Goldenday: Новости, материалы и факты о том составе, ради которого мы все здесь собрались

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Goldenday: Немного о том же событии, но на русском: Боб Дилан напишет шесть книг Американский певец Боб Дилан работает сразу над шестью книгами, сообщает Agence France-Presse. Именно на такое количество произведений музыкант подписал контракт с издательством Simon & Schuster. Известно, что две книги станут продолжением первого тома "Хроник" Дилана, ставшего бестселлером. Еще одна из книг будет основана на ток-шоу "Theme Time Radio Hour", которое музыкант вел на радиостанции Sirius XM. Чему будут посвящены три оставшиеся произведения, пока неизвестно. По данным Rolling Stone, в контракте музыканта с издательством речь шла о восьмизначной сумме. Автобиографические "Хроники: Том первый" Боба Дилана были опубликованы в октябре 2004 года и 19 недель подряд находились в списке бестселлеров The New York Times. Книга была очень тепло встречена публикой и критиками. По собственному признанию Дилана, некоторые рецензии на "Хроники" "чуть не довели его до слез... в хорошем смысле". http://lenta.ru/news/2011/01/20/dylan/

Voldar: Hailing the 50th anniversary of Del Shannon's 'Runaway,' a No. 1 song that changed rock; inspired Tom Petty, Nils Lofgren and others Enchanted by Del Shannon’s “Runaway” as a boy, Tom Petty later paid the ultimate tribute to this No. 1 single and its singer: He saluted the tune in his own 1989 hit song, “Runnin’ Down a Dream.” Bruce Springsteen guitarist Nils Lofgren said he fell in love with Shannon’s “Runaway” “the second I heard it.” “The haunting minor chords added an ominous feel to the heartbreak in the lyrics and the resolve to the major chords in the chorus gives a little hope, or at least acceptance that the pain was survivable despite the confusion and heartbreak,” Lofgren wrote me in a recent e-mail. Pretty heady stuff for a rock song written on the fly by Shannon and keyboard player Max Crook while performing with bandmates at a little Battle Creek nightclub in 1960. Few could have guessed at the time that this pop single would propel the Coopersville native — born in Grand Rapids as Charles Westover — to national super-stardom or that it eventually would be regarded as a milestone in rock history. Monday marks the 50th anniversary of Shannon’s recording of ”Runaway” in a New York City studio. Officially released a few weeks later, on Valentine’s Day 1961, it shot straight to No. 1 on the singles chart, an achievement that would cement Shannon’s induction into the Rock and Roll Hall of Fame in 1999. A phenomenon in the pre-Beatles music scene, the song’s minor chords and lyrics stood out from other “safe” mainstream pop hits of the day. “‘Runaway’ was the biggest record of 1961 and was riding along the same caliber as Chubby Checker’s ‘The Twist,’” said Brian Young, president of the Del Shannon Appreciation Society, based in Washington. “It was something totally new and fresh. Del’s vocals in ‘Runaway’ were as if he was hurting so bad, that when he couldn’t explain his hurt and anguish, he’d explode into falsetto.” The song since has been covered by more than 200 artists — including Bob Dylan, Bonnie Raitt and The Traveling Wilburys — with Petty paying homage to his pal Shannon in “Runnin’ Down a Dream”: “I had my radio on, I was drivin’; the trees went by, me and Del were singin’ little ‘Runaway’ ...” Lofgren, who re-recorded Shannon’s “I Go To Pieces” with the singer for a 1981 solo album, also recalls playing “a haunting, powerful version of ‘Runaway’ “ with Neil Young in 1983 during that guitarist’s “Trans” tour. And as a keyboard dabbler, I can’t overlook what makes “Runaway” even more memorable: the instrumental break played by Crook on his “Musitron” invention, a device that allowed him to bend keyboard notes, giving it a distinctive synthesizer-like quality before there were synthesizers. “When ‘Runaway’ hit in 1961, it was something different: a singer-songwriter who wasn’t movie-star handsome but had a voice with that soaring falsetto that was more distinctive than anything else on radio,” said Bruce Parrott, a Grand Rapids radio announcer and record collector. “Not to mention the keyboard-early synth work on that song was something that had not been heard before.” Crook, now 74 and living in New Mexico, told me that the keyboard solo came to him “almost instantaneously and complete,” though he and Shannon didn’t suspect the song would be a hit until the New York recording session. It ended up selling as many as 80,000 copies a day after its release. “I am astonished at the enduring popularity of the solo and song itself,” Crook conceded. To be sure, it ignited Shannon’s career with eight more Top 40 hits, including “Hats Off to Larry,” and sparked an international following that even had The Beatles open for Shannon in 1963 in England, a country where the Michigan native also became a superstar, racking up 14 Top 40 hits and mesmerizing devoted lifelong fans such as Anthony Press, who was just 14 when “Runaway” fever struck. “It (‘Runaway’) started off this obsession that I’ve had ever since,” Press told me by phone from Great Britain, adding he’s traveled to Coopersville 10 times over the years for that city’s tributes to Shannon during its Summerfest celebration. Yet despite his vast popularity, Shannon, who sadly suffered from depression and committed suicide in 1990 at 55, never repeated the chart-topping success of “Runaway”: It was his first and only No. 1 hit. But what a No. 1 it was. Rolling Stone magazine lists it among the 500 greatest songs of all time, while the Michigan Rock and Roll Legends website ranks it as Michigan’s No. 1 rock song, topping Aretha Franklin’s “Respect” and ? & the Mysterians’ “96 Tears.” To commemorate the anniversary of the song by Shannon, a 1953 graduate of Coopersville High School, the Coopersville Area Historical Society Museum has created a special “Runaway” display with news articles of the day, photos and gold and platinum records issued to commemorate more than 1 million in sales for “Runaway,” according to museum curator Jim Budzynski, who said Shannon “shined a light on Coopersville” due to his stardom. But Parrott boasts one unusual Shannon memento that few will ever see. He interviewed the singer in the principal’s office of Coopersville High School for radio station WCUZ in 1983, after Shannon returned to town to serve as grand marshal for the Christmas parade. “When we finished, I asked if I could have his autograph. He said, ‘Yes,’ and I looked down at the desk and saw a little stack of yellow paper,” Parrott recalled. “I grabbed a piece and he signed one for me. It wasn’t till later that I flipped over the paper and saw what it was. I may be the only person to have Del’s autograph on the back of a Coopersville High School hall pass, already stamped by the principal.” http://www.mlive.com/entertainment/grand-rapids/index.ssf/2011/01/hailing_the_50th_anniversary_o.html

Voldar: Jenny Lewis - Handle With Care

Борис: в рекламном окне моего мэйла сегодня размещена инфа от уважаемого радио (в конце список англоязычных сайтов)//finam.fm/music/traveling-wilburys/: Traveling Wilburys Год основания/рождения: 1988 Жанры: рок, фолк-рок, кантри-рок, поп-рок, AOR Купить диски послушать и купить Прослушать и скачать послушать и купить В составе Traveling Wilburys, собрались люди такого масштаба, что успех публики был им просто гарантирован — Джордж Харрисон, Джефф Линн, Боб Дилан, Рой Орбисон и Том Петти. Они вовсе не собирались изобретать велосипед, целью было просто получить удовольствие от совместной деятельности. Если уместно о звёздах такого уровня выражение "валять дурака", то это именно тот случай. Однако "дураковаляние" оказалось такой пробы, что первый же альбом группы сразу взлетел в хит-парадах, а позже попал во всевозможные списки лучших альбомов в истории. * Описание * Альбомы * Видео * В эфире радио Финам FM * Комментарии Всё началось с совместной трапезы Роя Орбисона, Джорджа Харрисона и Джеффа Линна, которые находились в студии Боба Дилана в Санта-Монике, штат Калифорния. Там они собрались записывать трек для би-сайда сингла Джорджа к его новому альбому. Привлечение Тома Петти было случайным — Джордж оставил свою гитару у него дома. Песня, которую они хотели записать, называлась "Handle With Care". Но звукозаписывающая компания сразу же поняла, что эта песня была слишком хороша, чтобы издавать её как дополнение к синглу. Музыкантам так понравилось работать друг с другом, что они решили сделать альбом все вместе. Диск, песни для которого писали все участники группы, был записан всего за 10 дней, потому что Дилан должен был ехать в тур. Пластинка была выпущена в октябре 1988 года под названием "Traveling Wilburys Vol. 1"; имена музыкантов на ней были изменены на псевдонимы, которые предполагали родство с сэром Чарльзом Трускоттом Уилбури. Этот альбом в 1989 году попал в список 100 самых лучших альбомов 80-х гг. XX века журнала Rolling Stone и занял в нём место под номером 70. Позже работа музыкантов была номинирована на премию Грэмми в категории "Альбом года". Смерть одного из участников коллектива, Роя Орбисона, 6 декабря 1988 года стала причиной, по которой дальнейшее прежнее сотрудничество стало невозможным, но группа продолжила существовать и без него. Коллектив даже сделал видео на песню "End Of The Line". Во время припева, в котором поёт Орбисон зритель видит кресло-качалку, на котором стоит гитара музыканта, а затем одну из его предсмертных фотографий. "Wilburys" — сленговый термин, придуманный Джорджем и Джеффом во время записи альбома Харрисона "Cloud Nine". Он обозначал ляпы, которые можно будет убрать во время процесса микширования; появился в результате фразы "We’ll bury' them in the mix" ("Мы уберём их во время микширования"). Этот термин позже был использован снова, когда вся группа была в сборе. Харрисон предложил назвать коллектив "The Trembling Wilburys", но остальные предложили поменять прилагательное на "Traveling". После смерти Роя Орбисона в прессе появились слухи о том, что американский певец Дел Шэннон может присоединиться к группе, но его самоубийство в феврале 1990 года поставило крест на подобных догадках. Том Петти позже сказал, что музыканты коллектива никогда и не думали искать замену Рою. Бесплатный сингл, который назывался "Nobody's Child", должен был привлечь внимание к детям-сиротам в Румынии; он вышел в начале 1990 года. В октябре того же года вышел второй альбом группы, "Traveling Wilburys Vol. 3". Однако этот альбом был встречен публикой не очень тепло. Причиной выхода пластинки с номером 3 после номера 1 может быть то, что, по некоторым предположениям, альбом Тома Петти под названием "Full Moon Fever" как раз и являлся вторым альбомом, так как в записи приняли участие Джордж Харрисон, Рой Орбисон и Джефф Линн. По другой версии выпуск альбома с порядковым третьим номером был просто шуткой музыкантов. Третья версия основана на том, что в связи со смертью Орбисона пластинка группы, в которой тот был одним из основателей, с порядковым номером 2 не должна увидеть свет. А однажды Харрисон в интервью каналу MTV заявил, что группа записала материал для пластинки под номером 2, но он был украден ещё до окончательного сведения. В конце 90-х гг. и в начале нового тысячелетия два выпущенных альбома группы были практически недоступны, а новые тиражи не допечатывались. Джордж, как основной владелец прав на эти альбомы, не переиздавал их вплоть до своей смерти в 2001 году. В июне 2007 года альбомы были перевыпущены в комплекте на двух компакт-дисках и одном DVD. Этот релиз удивил всех, когда сразу же стал №1 в британском альбомном чарте. Источник: http://travelingwilburys.ru Официальный сайт TRAVELLING WILBURYS Сайт, посвящённый TRAVELLING WILBURYS Фэн-сайт TRAVELLING WILBURYS Ещё один сайт, посвящённый TRAVELLING WILBURYS

Voldar: Чертовски приятно, Борис. Может, и в родном Отечестве нас начнут замечать.

Борис: Володя, конечно, приятно. Было бы еще приятнее, коль среди 4-х перечисленных сайтов имелся бы и наш. Что мешало авторам рекламы упомянуть наш сайт, можно только гадать...

Voldar: Источник: http://travelingwilburys.ru Борис,надо брать круче,наш сайт фигурирует в качестве источника.

Борис: Посмотрел бегло 4 приведенных сайта и в 2-х из них, в т.ч. в фэн-сайте, форумов не имеется. Как они (фэны) информацией обмениваются?

Voldar: По-моему, в мире вообще нет ни одного вилбуристого форума, кроме нашего (во как ). Есть только группа на фейсбуке.

Goldenday: Вот это круто (по первому пункту). Живы будем - не помрём!

Voldar: Есть хорошие новости о Джимми Келтнере,он тоже продолжает активную творческую деятельность. It’s Never Too Late It’s not often you meet a nearly 60-year-old man standing on the brink of a promising career in rock ’n’ roll. But then again, a conversation with John Lefebvre proves he is anything but ordinary. “Let’s be frank, I got into this because I had some money in my pocket but the truth is, you can kick the door open with money but you can’t stay inside very long if it’s all you’ve got,” Lefebvre says. Music as a vocation may be new to him but Lefebvre’s sound feels lived in, classic and timeless, thanks to decades of practice on the piano and guitar and to the talents of his all-star recording band, part of which — including vetaran musicians Bill Payne, James Hutchinson, Greg Leisz, Rickie Fataar, and Patrick Warren — is joining him on the road. The Vancouver Sun once referred to Lefebvre the “teddy bear hippie millionaire,” and after a half hour of joking with him over the line from his Salt Spring Island, B.C home, I get the impression the term fits. Born in Calgary, Lefebvre spent his youth strumming Bob Dylan songs around the campfire and worked in law before co-founding a successful PayPal-style system for consumers and gamblers and that aforementioned pocket started to bulge. In 2007 his company was hit with serious legal issues but positive news arrived as well: a demo Lefebvre had submitted to renowned producer Brian Ahern through musician friend Danny Patton was deemed a hit. “Brian wrote back a letter to Danny saying, ‘I think I can work with this guy,’” Lefebvre says. “From there on in it was all pretty much magic because Brian has very serious traction in the music racket.” With Ahern guiding the way, Lefebvre took his first steps into the industry. First stop: T-Bone Burnett’s house for coffee, where the famous musician suggested starting with drummer Jim Keltner, best known for his work with the Traveling Wilburys. To Lefebvre, this was a big deal. “I grew up sort of idolizing some of these guys,” he admits. “Jim Keltner has played with all of the Beatles. If you were Tom Petty, Jeff Lynne, Roy Orbison and Bob Dylan, who would you pick for a drummer? Anybody you want, right? Well it was Jim Keltner.” So when Keltner agreed to the project, Lefebvre suddenly found himself living a bit of a dream. “Once I had Brian and Jim Keltner on board all the other chips just fell and we got this unspeakably good band, maybe one of the best bands in the world to do both the records,” Lefebvre says, referring to his pair (yes, pair) of double albums, 2009 debut Psalings and latest offering Initial Album. “Now five of them are coming out on the road with me. I can hardly believe it myself.” Lefebvre’s enthusiasm is contagious. “I’m still as knocked out today as the first day these guys were coming out to do my stuff. It’s a whole new adventure for me. I always imagined I’d be scared shitless but I’m sort of not. I’m just really excited for the opportunity to play with the guys again.” He chuckles, “I’d really have to try hard to make those guys sound bad.” http://www.seemagazine.com/article/music/music-previews/its-never-too-late-5186/

Voldar: Печальная новость о кончине Гери Мура относиться и к Traweling Wilburys.Гарик сыграл соло на V.3 в "She's My Baby" но в видео не попал. Gary Moore, dead at 58, played lead guitar with Traveling Wilburys Gary Moore, the blues-rock guitarist from Belfast, Northern Ireland, has died at the age of 58. According to various reports, he died earlier today while on holiday in Estepona, Spain. Moore is known for his solo career as well as his work with Thin Lizzy, George Harrison, and others. There are at least two connections to Bob Dylan: 1. Moore played a cameo lead guitar solo on "She's My Baby", the opening track on Traveling Wilburys Vol.3. However, he does not appear in the video. 2. During his stint as guitarist for Greg Lake, he played lead on the rare Bob Dylan-Helena Springs composition, "Love You Too Much". The version on Lake's self-titled 1981 album also credits the former King Crimson singer as co-writer of the song. You can hear the track in the embedded video on the left. http://www.examiner.com/bob-dylan-in-national/gary-moore-dead-at-56-played-lead-guitar-with-ttaveling-wilburys

Voldar: Такой вот каверочек... The Headstones - live Tweeter and the Monkeyman

Voldar: Bob Dylan and George Harrison through the years 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- George Harrison, Crawdaddy, February 1977. George Harrison was born on February 25, 1943. Bob Dylan and Harrison were friends for decades. They co-wrote songs and covered each other's material. Dylan collaborated with Harrison on many occasions: in the studio, on stage, and in Dylan's home. Here's a list, courtesy of Olof: Late November 1968: The Home Of Bob Dylan, Woodstock, New York 1 May 1970: Columbia Studio B, New York City, New York 1 August 1971: Concert For Bangla Desh, Madison Square Garden, New York City, New York 19 February 1987: Palomino, Hollywood, Los Angeles, California (Guest Appearance at a Taj Mahal concert). 17 October 1987: Wembley Arena, London, England 20 January 1988: The Grand Ballroom, Hotel Waldorf-Astoria, New York City, New York (Rock and Roll Hall Of Fame) May 1988: Bob Dylan's garage, and Dave Stewart Studios, Los Angeles, California (Traveling Wilburys Vol. 1) March to May 1990: Oceanway Studios, Los Angeles, California (under the red sky). April 1990: Wilbury Mountain Studio, Bel Air, Los Angeles, California (Traveling Wilburys Vol. 3) Mid-October 1992: Bob Dylan 30th Anniversary Concert Celebration, including rehearsals, New York City. Harrison would often quote Dylan's lyrics like it was scripture. Here's a few examples: "I'm really quite simple. I don't want to be in the business full-time, because I'm a gardener. I plant flowers and watch them grow. I don't go out to clubs and partying. I stay at home and watch the river flow. "One body is called the causal body, the next body is called the astral body and the third is called the gross physical body. So death is only relative to birth - If you don't wanna die, you don't get born. But as long as you're born, you've got to die, because just as sure as nighttime is gonna follow daytime, death is gonna follow birth. Like Bob Dylan said, "Look out kid, it's something you did. God knows when, but you're doing it again. "I said, "You don't have to have a Number 1. You want to be number one. The record is second." I say, if you set yourself up looking for success, when you have a failure, you fall much deeper. I say, bring the two together. As Bob Dylan said, "When you find out you are at the top, you are at the bottom." George had this to say about writing "I'd Have You Anytime" with Dylan: "He sang for me, 'Love is all you need/ Makes the world go 'round/ Love and only love can't be denied/ No matter what you think about it/ You're not going to be able to live without it/ Take a tip from one who's tried.' And I thought, Isn't it great, because I know people are going to think, 'S***, what's Dylan doing?' . . . I was saying to him, You write incredible lyrics,' and he was saying, 'How do you write those tunes?' So I was just showing him chords like crazy. Chords, because he tended just to play alot of basic chords and move a capo up and down. And I was saying, 'Come on, write me some words,' and he was scribbling words down. And it just killed me because he'd been doing all these sensational lyrics. And he wrote, 'All I have is yours/ All you see is mine/ And I'm glad to hold you in my arms/ I'd have you anytime.' The idea of Dylan writing something, like, so very simple." Harrison also recycled a riff from Dylan's "I Want You" for his 1973 hit single, "Give Me Love (Peace On Earth)". Here's Dylan on Harrison, late 2001: "He 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. 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." The following year, Dylan performed Harrison's "Something" at Madison Square Garden: "Thank you. There's a tribute coming, I guess it's the next week or the week after, it's over in England, for George Harrison and <inaudible> lot's of people <inaudible> I'm not sure who. But we can't make it. I just want to do this song <inaudible> for George because we were such good buddies." For what it's worth, I always associate the "Quiet Beatle" with the song, "Ain't Talkin'", where Dylan is in a "mystic garden" and "someone hit me from behind", and now "the gardener is gone." http://www.examiner.com/bob-dylan-in-national/bob-dylan-and-george-harrison-through-the-years-main-page

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