Форум » ВСЁ О НИХ » ЛЕНТА НОВОСТЕЙ СТРАНСТВУЮЩИХ УИЛБУРИС (продолжение) » Ответить
ЛЕНТА НОВОСТЕЙ СТРАНСТВУЮЩИХ УИЛБУРИС (продолжение)
Goldenday: Новости, материалы и факты о том составе, ради которого мы все здесь собрались
Voldar: А мы то и не знали...оказывается Дейв самый главный из всех вилбурисов. Dave Stewart played a key role – from afar – in the Traveling Wilburys’ formative days Rock Music — April 20, 2012 6:02 pm Dave Stewart played a key role – from afar – in the Traveling Wilburys’ formative days Posted by Something Else! Reviews Share Dave Stewart, of Eurythmics fame, played a key role in the formative days of the Traveling Wilburys, that 1980s supergroup featuring Bob Dylan, George Harrison, Jeff Lynne, Tom Petty and Roy Orbison. The Grammy-winning musician and producer talked about that period as work continues on his second album in as many years, after 2011′s The Blackbird Diaries. He’s also helmed projects for Stevie Nicks, Ringo Starr and Joss Stone, all while launching his own signature guitar model — called the Dave Stewart Blackbird, of course. Oh, that was him with Mick Jagger in the more recent all-star band Super Heavy, too. He used to being surrounded by other big rock stars. After all, back in the late 1980s, Harrison was living in Stewart’s Encino, California, house while working on the Lynne-produced Cloud Nine — a thrilling comeback for the ex-Beatle, who had been mostly involved with producing movies throughout the 1980s. While working on a B-side for single from the album, the Traveling Wilburys were born. “I was kind of the host/virtual member,” Stewart tells Music Radar. “They recorded it all in my house. I put Dylan together with Tom Petty … George Harrison was living in my house in Encino at the time. Everybody met up there.” The funny part was, Stewart wasn’t at home at the time. Heck, he wasn’t even in the states. “I was busy doing quite a few things in England,” Stewart says. “That Wilburys thing happened really quickly. It all took place around my kitchen table and in my garden. I introduced everybody, went off, and when I came back they had already done it.” Stewart also mentions Harrison as a key element in his own guitar sound, too: “I was influenced by George Harrison from his solo period, the All Things Must Pass album, the melodic soloing,” Stewart says, also listing Keith Richards, Neil Young, Stephen Stills, Ronnie Wood, Mississippi John Hurt, Robert Johnson and Big Bill Broonzy, among others. Stewart’s new album, called The Ringmaster General, will be released in September. Recorded at Blackbird Studios in Nashville, it features collaborations with Alison Krauss, Diane Birch, Jessie Baylin, Joss Stone and Orianthi. http://somethingelsereviews.com/2012/04/20/dave-stewart-played-a-key-role-from-afar-in-the-traveling-wilburys-formative-days/
ТНЮ: Ниньзя какой-то Ещё БГ где-нибудь промелькнёт в кустах.
Voldar: В общем то, о новом альбоме этого крунера уже написали все кому не лень. Damien Leith: Beautiful Sync Damien Leith found himself in an interesting position when overseas sales of his 2007 debut studio album Where We Land suddenly starting spiking over the Christmas break. Although the situation was certainly not unwelcome, it wasn’t completely ideal – Leith had, after all, unleashed three studio albums since then, with recording of his fourth well under way at the time. All this interest stemmed from an international Estée Lauder campaign, which featured his track Beautiful (co-written with Alex Lloyd) – a new recording of which appears on his new album Now & Then. “We never released it, it was never a single,” Leith explains of the song’s sudden rise. “Once Estée Lauder came on board, people got in touch from everywhere, looking for the song. Somebody put up an old version [on YouTube] and I think overnight we got forty-thousand hits, so we felt like this was a good time to put it out,” he laughs. Although the song has never been released as a single, it was always one of Leith’s flagship tunes: he tells TMN he has performed it at every show he has played. Although a co-write with Lloyd, Leith claims its genesis stretched back even prior to this: “I’ve been playing that for years – even before Alex and I got together, it’s a song I’d been working on. So I had a version in the past, even before the one we originally recorded. So it’s always been there – in a way it’s a pity we hadn’t released it ‘til now, it’s just the time was wrong.” The timing certainly seems right for Leith at the moment. With his last record Roy– a collection of Orbison covers which showcases his impressive range–having sold Platinum, Leith is set to launch his career on the international stage, with a new album containing both his own compositions, and a handful of tracks written (or originally performed) by the members of the Travelling Wilburys. Despite the obvious disconnect between composers, the album flows seamlessly, with Leith joking about being asked when he wrote the Jeff Lynne-penned Can’t Get It Out Of My Head. “I wanted to get back to [showcasing] myself as a writer, but at the same time we kinda wanted to make a smooth transition from Roy. It worked out better for me anyway: the covers on there I know very well, they continue where we left off with Roy, as Roy [Orbsion] was with the Travelling Wilburys. It’s a nice move. I’ve always been inspired by those writers, I can’t write as well obviously, but it’s a similar sort of style. It melded really nicely. It was actually quite an easy one to record. Some albums you labour over for ages, but it was a pretty easy-going recording.” In keeping with both his past sound and that of the Wilburys, Leith shied away from digital recording techniques and effects, laying down three songs in Nashville (“Those guys are, you know...they’re ‘cats’,” he marvels. “These guys literally just sit down and nail it first time.”) with the rest of the album recorded back in Australia, in a relatively live studio setting. “I wanted to get down to a real live sound. This album, especially, is very live. I play a lot on it, too, which I wanted to do. That was really important to me. I really didn’t want anything digital at all. Nothing against digital,” he quickly adds, “but I love that warmth you get from a live sound. Roy set it in motion. That was very live and got back to what I like doing and how I like playing. I’m happiest with just a guitar, and a bit of piano. It was very old school, and I love that.” With international interest, Now & Then is to be released in several territories, with Leith jetting over to America and the UK in the next few months for quick-stop promotional visits. Even with this continent- hopping, Leith is unlikely to be as busy as he was in 2011: promoting a new record, starring in New Idea Test Kitchen, as well as stepping out of his comfort zone for Dancing With The Stars. Despite appearing on the television more often than Rebecca Gibney last year, Leith insists he didn’t court the small screen. “I like it. I’m not going after it though,” he adds. “The offer came, I had the gap, we had an album coming out, so that was a consideration, but also I just figured ‘what the hell?’ It worked out well, surprisingly. I thought I was going to bomb. It was so hard, I’ve never done anything as hard in my life. I liked it a lot, but geez, it was so hard. The hours of dancing and training - my body was wrecked from it.” Although Leith is scaling back his television commitments this year, he is also aware of the power of the medium – after all he has a commercial to thank for his international success. “The Estée Lauder thing is for the next couple of years, so lots of people are going to hear Beautiful, and it’ll get more awareness. Even with the sales [of the debut record], it was all coming from America and back in the UK, which is great,” he enthuses. “It was a real surprise. It came out of the blue.” http://www.themusicnetwork.com/music-features/artists/2012/05/02/damien-leith-beautiful-sync/
Voldar: Упоминание о любимой группе в несколько неожиданном контексте. NEST’s eight golden rules of communication The National Employment Savings Trust has unveiled its eight golden rules of communication which will guide its conversations with members. They are aimed at workers entering pensions for the first time under auto-enrolment and are designed to help them understand why they are entering a workplace scheme. NEST chief executive Tim Jones (pictured) said the rules were designed to "work together". He compared them to late 1980s supergroup the Travelling Wilburys. He said: "So what is important about the Travelling Wilburys? Great music but also the fact that Bob Dylan, Jeff Lynne, Tom Petty, Roy Orbison and George Harrison managed to work together to create wonderful music. "It was all about team work and about them suppressing their own individual egos to work together, allowing their individual talent to shine through. So what we think is these individual rules work together, it's difficult to pick and choose from them and remain coherent." Read more: http://www.professionalpensions.com/professional-pensions/news/2178693/nest-s-golden-rules-communication#ixzz1vh4Xdqhl
Goldenday: Да-а...... необычное мнение.
Voldar: Так вот он какой...,нет не северный олень,а папаша Вилбури. Father's Day Gifts The Wilbury's 'Father', Charles Truscott Wilbury, taken from THE TRAVELING WILBURYS. http://www.genesis-publications.com/News/fathers-day-gifts/0706
Voldar: Коля Жильберов,порадовал в очередной раз,выложив прямо у себя на сайте 5.1 DTS V.1. http://www.elodiscovery.com/Jeff-Lynne-Electric-Light-Orchestra-Downloads.html
SLQ: Видео с записи альбома Дела Шеннона. На видео есть Джефф, Том, Бенмонт Тенч, Хауи Эпштейн. Возможно, что все это видели уже, но я вот впервые нашла это сегодня. На всякий случай делюсь.
Goldenday: Спасибо!!! Просто супер!! Я тоже впервые вижу эту запись.
Voldar: Лена,какое же вам суперспасибо за эту находку(второй раз за день суперспасибо,ну это не часто бывает),только сегодня смог это посмотреть и уровень записи по приобщению к прекрасному очень близок к home video Джима Келтнера( может это он и подкрался незаметно?) и время общего творческого подъема этих парней примерно тоже.И ещё ,после просмотра создается впечатление,что слухи о замене Роя - Делом,были отнюдь не на пустом месте.
allamina: Даа, весело они это делали.. как всегда) Покурили, поматерились, похлопали себя по ... различным частям тела, заодно и альбом записали. Приятное видео.
Voldar: На офсайте Тома,появилась очередная часть гитарных уроков Майка. Mike Campbell: The Guitars - Chapter 13: Handle With Care: (Another) Invaluable 1964 Fender Stratocaster In Chapter 13 of our series, Mike introduces us to another beloved Strat and tells us the story behind the beautiful solo on the Traveling Wilburys' "Handle With Care,". У кого проблемы с заходом на сайт,все уроки Майка можно посмотреть здесь: http://mr.tompetty.com/tv/1555-2/
Voldar: Как то это глубоко символично для нашего форума,что чарте биллборд 200 альбомы Джеффа и Тома находятся рядом. http://www.billboard.com/charts/billboard-200#/charts/billboard-200?begin=121&order=position
Goldenday: А что-то я там их не увидел
Voldar: Мистика какая то,а были на 128 и 129 месте.
Goldenday: Может, там всё время показатели меняются?
allamina: я тож подумала, что глюк... зато на 50м месте нашла Тома с грэтс хитсами, к которому Джефф приложил руку как-никак
Sergey`M: Зато там в дискографии Джеффа уже числится второй сольник - "Long wave". http://www.billboard.com/charts/billboard-200#/search/jeff%20lynne А первый Armchair Theatre - на 83-м месте за 1990 год.
полная версия страницы