‘орум ї ¬—® ќ Ќ»’ ї Ћ≈Ќ“ј Ќќ¬ќ—“≈… —“–јЌ—“¬”ёў»’ ”»ЋЅ”–»— (продолжение) ї ќтветить
Ћ≈Ќ“ј Ќќ¬ќ—“≈… —“–јЌ—“¬”ёў»’ ”»ЋЅ”–»— (продолжение)
Goldenday: Ќовости, материалы и факты о том составе, ради которого мы все здесь собрались
Ѕорис: ѕодбор участников впечатл€ет!
Voldar: Famous five: Why The Traveling Wilburys are the ultimate supergroup By Andy Gill Belfast Telegraph Ч Tuesday, June 19, 2007 Rock history is brimming with supergroups. But none can match the pedigree of The Traveling Wilburys. As they top the charts yet again, Andy Gill tells the story of the band thatТs got the lot One of this yearТs more surprising and impressive music-biz successes is surely that of The Traveling Wilburys, whose 2CD/DVD compilation The Traveling Wilburys Collection entered the album chart this week at No 1, outselling the likes of Bon Jovi, Paul McCartney and Queens of the Stone Age, and turfing the lissom R&B diva Rihanna off the top spot. Indeed, it may be the only album this year to reach this level of success without the assistance of MySpace, YouTube or any of the internet-associated aids which, we are constantly told, are vital promotional tools in todayТs pop marketplace. But then, what might be on their MySpace site? УHi kids, weТre The Traveling Wilburys! WeТre old enough to be your grandads Ц in fact, two of us are so old weТre dead, and the rest arenТt feeling too good at the moment. We make the kind of music you probably hate.Ф Their MySpace friends, however, would number in the hundreds of millions, comprising as they would the combined fan-bases of The Beatles, Bob Dylan, Roy Orbison, ELO and Tom Petty & The Heartbreakers. (Of course, this reissue has sparked both YouTube and MySpace activity, though judging by the usual parade of sad self-publicists who attach themselves to such sites, the Wilburys are not vetting those who claim their friendship.) With hindsight, however, itТs possible to discern the factors underlying the WilburysТ current success. Since the release of their debut album in 1988, the Уdad rockФ phenomenon has become a force in music sales as ageing baby-boomers and Sixties kids refused to abandon their interest in rock, bringing the weight of their huge disposable income to bear on both the charts and the media. The rise of mature music magazines such as Mojo, Uncut and The Word has been paralleled even in the staid world of BBC radio by the re-branding of Radio 2 as a sort of SixtiesТ oldies station, whose regard for pop heritage and roots is balanced by its eye for whatТs currently hip. And The Traveling Wilburys, Vol 1 may be the perfect Radio 2 record, featuring as it does five well-known, respected talents of a certain age, each wielding serious industry clout and historical weight, peddling a bunch of jaunty, singalong songs rooted in the mulch of rockТn'roll heritage and performed with the minimum of synthetic studio assistance and the maximum amount of harmonies that can be crammed into 10 tracks. ItТs a sort of Sing Something Simple formula for another generation, except that these Wilburys are also songwriters skilled enough to write new songs that promptly take up residence in oneТs memory like old friends, whether you want them to or not. Hearing songs such as УHandle With CareФ and УEnd of the LineФ for the first time, many listeners were struck by just how familiar they sounded, as if they were cover versions of classic hits. And of course, in a sense they were: to ears that grew up on Dylan, Orbison, ELO and The Beatles, not to mention the wealth of influences, from Buddy Holly to The Byrds, that course through Tom PettyТs work Ц their chord changes, intervals, harmonies and melodic tropes tapped into a host of comforting memories, like endorphins slotting into an addictТs neuroreceptors. The result was pure pleasure, unmediated by the constraints of fashion or duty. The album went on to sell some five million copies, making it the most successful УsupergroupФ album of all time. The pop supergroup has something of a chequered history, which helps to prepare one for the disappointment that often attends the actual music. The idea derives from jazz, where individual players would combine and re-combine in different aggregations for purely exploratory purposes, to see how they might push each otherТs performances in new directions. The most famous are probably Miles DavisТs two quintets that aligned the trumpeter with the likes of John Coltrane, Herbie Hancock, Cannonball Adderley and Wayne Shorter, and the great bebop summit of Charlie Parker, Dizzy Gillespie, Bud Powell, Charles Mingus and Max Roach that produced the legendary Massey Hall concert of 1953. The first rockТn'roll supergroup was undoubtedly the impromptu meeting of Elvis Presley, Johnny Cash, Carl Perkins and Jerry Lee Lewis at Sun Studios, the off-the-cuff recordings of which were released under the bullish Ц but ultimately undervaluing Ц rubric of The Million Dollar Quartet. Through the Sixties, supergroups hatched, flew briefly and then died, like mayflies seeking mates. Session musicians like Al Kooper and Mike Bloomfield were elevated to serious player status by their УsupersessionФ jams, while authentic stars like Clapton, Baker, Bruce and Winwood became global icons through the success of Cream and the deeply underwhelming Blind Faith project. For a while in the Seventies, Crosby, Stills, Nash & Young were the biggest-selling group in the world. Even the more marginal music genres threw up their own supergroups, most notably the Pentangle aggregation, which combined virtuoso folk guitarists Bert Jansch and John Renbourn with singer Jacqui McShee and the jazz rhythm section of Danny Thompson and Terry Cox. But the rock supergroup quickly became a byword for ego, excess and interminable soloing, most spectacularly in the case of Emerson, Lake & Palmer, a prog-tastic alliance whose stodgy, quasi-classical music filled stadiums, but not souls. With the advent of punk, the supergroupТs days were numbered; the notion became not just musically dubious, but a representation of the morally reprehensible separation of artists from their audiences. Now, as Andy Warhol and Sly Stone had claimed, everybody was a star, and to profess oneТs superiority was just about the only form of bad manners recognised by the punk movement. For a decade or so, the supergroup fell out of favour, along with the idea of virtuosity. Outside America, the accent in the Eighties was more on amateurism and unashamed artifice, whether as ironic commentary on the business of pop, or as celebration of its sleek, flimsy surfaces. The only significant supergroup projects were charity one-offs like Band AidТs Ф Do They Know ItТs Christmas?Ф, in which the participantsТ names mattered rather more than their musical abilities. Save for the Wilburys, that has remained the case ever since, as each new disaster prompts its own charity record. So, when the Wilburys got together in 1988, few notions were as utterly discredited as that of the supergroup, which may be a contributory reason for the playersТ pseudonyms: Nelson (George Harrison), Lucky (Bob Dylan), Lefty (Roy Orbison), Otis (Jeff Lynne) and Charlie T Wilbury Jr (Tom Petty). The groupТs genesis came when Harrison was trying to come up with a new B side to УThis Is LoveФ, the single from his Cloud Nine album. He contacted his chum Lynne, who was working with Orbison on the latterТs Mystery Girl album, and persuaded both of them to lend a hand. When George visited Tom Petty to reappropriate a borrowed guitar he wished to use, Petty was roped in, swiftly followed by Dylan. УAnd so everybody was there,Ф Harrison recalled later, Уand I thought, СIТm not gonna just sing it myself, IТve got Roy Orbison standing there Ц IТm gonna write a bit for Roy to sing.Т And then as it progressed, I thought I might as well push it a bit and get Tom and Bob to sing the bridge. Ф When Warner Brothers head Mo Ostin and A&R chief Lenny Waronker heard the resulting УHandle With CareФ, complete with the contributions from GeorgeТs heavy friends, they realised that it was too good to languish on the flip side and manoeuvred for an entire album by the group. With all members bar Orbison contributing songs, the album was completed within three weeks in a makeshift studio erected in Dave StewartТs kitchen in Los Angeles. Its relaxed, genial tone is indicative of the low-pressure nature of the sessions. HarrisonТs УHandle With CareФ and Ф End of the LineФ were the obvious standout tracks, both charting as singles. DylanТs trio of songs highlighted his various strengths: УCongratulationsФ was a melancholy heartbreak anthem and УTweeter and the Monkey ManФ a typical shaggy-dog-story street-life narrative, while УDirty WorldФ offered a surprisingly serviceable variation on the standard rockТn'roll automotive sexual metaphor, the tangle-haired bard indulging in saucy flattery such as УYou donТt need no wax job/ YouТre smooth enough for meФ before the rest of the band chipped in their cryptic commendations. LynneТs production nous ensured that none of the individual players was favoured, and PettyТs talent for cementing styles together proved invaluable throughout. Orbison, meanwhile, was a magisterial presence, his operatic grace lending a classy, high-gloss finish to performances that were, in effect, enthusiastic and affectionate celebrations of the musiciansТ roots in rockabilly, hootenanny and skiffle. Like the album packaging and parodic sleevenotes (by УHugh Jampton, the EF Norti-Bitz Reader In Applied Jacket, University of KrakatoaФ, aka GeorgeТs Pythonic chum Michael Palin), the bandТs name was a light-hearted trifle, deriving from a studio in-joke of Lynne and HarrisonТs, referring either to effects devices they dubbed УwilburysФ, as in Ф trembling wilburyФ, or to the use of such devices at a projectТs mix-down stage, as in УweТll bury it in the mixФ. Trembling, it was subsequently decided, was a less attractive prospect than Traveling. Advance promotion, meanwhile, was restricted to little more than a few postcards proclaiming УThe Traveling Wilburys are coming!Ф over sepia photos of eccentric modes of transport, an understated campaign that gave no hint of the projectТs genealogy, nor its ultimate sales success. Despite the minimal promotional work, and the lack of live performances to support it, the first album shifted five million units, a considerable improvement on the individual membersТ flagging sales profiles at that point. A follow-up was unavoidable, but shortly after the debutТs appearance, Roy Orbison died. Rumours that Del Shannon was to replace him proved unfounded, and any prospect was ultimately dashed by the singerТs suicide; in the end, the four remaining Wilburys Ц now re-named Spike (George), Boo (Bob), Clayton (Jeff) and Muddy (Tom) Ц dedicated the second album, Vol 3, to their late pal Lefty. This follow-up album was both heavier and more refined than the debut, while the participants were less afraid to damage their individual reputations: Dylan, for instance, incorporated a hilarious scatted refrain in УYou Took My Breath AwayФ, and his doowop-styled УSeven Deadly SinsФ employed the same kind of nursery-rhyme counting-song lyrical simplicity that he featured on his contemporary Under The Red Sky album. УCool Dry Place Ф included an offhand reference to Jeff LynneТs old band The Idle Race, while the opening УSheТs My BabyФ was by far the toughest item in their slim repertoire. But the lacklustre dance-parody closer УWilbury TwistФ confirmed that the joke was getting rather thin by this point, and Vol 3 proved to be substantially less successful than its predecessor. Until now, that is. With both Wilburys albums having been deleted with what, considering their lineage, seems indecent haste, a groundswell of interest has built up over the subsequent years. George HarrisonТs plans to reissue remastered versions of the albums were scuppered by his passing, but his widow Olivia has helped to ensure that his wishes have finally been realised. Ironically, the albums sound less out of step with current trends than they did on their original release, suggesting that the Wilburys have perhaps exerted a much greater influence in the intervening years than had ever seemed likely on their first appearance.
Voldar: Have travel, Wilburys By Chris Willman Reading Eagle Ч Friday, November 30, 1990 If respectable, middle-aged rock СnТ roll is suddenly enjoying a second childhood, then the Traveling Wilburys are the superstar enfants terrible of the back-to-basics movement, major artists and elder statesmen whoТve joined forces to collectively cast off the onus of artistic sobriety. And proud of it, man. УThereТs nothing worse than a serious pop singer,Ф says Tom Petty, prompting laughter from his fellow bandmates at the table, George Harrison and Jeff Lynne Ч all Wilburys and each one a convicted Ex-Serious Pop Singer in his own right. Fans who first heard that these three were getting together with fellow rock legends Bob Dylan and Roy Orbison in 1988 to record an alb um might have expected some sort of timely summit from these beacons of several generations. Instead, the Wilburys took the only logical approach that important talents can take in collaboration: serious slumming. A classic of deadpan humor and sly nods to pop tradition, it was more of a barroom battle of the bon mots than a weighty meeting of the minds. Orbison died shortly after the release of the heralded УVol. 1″ album two years ago, but the four remaining members have recorded a follow-up, purposely misnamed УVol. 3.Ф Released in October, it is currently climbing the charts. And, if anything, this delightful and defiantly unimportant album is even rootsier and even cornier than the first one. УYou can still say things while youТre lightening up,Ф Petty says, УBut I think weТre all weary of people who come on for an entire LP Е and give you the impression that this person is trying to tell you real serious things that they couldnТt possibly have an impact on. A lot of the lyrics that I hear on the radio these days sound pompous. IТm not against people being serious with their work, I just think they have to be careful that it doesnТt come off as pretentious.Ф The loose, roughneck Wilbury spirit has infected the solo work of its individual members as well. Though it was recorded prior to the WilburysТ working together, HarrisonТs last solo effort, the comeback УCloud Nine,Ф showed evidence of a definite lightening of sensibilities Ч as do LynneТs УArmchair TheatreФ and PettyТs smash hit УFull Moon Fever,Ф both post-Wilbury releases. And Dylan? One listen to УWiggle WiggleФ Ч the leadoff track that treads the fine line between sexual suggestiveness and infantilism Ч demonstrates beyond the shadow of a doubt that he, too, has succumbed to Wilbury-itis. The three Wilburys on hand for this interview admit that their more serious instincts tend to melt away when theyТre around one another. Says Petty, УI think that last album (the Lynne produced УFull Moon FeverФ) was more like me, more honest in a lot of ways, than a lot of them IТve made. I feel like IТm more comfortable being myself than I have been in a while. Because IТve always had a sense of humor, but I (used to feel) that if I used it, that it would perhaps give the impression that I was throwing away things or just fooling around.Ф Harrison concurs that working with the Wilburys Уgave us a big more freedom than weТd have had individually,Ф says Harrison. УWell, IТm talking about us three, not really Bob. He always did what he wanted when he wanted all the time.Ф The first and most obvious question this time around: What happened to УVol. 2″? УWe havenТt made that yet,Ф quips Harrison. УIs that an obvious enough answer?Ф The title is indeed probably just an offhand joke Ч just as the groupТs moniker is Ч though one might speculate that the missing volume could be, by implication, a sort of tribute to the missing Orbison, and what could have been had he lived to record with the group further. In the two years since the release of the first Wilburys album, most speculation centered on whether there would even be a follow-up, and if so, who would replace Orbison in the lineup. Veterans Del Shannon and Roger McGuinn were most often named, perhaps because Lynne produced some tracks for Shannon (who has since committed suicide) and Petty did some studio work with McGuinn. The group dismisses the idea of a need for an Orbison replacement out of hand. Says Petty, УWhoever we worked with after that album was Сthe next WilburyТФ Ч but only in the imaginations of the press and other onlookers. УIt never came from us or Del Shannon or Roger McGuinn.Ф Harrison maintains that it never occurred to the surviving members to bring someone else in because Уwe didnТt really bring Roy in. He just happened to be there, you know, and thatТs how it came about. So there was no reason to go looking for somebody Е I mean, thereТs already enough of us, anyway.Ф Harrison, Petty, and Lynne had all worked together on various projects in the meantime, but the instigation to dig in and begin work on a Wilburys album actually came from Dylan, according to the other members. ThatТs surprising, because the popular assumption might be that Dylan is the most reluctant Wilbury. Rumor had it that he nearly refused to participate in making the video for УHandle With CareФ when the first album came out, and heТs alone among the group in declining to do interviews to support the new album (as is usually the case when it comes to promoting his own albums as well). The image of Dylan as someone who just gets dragged into the process is belied, however, by the fact he easily does the most lead singing of any of the members on УVol 3.Ф This fact, pointed out to the other three, gives them a good laugh. УWe love to hear Bob sing,Ф says Petty, chuckling. УIt was hard to rub Bob off the track once he sang something, because heТs a really good singer.Ф Good is in the ear of the beholder, of course, and DylanТs famed penchant for first-take spontaneity is obvious on УVol. 3″ as his not-so-smooth pipes stand in enjoyable contrast with the near-perfect УstacksФ of vocal harmonies which Lynne (the former mastermind of ELO) is famous for creating. ItТs almost like putting the old blues singer whoТs crooning for quarters down on the corner in front of the town choir, but it works. УYouТre right,Ф says Harrison, Уit sounds like the kind of raggedy Bob, or what you expect is just one-off or a second attempt or something. Then the backing voices smooth it out. ThatТs quite a good thing, because if Bob wasnТt in it, itТd turn out sounding a little too smooth. He gives that edge to it, the roughness, which is really nice.Ф Dylan wasnТt the only one who worked spontaneously, though. The entire album was put together in about six weeks Ч recording and writing. All 11 of the songs were conceived by all four members as a group. The first song recorded, УInside Out,Ф was written Уwithin an hour or two of arrivingФ at HarrisonТs private studio for the first session. The rest of the album followed at a similar pace. УThatТs one thing weТve done over both albums Ч everything was done at a really quick pace,Ф Petty says, Уwithout much room for second-guessing anything. УIt is hard for some people to understand. It would be hard for me to understand if I wasnТt there. Just the whole concept of writing a song with four people sitting there all contributing things at once is not done that often. But for some reason with this combination of people it works, and itТs even enjoyable. I think weТve all had enough success that we never had any ego conflicts or anything.Ф The difference from the first album is apparent. Whereas УVol. 1″ had songs that stood out as individual showcases Ч УNot Alone Any MoreФ having obviously been crafted as an Orbison ballad, and УTweeter and the Monkey ManФ being in the tradition of Dylan story-songs, for example Ч itТs much harder to differentiate between membersТ roles and functions this time. ItТs hard to disagree with Petty when he says that theyТve now Уcome up with a sound that really sounds like the Wilburys more than any one of us. ItТs a group.Ф DonТt expect to see the Traveling Wilburys actually traveling, though. Harrison and Lynne both hate touring with a passion. The ex-Beatle hasnТt taken his act on the road since 1975, and studio hound Lynne tired of the live circuit with ELO a decade ago. Dylan and Petty are road regulars, but itТs unlikely theyТd convert their more reclusive partners to their way of thinking. УNo, they all knew that I donТtЕФ said Harrison, trailing off. УI never liked to tour,Ф piped in Lynne, a bit more firmly. УSo IТm not gonna miss it much if we donТt.Ф
Voldar: 5 апрел€ 1988 была сделана студийна€ запись HANDLE WITH CARE.
Goldenday: 23 года прошло. — ума сойти! ак вчера было.
Voldar: Ќа оффсайте –о€ к юбилею решили вспомнить и о ¬илбурис,вопрос поставлен конкректно: Do we have any Traveling Wilburys fans in the house? ѕосле этого предлагаетс€ посмотреть клип в котором самого –о€ нет. Traveling Wilburys - She's My Baby http://www.youtube.com/watch?v=VkFunXTcsoA&feature=channel_video_title http://www.royorbison.com/us/news/traveling-wilburys
Ѕорис: Voldar пишет: клип в котором самого –о€ нет. ƒа уж, от проколов (или безолаберности?) никто не застрахован.
Goldenday: предлагаетс€ посмотреть клип в котором самого –о€ нет. ѕросто поразительно.
Voldar: Bob Dylan's Funniest Songs Dylan goes for laughs on these five tracks "Bob Dylan's 115th Dream" (Bringing it All Back Home, 1965) Herman Melville meets Henny Youngman in this frisky tour of American history. Dylan's deadpan comic timing is perfect: "I ordered some suzette / I said, could you please make that crepe?" "If You Gotta Go, Go Now" (The Bootleg Series Vol. 1-3, 1991) Dylan requests a little girlie action, laughing his way into her pants. In the Philharmonic Hall version from Halloween 1964, he has the crowd rolling in the aisles from the intro ("I have my Bob Dylan mask on") to the final come-on: "I'll be sleeping soon, and it'll be too dark for you to find the door." "Tweeter and the Monkey Man" (Traveling Wilburys-Volume 1, 1988) When the Traveling Wilburys album came out in 1988, this outrageous self-parody landed on the fan community like a bomb, from the Springsteen jokes to the fact that it beat the crap out of any song he'd put on any of his own albums lately. Rumors that this song inspired the plot of The Big Lebowski have never been confirmed. "I Want You" (Blonde on Blonde, 1966) Poor Bob Ц hounded by the ladies, coaxed into their beds, when all he really wants is to get back to ... what was your name again? The final verse where he fumbles for rhymes Ц "because he liiied, because he took you for a riiide, uh, because time is on his siiiide" Ц might be his funniest moment ever. "Po' Boy" (Love and Theft, 2001) The poet of his generation turns into a Borscht Belt stand-up, stealing gags from Groucho Marx ("calls down to room service, says send up a room") and busting out a knock-knock joke. Try the veal, folks Ц it's so good William Zanzinger ordered seconds! http://www.rollingstone.com/music/news/bob-dylans-funniest-songs-20110511
Goldenday: Ќикто не сделает точный перевод, что написано о песне про “витера и ћанки-мэна? “екст песни очень запутанный, поэтому и спрашиваю.
Voldar: ≈сть авторский перевод с битлсру,причем обратите внимание на посв€щение автора. јвтор: —ерг ÷веткOFF (Ph.D.) Tweeter and the Monkey Man Tweeter and the Monkey Man were hard up for cash They stayed up all night selling cocaine and hash To an undercover cop who had a sister named Jan For reasons unexplained she loved the Monkey Man Tweeter was a boy scout before she went to Vietnam And found out the hard way nobody gives a damn They knew that they found freedom just across the Jersey Line So they hopped into a stolen car took Highway 99 And the walls came down all the way to hell Never saw them when they're standing Never saw them when they fell The undercover cop never liked the Monkey Man Even back in childhood he wanted to see him in the can Jan got married at fourteen to a racketeer named Bill She made secret calls to the Monkey Man from a mansion on the hill It was out on thunder road - Tweeter at the wheel They crashed into paradise - they could hear them tires squeal The undercover cop pulled up and said "Everyone of you's a liar If you don't surrender now it's gonna go down to the wire And the walls came down all the way to hell Never saw them when they're standing Never saw them when they fell An ambulance rolled up - a state trooper close behind Tweeter took his gun away and messed up his mind The undercover cop was left tied up to a tree Near the souvenir stand by the old abandoned factory Next day the undercover cop was hot in pursuit He was taking the whole thing personal He didn't care about the loot Jan had told him many times it was you to me who taught In Jersey anything's legal as long as you don't get caught And the walls came down all the way to hell Never saw them when they're standing Never saw them when they fell Someplace by Rahway prison they ran out of gas The undercover cop had cornered them said "Boy, you didn't think that this could last" Jan jumped out of bed said "There's someplace I gotta go" She took a gun out of the drawer and said "It's best if you don't know" The undercover cop was found face down in a field The monkey man was on the river bridge using Tweeter as a shield Jan said to the Monkey Man "I'm not fooled by Tweeter's curl I knew him long before he ever became a Jersey girl" And the walls came down all the way to hell Never saw them when they're standing Never saw them when they fell Now the town of Jersey City is quieting down again I'm sitting in a gambling club called the Lion's Den The TV set been blown up, every bit of it is gone Ever since the nightly news show that the Monkey Man was on I guess I'll go to Florida and get myself some sun There ain't no more opportunity here, everything's been done Sometime I think of Tweeter, sometime I think of Jan Sometime I don't think about nothing but the Monkey Man And the walls came down all the way to hell Never saw them when they're standing Never saw them when they fell Ќиже следует пропаганда наркотиков, насили€ и внебрачных сексуальных св€зей. “ем, кто считает, что форум Ц не место дл€ этого: не читать. ѕосв€щаетс€ Sweet Little Qweenie, bk, EVAMARIA и прочим блюстител€м ндравствственности. ” —вистуна с ћартыном был с налом напр€г ѕришлось толкать им план по два бакса за кос€к ћусорку, который закосил под блатар€. ≈го сеструху яну тер ћартын втихар€. —вистун был пионером, после угодил в јфган. “ам усомнилс€ в вере и пристрастилс€ курить план. “еперь ждала свобода их Ц лишь руку прот€ниЕ ’ватай любую тачку и гони, гони, гониЕ —тены рухнули — глаз спала пелена ѕорою жизнь Ц подарок “олько чаще Ц ни хрена. ћусорок ћартына еще с детства не любил, Ѕыла бы его вол€ Ц давно б его убил. ¬ четырнадцать неполных яна вышла за Ѕугра, ћартын ходил к ней тайно и уходил в три утра. √рохот на дороге Ц —вистун вз€т в оборот. ќн истекает кровью, мусор в мегафон орет: Ђ≈ще ребенком был €, а штучки ваши знал. —давайтесь, и немедленно, иначе вам хана!ї —тены рухнули — глаз спала пелена ѕорою жизнь Ц подарок “олько чаще Ц ни хрена. ѕо дороге в госпиталь —вистун сумел сбежать ”бит им при побеге был конвоир-сержант. ј мусор-сука св€зан и брошен мордой в пыль Ѕыть может, подберет его какой автомобильЕ ƒень следущий. ѕогон€. ћусор просто взбешен. ѕрикончить негод€ев, наплевать на закон! —естра ему: учил ты сам мен€ до сих пор, „то в нашем городишке кто не пойман Ц не вор! —тены рухнули — глаз спала пелена ѕорою жизнь Ц подарок “олько чаще Ц ни хрена. «агнали их, как звер€. —ил бежать больше нет. –жет мусор: Ђ¬ыпал вам несчастливый билет!ї —естра, вскочив с постели, собираетс€ в путь. ƒостала револьвер, в барабане Ц шесть пуль. Е» мусор мордой вниз среди пол€ лежит, ћартын на мост забралс€, держит —вистуна, как щит. Ќе одурачить яну париком —вистуна: Ђћне и отсюда видно, то что он Ц не онаї. —тены рухнули — глаз спала пелена ѕорою жизнь Ц подарок “олько чаще Ц ни хрена. ¬се стихло, город скоро позабудет про все. я в казино играю, только мне не везет. ¬зорвалс€ телевизор, и обратилс€ в дым ќт новости, что все еще не схвачен ћартынЕ ћне кажетс€, что скоро € покину этот край, —мен€ю этот климат на приморский рай. ќ —вистуне € думаю, о яне иногда » только о ћартыне € не вспомню никогдаЕ http://www.beatles.ru/postman/forum_messages.asp?cfrom=1&msg_id=4877&cpage=1&forum_id=0
Goldenday: Ќадо как следует обмозговать этот текст: много жаргона и отсеб€тины. Ќеизменна только сама криминальна€ ситуаци€. ¬ообще по стилю больше напоминает русский шансон в исполнении Ўуфутинских и пр.
“Ќё: —огласна. ак-то по-русски вульгарно.
Voldar: Music Review: The Sweetback Sisters - Looking For A Fight Like a pair of luxurious soft cashmere socks for your ears, the silky vocal harmonies of Emily Miller and Zara Bode are a decadent treat. The Sweetback Sisters are a group of very uniquely talented musicians whose personal histories are quite varied, diverse and definitely not your typical country music pedigrees. But when they come together on a song, hoo boy it's magic; you'd think they'd been playing together since they were babies (shh, their home base these days is Brooklyn). With a new album coming out on May 31, courtesy of Signature Sounds Records, entitled Looking For A Fight, the band is sure to woo a huge new fan base. Heck, you don't even have to like the Nashville sound to enjoy this funky pairing of country roots and rockabilly retro. Says Bode: "Sometimes what we deliver is straight out of the '50s; other times it's BR549 meets The B52s." Think "Indigo Girls Meet Sweethearts of the Rodeo and Get Possessed by the Ghost of Patsy Cline While Riding Shot Gun with Bob Wills in a 1939 Ford Pickup," or even "Dale Evans With Attitude and Swagger" and you might be closer to a description of the band's special sound. For obvious reasons, the Sweetback Sisters' rendition of Laurie Lewis' "Texas Bluebonnets" is a winner for me, as is the original song by Emily Miller, "Run Home and Cry," with its jaunty down home humourous lyrics and finger-snapping melody. One track was unexpected: "Rattled," which some of you Traveling Wilburys fans will recognize. The band's take on this favorite tune is more retro and more rockabilly style than the '80s version of the original recording. It's a great interpretation by The Sweetback Sisters. Looking For A Fight has another delight in store for you: The tunes were recorded on analogue tape with vocals sung around an RCA 44 ribbon mic. All this throwback technology is industry-wide known for producing the richest, most pleasing sound of recorded music. Perfect combination for this soulful, yet edgy band. This CD will be played a lot around our house and on long road trips. It's fun and easy listening with just the right icing of nostalgia on songs your mother should know. Hmm Hmm good.] http://www.seattlepi.com/default/article/Music-Review-The-Sweetback-Sisters-Looking-For-1385992.php http://www.myspace.com/thesweetbacksisters
Voldar: What Can I Do? (An Original Song) - A Tribute to the Travelling Wilburys авер от англичанина Sameh Strauch. http://youtu.be/pOQdHnXbpj8
Voldar: The True History of the Traveling Wilburys ƒокументальный фильм 2007 года будет показыватьс€ на офсайте 19 июн€. http://www.travelingwilburys.com/default/index/
Goldenday: ¬друг случитс€ неверо€тное, и когда-нибудь.... ƒокументальный фильм 2007 года будет показыватьс€ на канале "–“ ультура" 19 июн€.
Voldar: Traveling Wilburys Rattled Outtake An outtake of Rattled by The Traveling Wilburys with lead vocals by Jeff Lynne.
Goldenday: Ёх, жаль, что все ауттейки ¬илбурисов низкого качества записи: звук глухой и, припоминаю, плывЄт в некоторых песн€х.
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