciate his view of the world really well. And he can enunciate it in a way that’s poetic. That’s a gift. That’s not something you learn, or get out of a manual. It’s just a gift. So I was lucky to be around him. I never took it for granted that I was getting to work with someone that was a master of what he was doing But I never found him to take himself too seriously. He was a professional. Never showed up late, made every show. [Laughs]
It was so rewarding musically. Just so much fun. And there were great, great songs to play. Wow. All those songs, and they were really good. It was such a thrill to play “Like A Rolling Stone” with Bob. And we’d sing harmony, and there was only one mike. That was the theory, that kind of goes back to folk music, that everybody is going to sing on one mike and balance themselves. But God, it was fun. I even got to play the bass on some songs, when Howie [Epstein] would play a lap-steel.
[Interspersing our songs with his] was scary. You know, because you’re there with the greatest writer who ever lived. [Laughs] But you try not to think about that. And people were really happy to hear us play, too. Thank God. So I think it really intimidated me at first, but once you’ve done the show, you get used to it.
And there was something very free about it I think we learned quite a bit. It was good for me to step back and see what it’s like to back somebody up. It was really interesting to see the whole dynamic of how it works, how you have to really pay attention to what the singer’s doing. And it’s a whole different mindset that if you’re up front. So I think we emerged from that a much better band. And [Bob’s] been a good friend for years. And treated us great, really.
I was surprised to read [in Chronicles], that he felt he was at the bottom of his game while we were at the top. All I can say is that if he was at the bottom of his game, then the bottom is pretty high, because he really could be riveting on some nights. I recently saw a bootleg video of one of the shows, and I was taken back by just how great he was in the show.
You know, artists at times aren’t really the best judges of how they’re performing. I’ve had nights where I thought I wasn’t very good, and then people who had seen the show would come to me raving about it. I did have the sense on that tour that Bob was searching for something. It’s very hard to put into words. We had a lot of long plane rides and talked quite a bit. It was nothing he said in particular, but I did sometimes feel that he was maybe searching for the next step in his career. And maybe I was at the top of my game, but I don’t think he was at the bottom of his. I think the bottom of his game is not that low, anyway. I think he’s always good. Maybe, like anyone else, to different degrees on different nights.
In the book he mentions Malmuth, Sweden, where he had an epiphany onstage that kind of showed him through the next door of his career. And I do remember that happening. I didn’t know what was going on in his head, but I remember him stepping up to the mike to sing, and nothing coming out, and I felt really worried for him, like that maybe his voice was gone. And then he dug down deep, and bang, it came out, and he was a new man within seconds there. And from that point on, and for the rest of the tour, the shows actually did go up a notch. The energy level went up, and he did seem renewed.
Bob is a great artist, and I think that he’s always going to be worth the money to come in and see. But artists are like that—they don’t necessarily see when they’re working at their best.
[During the recording of the two Travelin’ Wilburys records] Bob was very good, very sharp. A lot of people say he won’t do anything more than once in the studio. Not true. Not as true as the myth. I’ve seen him work very hard on things. And do a lot of takes. But a myth builds up around people. Because I think on his own records he goes for a spontaneity. He likes to get a spontaneous feel. But he keeps an overview of what’s going on, certainly.
“The Band of the Hand” is a rare single that I produced for him in Australia. He did it for a movie. [Band of the Hand, 1986.] I got told about it on the plane. We were landing in Sydney, and he came back and said, “I’ve got to do this session tonight, could you produce it?” So I really hit the ground running in Sydney, and had to book a studio and find gear, because our gear was somewhere else. And get The Heartbreakers in. And we did a track, and we worked pretty hard on it. We worked most of the night on the song. So I don’t know, I think nobody’s exactly one way all of the time.
We wrote “Jammin’ Me” together. The verse about Eddie Murphy, that was all Bob. I had nothing against Eddie Murphy or Vanessa Redgrave. [Laughs] I just thought what [Bob] was talking about was media overload and being slammed with so many things at once. And times were changing; there weren’t four TV channels anymore. It was changing, and that was the essence, I think, of what he was writing about.
We wrote a version together at the Sunset Marquis Hotel. We wrote a couple of songs that day. There was another one called “I Got My Mind Made Up.” That was on one of his albums. Knocked Out Loaded I think. I produced the track. We had done a version of it for Let Me Up that didn’t get used. It’s on the boxed set. So we wrote those songs, and then I took really just the lyrics to “Jammin’ Me” and completely rewrote the music with Mike [Campbell]. And then I sent it over to Bob to see if it was okay, and he said, ”Yeah, sure.” So that’s the extent I talked about it with him.
I remember we would write a lot more verses than we needed. We did that with the Wilburys too. It’s a great honor to work with someone so great. And more than an honor; it was fun because he’s really good at it.
I loved [Chronicles]. I saw it as one long poem. The great thing about it is that it reveals that he has insecurities like everyone else has. When you’re that famous, people just don’t give you that benefit of the doubt. They kind of just assume that you understand how great you’re supposed to be. [Laughs] But the truth is, you’re only a human. And you still go through everything that humans go through.
Отправлено:10.02.12 17:27.Заголовок:Редко,но все же в на..
Редко,но все же в наших местах бывают упоминания о великой группе, к сожалению несколько коряво.Советую почитать комменты под сабжем.
Самая неизвестная из супергрупп
Немногие группы могут похвастаться приставкой "супер". Тем более удивительно, что этой группы могло и не быть вовсе. Заявленный на их первой из двух пластинок состав выглядел так: Nelson Wilbury, Otis Wilbury, Lefty Wilbury, Сharlie T. Wilbury Jr., Lucky Wilbury. Разумеется, это ни о чем не говорило даже завзятым меломанам. В отличие от настоящих имен музыкантов: Рой Орбисон, Джордж Харрисон, Боб Дилан, Том Петти и Джефф Линн А началось все с того, что Орбисон, Харрисон и Линн записывали трек в качестве би-сайда для сингла Джорджа «This Is Love» в студии Боба Дилана. Привлечение Тома Петти было случайным — Джордж оставил свою гитару у него дома. Песня, которую они хотели записать, называлась «Handle with Care». Но звукозаписывающая компания сразу же поняла, что эта песня была слишком хороша, чтобы издавать ее как дополнение к синглу. Ребятам пришлось написать альбом:) Пластинка вышла в 1988 году под названием «Traveling Wilburys Vol. 1»; имена музыкантов на ней были изменены на псевдонимы, которые предполагали родство с сэром Чарльзом Трускоттом Вилбури. «Wilburys» — сленговый термин, придуманный Харрисоном и Линном во время записи альбома «Cloud Nine». Он обозначал ляпы, которые можно будет убрать во время процесса микширования и появился в результате фразы «We’ll bury' them in the mix» (Мы уберем их во время микширования). Этот термин позже был использован снова, когда все группа была в сборе. Харрисон предложил назвать коллектив «The Trembling Wilburys», но остальные предложили поменять прилагательное на «Traveling». Группа выпустила всего два альбома. Хотя, на мой взгляд, могла ограничиться первым и все равно осталась бы супергруппой! К сожалению, группа оставила после себя мало клипов, а концертных записей я не нашел.
Отправлено:20.02.12 10:32.Заголовок:Dave Stewart On Bob ..
Dave Stewart On Bob Dylan
Your album The Blackbird Diaries features “Worth The Waiting For,” a song you co-wrote with Bob Dylan. What’s the story behind the collaboration?
In 1984 I was in a studio in L.A., recording and producing something, when the lady at reception rang through to the studio and said, “I have Bob Dylan on the phone for you.” I thought it was my friend joking, putting on a voice, because I’d never met him before, and I’d been a massive fan of his for years. So when I actually heard him come on the phone I was about to say, “Stop laughing about,” but then he spoke and I was like, nobody could copy that voice, this really is Bob. So I knew immediately it was him and he asked if I wanted to meet up, which we did, and virtually the next day or the day after we made a couple of videos. Then he came to London and we were experimenting and shooting stuff with cameras like friends you know, just doing experiments, not necessarily for anything. Although one of those videos came up in a song called “Blood in My Eyes” the black and white 8 millimeter one. It’s on YouTube, you can see it. I had Dylan in a top hat and I shot it myself.
And then we would jam with different friends. I had a studio in a church in North London, and we’d just choose different people, and have crazy sort of jam sessions. At one point there’d be like Joni Mitchell on drums, someone else on piano; everybody would swap around.
We did a lot of jam sessions in that church and we culled some of them, but I never with the intention of making a record. It was more just like how you do when you pop by to see a friend and have a jam session. But sometimes we’d go back to my house and in the kitchen, we’d play it back on my cheap ghetto blaster. There’d be like twenty songs from every jam session, but there’d be no singing on them. And Bob would do this incredible thing – a genius in full effect — he would sing along and add melodies and bits of lyrics on top of all of them, just one after the other.
I had another cassette player that I could record what was turning out the ghetto blaster but also record the kitchen. So in my archives of recordings, I’ve got one that’s called “kitchen recordings,” and one of those songs, or beginnings, of songs was this thing I always liked.
When I was playing for the guys in Blackbird Studios with all those great players, about halfway through those sessions it sprung to mind. I listened to it on headphones and I thought this would sound killer played by these guys in a kind of country soul way. I listened to it and understood of it what I could, because they’re very bad recordings, and finished the song, kept some of the words that I could understand, and then wrote it into a song really about me and Annie [Lennox]. And then I sent it to Bob, in a quick sketch form, and he really liked it, and so I cut it with the band. And that’s the story behind that song.
So some of those lyrics were ones that he sang at that time?
Yeah, some of those lyrics were him off the top of his head just improvising in the kitchen and we were drinking. I remember exactly — he had a huge Mexican hat on that I had on my wall, and we were drinking little shots of tequila in the kitchen. The lady who drives me was there making food while we were doing it, so you can hear that going on as well in the background.
How did you first get into Bob Dylan?
My brother bringing home a Dylan album and my cousin sending some British albums from Memphis was my initiation into music. I wanted to learn to play the guitar. So the first things I learned was some slide blues guitar and some blues songs from weird, unknown people in Northeast London at the time, like Mississippi John Hurt and Big Bill Broonzy. All these kind of players. And then my brother brought home this Dylan album and I said oh, I’ll learn some of these songs — they sounded sort of blues to me.
Then I started playing in little folk clubs and that’s what I would play, some Bob Dylan songs and some Mississippi John Hurt and these kinds of songs. I’d play “Positively 4th Street” and “Don’t Think Twice.” I looked about 12 and the guitar looked bigger than me.
My brother became a fanatic, and suddenly we had to get everything. And when I went to London, I’d buy every single Dylan album that came out. I was kind of compulsive obsessive. I’d learn everything.
What are some favorite songs, albums, or lyrics?
I loved every song on Blonde on Blonde. I still play it to this day on acoustic guitar in my house. “Tangled Up In Blue.” I love the way he’d use sort of weird rhyming couplets and yet the payoff was the last line. “When she bent down to tie the laces of my shoe, tangled up in blue.” “You’re A Big Girl Now.” “With a pain that stops and starts, like a corkscrew to my heart, ever since we’ve been apart.” “Sad-Eyed Lady Of The Lowlands.” “With your mercury mouth in the missionary times.” That’s a great opening line. You immediately think of Joan Baez, the Mona Lisa… it’s all in a couple of words, all this imagery. “Like a Rolling Stone,” obviously. I like the line in “Positively 4th Street” that says “I wish that for just one time you could stand inside my shoes. You’d know what a drag it is to see you.”
Yeah, I could go on and on. There’s just so many great songs and so many great lines and when you delve back in them you even find new ones. And then you start realizing the subtext underneath the subtext, like “You don’t need a weather man to know which way the wind blows,” which when I was like 15 years old I just took it as one thing. When I turned 21 I started to understand who the Weathermen were.
Dylan has taken flack for borrowing a lot from other musicians along the way. What’s your stance on that?
Well, folk songs tend to be quite simple in their chord changes and melodic structure. Like when he sang “Bell Isle” and things like that on Self Portrait, everybody thought he’d gone soft after he had the motorcycle accident or something. But that’s no different to filmmakers using an editing style that Scorsese uses, or painters like Andy Warhol taking something and reinterpreting it. You can’t write a blues song without writing somebody else’s music, it’s just the lyrics are different because basically you use the same changes.
It’s funny because on my album I have a song called “Gypsy Girl and Me,” and some people say “That’s like some Dylan song.” And then I go “Yeah, but that’s this other blues song, and that’s like another blue song, it’s just the words are completely different.
You have some history with The Traveling Wilburys.
My house in L.A. was where they made the Traveling Wilburys album. In the garden where they’re all sitting under a tree, those are pictures of my backyard and in my house. I sort of introduced Bob to the idea, cause he said he’d love to have a band again that felt like a band, like The Band was. And I said the only band like that was the Heartbreakers. So the Wilburys all came about in this roundabout way. I’d see them all the time, and George [Harrison] was one of my best friends — he was living in my house, and I was living in his house at the time.
What’s Bob Dylan like as a person?
He’s really kind, and gentle, and incredibly sensitive. I used to have a driver, a really sweet, huge guy of Jamaican descent, who had trouble reading signs; he didn’t have much education. Dylan was at my house once, and he wanted to leave to go back to London. I said okay, my driver will take you there. So they set off, and I get a call about two hours later. It was Dylan on the phone, saying, “ermm, we’re outside of London now.” The driver obviously had been really panicked because he had Bob Dylan in the back, and missed all the signs, and had gone 30 miles beyond, like into the countryside. I said, “Oh, you know, he has a problem reading.” And Dylan said, “Oh, no problem.” And my driver told me later that Dylan got out of the back and sat next to him and read all the signs, and talked him all the way back to the middle of London, and told him all sorts of things about his life.
Может просто воспользовались его студией для записи?
Слабо верится, Серёг. Ты представляешь себе такую картину? Мы с тобой - богатые, именитые музыканты. К нам приходит друган и говорит: "Мужики, пошли запишемся, тут у одного кореша студия неплохая есть." Какова наша реакция? Настороженность. Едва ли к Стюарту пошли бы парни, если б он не дружил с кем-то из Вилбурисов. А хорошо знал его уже как минимум Том, записавший совместно со Стюартом в 85-м году весёлую песенку про Алису 'Don't Come Around Here No More' (на мой взгляд, к этой песне один из удачнейших клипов Тома).
Отправлено:24.02.12 08:01.Заголовок:А по-моему, у них та..
А по-моему, у них там в Л-А как и в Санта-Барбаре происходят междусобойчики богатых и знаменитых за просто так, т.е. всё на "давай попробуем", т.к. они уже все богаты и знамениты да еще и соседи Например, Том совершенно случайно увидев прогуливающегося Джеффа подумал: о! этот чувак сделал cloud9, дайка я его к себе затащу, мож такое же замутит и мне Эти все дуэты-сикстеты, подпевки-подтанцовки там по-соседски создаются мож на "лавочке во дворе".. Надо пошукать таких сплетен для сказаний!
Happy Birthday, George Harrison! Celebrate with Evan Rachel Wood's cover of his classic Bob Dylan collab 'I'd Have You Anytime'
Had he not sadly passed away in 2001, today would have been George Harrison’s 69th birthday.
Though he was always overshadowed by the overwhelming songwriting prowess of John Lennon and Paul McCartney, his post-Beatles work was, in a lot of ways, the most varied and eclectic of his former bandmates’ work. (That’s not to put down his contributions to the Beatles, as many of his songs — including “While My Guitar Gently Weeps,” “Here Comes the Sun,” “Something,” and “Taxman” — are among the greatest rock tunes of the era.)
Perhaps because he always had to navigate the choppy waters of his old band, Harrison always played well with others away from the Beatles. Some of his best work came in the context of collaborations, from his work with the Traveling Wilburys to his sit-down with Bob Dylan in 1968.
Over the course of a Thanksgiving weekend, Harrison visited Dylan at his home in Woodstock, New York, to write a handful of tunes. One of the results was “I’d Have You Anytime,” which became the opening track on Harrison’s landmark 1970 solo album All Things Must Pass.
That song was recently re-recorded by actress Evan Rachel Wood for the just-released Amnesty International benefit compilation Chimes of Freedom: The Songs of Bob Dylan. (Wood has a previous Beatles connection, having also starred in Julie Taymor’s big-screen fever dream Across the Universe in 2007.)
According to Dylan, the creation of “I’d Have You Anytime” was one of the more rewarding experiences of his long and winding career. “[Harrison] was a giant, a great, great soul, with all of the humanity, all of the wit and humor, all of the wisdom, the spirituality, the common sense of a man and compassion for people,” Dylan said. “He inspired love and had the strength of a hundred men. He was like the sun, the flowers and the moon, and we will miss him enormously. The world is a profoundly emptier place without him.”
In honor of Harrison’s birthday, check out the exclusive video of Wood performing “I’d Have You Anytime,” filmed especially for the occasion.
In 1977, Harrison talked extensively about his unusual collaboration with Dylan nine years prior. "I was with Bob and he'd gone through his broken neck period and was being very quiet, and he didn't have much confidence anyhow — that's the feeling I got with him in Woodstock," he explained. "He hardly said a word for a couple of days. Anyway, we finally got the guitars out and it loosened things up a bit. It was really a nice time with all his kids around, and we were just playing. He sang me that song and he was, like, very nervous and shy and he said, 'What do you think about this song?' And I'd felt very strongly about Bob when I'd been in India years before — the only record I took with me along with all my Indian records was Blonde On Blonde. I felt somehow very close to him or something, you know, because he was so great, so heavy and so observant about everything. And yet, to find him later very nervous and with no confidence."
In addition to his albums with the Traveling Wilburys, his film production company (HandMade Films famously funded Monty Python-related projects like Life of Brian and Time Bandits), and his charity work, Harrison also churned out an impressively eclectic array of solo projects over the course of his post-Beatles career. It ranged from huge radio-friendly work (his 1987 cover of Rudy Clark's "Got My Mind Set On You" topped the Billboard Hot 100) to remarkably challenging experiments (his final album, the posthumously released 2002 record Brainwashed, was as sonically adventurous as anything that came out that year).
Отправлено:01.04.12 22:36.Заголовок:Сегодня можно было б..
Сегодня можно было бы приколоться на тему,что "Голивудскому репортеру" стало известно,что на матче Лос-Анджелес Лейкерс повстречались Том Петти и Джефф Линн и чисто случайно вспомнили,что в следующем году будет 25 лет со дня основания единственной супергруппы и это дело надо как то отметить.Попив пивка после матча у Тома,Джефф созвонился с Дхани и поинтересовался не надоело ли ему быть numbertwo,а Том с Бобом и напомнил ему,что тот до сих пор не вернул ему его кепку с крабом в которой Боб щеголял на V.3.Канешна проблема с Роем,его просто некем заменить,ребята подумали может взять какого-нибудь оперного лоха типа Бочелли,но на крайняк можно обойтись и Крисом Айзеком.
Димка с тебя фотожаба.Если кто берется написать этот бред на английском,то можно будет под датой 1 апреля пустить на первой странице сайта.
Отправлено:10.04.12 19:57.Заголовок:Ой, а я эту фотограф..
Ой, а я эту фотографию знаю давно, она, кажется, есть в фильме Тома Петти Runnin` down a dream ... А может и в другом месте. Вообще, фотосессий они делали почему-то крайне мало... видимо, было некогда. Как только они собирались вместе, хватались за блокноты и гитары.. Джеффа закрывали в звукорежисерской, блокнот ему доставался крайне редко, (хехе, это шутка, но Том в своем фильме на это намекал, ЧТО лучше всего у Джеффа получается ), в основном над лирической составляющй пыхтели Боб с Томом, потом блокнот пускали по кругу и остальные там чиркали и исправляли что хотели... ну мне так показалось. А какого мнения вы?
Отправлено:23.04.12 14:49.Заголовок:А мы то и не знали....
А мы то и не знали...оказывается Дейв самый главный из всех вилбурисов.
Dave Stewart played a key role – from afar – in the Traveling Wilburys’ formative days
Rock Music — April 20, 2012 6:02 pm Dave Stewart played a key role – from afar – in the Traveling Wilburys’ formative days Posted by Something Else! Reviews Share
Dave Stewart, of Eurythmics fame, played a key role in the formative days of the Traveling Wilburys, that 1980s supergroup featuring Bob Dylan, George Harrison, Jeff Lynne, Tom Petty and Roy Orbison.
The Grammy-winning musician and producer talked about that period as work continues on his second album in as many years, after 2011′s The Blackbird Diaries. He’s also helmed projects for Stevie Nicks, Ringo Starr and Joss Stone, all while launching his own signature guitar model — called the Dave Stewart Blackbird, of course. Oh, that was him with Mick Jagger in the more recent all-star band Super Heavy, too.
He used to being surrounded by other big rock stars. After all, back in the late 1980s, Harrison was living in Stewart’s Encino, California, house while working on the Lynne-produced Cloud Nine — a thrilling comeback for the ex-Beatle, who had been mostly involved with producing movies throughout the 1980s. While working on a B-side for single from the album, the Traveling Wilburys were born.
“I was kind of the host/virtual member,” Stewart tells Music Radar. “They recorded it all in my house. I put Dylan together with Tom Petty … George Harrison was living in my house in Encino at the time. Everybody met up there.”
The funny part was, Stewart wasn’t at home at the time. Heck, he wasn’t even in the states.
“I was busy doing quite a few things in England,” Stewart says. “That Wilburys thing happened really quickly. It all took place around my kitchen table and in my garden. I introduced everybody, went off, and when I came back they had already done it.”
Stewart also mentions Harrison as a key element in his own guitar sound, too: “I was influenced by George Harrison from his solo period, the All Things Must Pass album, the melodic soloing,” Stewart says, also listing Keith Richards, Neil Young, Stephen Stills, Ronnie Wood, Mississippi John Hurt, Robert Johnson and Big Bill Broonzy, among others.
Stewart’s new album, called The Ringmaster General, will be released in September. Recorded at Blackbird Studios in Nashville, it features collaborations with Alison Krauss, Diane Birch, Jessie Baylin, Joss Stone and Orianthi.
Отправлено:02.05.12 11:51.Заголовок:В общем то, о новом ..
В общем то, о новом альбоме этого крунера уже написали все кому не лень.
Damien Leith: Beautiful Sync
Damien Leith found himself in an interesting position when overseas sales of his 2007 debut studio album Where We Land suddenly starting spiking over the Christmas break. Although the situation was certainly not unwelcome, it wasn’t completely ideal – Leith had, after all, unleashed three studio albums since then, with recording of his fourth well under way at the time. All this interest stemmed from an international Estée Lauder campaign, which featured his track Beautiful (co-written with Alex Lloyd) – a new recording of which appears on his new album Now & Then.
“We never released it, it was never a single,” Leith explains of the song’s sudden rise. “Once Estée Lauder came on board, people got in touch from everywhere, looking for the song. Somebody put up an old version [on YouTube] and I think overnight we got forty-thousand hits, so we felt like this was a good time to put it out,” he laughs.
Although the song has never been released as a single, it was always one of Leith’s flagship tunes: he tells TMN he has performed it at every show he has played. Although a co-write with Lloyd, Leith claims its genesis stretched back even prior to this: “I’ve been playing that for years – even before Alex and I got together, it’s a song I’d been working on. So I had a version in the past, even before the one we originally recorded. So it’s always been there – in a way it’s a pity we hadn’t released it ‘til now, it’s just the time was wrong.”
The timing certainly seems right for Leith at the moment. With his last record Roy– a collection of Orbison covers which showcases his impressive range–having sold Platinum, Leith is set to launch his career on the international stage, with a new album containing both his own compositions, and a handful of tracks written (or originally performed) by the members of the Travelling Wilburys. Despite the obvious disconnect between composers, the album flows seamlessly, with Leith joking about being asked when he wrote the Jeff Lynne-penned Can’t Get It Out Of My Head.
“I wanted to get back to [showcasing] myself as a writer, but at the same time we kinda wanted to make a smooth transition from Roy. It worked out better for me anyway: the covers on there I know very well, they continue where we left off with Roy, as Roy [Orbsion] was with the Travelling Wilburys. It’s a nice move. I’ve always been inspired by those writers, I can’t write as well obviously, but it’s a similar sort of style. It melded really nicely. It was actually quite an easy one to record. Some albums you labour over for ages, but it was a pretty easy-going recording.”
In keeping with both his past sound and that of the Wilburys, Leith shied away from digital recording techniques and effects, laying down three songs in Nashville (“Those guys are, you know...they’re ‘cats’,” he marvels. “These guys literally just sit down and nail it first time.”) with the rest of the album recorded back in Australia, in a relatively live studio setting. “I wanted to get down to a real live sound. This album, especially, is very live. I play a lot on it, too, which I wanted to do. That was really important to me. I really didn’t want anything digital at all. Nothing against digital,” he quickly adds, “but I love that warmth you get from a live sound. Roy set it in motion. That was very live and got back to what I like doing and how I like playing. I’m happiest with just a guitar, and a bit of piano. It was very old school, and I love that.”
With international interest, Now & Then is to be released in several territories, with Leith jetting over to America and the UK in the next few months for quick-stop promotional visits. Even with this continent- hopping, Leith is unlikely to be as busy as he was in 2011: promoting a new record, starring in New Idea Test Kitchen, as well as stepping out of his comfort zone for Dancing With The Stars. Despite appearing on the television more often than Rebecca Gibney last year, Leith insists he didn’t court the small screen.
“I like it. I’m not going after it though,” he adds. “The offer came, I had the gap, we had an album coming out, so that was a consideration, but also I just figured ‘what the hell?’ It worked out well, surprisingly. I thought I was going to bomb. It was so hard, I’ve never done anything as hard in my life. I liked it a lot, but geez, it was so hard. The hours of dancing and training - my body was wrecked from it.”
Although Leith is scaling back his television commitments this year, he is also aware of the power of the medium – after all he has a commercial to thank for his international success. “The Estée Lauder thing is for the next couple of years, so lots of people are going to hear Beautiful, and it’ll get more awareness. Even with the sales [of the debut record], it was all coming from America and back in the UK, which is great,” he enthuses. “It was a real surprise. It came out of the blue.”
Отправлено:23.05.12 15:04.Заголовок:Упоминание о любимой..
Упоминание о любимой группе в несколько неожиданном контексте.
NEST’s eight golden rules of communication
The National Employment Savings Trust has unveiled its eight golden rules of communication which will guide its conversations with members.
They are aimed at workers entering pensions for the first time under auto-enrolment and are designed to help them understand why they are entering a workplace scheme.
NEST chief executive Tim Jones (pictured) said the rules were designed to "work together". He compared them to late 1980s supergroup the Travelling Wilburys.
He said: "So what is important about the Travelling Wilburys? Great music but also the fact that Bob Dylan, Jeff Lynne, Tom Petty, Roy Orbison and George Harrison managed to work together to create wonderful music.
"It was all about team work and about them suppressing their own individual egos to work together, allowing their individual talent to shine through. So what we think is these individual rules work together, it's difficult to pick and choose from them and remain coherent."
Отправлено:30.07.12 23:06.Заголовок:Лена,какое же вам су..
Лена,какое же вам суперспасибо за эту находку(второй раз за день суперспасибо,ну это не часто бывает),только сегодня смог это посмотреть и уровень записи по приобщению к прекрасному очень близок к home video Джима Келтнера( может это он и подкрался незаметно?) и время общего творческого подъема этих парней примерно тоже.И ещё ,после просмотра создается впечатление,что слухи о замене Роя - Делом,были отнюдь не на пустом месте.
Отправлено:19.09.12 15:18.Заголовок:да, жаль не 6 глаз :..
да, жаль не 6 глаз Обалденная вещь! Особо понравилась синхронность Джорджа и Томми: поплясали, покурили, попели И впечатление от Боба: не такой угрюмый, как в официальном заезженном мной клипе, тут улыбок много.. Ну и рубаха(в цветочек) - парень Джефф
Отправлено:11.10.12 14:16.Заголовок:Flashback: George Ha..
Flashback: George Harrison Pays Tribute to Bob Dylan
The 1992 performance was one of Harrison's final times onstage
By Andy Greene October 9, 2012 4:25 PM
In the early 1990s, George Harrison seemed like he was gearing up for a return to the spotlight. His 1987 LP Cloud Nine was a huge surprise hit, and his subsequent work with the Traveling Wilburys pushed the shy Beatle even further into the public eye. The obvious next step was a tour, but Harrison's disastrous 1974 tour was still a fresh memory, and he seemed to have no interest. But in May of 1990, Harrison joined Eric Clapton onstage in Los Angeles for a couple of Cream songs, and the next year the longtime friends announced a joint tour of Japan.
Twelve concerts were staged across Japan in December of 1991, and it seemed like the jumping off point for a long comeback tour. Sadly, that wasn't the case. It wasn't a repeat of his 1974 debacle, but Harrison just didn't feel any desire to stay on the road. He proved he could still deliver, and nothing beyond that seemed necessary. He did agree to a single show at the Royal Albert Hall in April of 1992 to raise money for the Natural Law Party, but it was an isolated event.
The last time American audiences got a decent glimpse of Harrison was in October of 1992 at Bob Dylan's 30th Anniversary Concert Celebration at Madison Square Garden. He came out near the end to perform "Absolutely Sweet Marie" and "If Not for You," and then he joined the ensemble for "My Back Pages" and "Knockin' on Heaven's Door." He did perform two months later during the finale of a Jeff Porcaro tribute show in Los Angeles, but if you blinked, you would have missed him. He merely played some guitar during the finale of "With a Little Help From My Friends."
Over the final decade of Harrison's life, he was rarely seen in public. He did play an impromptu rendition of "All Things Must Pass" alongside Ravi Shankar on VH1 in 1997, and the following year he was coaxed into performing "Your True Love" at the memorial service for Carl Perkins. But the last time he played a real set in front of a paying audience was the Bob Dylan tribute show at Madison Square Garden. Coincidentally, that was the last place John Lennon ever performed as well.
Рассказка очевидца,как Боб засмущал Тома и его команду.
Dylan's back pages - Dylan surprises Etta James and Tom Petty's Heartbreakers, July, 1986
On July 8 and 9, 1986, Bob Dylan, while on his "True Confessions" tour with Tom Petty, the Heartbreakers, and the Queens Of Rhythm, played his first two shows ever at the brand new Great Woods amphitheatre in Mansfield, Massachusetts, which was later called the Tweeter Center before being renamed again as the Comcast Center. The venue opened the previous month, and the first "rock" act was Julian Lennon. It was one of the first outdoor sheds. Dylan was so impressed with the venue that he added a third gig of the 22nd. That date is not listed on the official tour t-shirt.
In the early hours of the 10th, Bob Dylan joined Etta James and Shuggie Otis on stage at the Providence Marriott Hotel. You can almost hear Dylan smile as he kept repeating the same suggestive verse of "I'm A King Bee" (The one about "making honey"). Here's the information, courtesy of Olof:
Marriott Hotel, Providence, Rhode Island 10 July 1986 1. You Win Again (Hank Williams) 2. I'm A King Bee (James Moore) 3. Let The Good Times Roll (Leonard Lee) 4. Earth Angel (Dootsie Williams/Curtis Williams) 5. Goodnight, Sweetheart, Goodnight (James “Pookie” Hudson) Bob Dylan (guitar), Etta James (shared vocal), Shuggie Otis (guitar), Jack McDuff (organ), Richard Reid (bass), Paul Humphrey (drums). 1-4 Bob Dylan (solo vocal)
I caught the Great Woods concert on the 9th. My next "True Confessions" show was on July 11th, at the Hartford Civic Center. I had only owned a car in Massachusetts for about two years when I got tickets for this show, and didn't quite realize how far it was from Boston. Not that it mattered. I bought four floor seats, but through some misunderstanding, the set up was changed so that two of my friends sat in the row behind us.
This show sticks out in my mind as one of my all-time favorites for one specific reason - the encore. Dylan seemed to be in a mischievous mood all evening. Possibly parodying Bruce Springsteen, who toured the globe in1984-5 promoting Born In The U.S.A., he announced early in the show, "All right, thank you. I wanna say hello to all those people up here on the right." When he returned for the encore, he pointed to the same section of the crowd, saying, "All right now, one more time we wanna say hello to those people right up here". He never acknowledged the rest of the arena.
Dylan was also dripping with sarcasm during his solo acoustic set, when he said, "OK, all right. I'm not, I'm not playing 'Mr. Tambourine Man', no. Sooo sorry." The show was pretty similar to Mansfield, with Dylan substituting "Emotionally Yours" for "I'll Remember You". Nothing too earth-shattering. The main set ended the same predictable way - "Like A Rolling Stone", the lights went down, Dylan and the Heartbreakers sat on stage in the darkness, smoking cigarettes. Then it was time for the real last song of the set, "In The Garden".
After a short break, Dylan and the Heartbreakers returned for an encore, performing "Blowin' In The Wind". Then he did something unexpected. Instead of the expected oldie, "Shake A Hand", Dylan started singing and playing "Lay, Lady, Lay". It was the only time he played it the entire tour.
This would seem to also include rehearsals.
There was visible tension on stage. Heartbreaker guitarist Mike Campbell leaned forward, watching Dylan, who was looking straght ahead. Campbell was trying to follow the unusual chord sequence, and held the neck of his guitar up so that Petty and the other members of the band could play along. While the band were up to the challenge, the Queens Of Rhythm - Carolyn Dennis, Queen Esther Marrow, Madelyn Quebec, and Louise Bethune - were obviously stressed. They looked worried, clasping their hands, their eyes darting around, looking for some divine inspiration. They decided to sing "Oooh . . Oooh", which was just as well, since Dylan changed the lyrics as he went along.
After the wonderfully shambolic, and humorous, performance, Dylan playfully shoved Petty, as if this was some sort of high school prank. Then Dylan said, "All right now. I don't usually do that song but I did it tonight for a special request. Can't remember who it's for! "
The show ended on a more normal note, with "Knockin' On Heaven's Door". Then it was a long trip back to Massachusetts.
Отправлено:24.10.12 11:12.Заголовок:Где-то я припоминю, ..
Где-то я припоминю, Том или кто-то из его группы упоминал, что от Дилана часто такие сюрпризы были. И для Тома этот тур был хорошей школой с точки зрения того, чтобы почувсвовать себя в шкуре тех, кто подыгрывает солисту.
Скопировать фотографию, а поверх неё поработать кистями, чтобы было похоже на ручную работу - для художника занятие не самое сложное и ставить свою подпись под этим делом на её месте всё же постеснялся бы. Но плюс ей за инициативу, а минус за то, что взяла стандартные снимки: всё же могла бы поискать малоизвестные ракурсы. Ну а так молодец.
Коля Жильберов нарыл очень интересную банду на родине Джеффа,причем мужчины из этого коллектива имеют к Джеффу самое прямое отношение.
THE TRAVELING PILBURYS
The Andicaps were the first band of Jeff Lynne in the early 60's. Jake Commander and John Kerton are 2 former members of this Brummie band. They formed The Traveling Pilburys in 2008. Jake Commander left the band in late 2008. He was also the live engineer on the "Out Of The Blue" tour as well as backing vocalist on ELO's world tours and on Jeff Lynne's solo album "Armchair Theatre".
The Traveling Pilbury's are a five piece band based in Sutton Coldfield, Birmingham. Formed out of a bunch of ex professional musicians from the 60's, who got together for a bit of fun in 2008.
It started as a jam session, when one time Andicaps guitarist/vocalist Jake Commander returned from his adopted home in New Hampshire, USA and wanted to get together and play live music with some of his old band mates. Not a de facto tribute band, as the name might suggest, but with Jake and John Kerton's connection with Jeff Lynne, the Cross-Atlantic trip Jake had made back home and the fact that we are all a little more 'Pilbury dough' than we were in the 60's, the name Traveling Pilbury's just seemed to fit!
Founder members included John Kerton, who joined The Andicaps as front man and lead vocalist in 1964, alongside Jeff Lynne on guitar, later of course of The Idle Race, The Move and ELO. John went on to front the band Red Sun for many years before becoming band leader on the QE2. Jake replaced Jeff in '65 and went on to front the band Ochre Daydream, becoming live on-stage engineer with ELO in the late 70's and backing vocalist on a number of ELO's world tours and on Jeff Lynne's solo Album Armchair Teatre.
Steph Griffin (of Decca recording Artists Sundance and Ochre Daydream) joined the fun on keyboards alongside. Graham Savage formerly of Zeth, The Likely Lads (and too many other forgettable names to mention!) on bass and supporting vocals.
Jake returned home to New Hampshire, USA in late 2008, but the band had had such a ball that they wanted to stick together and carry on playing good time, crowd pleasing music. After a number of personnel changes, the current line up was completed early in 2012 when Conrad Carpenter (formerly of Eagles tribute band Talon) joined on lead guitar and vocals, together with John Wilson on drums (formerly with Zeth, The Likely Lads and The Alvin Stardust Band)
So here we are today - five guys of a 'certain' age, but who can rock and roll, swing, swoon and sway with the best of them. Our set list is extensive and varied with songs that everyone will know from their past and they are delivered with a passion and professionalism that few others can match.
Отправлено:29.05.13 14:05.Заголовок:В этом году исполняе..
В этом году исполняется полтинник (прямо как мне) совместному туру по Англии Роя и каких то битлз(ну в то время)
The Beatles Overtake Their Idols
Brow Beat is following the Beatles in “real time,” 50 years later, from their first chart-topper to their final rooftop concert. 50 years ago this month, the Beatles went on tour with one of their idols, Roy Orbison.
According to Roy Orbison, when he was first asked by Brian Epstein to tour England with the Beatles, he responded, “What’s a Beatle?” Orbison was fresh off hits like “Only the Lonely,” “Crying,” and “In Dreams,” and his popularity was rising fast in the U.K., but he wasn’t yet used to Mersey Beat bands with such goofy names. It was his first U.K. tour, and, as Orbison later recalled, he didn’t know what to expect. But the president of the Roy Orbison Fan Club wrote him a letter, explaining that touring with the Beatles would be terrific for him. They were No. 1 in England, Orbison’s fan explained, and would get him more exposure. There was, at first, no doubt about who the headliner would be.
The Beatles certainly knew who Orbison was. He was one of their greatest idols, and Lennon had modeled their first No. 1 on “Only the Lonely.” Later, when the Beatles were photographed with Orbison, Ringo, in particular, looked more than a little excited to be with him:
Nonetheless, by the time Orbison arrived in the U.K., his one-time opener had surpassed him in popularity. In a concession to audience demand, Orbison graciously agreed to share co-billing, and to let the Beatles close out each night.
Not that Roy Orbison would let himself simply be upstaged. Though he was greeted each night with a roar of screaming Beatles fans, clamoring to see their favorite band, he countered, rather ingeniously, by telling his band to play the first song pianissimo (as Spencer Leigh tells it), so that the audience had to hush in order to hear him. Once the crowd had quieted down, Orbison had no trouble transporting them with a few ballads. “It was pretty hard to keep up with that man,” Lennon later remembered, “He really put on a show, well, they all did, but Orbison had that fantastic voice.” Harrison agreed:
He’d had so many hit songs and people could sit and listen to him all night. He didn’t have to do anything, he didn’t have to wiggle his legs, in fact he never even twitched, he was like marble. The only things that moved were his lips—even when he hit those high notes he never strained. He was quite a miracle, unique.
The band would set up behind Orbison as he finished, hidden behind a curtain, and Harrison remembers listening to him do encore after encore and thinking, “How are we going to following this?” Ringo put it more bluntly: “It was terrible, following Roy. He’d slay them and they’d scream for more.”
Of course, the Beatles were beginning to grow quite a repertoire themselves by this point. Their standard set consisted of “Please Please Me,” “Love Me Do,” “Some Other Guy,” “Do You Want to Know a Secret,” “From Me to You,” “I Saw Her Standing There,” and “Twist and Shout.” So they didn’t fare too poorly either. Beatlemania was starting to set in, and they were being pelted by jellybeans night after night, just because George had mentioned liking them in an interview. The competition between the two groups spilled over to the tour bus. Paul later remembered how at the back of the bus Orbison would be writing songs like “Pretty Woman,” and it would just about make them jealous: “He would play us his song,” Paul said, “and we’d say, ‘Oh, it’s great, Roy. Have you just written that?’ But we’d be thinking, ‘We have to have something as good.’ ” As would later happen with groups like the Beach Boys and the Rolling Stones, their competitiveness with Orbison inspired them to produce some of their best work. For his part, McCartney was writing such songs as “All My Loving,” which he began composing on the tour bus and worked out on the piano at one of the venues.
The rivalry between the artists didn’t stop them from becoming friends—25 years later, Harrison would work with Orbison again, as part of the Traveling Wilburys. But within months, the Beatles wouldn’t need to share billing at all. When they went out on tour again in November, the tour was billed only as “the Beatles Show.”
У, круто, спасибо!!! Нечто новое! Обратите внимание, что четверо справа смотрят на одного фотографа (который, судя по ракурсу, и сделал снимок), а трое слева - на другого. Джефф, как всегда, бочком на задний план. И ведь целая фотосессия была, и, судя по всему, толпа народа.
Much portrayed as “the moody one” during his Beatles years, in actual fact George Harrison had an impish sense of humor. “Silly, really, he told me, ” Really silly.” So it is completely imaginable that George ( a former executive producer of Monty Python movies) and former Electric Light Orchestra leader Jeff Lynne would concoct a fictitious band of mythic proportions to amuse themselves while laboring over Harrison’s terrific comeback album in Fall 1987, Cloud Nine. Engaging every rock cliche ever used to describe Harrison’s and Lynne’s long careers, they first named their imaginary band of brothers The Trembling Wilburys. When Lynne subsequently produced the Mystery Girl album for his idol, Roy Orbison, and then Tom Petty‘s first solo album Full Moon Fever after Petty and the Heartbreakers had toured as Bob Dylan‘s band, there was a lot of mojo juice bubbling up to the surface. When they all found themselves at a barbeque in Bob Dylan’s backyard at the same time that George was on deadline to deliver a single “B” side within 48 hours,” It was just too good to miss “, Harrison relates in this week’s classic rock interview,” so I conned them into doing it!”
So the brothers Wilbury, Nelson ( Harrison), Lucky ( Dylan), Lefty ( Roy Orbison ), Otis ( Lynne ), and Charlie T jr (Petty) comprised a Dream Team of rock’s hall of fame super elite, featuring five rhythm guitar players no less, achieving #1 sales success with ” Handle With Care”,”Tweeter and the Monkeyman”,” Rattled”, “Heading for the Light”, the scintillating Roy Orbison masterpiece “You’re Not Alone Anymore”, and the poignant, almost prescient closer “The End of the Line” ( Orbison passed away suddenly not long after this album was released, then Harrison in November 2001). With archival comments from George Harrison, Tom Petty reminds us In the Studio that the Traveling Wilburys Vol 1 “…is not a dream come true, because it’s not the kind of thing you’d even DREAM ! It was just so great. I’m just happy to have had them in my life. I think that a lot of the positive things that have gone on with me are because I’ve had the support of such good friends.” – Redbeard
‘It was like a dream come true’: ELO’s Jeff Lynne on his career-changing introduction to George Harrison
For Jeff Lynne, meeting George Harrison led to a series of rock ‘n’ roll dream jobs, as he produced Tom Petty, Roy Orbison, the Beatles, Paul McCartney and the Traveling Wilburys, an all-star amalgam featuring Bob Dylan.
And it all started with an off-handed comment from Dave Edmunds, for whom Lynne had earlier written and produced “Slipping Away,” a Top 40 hit in 1983.
“We were having dinner, Dave Edmunds and myself,” the Electric Light Orchestra frontman tells David Dye, “and we finished the dinner, and walked our separate ways down the street and suddenly he shouted back — though we’d just been to dinner for the last three hours: ‘By the way, George Harrison asked me to ask you if you like to work with him on his new album.’ By the way! (Laughs.)”
Lynne and Harrison ended up going on vacation to Australia, with the aim of seeing a Grand Prix race, and several songs that would eventually appear on the former Beatle’s 1987 comeback disc Cloud Nine emerged.
“We hit it off really well,” Lynne adds. “Then Tom had heard George’s album that I’d just produced — and he loved it. He actually came over to me one day and said: ‘Do you fancy doing some songs with me?’ It’s because of the album with George, yes, that I got asked by a lot of people to work with them.”
Lynne would end up helming Orbison’s 1988 finale Mystery Girl; Tom Petty’s 1989 effort Full Moon Fever; two John Lennon songs updated with parts from McCartney, Harrison and Ringo Starr for the Anthology series; McCartney’s 1997 release Flaming Pie; Harrison’s 2002 posthumous album Brainwashed; as well as the Wilburys’ 1988 debut Vol. 1 and 1990 followup Vol. 3.
“It was absolutely marvelous,” Lynne says. “When I think about it, it was like a dream come true. You can get what you really wish for, if you try hard enough. That’s what I found.”
Решил разместить сообщение в этой теме,так как аж два участника коллектива поучаствовали в одном событии.Это пафосное для янки мероприятие под названием Супербоул собирает максимальные рейтинги по аудитории и славиться безумно дорогим рекламным временем.Как помните, в свое время, в перерыве игры грандиозное шоу устроил Том с парнями,в этот же раз музыку Джеффа в рекламном ролике использовал Хюндай,а Боба - Крайслер. Причем Боб именно снялся в ролике и текст,который по ходу сюжета он говорит("Let Germany brew your beer. Let Switzerland make your watch. Let Asia assemble your phone. We will build your car." ) уже вызвал оживленную дискусию.
Отправлено:14.04.14 09:04.Заголовок:Надо сказать,что за ..
Надо сказать,что за одно посещение,Джефф столько наговорил на родине,что один слоник остался незамеченным.
“Could we do it again, start a new version of the Wilburys? Possibly, yes
It had been George Harrison who invited Lynne to join the Traveling Wilburys.
“When George came up the idea of the Wilburys, I was the first person he called,” he says. “We added Bob Dylan, Roy Orbison and Tom Petty – quite a band!
“Could we do it again, start a new version of the Wilburys? Possibly, yes. I think if a couple of us wanted to do it, and the right people were interested, then it could work.”
I suggest the likes of Bruce Springsteen, Roger McGuinn and Tom Petty, perhaps John Fogerty. Lynne nods, considering the line-up.
“But, you know, you couldn’t ever recreate the experience,” he adds. “You could never capture the sheer enjoyment we all got from the Wilburys, the fun of it all, the freedom from pressure. Then there was the sheer surprise in what we did. Nobody expected it.
“If we were to do it again, I think we’d have to do something quite different musically.”
It’s the rock and roll equivalent of football’s fantasy league.
Отправлено:05.11.15 10:49.Заголовок:Спасибо Лене за нахо..
Спасибо Лене за находку,скопировал материал из темы про Джеффа.
Jeff Lynne: “Bob Dylan Wanted To Call Us Roy & The Boys”
Jeff Lynne tells MOJO how an idle chat with George Harrison led to possibly the most super super-group ever: the Traveling Wilburys IT HAD been up to Bob Dylan the Traveling Wilburys would have been simply known as Roy And The Boys, Jeff Lynne has told MOJO.
The ELO leader speaks in the MOJO Interview in our latest issue (December 15 / #265), and in a career-spanning look back he recalls how a late night conversation led to him forming a super-group that included Bob Dylan, who really wanted to be “just one of the lads”.
“I’d been working with George Harrison on Cloud Nine for maybe two months. We would always end the night having a couple beers and [smoking] a thingy, and he said, ‘You know what? Me and you should have a group.’” Lynne tells MOJO’s Bob Mehr.
“And I said, ‘Really, a group? That’d be great. Who would you have in it?’ I thought he was going to say, ‘Oh, Fred Trilby from up the road,’ or whatever, but he didn’t. He said, ‘Bob Dylan.’”
From there the recruitment process escalated quickly. “[After Bob] I said, ‘Well, can we have Roy Orbison as well?’” laughs Lynne. “Once George had said Bob Dylan, I thought, ‘Fuck, the world is my oyster.’ He said, ‘Yeah, of course we can – I love Roy.’”
When the high-end team, including Tom Petty, convened, the Traveling Wilburys sessions proceeded on a surprisingly even footing.
“I think everybody was kind of looking up to Bob. He didn’t take any leadership role, he just wanted to be one of the lads,” explains Lynne. “He actually wanted to call the band Roy And The Boys.”
Get MOJO now for the full interview, including details of the Fab Four’s rivalry with Orbison, not to mention plenty more on Lynne’s journey that has seen him transform from Brumbeat hopeful into Electric Light Orchestra’s sonic visionary and producer of legend.
Отправлено:21.12.15 09:26.Заголовок:Опять же благодаря Л..
Опять же благодаря Лене не оскудевает эта тема.Ещё один ролик оттуда же,только там и самого Майка видно.Довольно смешно на него косится Джефф,когда Майк солирует на проигрыше.
ну и лирика
You walk in, half past nine Lookin' like a queen Serving me with papers Calling me obscene Woman I've tried so hard Just to do my best They're gonna put me in the poor house And you'll take all the rest
Up all day, down all night Working on the job Everything I do is wrong I always end up right Woman I try so hard Done all I can do They're gonna put me in the poor house Keep all the best for you.
Ooh, in the poor house Ooh, in the poor house
If a drove a pulpwood truck Would you love me more? Will you bring me diamonds And hang around my door Woman, I've done my best They're ain't much left for me They're gonna put me in the poor house And throw away the key
(In the poor house) Ooh, in the poor house
You walked in, half past nine Lookin' like a queen Serving me with papers Calling me obscene Woman I've tried so hard Just to do my best They're gonna put me in the poor house And you'll take all the rest
The fictitious band, made up of George Harrison, Bob Dylan, Roy Orbison, Tom Petty and Jeff Lynne, released two studio albums, Vol. 1 and Vol. 3 between 1988 and 1990 and had hits with Handle With Care (1988 / #45 Pop / #2 Mainstream Rock), End of the Line (1989 / #63 Pop / #2 Mainstream Rock) and She's My Baby (1990 / #2 Mainstream Rock).
Now, Concord Bicycle Music has announced that it has entered into a worldwide licensing agreement with The Traveling Wilburys to represent the iconic band's entire catalog, including physical and digital reissues.
For the first time ever, the super group’s music will be available on streaming services, beginning June 3, 2016, along with the re-launch of the hugely successful Traveling Wilburys Collection box set as a limited-edition, uniquely numbered 2-CD 1-DVD box set, standard 2-CD 1-DVD package, deluxe 180-gram vinyl box and for the first time as high-resolution downloads. The release includes both albums (Vol. 1 and Vol. 3), bonus tracks and a DVD featuring footage of the band from the first chord to the final mix.
When originally released in 2007, The Traveling Wilburys Collection debuted at number 1 in the U.K. and six other countries and entered the U.S. charts at number 9, making it the highest chart debut of a box set at the time, and has since been certified Gold. The Wilburys formed in 1988 after Dylan, Harrison, Petty, Lynne and Orbison assembled at Dylan's Malibu, California studio to record a B-side for the Harrison single This Is Love. The resulting song, Handle With Care, was instead released under the Wilburys name, with the artists posing as a band of brothers. George later said, "I liked the song and the way that it turned out with all these people on it so much that I just carried it around in my pocket for ages thinking, 'Well what can I do with this thing?' And the only thing to do I could think of was do another nine. Make an album." The original album release, Traveling Wilburys Vol. 1, achieved great success; after hitting number 3 on the Billboard Top 200 chart, the certified double Platinum album earned a Grammy for Best Rock Performance by a Duo or Group.
Traveling Wilburys Vol. 3, the group's second album, was released in 1990 and dedicated to Lefty (Roy Orbison) Wilbury, who passed away in late 1988 before recording could be completed. She's My Baby and Wilbury Twist became radio hits as the album reached number 11 in the U.S. and was certified Platinum.
Scott Pascucci, CEO Concord Bicycle Music and Sig Sigworth, SVP Catalog Concord Bicycle Music said in a joint statement, "The global success of the Traveling Wilburys reissues in 2007 was one of our career highlights. So, we are very proud to bring the Wilburys' catalog to Concord Bicycle Music and work with these incredible songs and musicians a second time."