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?