Джефф поучаствовал в альбоме Регины Спектор 'Far'.
о Регине Спектор: Родилась в 1980 году Москве. В 1989 году, во время Перестройки, вместе со своей семьей переехала в Нью-Йорк и поселилась в Бронксе. Получила классическое музыкальное образование по классу фортепиано, закончила консерваторию в штате Нью-Йорк при Purchase College, по классу композиции. Закончила еврейскую религиозную школу. Автор текстов и музыки, Регина Спектор исполняет свои песни, аккомпанируя себе на фортепиано или гитаре. Трудно определить жанр, стиль и направление творчества Регины Спектор: его называют anti-folk, но в нем есть что-то и от панка, и от инди-рока, и от классической музыки (Регина получила классическое музыкальное образование сначала в России, а затем в Нью-Йорке, у профессора Сони Варгас). Ее сравнивают с Бьорк, с Тори Амос, с Ван Моррисоном. Но она все же совершенно оригинальна. Лирика Регины нарочито интеллигентна, с многочисленными культурными реминисценциями — Эдип, Самсон, Эзра Паунд, Пастернак, а музыка экономна и изящна, как классические японские стихи. Самое главное - то, как она умеет играть голосом.
Отправлено: 02.12.10 12:45. Заголовок: Зажгли, надо сказать..
Зажгли, надо сказать, великолепно. Я наблюдал за пластикой движений - действительно, было похоже, что в такт Mr Blue Sky танцуют. Причём слаженно, что меня добило. Значит, ещё и репетировали.
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 05.12.10 22:53. Заголовок: Джефф и сам похоже с..
Отправлено: 06.12.10 10:18. Заголовок: То то интересно,я у..
Это может быть действительно интересно, я уже и не припомню, когда Джефф играл вживую на публике, возможно, он решил попробовать, а как вообще у него получится?
Отправлено: 06.12.10 12:10. Заголовок: Voldar пишет: я уже..
Voldar пишет:
цитата:
я уже и не припомню, когда Джефф играл вживую на публике
Давай вспомним: 1."Концерт для Джорджа" (2002) 2. И в середине 2000-х, насколько помню, Линн вышел на сцену в концерте Петти, чтобы исполнить вместе 'Handle With Care'. Вот вроде и всё. Не густо.
Отправлено: 07.12.10 10:52. Заголовок: Точно, Саш, на подпе..
Точно, Саш, на подпевки Йоко не каждого возьмет (а может, не каждый согласится).
ТНЮ
постоянный участник
Зарегистрирован: 29.10.09
Откуда: РФ, Санкт-Петербург
Отправлено: 06.12.10 23:53. Заголовок: Это вроде как комеди..
Это вроде как комедийный актёр. Возможно, что что-то смотрела с его участием, но не помню.
Борис
постоянный участник
Зарегистрирован: 20.10.10
Отправлено: 07.12.10 09:10. Заголовок: Обалдеть можно от та..
Обалдеть можно от такой спонтанной людской слаженности и от неподдельного удовольствия танцоров. И кочнечно же сие было бы невозможно без народной ирландской любви к ЭЛО.
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 08.12.10 11:32. Заголовок: Очень может быть,мы ..
Очень может быть,мы услышим ешё одну совместную работу Джеффа.
Now I Can Die: Rooney's Robert Schwartzman Drooled On Jeff Lynne
In our two previous episodes of Now I Can Die we heard the stories of two musicians and their totally crazy encounters with their rock-star idols. Lzzy Hale of Halestorm gave Alice Cooper Pepcid AC at a record store (crazy!) and Brent Smith of Shinedown held a deli tray while Eddie Van Halen pissed on it (double crazy!). In our third installment of the series, things are considerably more tame. We won't give away too much of the story, but as you'll see in the video it involves a so-excited-he's-drooling Robert Schwartzman, lead singer of Rooney, and a awesome-at-Ping-Pong Jeff Lynne, leader of Electric Light Orchestra. Enjoy.
Отправлено: 09.12.10 02:01. Заголовок: Трогательная статья ..
Трогательная статья о Джеффе от одного из его давних поклонников:
Gonzo’s Gems: “The Strange Magic” Of The Electric Light Orchestra
December 1st, 2010
By Sam “Gonzo” Gonzales
One day in the summer of 1979, I walked into McMahan’s Furniture Store with my mom. She pointed to the stereos lined up to the left of the store’s entrance and asked, “If you could have one, which one would you pick?” I looked over the eight or so stereos and pointed to the one with the $99 price tag. “Do you want it?” she asked. I practically passed out with shock, but managed to mumble, “Yes.” And just like that I had my very first stereo and my lifelong quest and love of collecting and listening to all genres of music began. Thanks mom!!
I was so proud of my stereo. Now I had to get my hands on some albums. Which ones? There were so many to chose from. After giving it some thought, I bought a couple of greatest hits albums. They had more bang for my buck I reasoned. One of the albums was “ELO’s Greatest Hits”. Electric Light Orchestra was all over the radio airwaves around that time… and now… they were on my turntable. Needless to say, I spent many moments listening to ELO‘s greatest hits, and especially my all time favorite Electric Light Orchestra song, “Rockaria!”.
Electric Light Orchestra came to be one day as Move members Jeff Lynne and Roy Wood worked on a Move track in the studio. With Jeff playing big guitar riffs and Roy overdubbing cello to the track, they created a sound that closely resembled an orchestra. It was the sound they had been looking for all along. That track, infused with classical overtones, immediately became the blueprint of the Electric Light Orchestra sound. The track was “10538 Overture” and it became the first Electric Light Orchestra song ever written.
Now it was 1971 and ex-Move members Jeff Lynne, Roy Wood and Bev Bevan formed the primary core of Electric Light Orchestra. Effectively employing the use of violins and cellos, they recorded and unleashed upon us “No Answer, a rock album with a very classical sound. The album, of course, contained the song that started it all, “10538 Overture”. It also contained a quirky sounding song entitled, “Mr. Radio”, which was intentionally made to sound like a recording from the 20s.
Unforeseen, Roy Wood bailed out and left Electric Light Orchestra after the “No Answer” album to form Wizzard, but Lynne and Bevan soldiered on and released their second album, Electric Light Orchestra II in 1973. The album presented us with the beautiful and sad song, “Mama”, about a lonely young lady. And what a stroke of genius by Jeff Lynne and company to cover the Chuck Berry rocker, “Roll Over Beethoven”. Starting out classically and then morphing into a rocking Gem, it clocks in at whopping 7 minutes 49 seconds.
Electric Light Orchestra continued to draw heavily from the Beatles, releasing “On The Third Day“ in 1973. With a Lennonesque tenor, Lynne sang the hits “Showdown” and “Ma-Ma-Ma-Belle” perfectly, giving this album a much more confident sound than their previous albums. Electric Light Orchestra had found their sound and now they were really ready to crank out more big hits. Even John Lennon, during an interview, stated how much he liked “Showdown”. “Ma-Ma-Ma-Belle” found both Jeff Lynne and Marc Bolan playing the main riff together in a very big way.
Next up in the spotlight was 1974’s “Eldorado”. Up to this point Jeff Lynne had been tracking up two cellos and one violin. That ceased. A 30-piece orchestra and choir were hired for “Eldorado” and produced the classic hit, “Can’t Get It Out Of My Head”. “Midnight, on the water, I saw the ocean’s daughter, walking on a wave’s chicane, staring as she called my name, and I can’t get it out of my head…” The song is beautiful and catchy enough that after a few listens you won’t be able to get it out of “your” head.
The hits were coming quick now. “Face The Music”, released in 1975, gave us the hit singles, “Evil Woman”, which was written by Lynne in a total of six minutes, and “Strange Magic” which was written on many different pianos throughout various locations in England while on tour. Lynne sings the obscure yet beautiful lyrics, “You’re sailing softly through the sun, in a broken stone age dawn, you fly, so high, I get a strange magic…”.
It was 1976, and a friend and I were driving down the road in his truck, listening to his new 8-track tape of Electric Light Orchestra’s “A New World Record”. I enjoyed the two first cuts: “Tightrope”, a song about being in trouble and looking for help, and “Telephone Line”, a song about yearning for a lost love. The new release sounded pretty good thus far. Now “Rockaria” came on. The track opened with a female opera singer singing in true operatic fashion. “What the hell is that?” was my initial response.
Suddenly, and without warning, the song morphs into a straight-out rocker and Jeff Lynne belts out, “Just got back from a downtown palace, where the music was so sweet it knocked me right back in the alley, oh baby…” I practically fell out of the moving truck. I stared at the 8-track player as if it held some type of magical powers. It was a song about a rocker intent on showing an opera singer how to rock and roll, to convert her into a true rock ‘n’ roller. The remaining standout tunes were “Livin’ Thing” and a re-working of the Move’s “Do Ya”. But the true Gem is “Rockaria!“ Its still my favorite Electric Light Orchestra song.
Next, 1977’s “Out Of The Blue” was a double disc offering with “Mr. Blue Sky”, “Sweet Talkin’ Woman” and “Turn To Stone” as the choice tracks. Jeff Lynne states that “Mr. Blue Sky” was inspired by being cooped up in a house in Switzerland for weeks writing music for “Out Of The Blue” and then suddenly having the sun come out and making everything look beautiful. “Sweet Talkin’ Woman”, originally called “Dead End Street“, was an early disco tune and a nod in the direction the band would take with their next album. “Turn To Stone”, my favorite cut from the album, has great chords, a great Moog bass line and a great feel to it. 1977 saw “The English guys with the big fiddles” playing on an enormous spaceship-shaped stage with fog machines and a laser light show. Quite the spectacle.
“Discovery”, or “Disco Very” as it’s been referred to, was released in 1979 and it showed a strong disco influence throughout the album. Though I am not the biggest fan of disco, the cuts on “Discovery” were still catchy songs. You’ve got to love the whimsical air of “The Diary Of Horace Wimp”, the upbeat attitude of “Shine A Little Love”, the haunting beauty of “Confusion” and the rocking heavy backbeat of “Don’t Bring Me Down”. Interesting note: “Don’t Bring Me Down” has “groos” in the lyrics… not “Bruce“. “Groos” was a word Jeff Lynne made up in the studio while recording the song. You people singing “Bruce” all these years… time to “groos” it up.
Electric Light Orchestra’s sound changed in 1981 with the release of the band’s science fiction concept album, “Time”. The string section was replaced and synthesizers played a dominant role throughout this and the following two subsequent releases. “Time” generated the band’s final hit, “Hold On Tight.“ 1983’s “Secret Messages” had “Rock And Roll Is King”, which was a sequel of sorts to Rockaria!”, and the Gem, “Four Little Diamonds”, a Beatles-era Paul McCartney-esque rocker. 1986’s “Balance Of Power” had “Calling America”, “Getting To The Point” and “So Serious”. An imminent split had been looming over the band for a while and now and after the release of “Balance Of Power” the band broke up.
Lynne had become a sought-after producer and his focus shifted from Electric Light Orchestra to producing other artists. Impressively, he produced numerous artist such as Roy Orbison, Tom Petty, Paul McCartney, Brian Wilson, Dave Edmunds, Randy Newman, George Harrison and The Traveling Wilburys. His crowning achievement as a producer? He produced two songs, “Free As A Bird” and “Real Love” for the Beatles Anthology series with the three surviving Beatles using John Lennon’s vocals from tapes of unfinished tracks.
A decade and half later, a new Electric Light Orchestra album appeared out of the blue. “Zoom”, released in 2001, continued on with the classic Electric Light Orchestra sound and delivered us “Moment In Paradise”, “In My Own Time” and “Easy Money”. I’m a sucker for a great pop song and “Moment In Paradise” is just that. A pop song at its finest. “Easy Money“ and “In My Own Time” have the feel of 50s music. In “In My Own Time” Jeff sings, “Bye, bye, is that a tear in your eye, too late to cry, you and your precious disguise…”.
In recent times, Lynne has continued producing and some of Electric Light Orchestra’s music has been used in various Hollywood movies. “Livin’ Thing” appeared in the movie “Boogie Nights”; “Showdown” graced the movie “Kingpin“; and most recently, “Mr. Blue Sky shows up in the animated film “Megamind”.
With Jeff Lynne at the helm and serving as songwriter, lead singer, lead guitarist and producer, Electric Light Orchestra created fantastic pop/rock songs with a fusion of Beatlesque pop, classical music and a touch of quirkiness. Electric Light Orchestra racked up an amazing seventeen Top 40 hits between 1975 and 1981. If you get a chance, I invite you to check out my Gems: “Roll Over Beethoven“, “Rockaria!” and “Four Little Diamonds“… or even better find your own gems in the Electric Light Orchestra catalogue. Electric Light Orchestra’s strange magic is there waiting for you to discover for the first time… or re-discover it all over again.
Отправлено: 09.12.10 02:26. Заголовок: Попытка анализа взаи..
Попытка анализа взаимоотношений Джеффа с Битлз:
Many people know of ELO leader Jeff Lynne’s love of the Beatles. What is perhaps less widely known is the love of the Beatles for ELO and Jeff Lynne!
So here is a potted history of the relationship between the Fab Four and one of their greatest fans, with a few other great pop/ rock artists thrown in for good measure!
The first time that Jeff Lynne met the Beatles was in 1968, when he was songwriter and lead vocalist for a band called the Idle Race. He was invited to the Beatles’ Abbey Road studio where they were recording the White Album. Nearly four decades later, Lynne told Q Magazine that “To be in the same room as the four of them caused me not to sleep for, like, three days”.
The original aim of ELO, formed out of the ashes of Sixties pop group The Move, and led jointly by Jeff Lynne and Roy Wood (the latter leaving ELO after their first album had been released, to form Wizzard), was to “take up where the Beatles’ I Am The Walrus had left off, and to present it on stage”.
Five years later, Lynne was paid the ultimate compliment, by his ultimate hero, John Lennon, who, during a radio show in New York in 1973, played ELO’s then-current single, Showdown, and lavished praise on it.
Nor was that the last favourable comment that Lennon publicly bestowed on ELO. In an interview with Playboy magazine, recorded in September 1980, less than three months before he was shot dead by a lunatic ex-fan, Lennon said that “ELO is son of I Am The Walrus. If somebody wants I Am The Walrus music, they just have to buy ELO records.”
And, in a separate interview with Newsweek, a month later, Lennon praised ELO again: “I like pop records…I like the ELO singing All Over The World”. Lynne must have loved these compliments!
Throughout ELO’s existence, critics drew the inevitable comparisons between the Beatles and ELO. Some were favourable comparisons, but many accused Lynne of “ripping off” the Beatles, a charge which is in my view ridiculous. Quite apart from the fact that Lennon and Harrison had themselves both been sued for alleged plagiarism (for, respectively, Come Together and My Sweet Lord), whereas ELO never had been, there are no ELO songs that “rip off” the Beatles, in the sense of copying their songs.
Sure, the Beatles influences are there – Lynne openly admitted that he was “very influenced by the Beatles’ sound of ’68 and ’69. That has obviously been a big influence on the way I’ve looked at songwriting”. But being influenced by another band is something very different from ripping it off. All musicians are influenced by other musicians and anyway, as Lynne said, being compared with the Beatles was the ultimate compliment!
When, in 1986, Lynne decided to disband ELO, he was approached by George Harrison via their mutual friend Dave Edmunds (for whom Lynne had recently produced two albums), asking if he would produce his solo album, Cloud Nine. Working with a team of stars, including not just Harrison but also Elton John, Eric Clapton, Ringo Starr and Ray Cooper, Lynne co-wrote one of the songs with George (This Is Love) as well as playing guitar, bass and keyboards.
The success of Cloud Nine led to bigger things – Lynne and Harrison then joined forces with Bob Dylan, Roy Orbison and Tom Petty to form the Travelling Wilburys, and Lynne went on to produce solo albums by Orbison and Petty, co-writing several songs on the latter’s Full Moon Fever and Into The Great Wide Open.
Anyway, back to the Beatles! So impressed was George Harrison with Lynne’s production skills, he asked him to produce the two “post-Beatles” songs (written by Lennon in the late 1970s, and on which the three surviving Beatles played and sang), Free As A Bird and Real Love which, despite (or perhaps because of!) not being played on Radio 1, reached No. 2 and No. 4 respectively in the singles chart during 1995 and 1996.
Despite Paul McCartney’s initial scepticism about using Lynne, fearing that the latter had been brought in to basically say (as Lynne put it) “Oh, let’s do it like George Harrison says!”, he was won round on hearing the final result - he gave Lynne “this great big hug and said ‘Oh, John, give me a kiss’”. Lynne went on to produce McCartney’s commercially (as well as critically) successful 1997 album, Flaming Pie.
But it was always George Harrison that Jeff Lynne was closest to. Harrison played on Lynne’s 1990 solo album, Armchair Theatre, as well as on the more recent 2001 ELO album Zoom, on which Ringo Starr also guested on drums on a couple of tracks.
On George’s final album, Brainwashed, posthumously released in 2002, Lynne guested on backing vocals, guitars, bass and keyboards, and co-produced the record with George and his son Dhani.
In November 2002, on the first anniversary of George’s death, Jeff Lynne appeared along with a galaxy of George Harrison’s friends and fellow musicians, including Paul McCartney, Ringo Starr, Eric Clapton, Tom Petty, Billy Preston, Jools Holland and Dhani Harrison, at the Concert For George at the Royal Albert Hall.
At that event, Lynne sang lead vocal on three Harrison tracks: I Want To Tell You (from Revolver), The Inner Light (B-side of Lady Madonna) and Give Me Love, Give Me Peace On Earth (from George’s Living In The Material World solo album), as well as playing guitar and contributing backing vocals on most of the songs in the concert. He also produced the concert audio soundtrack for the ensuing album/DVD release.
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