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.
Откуда: РФ, Санкт-Петербург
Отправлено: 04.04.13 08:33. Заголовок: ТНЮ
У меня нашелся собрат по несчастью :-) Только в послеоперационный период музыку мне приходится слушать из того, что в телефон закачано, на планшете не пашет ни музыка, ни видео. Хорошо хоть, что интернет пока работает! Ничего, вернусь домой, наслушаюсь досыта. Володя, желаю нам скорейшего заживления "животных" ран!
Откуда: Россия, Москва
Отправлено: 04.04.13 21:47. Заголовок: О как ,дохтора напал..
О как ,дохтора напали на бедных эломанов.Нина,поправляйся быстрее,да пребудет с тобой хорошая музыка.
Откуда: РФ, Санкт-Петербург
Отправлено: 05.04.13 11:03. Заголовок: ТНЮ
Спасибо! У докторов, по всей видимости, весеннее обострение.... скальпелей. Мне операцию под музыку делали, помню, пели "Bad Boys Blue".
Друзья хватит спать,весна на дворе,про Джеффа новостей море.Довольно много изданий откликнулось на переиздание альбомов,причем с разным комментарием,например классик рок всё хочет уломать Джеффа погастролировать,но он по прежнему отказывается.
Jeff Lynne On Possible Touring: ‘I Haven’t Given Up the Idea of Doing It’
Jeff Lynne has contributed a wealth of important influence to the world of recording over the decades that he’s been engaged in making music. If the albums crafted with Electric Light Orchestra had been his sole contribution as an artist, it still would have been an impressive legacy to leave behind.
But as things were wrapping up with ELO, Lynne began to produce albums for other artists, working on tracks for Dave Edmunds — including the Top 40 hit ‘Slipping Away,’ which he wrote and produced. Famously, he helped to put George Harrison back on the charts with ‘Cloud Nine,’ a comeback release for the former Beatle which would pay multiple dividends not only for Harrison, but also for Lynne himself.
The ‘Cloud Nine’ sessions would spawn additional work for Lynne and a new band — the star-studded Traveling Wilburys, which found Harrison and Lynne making music with Tom Petty (Lynne was also producing Petty’s ‘Full Moon Fever’), Bob Dylan and Roy Orbison (for whom he would produce ‘Mystery Girl,’ another comeback album). It was a collective of some of rock and roll’s greatest heroes making music with their own personal heroes, and the sessions were colorful not only because of the music that was created, but also the stories and memories that accumulated in the process.
He continues to write and produce both for himself and others, producing the highly regarded 2012 album ‘Analog Man’ for Joe Walsh — his first solo album in 20 years. Lynne also found time to focus on his ELO years in 2012 with ‘Mr. Blue Sky.’ The album is made up of a hand-selected batch of ELO tracks, newly re-recorded with today’s technology that achieve a sound that finally matches Lynne’s original vision.
‘Long Wave,’ released simultaneously, found Lynne offering his interpretations of an album’s worth of material sourced from some of his greatest influences, including Orbison, Rodgers and Hammerstein, the Everly Brothers and Chuck Berry.
Lynne continues to take stock of his career with a pair of new releases that landed in stores this week (April 16), including a reissue of his 1990 solo album ‘Armchair Theatre’ and ‘Electric Light Orchestra Live,’ a live release sourced from a 2001 performance in Los Angeles for PBS.
We recently had a few minutes to speak with Lynne about those releases, plus, some new material that he’s currently working on and the possibility of tour dates somewhere down the line. You’re in an interesting zone right now, because you’re recording new music but at the same time, taking a bit of time to consider your legacy of work with the series of releases that we’ve seen in the past year. What triggered the idea to revisit this stuff?
All of the ELO stuff? Yes, and also the reissue of your solo album ‘Armchair Theatre.’
Well, that’s coming around again because it reverted to me, so I wanted it out there. I’m really proud of that album, actually. I think it seems to have gotten better over time. I would agree. Listening to the remaster of the album and hearing ‘Every Little Thing,’ that song sticks out to me as one that if it had been released in a different time period, I think it might have been a larger hit than it was. It’s classic Jeff Lynne.
Well, it’s a good one and at the time, I was really pleased with it. But you can’t always dictate what will happen. The other thing that really sticks out to me now as I listen to ‘Armchair Theatre’ is that I really hear a lot of Orbison influence vocally in your vocal on ‘Don’t Say Goodbye.’
Oh really? I’d never really put that together with that. It’s always a compliment to say that I’ve even been trying to copy him! [Laughs] But I wasn’t really thinking of Roy on that particular song, I’m just glad it sounds like I was. You were pushing recording technology to its limits with the albums you were making with ELO. What was your process in that time? Did you keep logs of the guitars, specific instrumentation and gear that you were using on each song? I’m curious what sort of map you had to work off of when you decided to re-record some of those songs.
Well, to be honest, they’re not that difficult. The songs are really quite simple. That’s all layers of sound. I know what they are just by listening to them. I don’t need to map them or put a list of things that happened. I can tell what happened just by hearing it, you know? Sometimes it went well and sometimes it didn’t sound quite so good. So that was the idea [behind] redoing them. [It] was not even to copy what was there, but just to make the things sound better and sit better with me.
Because as the years have gone by, every time that I hear them on the radio, I think, ‘Oh, I wish that sounded better’ — and certain things still sound not bad, but a lot of them I probably could have done better, but I didn’t have the experience then. You know, I’d only been producing a few years on some of those records. And then of course the later ones, I’d been producing like 40-odd years, so I’ve got a lot more experience and a lot more know-how and a lot more wisdom of what not to do than I did then. With these re-recordings, can you point to a couple of specifics as far as things you feel like you were able to better capture on the second go-around?
I can’t really be that specific. Really all of them have some kind of problem for me, when I listen to the old ones. It’s usually that there’s not a punch in them and I can tell you exactly why that is. Because as you say, I was stretching the limits a little bit with 24-track analog recording in those days, mainly because I was using too many tracks and bouncing down, because I wanted [more tracks], “Oh, I need another five tracks — give me another five.”
That very problem [resulted in] the tapes actually wearing out because of overuse. I’d be running that tape over those heads for hours and hours and hours and I knew that it would have some effect and that the oxide would come off a little bit and it would lose some of its top and some of its punch, which it did. That’s what I’ve tried to correct. I have as many tracks as I want now, so I can have like a hundred tracks and it’s okay and it doesn’t wear anything out, because it’s all digital and it just stays like it is. So that’s really the difference. For a guy like you that grew up working on the analog side of things, are there pros and cons when you look at digital vs. analog as far as the way that you like to work?
No, I love it ever so much! It’s exactly what I wish I could have had from the start, is the digital stuff. But the thing is that I still use my analog equipment. You know, my outboard gear is analog and all of my desk is analog and it’s got the nice big fat warm EQ on it. I’m not just doing it in the box, there’s a big painstaking effort to get it to still sound as thick and old-fashioned, as I call it, the kind of sound that I like. Like an old-fashioned record, sort of like a rock and roll record. So it’s not meant to be super duper hi-fi, it’s just meant to have more punch, so that you can hear all of the bits better on this new version. I certainly look at an artist and producer like you and feel like you must have been salivating a little bit, as you watched the technology start to develop.
Absolutely, yeah. Things that used to take a week, you can do in 20 seconds now! After doing an album of standards with the ‘Long Wave’ album, you’ve been working on new material. What can you tell us about the new songs that you’re working on?
Well, I’ve got about eight that are really finished. I never say they’re finished until I actually shove them out the door, because there’s always something I want to do, you know? Oh yeah.
[Laughs] You know what it’s like. I would say they’re just original songs, new songs of mine. Once you’ve written about 200 [songs] like I have, or 350, you start running out of things to write about, you know? You don’t run out, but you need an inspiration of some kind. And you can sit there just banging your head on the wall and hope that they’ll come that way, [with] the lyrics, for instance, or you can just put it aside and then wait for it to hit you for an inspiration. You do see some artists that get blocked up and lose their ability to write. What keeps you moving in that sense? Does your production work with other artists help with inspiring new points of inspiration?
Producing is the most fun thing that I can ever do. It’s what I love to do. It’s like if I was asked whatever I would want to do ever, it would be sitting down with somebody and making a record. So production is the fun thing and I prefer producing something that really stretches me musically, like [the] ‘Long Wave’ [album]. The songs on there, I had to work my balls off to learn those and perform them, because I wasn’t used to those kind of songs, but I just really wanted to have a go. Because the songs are really complex.
Some of them are really simple chords, but the arrangements on them made them really difficult to learn. Because you have to listen to all of the shimmering stuff and, “What’s going on there, there’s a big herd of clarinets over there,” and you can’t tell what they’re playing. So it was hard just to get it so that I could get exactly the right music, which I did. I finally learned all of the songs.
Singing them was obviously a tricky thing, because I’d never attempted songs like that before. I loved doing them. I had so much fun. I was really not expecting it to come out as good as it did. I’m really pleased that people liked it. Those are songs which have been with you for so long, but sometimes the prospect of tackling your influences like that can be so daunting.
Absolutely. I was afraid of them. It took me about three years to actually have a go at one of them. The first one I did was ‘She,’ and I just thought, ‘I’d love to do songs of this ilk and this standard and quality,’ just to see what I can do. And absolutely, then you’re working to get it right and once you do get it right, it’s like, “Wow, I got it right at last.” Once I got started, I couldn’t put it down, it was just stuff I really wanted to keep doing. I had all of the songs and then I’d find a new one and I’d be like, “Oh sh–, I’ve got to do that one!” Obviously, I got a few surplus ones too. I had a chance to talk with Joe Walsh last year about working with you on the ‘Analog Man’ album and it would seem like working on a project like that would give you a chance to exercise some of your artistic muscles, such as the prog bits that you put into the mid-section of that title track.
Oh yeah, those are nice chords, yeah. Just very simple chords. I think it’s four chords and it’s just the bass that moves and that was inspired by the old songs I was working on, the movements of the bass, not playing the root notes of the chord, but moving through those things. That was kind of inspired by those old songs, the way that someone like Richard Rodgers would keep it really simple and just move it up gradually, ascending bass lines and descending bass lines. Listening to albums as a kid, were you able to hear things from the producer’s side that you wanted to try to replicate on your own terms?
Oh absolutely, yeah. I think the first song sound-wise that grabbed me, I was about 13 when ‘Only the Lonely’ came out. It was just amazing, the purity of it and the fantastic arrangement of it. The way the sounds were going away from you, and some would be closer up and some would be further away. That whole thing of two drummers and double bass, six string bass, lead guitar, the backing vocals and the orchestra, [which was] probably a 12 piece. What a fantastic thing to record all at once. And then Roy is standing at the back behind the coat rack, because his voice is so loud. It’s just amazing when you think about it. Because I knew Roy pretty well and he used to tell me about the old sessions, which I used to love listening to that. It was just a treat. It’s pretty astounding too, when you start to figure out the limited number of tracks that they had to work with, too.
Well, they only had three tracks. They had a special kind of machine that only a few people had. We didn’t have it in England, I know that. Because what I’m talking about, is before I even knew how to play or how to understand music, it was just a gut feeling that I had for that [music] from Roy Orbison and actually, Del Shannon. Those were the earliest influences [for me] in rock and roll. Where did you start to gain the important understanding as far as how to play and write songs?
My dad bought me a guitar from his friend and I learned from a book called ‘Burt Weedon’s Play in a Day,’ and I didn’t actually learn to play in a day, but [after] a few months, I could play most of the chords. So it was just a gradual process, really. So then I started to listen to records again and [wonder], “How do they do that?” I was a professional by then in a group called the Nightriders, and I got myself a B&O 2000 DeLuxe tape recorder, and you could do sound on sound.
You’d go from left to the right and add an instrument right to left and just keep bouncing from track to track until you get all of the things that you want. You’d put the harmonies on the vocal, drums, you know, with a chair or something. I learned to make some fantastic demos like that, and I learned so much in the middle front room of my mom and dad’s house in Birmingham. That’s how I learned to make records, where to put the mic — where does it sound good and all of the little things like that. I brought it all together, so I became a singer, songwriter and a guitar player. Jim Horn told me a memorable story about working on the Traveling Wilburys albums, recalling the time that he sat on a toilet to play his soprano sax out into the hallway, with a microphone recording him at the end of the hall. What were some of the other unusual ways that you captured some of the sounds on those albums?
Well the funny thing is, I always find that the studio doesn’t make the sounds I want. I’ve got my own studio now and I’ve had it for a long, long time. But in some of these studios, all of the sounds seem to have been taken out and I’d have to use the corridor outside of the studio to get the sort of sound that I wanted. And that’s why Jim Horn was sitting on the lavatory blowing his horn with a microphone down at the other end of the room, on the other end of the corridor. Because it got a better sound than I could get inside the studio, you know? If I used an electronic reverb, I could have gotten a similar sound, but it wouldn’t have been organic and really pure and authentic. Authentic lavatory sounds! [Laughs]. That first record was completed in a week and a half, which seems pretty incredible for the time period, but it certainly wasn’t unusual for the players who were involved in it.
Well, that’s true. Obviously, we didn’t finish all of the songs — we didn’t finish laying the finishing touches to them. It took another month or so to do that. But the actual record, yeah, it was written in 10 days. 10 songs in 10 days, with the rhythm track laid down with Jim Keltner. You had quite an interesting period, between working on Harrison’s ‘Cloud Nine’ album, ‘Full Moon Fever’ for Petty, the Wilburys album and the Orbison album. The creativity that sparked during the Harrison sessions certainly spread in a lot of different directions for you.
Well, I think it was waiting to happen anyway, once I’d finished doing ELO and George asked me to come and produce him. It was like, “Well, the world’s my oyster now. I’d love to do production for other people and especially, great people.” I was very lucky that I did work with George and people heard that, and they all loved it and they all asked me to do something with them. It really was a great time. Your production style is very interesting to analyze though, because as much as you like to build things up, it also seems like you like to work very organically when it comes to capturing the source material. I’ve heard Tom Petty talk about how he lost any desire to have echo on his vocals from working with you on the ‘Full Moon Fever’ album.
[Laughs] I’ve always disliked reverb. It’s not so much echo — I do use slap a lot, like a 15 ips tape slap. I use it sometimes on vocals, but very rarely. It’s usually dry, yeah. One of my real things is for a dry vocal. I just love it when they sing in your face. When there’s reverb on it, you sort of lose that connection. I do, anyway. I lose that intimacy and I think, ‘Oh, reverb, reverb,’ and that puts me off immediately. Ultimately, you came full circle and found yourself working on Beatles recordings. Can you talk about the experience of working with those tracks? Did you have a specific approach in mind prior to hearing the song elements that you’d be working with?
Oh no! I’d had the song [which would be released as ‘Free as a Bird’] for a month or so trying to figure out what the hell to do with it! How would I ever get that to work? Because it was a mono cassette and the voice was on the same track as the piano. So there’s no ducking or diving with it, it’s just, there it is, it’s like the elephant in the room and you’ve got to dub the Beatles on around that! It wasn’t the easiest one to do! The new material that you’re working on — when might that be released?
Well, I’m hoping that it will be an album before the end of the year. I’d like it to be [out] in the fall, if I can do it. But we’ll see. Have you had any more thoughts towards possibly doing some live shows, perhaps to support that?
There’s always thoughts. I do think of it. That sort of thought lasts about two nano-seconds usually in my head and it’s gone again. [Laughs] But I haven’t given up the idea of doing it. I may well do a couple of shows somewhere, but I wouldn’t promise anything! I think you’re probably aware that you’re the opposite of most folks. There are some artists who can’t stand to be in the studio — they’d rather be playing shows — and yet you’re the complete opposite!
I love the studio so much . . . I don’t know what to do if I’m not in the studio! It’s really odd! I want to write a great song. A really great one. I wish I could. I’m trying now. We’ll see. One of these days.
Отправлено: 22.04.13 14:06. Заголовок: На родине героя одна..
На родине героя однако по прежнему сокрушаются,что одна из лучших брамбитовских комманд,так и не играет в прежнем составе,что странно,ну должны же люди быть в теме и понимать невозможность этого.
ELO are back but not as you know them
Electric Light Orchestra Live boasts many of the band’s hallmark hits recorded live during filming of a US TV special in Los Angeles.
Birmingham pop supergroup ELO release their first new album in 12 years today – but fans will find familiar faces few and far between.
Electric Light Orchestra Live boasts many of the band’s hallmark hits recorded live during filming of a US TV special in Los Angeles.
But only frontman Jeff Lynne and keyboards player Richard Tandy remain from the group’s heyday, during which they sold more than 50 million albums, played stadia around the world, and notched up 27 hits in the UK and US.
The rest of the band comprises session pals of Lynne, who has chosen to release the album to celebrate ELO’s 40th anniversary.
The 65-year-old guitarist and singer from Shard End now lives in Beverly Hills, where he has carved out a reputation as a top producer, memorably working on Beatles reunion sessions before the death of close friend George Harrison.
And the ELO live album, which was recorded for a 2001 television show and DVD but has never been released as an album before, is one of six band and solo CDs he has released in the past six months.
Rock critic David Wild, a friend of the reclusive rocker, says: “Back in 2001 Jeff had just returned to the studio to create a new ELO album titled Zoom, which brought the classic Electric Light Orchestra sound back to vivid life.
“To support its release our rather reluctant road warrior agreed to return to live performance and put together a line-up of musicians which included Richard Tandy that, thanks to breakthroughs in live production and sound in the intervening years, sounded better than ever.
“After the TV special a further live tour was announced but ultimately cancelled. Instead Jeff returned, no doubt happily, to the comfort of the recording studio.”
Although fans will welcome the release of previously unheard ELO material, they are likely to be divided on its merits. Many hanker for a full reunion tour by the surviving members of the group’s classic line-up. Drummer Bev Bevan still lives in the Midlands and is currently on tour with his own band as part of a ‘Made In Brum’ package also featuring his lifelong friend, funnyman and Sunday Mercury columnist Jasper Carrott.
Cello player Hugh McDowell still plays sessions, and is involved in dance, film and theatre projects. He has also been instrumental in the development of music composing computer software.
Violinist Mik Kaminski has his own band, Blue Violin, and was most recently heard playing on tracks by acoustic duo Fay & Latta. Keyboardsman Louis Clark has just revived his Hooked On Classics brand.
Cellist Melvyn Gale has become a music teacher after running a CD and vinyl record manufacturing company for 18 years. Bassist Kelly Groucutt sadly died in February 2009 following a sudden heart attack.
Отправлено: 22.04.13 14:16. Заголовок: Ну и с роскошным заг..
Ну и с роскошным заголовком вышла дейли мейл :
Beatles reunion! Sir Paul McCartney and Ringo Starr meet for dinner in Beverly Hills
А парни просто решили поужинать вместе в ЛА.Причём тут Джефф? Ну он там тоже был вместе с Уолшем,так что если Джефф за Джоржа,а Джо за Джона ....
It is something that would put fans of The Beatles in dreamland.
So no doubt people could not believe their eyes when Sir Paul McCartney and Ringo Starr had an impromptu reunion in Los Angeles on Saturday night.
The jolly duo seemed in rude health as they went to the trendy Mr Chow Restaurant for dinner in posh Beverly Hills.
Kisses On The Bottom favourite Sir Paul, who comes from a family of Evertonians, looked cool in a blue suit and white shirt, though he lost a few stryle points for following the current tieless trend.
The 70-year-old was joined for tea by his wife Nancy, who dressed down in a cream jacket, white shirt and a denim skirt.
However Sir Paul looked like a dapper gentleman compared to young-at-heart Ringo, 72, who bore a passing resemblance to George Michael in a black suit jacket, jeans and trainers.
The Thomas The Tank Engine Starr was also joined by his other half Barbara Bach, and the 65-year-old actress looked in fine figure in a burgundy blazer, black blouse and denims.
There was even the basis for a super group at the chic restaurant, as fellow rocker Joe Walsh, who has played guitar for the Eagles since 1975, was also there along with ELO star Jeff Lynne.
However they may have been tempted to find a new drummer, for as John Lennon memorably said, 'he's not even the best drummer in The Beatles.'
The Liverpool band, who initially formed in 1957 under the name The Quarrymen, are the most commercially successful and critically acclaimed act in the rock music era and have sold more than a billion albums.
Отправлено: 22.04.13 14:19. Заголовок: Ну и в сеть выложили..
Ну и в сеть выложили новую версию бордерлайн с переизданного Armchair Theatre.
Откуда: Россия, Москва
Отправлено: 24.04.13 13:36. Заголовок: Вышло также большое ..
Вышло также большое интервью с Джеффом в экзаминере.
А conversation with producer and ELO frontman Jeff Lynne
“Hi, is this Jeff?”
“Is this Jeff?”
“This is Jeff. Heya.”
“This is Jeff, too. All of a sudden we’re in a Monty Python sketch.”
“Well, you could be in my group, actually.”
“Oh, yes. I saw the video [for “Mercy, Mercy”, from Lynne’s new “Long Wave" album]. It’ll be the Jeff Group!”
So began my brief but memorable chat with Jeff Lynne, former member of ELO and the Traveling Wilburys and producer to George Harrison, Tom Petty, Paul McCarney, Ringo Starr and, of course, The Beatles.
Lynne was promoting two new albums, his first since 1991’s solo “Armchair Theater” and 2001’s ELO release “Zoom”. “I know I’m not supposed to start with this, but this is a real thrill for me,” I confessed to Lynne at the outset of our conversation. “You’ve made some of the seminal records of my life, and not just with ELO.”
“Ah, well that’s good,” he responded, jokingly. “It’s okay. I like it. Carry on.”
So while our chat was brief owing to Lynne’s hectic promotional schedule, it was loose and fun. And, best of all, Lynne promised me a follow-up where he’d share more about his time in the Wilburys and working on The Beatles’ and their various solo sessions.
Jeff Slate: So I’m of course curious about the story behind Long Wave, but I’m intrigued by your revisiting the ELO material too. When I listen to those new ELO recording they just sound fantastic. They still retain that magic that they had when I first heard them as a kid, but your voice sounds phenomenal and is really well recorded, so it sounds maybe better than the old days, and it does seem like from a producers standpoint that you’ve taken what you knew back when you made the original records and imbued the new recordings with 30 years worth of experience. So let’s talk about the ELO record and why.
Jeff Lynne: Okay, well you’ve almost answered your own question. I started out with “Mr. Blue Sky” because I’d been listening to my songs on the radio or sometimes playing the records, you know, and I just felt like they didn’t quite sound like I thought they did. You know, everything was a bit wooly and some things that I know were there you can’t hear or are very indistinct. So even though I still like them there were enough things about them that I thought something should be done about it. So like you said, after all those years of producing, for the last 30 years, I’ve had that much more experience. So I had an idea of what to do with them. And what you said at first, about how they’re now clear but they still retain the feel of the old ones, that’s what I wanted to try to do. I didn’t want to alter anything about them, because I liked the tunes the way they were and everything. You know, some people would be tempted to mess with them. But I wanted to be faithful to them but just make them sound better so I can be more pleased or proud of them when I hear them, instead of going, “Ooo, ouch!” You know, like “I wish that was a bit better. I wish I’d left that bit out”. But that is exactly why and there it is, so you almost said exactly what I would have said.
JS: But when you got in there, as a producer, and having learned all those lessons, did you find it was enough to get cleaner, clearer sounds? Or did you want to mess about with them? Because as both a songwriter and a producer you had to have gotten in there and thought, “I’ve got a different idea for a harmony” or “I’ve got a different idea for a melody line” or “Here’s a guitar part I didn’t think of in 1974”. So how do you both free yourself and constrain yourself as a producer and a performer?
JL: Well, what I did was just exactly what I did the first time around. Because don’t forget I played these songs on stage for years so I knew them inside out, and I didn’t really want to change anything. Because even though you do change things a little bit performing them over the years – phrasing and such doing them live – I noticed I had done that, just getting lazy or sloppy. So in going back I noticed that in listening to the original recordings my timing was a little different, but I wanted to get it just right, just the same, but sounding better and more punchy and a bit more clarity.
JS: So did you literally A/B them? Did you literally go back and try to recreate them note for note? Because you did and you didn’t try to capture the exact same tonal qualities. They are similar and yet it does take away that wooliness, so it is a different experience listening to these recordings, which opened up things considerably from a sonic standpoint. The palette of sounds is much larger but the parts are virtually identical. So did you study them or did you just know them that well?
JL: Well, I just knew them inside out and backwards because that’s all I ever did for years was play those songs in ELO.
JS: Okay, well the song choices to me or any ELO fan are fairly obvious, but as the songwriter revisiting that catalog did you choose them because you felt if you were going to hear them on the radio or in a movie or in a commercial you wanted to hear these versions so I’m going to go for the big hits, or were these simply the songs that were nearest and dearest?
JL: Well all these songs are dear to me, of course, because you go so deeply into them when you write them and they become like your little pals and you don’t want to seem them trodden on or anything. But actually I did enough for two volumes, so this is just the volume of songs I chose to use this time around. So I’ve been doing this ELO album and Long Wave for three years straight, six days a week. And it’s been great and I cherish each one because each album had its own amazing and unusual thing going on but this was really just rebuilding old tunes.
JS: Well, that gets us easily into Long Wave. I guess the one that shocked me – you know, “She” is such a perfect opener, it’s like you’ve turned on the radio in 1959 or something, so that one really puts you in the mood, but yet still gives you that clarity and feel we’ve been talking about – but then there you are a few songs in doing Roy Orbison. So was that a song you loved or a nod to Roy as a performer, or really was it a message to an old friend? Because I’ve spoken to Tom Petty about Roy, and when we did he just lit up. So I guess I wondered when I heard it if it was as much for yourself as for the listener? I suppose it always is, right?
JL: Of course. You do it for yourself in the first place, because you do it because you really feel a need to do it. But I always loved Roy Orbison’s stuff. It was unbelievable. And Roy actually told me – because I used to get him to play little bits of his tunes for me when we were just hanging about with guitars in between writing songs for the Wilburys or whatever – and he once told me “Running Scared” was his favorite one that he ever did.
JS: Mine too.
JL: Yeah, mine too! But what about all the others as well? So I said to him, “And mine. But what about all the others?” Because they’re all marvelous. So I did it as a tribute to Roy, really. He was such a sweet man. Very, very kind and funny. He was great. So I did it. And when I finished the backing track I went into the vocal room and I was really scared of even approaching it. You know, I was going “Oh my God. I’ve got to sing this now”. So I crossed my fingers and had a go at it. And I was dreading hearing it back, but when I listened to it it was actually quite good and I wasn’t totally blown away by how bad it was but in fact it was really good. And I thought “I can get this if I keep trying”. So I did about 10 or 12 takes, just trying to get it smoother, because you know it’s Roy and all. Because it was daunting and I did kind of think I shouldn’t be doing it because I’m not Roy Orbison. But I just loved the song and I actually ended up liking my version, so I’m very pleased with it now.
JS: It’s a little bit of Jeff and a little bit of Roy in there, isn’t it? Certainly from a fan’s standpoint. It’s a beautiful thing.
JL: Aww, that’s great. Thanks.
JS: Well, let’s talk a little bit about the lessons you’ve learned because I’ve followed your career for a long time and, you know, people always talk about the “Jeff Lynne sound” as though there’s something universal about it in every record and yet from my standpoint, as a musician/producer/songwriter too, I hear something very different every time.
JS: For instance, Armchair Theater is nothing like Highway Companion. And Zoom is nothing like the earlier ELO records. Although they retain that sort of fundamental “Jeff-ness”, they’re different. So ELO had the natural trajectory of a successful band. You know, Ringo always says a band shouldn’t last more than eight years. So while maybe you guys stretched that out a little bit it was basically that trajectory and every record built on the last. But then you get to the end and you’re looking around for something to do and you hooked up with George. I mean that album – the finished product, Cloud Nine – was a huge leap forward for you as a producer. It sounded very different, to me.
JL: Well, that was the greatest opportunity of my life, really. The greatest opportunity I could have wished for. Because for a while after ELO ended I just stayed at home, practicing in my home studio. I was learning how to really use the equipment; really know the studio. I was learning how to engineer and all and I actually got pretty good. I got the hang of the [mixing] desk and everything and I by the time I was ready, as luck would have it, I was having dinner with Dave Edmonds one night and he said, “Oh, George asked me to ask you if you’d fancy working with him on his new album.” “Um, yeah. You bet.” So I went up to George’s house and we had a meeting and he wanted to make sure we’d be good pals if we were going to work together. So he said, “You fancy going with me to Australia to the Grad Prix?” I said, “Ha! Yeah, okay.” I mean I’d only just met him like a few days before. And he said, “Meet me in Hawaii and we’ll go from there”. So that’s what happened. We went and we had a great time and it was fantastic and that’s where we wrote “When We Was Fab”, in Australia. So that was the start of ten wonderful years of making records with George.
JS: Did you ever ask him why he reached out to you through Dave Edmonds like that?
JL: Well, he didn’t know how to get hold of me and he knew Dave.
JS: Well, but I mean why he chose to work with you?
JL: Well yes I think I do, because in fact Olivia tells me in my little documentary that I’ve got [Mr. Blue Sky: The Story of Jeff Lynne and ELO]. She says that we both loved each other’s songs. I think that was the initial reason why he wanted to work with me because he liked the sound I made and he liked my style of songwriting.
JS: Okay, so then you’re driving in the car here in LA on Thanksgiving Day and you run into Tom Petty and you end up producing Full Moon Fever. And“Cloud Nin” was a big hit. So you’re going from strength to strength. But again Full Moon Fever sounds similar, but very different too. It’s not Tom doing George or you doing Tom doing George. It’s a whole different sound.
JL: Well, that’s the funny thing. Me and Tom sat together and wrote all these songs; all but one I think. And we’d never worked together before, so there wasn’t an attempt to create a sound. We just sat in a room in Tom’s house and made up these tunes. And they just happened to be really good ones. And we made a fabulous sound in Mike Campbell’s garage, of all places. That was where we recorded it. So it was a strange session, but the garage sounded really good. It’s just a garage with a concrete floor full of motorbikes and stuff, so whenever we recorded in there there’d be motorbikes everywhere. But it was a great but strange little atmosphere to record in so how could they sound the same?
JS: Well, that begs the question. I assume Friar Park is a full, proper studio whereas Mike Campbell’s garage would certainly not be as elaborate or fancy. What sort of mics and board and so forth did you use? Because you are getting a great sounds in both environments.
JL: Proper mics. All the proper mics and proper gear, except George’s studio was a real beautiful one obviously. It’s very ornate and has a lovely room to work in. And then Mike’s control room was just a spare bedroom in the house next to the garage. So it was a bit odd. But then of course we mixed in full blown studios. But to record them all we did them all in there.
JS: And did you ever run up against a problem where you couldn’t get the sound you wanted? Because maybe this is true or maybe not, but I think I remember you being quoted as saying you don’t like to use EQ, you like to get the sound that you want on tape and then work from that. Did you ever find that to be difficult, let’s say, in Mike Campbell’s garage?
JL: Not at all, really, because it’s the way you get things down. I mean, it’s not that I won’t use EQ, I will if I have to if something sounds much better by just nudging things up a little bit here or there in a few frequencies. Then of course I’ll do it. So I won’t avoid it just on principal. You know, “Oh, I won’t do that”. But what I don’t like to use is reverb willy nilly all over everything. I just do not like that. And I never have. So I only use it as an effect, or really as a joke maybe on the end of something. You know, to make a big bang. Claaaang. So it’s mainly that naturalness of the room I like to record that with a mic a little bit off whatever I’m recording so, you know, you get a little bit of the room sound and the air moving.
JS: Do you combine close and distant mics, then?
JL: Yes. Like for lead guitar I like to combine a close mic right on the speaker and a distant mic probably eight feet away or so.
JS: I know we’ve only got time for about one more question but I’ve got about 30, so I’ll have to ask the obvious question about working with The Beatles.
JL: Yeah, of course. Don’t worry we’ll catch up again soon.
JS: Great. So by the time you worked with The Beatles you’d done the Wilburys, some tracks on Ringo’s “Time Takes Time” album, and though you hadn’t yet done “Flaming Pie” with Paul you’d done a host of records with all these heroes of yours and you are asked to go to Paul’s studio to work on these songs. Technical problems aside, put the people reading this in the room. I mean many Beatles fans have heard you talk about this, but convey something that we might not expect that you observed or got from that experience.
JL: I suppose the experience of walking in the room with George and then being with the three of them in the same room for the first time in years and years, that was an indescribable experience in and of itself. Then sitting down with the three Beatles, it’s really just me and them three. That’s it. And I’m just sitting there listening to all this wonderful chat, you know, about the old days and stuff. That was so marvelous to hear these stories from their mouths, the real thing, you know? Not the edited version, but the real great stuff. So that was one of the most amazing things, to get involved and be in this little club with The Beatles. It was just superb.
JS: Did they make you feel like one of them? Or did you feel like an observer? Because who couldn’t help feeling that way?
JL: Oh no, they were totally cool with me. You know, I was in there. I was part of the team, you know? And I was actually the leader of the team, believe it or not. So there you go.
JS: How about that? So will we ever hear “Grow Old With Me” or “All For Love” or “Help Me To Help Myself”?
JL: I don’t think we’ll ever hear the extra one. There was one other song that we listened to and I think we may have played on it once – or they may have played once through it – but it was never done or finished or anything like that.
JS: Too bad! We’ll have to talk more about that next time. Okay, so you’re working on a solo record of original material, and you’re obviously promoting Long Wav” and the ELO set. Are you going to go out on the road and do some shows? Are you at least coming to New York City? Will we get to see the documentary in wider release? What’s next for Jeff Lynne?
JL: Hopefully, yes to all those questions. I haven’t got any plans to tour, you know I’m just trying to figure out a way to do it.
JS: Because I had tickets for the Zoom tour, so you’d better honor those.
JL: Ah well, sorry about that. But I have no plans again at the moment. But I’m going over to England tomorrow to do some TV shows and some things. And then I’ll be back here doing some promotion. And it’s going well. In England Long Wav” is the BBC Album of the Week, which is a really good thing.
JL: Yeah! So I’m really chuffed about that.
JS: So we’ll maybe see another volume of the ELO along with a solo album of new Jeff Lynne material sometime soon?
JL: Well, I have got 8 songs of new material towards the new album. And, you know, I probably need another three and so that’ll be ready for next year, I hope. And the thing about those other ELO songs I’ve finished already is, Craig my manager always wants bonus tracks. No matter what I’m doing or how many tracks I give him he always wants bonus tracks. So I’ll probably run out of those ELO tracks before I can make another album out of them!
JS: Well Jeff, it was a pleasure. I really appreciate it. And hopefully when you get to New York we can catch up and I’ll ask you the rest of my questions.
JL: Alright, well thanks Jeff. I’d like that. Be good mate.
Отправлено: 13.05.13 14:15. Заголовок: Сер,нет не Пол,а Джо..
Сер,нет не Пол,а Джорж Мартин,ну очень уважил Джеффа в своём интервью.
Sir George Martin: The ‘Fifth Beatle’ Looks Back
RCM: When Paul, George and Ringo recorded the two new Beatles songs, Free As A Bird and Real Love, did they ask you to be involved?
GM: I kind of told them I wasn’t too happy with putting them together with the dead John. I’ve got nothing wrong with dead John but the idea of having dead John with live Paul and Ringo and George to form a group, it didn’t appeal to me too much. In the same way that I think it’s okay to find an old record of Nat King Cole’s and bring it back to life and issue it, but to have him singing with his daughter is another thing. So I don’t know, I’m not fussy about it but it didn’t appeal to me very much. I think I might have done it if they asked me, but they didn’t.
RCM: Did you enjoy Jeff Lynne’s production of Free As A Bird and Real Love?
GM: I thought what they did was terrific; it was very very good indeed. I don’t think I would have done it like that if I had produced it.