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ELECTRIC LIGHT ORCHESTRA - 2
Sergey`M: ...при участии президентского оркестра республики Беларусь. Главный дирижер А.Лукашенко.
Voldar: Может он их у себя и оставит.Ну электричество давать или ещё чего.
Sergey`M: Володя, они себе не только на пропитание заработают, они всю денежную массу из оборота страны выкачают с такими ценами на билеты!
Voldar: Я так и думал,что это самый быстрый путь,чтобы вернуть Белоруссию в братскую семью славянских народов.
Goldenday: Хохмачи вы
Борис: Над батькой Сашкой только ленивый не ёрничает, а здесь и второго мальчика для битья присовокупили. А между прочим, по мнению тамошних очевидцев Орчестра большим успехом на концертах всегда пользовалась.
Voldar: Земляки Джеффа решили померить ,уж не знаю чем,группы из Бирмингема. Birmingham's Top Ten Bands: Do you agree with our list? Black Sabbath Mention the words ‘music’ and ‘Birmingham’ and many will simply reply with one word – Ozzy. The sound of industrial Birmingham was spread around the world thanks to the doom-laden guitar riffs and rumbling bass and drums of Black Sabbath. Formed in Aston in 1969, and inspired by the echoes of heavy engineering around them, singer Ozzy Osbourne, guitarist Tony Iommi, bassist Geezer Butler and drummer Bill Ward shared the heavy metal message on hit albums like Paranoid and Master Of Reality. It fell apart due to the excesses that fame and fortune brings but Iommi has continued to fly the Sabbath flag while Ozzy became a reality TV phenomenon. Duran Duran An indication of the popularity of Duran Duran is the way the Rum Runner club on Birmingham’s Broad Street has gone down in musical history due to the group being resident band there during the late '70s. Early incarnations included Stephen Duffy and Andy Wickett but the classic line-up of Simon Le Bon, Nick Rhodes and the Taylors, Roger, Andy and John (all unrelated) came together in 1980. Coinciding with the New Romantic movement and the launch of MTV, the band’s timing was perfect and they made the most of their pretty boy image and the public’s appetite for lavish videos, selling more than 80 million records worldwide. Electric Light Orchestra A rock band with a classical twist – that was Roy Wood’s vision for Electric Light Orchestra. The group was conceived while Wood was with The Move, and he recruited Jeff Lynne and Bev Bevan to share his dream. They were joined by Bill Hunt on horns and keyboards and violinist Steve Woolam on the self-titled debut album, released in 1971. Despite Roy quitting during the making of the second album ELO went from strength to strength with Jeff Lynne the driving force. From 1972 to 1986, they had 27 Top 40 singles in the UK and the US. Ocean Colour Scene Moseley stalwarts OCS made their big breakthrough with a little help from their friends. A stuttering start to their musical career was turned around by the intervention of heavyweights Paul Weller and Noel Gallagher. The ex-Jam and Style Council star asked guitarist Steve Cradock and singer Simon Fowler, a former Post & Mail journalist, to contribute to his records, and Cradock to join him on tour, while Gallagher invited OCS to support Oasis. With the record companies alerted, the album Moseley Shoals was born, reaching number two in the charts and yielding four hit singles. The Move Before ELO and Wizzard, Roy Wood and Bev Bevan were members of The Move. Although bassist-vocalist Chris “Ace” Kefford was the original leader, for most of their career The Move was led by guitarist, singer and songwriter Roy Wood. He composed all the group’s UK singles and, from 1968, also sang lead vocals on many songs, including Flowers In The Rain, the first ever track to be played on Radio 1 in 1967. The final line-up of 1972 was the trio of Wood, Bevan and Jeff Lynne, who transitioned the group into the Electric Light Orchestra. Since 2007, original members Trevor Burton and Bevan have performed as ‘The Move featuring Bev Bevan and Trevor Burton’. The Beat The Beat (known in North America as The English Beat) – Dave Wakeling (vocals, guitar), Ranking Roger (vocals), Andy Cox (guitar), David Steele (bass), Everett Morton (drums), and Saxa (saxophone) – were a 2 Tone ska revival band founded in 1978. Their songs fused ska, pop, soul, reggae and punk rock; hits included Mirror In The Bathroom, Too Nice To Talk To and a cover of the Andy Williams staple, Can’t Get Used To Losing You. The Moody Blues Formed in Erdington in 1964, The Moody Blues have sold over 70 million albums with their distinctive blend of rock and classical music. Their many hits include Go Now, Nights In White Satin and Question. Still touring as a trio, with Graeme Edge now the only original member, along with Justin Hayward and John Lodge, who both joined the band in 1966. UB40 The mean streets of Balsall Heath, Moseley and Kings Heath produced reggae rhythms from an unlikely source. Named after an unemployment benefit document, UB40 featured brothers Robin and Ali Campbell, sons of folk musician Ian Campbell, who initially created a buzz around south Birmingham by advertising nonexistent gigs by the band. Debut album, Signing Off, was recorded at a Kings Heath bedsit and they hit the mainstream when Chrissie Hynde and the Pretenders invited them as support on tour. Seventy million record sales later and Ali has acrimoniously quit the band, to be replaced by his brother Duncan. The Twang One of the newest breed of Birmingham bands, this five-piece from Quinton formed in 2001. The band, originally called Neon Twang, have released two studio albums – Love It When I Feel Like This (2007) and Jewellery Quarter (2009). The currently untitled album will be the third from The Twang – Phil Etheridge, bassist Jon Watkins, vocalist Martin Saunders, guitarist Stu Hartland and drummer Matty Clinton – and is set for release in January 2012. The Streets He’s been compared with Eminem but the rapper from West Heath is his own man. Using the moniker of The Streets, Skinner had his breakthrough hit in 2001 with Has It Come to This?, followed the next year by debut album, Original Pirate Material. Always looking to push things forward, second album, A Grand Don’t Come For Free, was a concept project and album number three, The Hardest Way To Make An Easy Living, explored Skinner’s view of fame. He’s now killed off The Streets, with this year’s Computers And Blues the final release. http://www.birminghammail.net/news/top-stories/2011/10/05/birmingham-s-top-ten-bands-do-you-agree-with-our-list-97319-29542854/2/
Goldenday: Смешные, ей богу: ставят выше эпохальных Муди Блюз (про ЭЛО вообще молчу) Дюран-Дюран, у которой, в принципе, всего пара известных альбомов.
Voldar: На немецком ресурсе Face The Music Germany опубликовано интервью с записывающим звукоинженером Диком Плантом,который работал с ЭЛО на записи альбомов "On The 3rd Day", "Eldorado" and "A New World Record,также он поработал с Роем Вудом. Peter Sutter: What can you tell us about the studio technology used in those days at De Lane Lea Studios? (e. g. studio equipment, studio furniture, acoustics, mixing desk, tape recorders - was it 16 or 24 tracks back then?-, gadgets) Dick Plant: We had 16 tracks at the time of On The Third Day, then I think we were at 24 tracks for Eldorado. There weren't many gadgets around then, though, apart from compressors and eq. PS: Jeff Lynne said in an interview from 1974 that ELO wasn't so much a group thing in the studio. To what extent did the other band members suggest ideas and help Jeff in the studio? Would you agree that Richard Tandy was Jeff's right hand man in the studio? DP: I would absolutely agree with that. Richard was very inventive with synths and was a brilliant player. As I said earlier, Jeff pretty much knew exactly what he wanted and worked towards the idea he had in his head, and he guided and instructed his musicians to that end. PS: Did Jeff Lynne always have a clear idea about the sound he was aiming for? To what extent did he give you your freedom or ask for advice? DP: He was happy to let an engineer go his own way about achieving something just as long as the end result was how he envisaged it. PS: In an interview, you said about Jeff: "He was very inventive and had an individual way of approaching certain aspects of recording." Could you explain that in more detail or give examples? DP: I can give one example which is in the way he approached recording the drums, at least on the sessions I did. We would close-mic Bev's kit and he would play the drum part as per Jeff's instructions. Jeff would tell him where to put fills and kept the part strong but relatively simple. After that was done, we would set up ambient mics at a distance from the kit and record the whole drum part again as a double-track. Then the two passes would be balanced together - it produced a very individual but powerful drum sound. Another odd thing was that he would often put down a guide vocal on a song before he'd finished writing the words. He had the melody done but no words as such, so he would sing phonetic noises which he felt complimented the melody and then come up with a lyric later that sounded similar to the noises he'd made. I remember one occasion when he was very happy with the garbled guide vocal he'd recorded and didn't want to re-do it, even though it was just meaningless sounds. Roy Wood came into the studio and Jeff asked him for a bit of help, saying, "What do you think this line sounds like?" or, "Could I change this into something sensible with a small overdub?" Most of the song remained as he'd originally recorded it, with just a few minor changes. When we mixed it, we effected the voice quite a lot so that it was fairly indistinct and the new lyric worked pretty well in relation to what was on tape! PS: You obviously engineered ELO's sound on "OTTD" and "Eldorado". Were there any further recording sessions with Jeff Lynne or ELO? (e.g. what about the post production for the live album "The Night The Light Went On In Long Beach"? Were you involved?) DP: No, I wasn't involved in that - I just did the two albums PS: ELO already had already started recording songs (e.g. Showdown, Ma-Ma-Ma Belle, Dreaming Of 4000) for their third album "On The Third Day" in spring 73 at Air Studios. Sessions were moved to De Lane Lea studios later that year. Were the songs they recorded in spring completely finished at that point, or was there some additional recording/overdubbing to be done? DP: I remember that some songs were already down on multi-track - I believe there were some overdubs done with me but all the mixing was done at De Lane Lea, I think. PS: What do you remember about the way ELO recorded the songs for "On The Third Day"? (Their second album was basically recorded live in the studio, with very few overdubs and no edits). DP: As I recall, the tracks I did were pretty much built from the ground up. There may have been a basic rhythm section put down to start off with, but even some of that was sometimes done again. PS: Did they add the strings at a later stage? DP: Yes PS:Comparing OTTD and "Eldorado" what do you think are the main differences between those two albums in terms of the recording methods and the equipment used? (My personal impression is that for Eldorado, ELO may still have recorded the basic rhythm tracks live in the studio , but that Jeff overdubbed more things than on OTTD) DP: I think that's correct. The equipment was basically the same, although I think we might have had a new Neve console installed for the later album. PS: What do you remember about the orchestra sessions for "Eldorado"? DP: I remember that one violinist sat down and looked at Louis' parts and exclaimed, 'It's black!' meaning that there were so many notes written! They found it difficult to do and struggled quite a bit. I think that's why they were unhelpful - they found it hard going - they weren't used to having to concentrate on such complex parts. PS: How long did it take to record "OTTD" and "Eldorado" respectively? (Can you remember any time frames or recording dates?) DP: I really can't remember, I'm afraid. PS: On Showdown, Jeff Lynne used female background singers. Have you got any information about those women? DP: They were three girls who were regular and well known session singers. I can't remember exactly who they were, but I do know that I knew them all well at the time. The female session singers back then were brilliant - much easier to work with than the guys. They always made a real effort to look nice, as well, which was good for morale! I remember that there was a fashion for very floaty and transparent dresses that they used to wear. Nothing to do with an ELO session, but we discovered that, by turning off the main studio lights and putting a single light low down at the back of the studio, we could see right through their dresses! They knew we were doing it, too, but it didn't bother them. Great girls! PS: On "Eldorado", the prologue is credited to Peter Forbes-Robertson. What do you know about this man? Was he a friend of Jeff's? (The only thing I found was that he might have been an actor. Not sure, though) DP: Sorry, can't help you with that one PS: Is there any unreleased ELO/Lynne stuff from those sessions? DP: I don't think so, but I couldn't be sure PS: What was it like working with Roy Wood? DP: It was a lot of fun. Roy is a more relaxed character than Jeff and we got on well right from the start. We became good friends and we're still in touch today. Mind you, if we'd had a thousand tracks to record on, I think Roy would have liked even more! PS: Like Jeff, you write in the above-mentioned interview, Roy Wood was very inventive in the studio. Can you give examples? What did you learn from Roy? DP: I would say that we learnt from each other, really. Roy was easy going and open to ideas from others, although nothing deterred him from his original goal. The thing about Roy was that he could, after a little practice, learn to play any instrument at all. Many times he hired things in that he would sit with for a while and then get to play quite well enough to put a part down with a few drop-ins. PS: Despite all the similarities, can you think of any differences with regard to the way in which Roy and Jeff approach things in the studio? DP: Jeff was more regimented than Roy. Roy liked to enjoy himself, probably a little too much sometimes, in the studio. Jeff was more heads down and get on with it. PS: Is there any unreleased Roy Wood stuff from the sessions you engineered? DP: An album we did back in 1976, which was shelved by his record company, finally became available a little while ago. It's called Main Street and, in retrospect, has some quite extraordinary guitar playing on it. PS: Do you have a favourite Roy Wood story? DP: Yes, but not one that would be fit to print! -------------------------- Note from Martin I asked Dick if it was true that members of the orchestra actually stopped playing and started packing their instruments away when their time was up during the recording of the Eldorado album ... I did the ELO session where the musicians packed up before the track was finished. This is as my impared memory has it. It was Louis Clark’s first London session and, because he was a shy, new face that none of them recognised and had no respect for, they gave him a particularly hard time, larking about and taking the micky. Just shows you how arrogant they were then. Also, the parts were seriously complicated – the sheets were black with dots – and the players gave the impression that they felt they were being put upon. Consequently, the session over-ran and the last track was not quite done by the time the witching hour arrived. At this point, the players at the back – cellists mainly – started putting their coats on and playing with their gloves on. I’d been around a bit by then, but I was personally astounded at their cavalier attitude and Jeff was quite rightly incensed. As I recall, he stopped the session and let the poor babies go home to bed. But I got the impression he was already hatching a plan. I don’t know who made the arrangement – it might have been Don Arden – but a couple of days later we were back in the studio and Jeff announced that Don Smith (aka Dr Death) who was the big cheese of the MU at the time, would be coming in to discuss the situation with Jeff. A little later in the day, the intercom rang and Jeff was informed that Mr Smith had arrived to keep his appointment. Jeff told the receptionist to send him along to the studio, and instructed everyone else present not to say anything to him when he turned up. A couple of minutes later, Don Smith crept in to an acknowledging nod from Jeff and sat down. I can’t remember exactly what we were doing at the time, but it was overdubs of some sort, and Jeff carried on with this for at least 20 minutes or so before calling a halt and finally addressing Don Smith. He viciously rounded on him and gave him an absolute lambasting for the way his ‘members’ had behaved the other night, telling him the only reason we over-ran was because they were so incompetent that they were unable play the parts and had to go over them so many times to get them right. Bear in mind that Don Smith was a seriously important character in the scheme of things in those days and I don’t think he’d ever been in front of someone who dared to speak to him in such a deprecating fashion – probably in his life! He visibly crumbled and the outcome was that he told Jeff that he could have the musicians back to finish the job they’d started at no extra cost, and that the studio time to cover the job would be paid for by the MU. I don’t think the original cellists were there, though – in fact I seem to recall that it was a completely new bunch altogether. Subsequently, Louis Clark’s sessions were given a heck of a lot more respect by the musicians that played on them, to the point that they really buttoned down and did their best in future. Louis’ confidence also grew and he became firmer and more self assured in handling them. http://www.cherryblossomclinic.freeserve.co.uk/dickplant.html
Voldar: Что то в последнее время разговорились звукоинженеры,работавшие с ЭЛО.Kenny Denton работал с группой на записи Эльдорадо.Вот отрывок из его книги "THERE AIN'T NO RULES IN ROCK 'N' ROLL"Как же лестно ,парень отзывается о Джеффе. "Eldorado"- The Album I think Jeff Lynne would probably be the first to say he was difficult to work with and I would be the second. Jeff and I were thrown together to record the tracks for the album "Eldorado". In January 1974 Louie Elman told me that Jet records had booked studio time in February so that “The Electric Light Orchestra” could record their new album. Dick Plant who had engineered the previous ELO album was booked on another session, so Louie asked me to Start the recording. I reminded Louie I was to be married and going on Honeymoon on the 16th of February. “That’s fine” he said, “Dick would have finished his other session and will take over on the Monday the 18th”. So in February I started recording the ELO album later to be entitled “Eldorado”. I recorded the basic Drum/ Bass/ Guitars /Piano/ and guide vocals. The band was Bev Bevan (drums) Michael de Albuquerque (bass) Richard Tandy (keyboard) and Jeff Lynne (guitar piano and vocals and ego) the guys were really nice and easy going except for Jeff. I found it very difficult to strike up any rapport with him throughout the sessions. All engineers work in different ways, and I feel sure that Jeff was disappointed that Dick was unavailable to start the recordings. A confident working relationship between engineer and artist takes time and Jeff had already built this association, whilst working with Dick on the previous album. So his concerns were understandable. We spent the first day getting the drum sounds together. (That was a long time back in 74). I ended up using the old cigarette packet with masking tape on the kit, we all agreed, especially Bev it sounded great. Once we put the first rhythm track down, Jeff said, “Can you take the two overhead 87 microphones from the drums and place them about 4 feet away and record a stereo track whilst Bev doubled the original drum track”. Well! This definitely made the drums sound bigger, but our amazing wonderful tight clean weighty drum sound, sounded like shit, ambient, loose, none distinctive, messy and awful. Lynne was the only one thrilled with the effect so we continued to do this on every track we recorded. We all thought Jeff was mad. Once the track was in a reasonable shape, Jeff would put down a guide vocal, slurring through a melody with an occasional lyric line. The original guide lyric line for the chorus of Eldorado was “ I’m Dying”. If you can imagine working on these titles in the early stages, with the non-lyric droning melody from Jeff, over the ambient sound, along with the absence of the wonderful string arrangements and magnificent choral additions from Lou Clark, the whole album sounded like a bunch of rough cheap demos. At one point Don Arden arrived to have a listen to what was going on in this haven of creativity. After listening to the playback of a couple of titles he walked out in disgust. There was also an ongoing squabble in the music press at the time between Jeff and Roy Wood. Lynne’s remarks in the studio about Roy whilst reading these articles, really didn’t do anything to enhance his character to me. I think Michael de Albuquerque summed it up in an interview with ELO fan Martin Kinch some years later when he said “I thought the “Eldorado” thing, was again Jeff trying like mad to find a direction, there was a lot of pressure on him don't forget, you'd got all those mouths to feed, all those management people looking at you, and secretaries, and so forth you know. And you know you've got this desire to do things, without maybe the correct inspiration getting in place. I felt that again it was him pushing for a direction that still maybe wasn't there”. And of course Albuquerque left the band at this time. Listening to the final playback of the finished album, with not a drop of reverb on anything, but plenty of Echo on the vocal (the old 28ips tape delay through the Studer B62). It appeared to be a total mish mash of Jeff’s imagination. Once the album was released in the USA, it went Platinum; I then listened to it again. What a wonderful drum sound and the most amazing dry technique on all the instruments. It was probably the only time I ever agreed with Don Arden, a MASTERPIECE! “Nothing succeeds like success”. My personal feelings about Jeff Lynne have been outweighed over the years by his extraordinary talent as a record producer/song-smith (Not writer) along with his amazing ability to have created and produced some of the greatest pop recordings of all time. http://www.cherryblossomclinic.freeserve.co.uk/kennydenton.html
Voldar: Очередное издание прошлого года ,по звучание похоже на японческий ремастер. Electric Light Orchestra - The Classic Albums Collection [11CD Box Set Sony Music] (2011) релизер ALLexxess FLAC 4,76 Gb http://narod.ru/disk/37633570001/ELO%20Classic%202011.part1.rar.html http://narod.ru/disk/37637976001/ELO%20Classic%202011.part2.rar.html http://narod.ru/disk/37655908001/ELO%20Classic%202011.part3.rar.html http://narod.ru/disk/37660336001/ELO%20Classic%202011.part4.rar.html http://narod.ru/disk/37664849001/ELO%20Classic%202011.part5.rar.html
Voldar: Эломан Тед Blight сделал интерактивную книгу Time,но в формате ibook для яблочного планшетника. скачать можно здесь: https://files.me.com/aquaboy/9yyju3
Goldenday: А эту хреновину можно чем-нибудь на ПК посмотреть?
Voldar: Если найдешь, думаю, все будут тебе благодарны.
Sergey`M: Voldar пишет: Эломан Тед Blight сделал интерактивную книгу Time,но в формате ibook для яблочного планшетника. Нафига так выпендриваться. Пусть сам свою книгу читает.
Voldar: Просто удивительно,что практически без всякого участия создателя,его музыка живет и можно сказать побеждает.На родине уже вторая трибьют банда,а за океаном тоже не забывают. Welcome to ELO AGAIN - The best ELO Tribute band in the world! ELO Again - The worlds number 1 Electric Light Orchestra Tribute show. Recreating the unforgettable sound of ELO and playing all their hits. http://eloagain.co.uk/ The Symphonic Rockshow - ELO Livin' Thing Brody Dolyniuk is an American singer. He is on tour with the "Symphonic Rockshow": a rock band and over 25 classical musicians and vocalists. They perform "Livin' Thing" by Electric Light Orchestra on stage.
ТНЮ: Вспомнила из ".... руки": "Сеня, объясни товарищу, почему Володька сбрил усы" - ПОЧЕМУ у них Ричард с красными волосами???? Ладно, зад не убавить быстро, .... тёмного парика не нашлось?
Борис: Второй исполнитель поинтересней. Обои выказывают некий симбиоз между Орчестрой и ELO на этапе Zoom. А чего стоит грим гитариста под Линна?
Voldar: Зато у первых почти весь репертуар.
allamina: Эгейны позабавили: смешная породия (им сниматься в передаче Большая разница), особенно, как "Линн" старательно дергает головой, он еще не допер, что еще надо регулярно с грустинкой такой посматривать на "Келли"! Не зачет поменявший пол, потяжелевший и, соответственно, округлившийся в некоторых местах, но потерявший в других, "Мик" (простите уж мне мой "девичий" угол зрения, но всегда взгляд запинался за слишком узкие штаны скрипача )) Но нет предела совершенству А вокал отвратный... Симфонист же наоборот уперся в вокал, старательно копируя интонации, и смотреть гораздо приятнее Сойдет для трибьютов!
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