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.