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ЛЕНТА НОВОСТЕЙ ДЖЕФФА ЛИННА - 4

Goldenday: 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.

Ответов - 301, стр: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 All

SLQ: Пойду про Джеффа почитаю. И про Тома напишу обязательно ближайшее время.

Goldenday: Японцы всегда добавляют какую-нибудь изюминку, чтобы свои, да и чужие, покупали именно японские товары. Короче, это называется поддержкой отечественного производителя.

Voldar: С офсайта убрали промо аудио первых шести треков с The Best,но три уже можно послушать из других источников. на всякий случай ещё один

Voldar: Друзья,я наконец добрался до сайта и сейчас на главной полная страница посвящена возвращению Джеффа.Если есть замечания и предложения, давайте подправим вместе. Также нам надо сделать целую полосу о прошедших в Европе гастролях Тома,тем более у нас есть непосредственные участники событий.Сама наша главная томолюбка Лена ,собиралась написать статью о своих ощущениях.

Goldenday: Володь, отлично сработано По-моему про Джеффа добавлять практически нечего. Ну может быть, разве что про DVD, который выйдет 10 сентября, но это на твоё усмотрение. В принципе, не самое примечательное: http://www.voiceprintdata.com/trade/index.php?location=/one_sheet/HST108DVD А Николя на своём сайте задаётся вопросом о второй части "Длинной волны", основываясь на пластинке, проданной с аукциона. JEFF LYNNE - DOWN THE LANE AND FAR AWAY Unreleased songs/Chansons inédites: The Sunshine Of Your Smile (Ray-Cook) Stardust (Carmichael-Parish) Sally (Annie Lipman) All Alone Am I (Altman-Hadjidakis) Sleepwalk (Instrumental) (Santo & Johnny Farina) Some Enchanted Evening (Rogers-Hammerstein) Night And Day (Cole Porter) My Prayer (Boulanger-Kennedy) Goodbye My Love (Simington-Swearingen-Mosley) You'll Never Walk Alone (Rogers-Hammerstein) Saturday Night At The Duck Pond (Instrumental) (Tchaikovsky) http://www.elodiscovery.com/all-over-the-world.html Отрадно, что нашего Петра Ильича Джефф тоже не забывает

Voldar: Спасибо Димыч, что Джефф зажал половину песен стало ясно после продажи этого CDR, вот повезло кому-то.

Storiesofold: что творится, альбом ещё не вышел,а уже столько всяких дополнений и японских прелестей, куда бежать?

Goldenday: Да, с Джеффом так бывает: то пусто, то густо.

Sergey`M: Новые диски Джеффа уже на подходе, это факт. Но я надеюсь, что мы когда-нибудь услышим и ушедшую налево продукцию, проданную с аукциона?

Voldar: Может конечно и услышим,но похоже правообладатели и издатели приняли определенные меры,по устранению утечек новых альбомов в сеть до официального релиза.К счастью альбомов Джеффа и даже нового альбома Боба,который должен выйти 11 сентября в сети пока нет.

Storiesofold: а кто нибудь качает музыку по пиринговым сетям, там очень много раритетов и суперновых редкостей всплывает, помню лет 10 назад качал редкие вещи Пет шоп Бойс, там на три диска нарезал материала,а он только теперь стал официально издаваться, у кого-нибудь есть подобный опыт? Уверен,что Линна супер уникального там завались.

Goldenday: Практически весь уникальный Линн выложен на "торрентс.ру": http://rutracker.org/forum/viewtopic.php?t=3256674

Storiesofold: нет,это мы давно проходили, суть пиринговых сетей в том,что можно подключиться к любому компу и скачать файлы с него, даже к компу Линна или его администратора или там кого то приближенного, торренты это легальная штука по сравнению с тем что я описал. То ,что вы описали это совершенно не уникальный Линн, в своё время я скачивал треки и демки с личных компов мировых исполнителей, вот это было уникально, жаль из-за проблем личного плана я растерял данную технологию,а может оно и к лучшему

Goldenday: Что-то мне подсказывает, что Джефф не держит свой материал на компе и шансы получить его рабочие записи примерно такие же, как у Ивана Царевича, который должен был найти смерть Кащея, запрятанную на дубе в сундуке, в утке, зайце и пр. Посудите сами: человек в одиночку записывает весь альбом. Поэтому и песен в сети до сих пор нет, что всё держит под своим личным контролем. Вон, студийную запись песни Beatles Forever за 29 лет никому не удалось скачать, о чём тут говорить...

Voldar: Это вы ребята все правильно написали. Storiesofold пишет: а может оно и к лучшему все, что ни делается - к лучшему.

Sergey`M: Всё, что считает нужным, Джефф выложит публике, время придет. Про пиринговую сеть можно сказать, что это бардак, рыться в чужом компе в надежде найти что-нибудь. Ничего ценного там, как правило, не найти. Будет кто-то раскрывать свои укромные разделы винчестера. В торрент-сетях хватает материала. Мир не без добрых людей.

Шубидуба: Дружественный форум пока спит, а здесь, вроде, есть какое-то движение. Вот, появились preview к Long Wave:

Goldenday: Шикарно! Мурашки по коже.

allamina: да... нравятся мне эти незатейливые ударные минимум звенящих тарелок Прекрасное произведение буду слушать на ночь. для спокойствию и умиротворению

Goldenday: Единственное: я не думал, что 'Let It Rock' Джефф будет аранжировать настолько близко к первоисточнику. Ожидал что-то более электрическое, ураганное и близкое к 'Roll Over Beethoven'. Ну да ладно! И так здОрово.

allamina: я тож заметила "ровность".. Надо послушать полностью. Мож Джефф решил не взрывать лишний раз и сделать альбом концептуальным до безобразия

Goldenday: Если, как предполагают некоторые, выпустит в будущем третий сольник (именно свой сольник, из своих песен) - я думаю, там будут другие аранжировки, больше "электричества" и другой звук. Дождаться бы...

SLQ: Эх, не успела посмотреть. Видео уже удалили. :(

Voldar: Черт,Лена вы не одиноки и перепоста пока нет.

Шубидуба: На elo.biz превью всех песен с Mr. Blue Sky.

Goldenday: Шубидуба пишет: На elo.biz превью всех песен с Mr. Blue Sky. Ну наконец-то удалось послушать! Мне кажется, песни звучат если не лучше, то уж не хуже точно. Больше остальных поразила 10538 Overture своей новизной подачи. Джефф - молоток!

Sergey`M: Блин всё удалили. Ребята, подождите с высказываниями. Давайте дождемся выхода альбома в оригинале. Ну а после нескольких прослушиваний посвятим статью с отзывами. А то я ничего не успел послушать, а здесь комментариев много разных уже появилось ("звенящие ударные, электрическое, ураганное, разочарован, красота!").

allamina: конечно, подождём!

Storiesofold: че творится!!!! короче пропал я на фиг, сгинул в райских кущах Линновского мира, пропала моя душа в его прекрасных гармониях. А всего то превьюху расслушал. Куда бежать? Где найти эскулапа , чтобы бошку на место вернуть? Уже сейчас хочу весь альбом, иначе помру от этих обалденных кусочков как умирающий от жажды путник в пустыне умирает от миража. Слов нет, одни эмоции и не слишком приличные восклицания.

Voldar: Не спим,а продолжаем наслаждаться,пока понемногу. http://www.amazon.de/Long-Wave/dp/B0096O5ER0/ref=sr_shvl_album_1?ie=UTF8&qid=1347009765&sr=301-1

Goldenday: Какой там сон, когда ещё как минимум месяц ждать этих шедевров в оригинале!

AlexYar: Voldar пишет: Не спим,а продолжаем наслаждаться,пока понемногу. http://www.amazon.de/Long-Wave/dp/B0096O5ER0/ref=sr_shvl_album_1?ie=UTF8&qid=1347009765&sr=301-1 Николя более щедро выложил почти 50-секундные отрезки, причем даже Jody! http://www.elodiscovery.com/Jeff-Lynne-Electric-Light-Orchestra-New-Album.html Шикарнейший альбом, что и говорить, если даже по этим кусочкам башню сносит!!!!

SLQ: Послушала превью. Уже влюбилась в альбом.

Voldar: Никак не могу отделаться от ощущения,что когда слушаю She,это поют битлы,причем периода белого альбома.

Sergey`M: Аранжировочки-то, похоже, в "Long wave" - те самые, душеублажающие! Что надо!

Voldar: Завтра Джефф придет в музей Гремми смотреть кино про самого себя. JEFF LYNNE TO MAKE SPECIAL APPEARANCE WEDNESDAY, SEPTEMBER 12 AT THE GRAMMY MUSEUM IN LOS ANGELES WHERE THE DOCUMENTARY ‘REEL TO REEL: MR. BLUE SKY: THE STORY OF JEFF LYNNE AND ELO’ WILL BE SHOWN THE EVENT IS IN ADVANCE OF THE OCTOBER 9 RELEASE OF TWO ALBUMS: HIS SOLO RELEASE ‘LONG WAVE’ AND THE NEWLY RECORDED ‘MR. BLUE SKY–THE VERY BEST OF ELECTRIC LIGHT ORCHESTRA’ http://www.msopr.com/press-releases/jeff-lynne-to-make-special-appearance-wednesday-september-12-at-the-grammy-museum-in-los-angeles/

allamina: ... в короне? представляю, сколько там будет фанатов... ну надеюсь. Еслиб я там где-нить жила, я бы пошла

Voldar: allamina пишет: ... в короне? Нет,Джефф у нас скромняга у него Big Trilby,а ещё вернее панама.

Goldenday: Интересно, потом на русский фильм переведут? Я б даже скинулся, если договориться с каким-либо переводчиком.

Sergey`M: Ниче себе! Такое кино нам тоже нужно!

Voldar: Они пришли...не бросили дружбана одного.Особенно меня ,почему то Джим порадовал.

allamina: красавцы : прямо глаз не оторвать. Посмотрим, что там за кино будет (думаю, и глаза и уши намертво!!!!)

SLQ: О! Какие знакомые лица! Как же приятно их всех видеть. Вот сердцем чувствовала, что Том туда тоже придет.

Voldar: Судя,по их добрым лицам,живо представляешь эти дружеские подначки,типа "хватит спать в студии"..

allamina: Том пришёл в майке ЛА (наверное агитирует дружбанов сходить на матч )

Sergey`M: Чем же тебя Джим порадовал, Володь?

Voldar: А он со всякими коз... не якшается,это признание настоящего профи.

Sergey`M: Только с мэтрами.

Voldar: С ярдами.

Goldenday: Хороший повод парням объединиться и альбомчик записать на радость всем.

Voldar: It"s a bomb. В гулопереводе с испанского Джефф на этой встрече в музее заявил следующее: В настоящее время новость о Джефф Линн и монополизирует всех музыкальных форумах являются заявления Джефф Линн в сентябре прошлого года 12 во время событий на GRAMMY музей, в котором объявил, что новый студийный альбом с материалом новый должен выйти в следующем году 2013 году для продажи. Эта информация поступила следующие вопросы Скотт Голдман, вице-GRAMMY фонда, чтобы попросить своего нового альбома, к тому, что Джефф сказал, что после "длинных волн" и " Г-н Blue Sky: The Very Best электрических оркестра Light " , а в 2013 году появится новый альбом с новыми песнями , и даже добавил, что уже закончил восемь песен для этого альбома. Как могло быть иначе, аудиторию ворвался в возгласы и аплодисменты...

Goldenday: в 2013 году появится новый альбом с новыми песнями Я так и знал!

ТНЮ: Как грица, назвался груздем, полезай в кузов.

Storiesofold: Объясните что за трек Смайл под авторством Чарли Чаплина? Ведь Чаплин не писал слова к своим композициям, или Линн сам написал слова на музыку Чаплина?

Goldenday: "Smile" is a song based on an instrumental theme used in the soundtrack for the 1936 Charlie Chaplin movie Modern Times. Chaplin composed the music, while John Turner and Geoffrey Parsons added the lyrics and title in 1954.[1] In the lyrics, the singer is telling the listener to cheer up and that there is always a bright tomorrow, just as long as they smile. "Smile" has become a popular standard since its original use in Chaplin's film. http://en.wikipedia.org/wiki/Smile_%28Charlie_Chaplin_song%29

Voldar: Пошли более объёмистые статьи о музейной сходке. ELO's Jeff Lynne Discusses New Movie, Albums at the Grammy Museum The screening of a new documentary about the veteran singer, songwriter and uber-producer highlights an evening that's part fete, part awareness-raiser. This just in: It’s perfectly OK to admit you dig ELO. Sorta like those folks who slapped “Disco Sucks” stickers on their Camaros and Pee-Chees in 1979 now can smile and dance to it. Oh, and the Electric Light Orchestra definitely dabbled in disco. But the story of the man behind the strings-heavy band that scored hit after hit in the 1970s and early ’80s has remained largely untold. Casual music fans might think Jeff Lynne faded into pop obscurity after the hits quit comin’, but that certainly isn’t the case: He has been one of the most sought-after producers of the past quarter-century. Lynne’s career was celebrated Wednesday at the Grammy Museum in Los Angeles with a star-studded screening of the new biodoc Mr. Blue Sky: The Story of Jeff Lynne and ELO. The film features testimonials from such rock luminaries as Paul McCartney, Ringo Starr, Tom Petty and Joe Walsh, who proclaim their affection for ELO and discuss Lynne’s talent as a meticulous but unobtrusive producer and his general good-guy status. Walsh, Petty and fellow Heartbreaker Mike Campbell were among the boldface names at the screening, which was followed by a brief Q&A with Lynne moderated by Scott Goldman, vp of the Grammy Foundation. The evening also served as an awareness-raiser for the Oct. 9 release of two Lynne albums. Long Wave is a solo collection of songs that were major influences on his life, ranging from such pre-rock standards as “Love Is a Many-Splendored Thing” and the Charlie Chaplin-penned “Smile” to ’60s classics including “Mercy, Mercy” (the first single) and “Let It Rock.” The other new record celebrates the 40th anniversary of the band that gave the pop world such gems as “Evil Woman,” “Livin’ Thing,” “Don’t Bring Me Down” and the sports-highlights staple “Fire on High.” Mr. Blue Sky: The Very Best of Electric Light Orchestra is a collection of oldies that Lynne painstakingly re-created instrument by instrument and vocal by vocal. Its recording is featured prominently in the documentary. “There was a big reason I wanted to re-record these ELO songs,” Lynne says. “When I listen to the old versions, they don’t sound the way I thought they did when I first wrote and recorded them. I wanted to use the experience I’ve gained producing records ever since and have a completely new try at them. I’m not saying the old versions aren’t good; I like them very much. We were doing our best, but experience and technology also play a big a big part, and these new ones sound much more solid and tight.” The film chronicles Lynne’s career from his earliest days in Birmingham, England, through his ELO years and ongoing gig as producer extraordinaire. Mr. Blue Sky is hardly a warts-and-all portrayal – about the toughest words used to describe Lynne are “control freak” -- but it’s an interesting and enlightening film about, as it was introduced, one of popular music’s greatest stories never told. Among the film’s best tales: A young Lynne waits for delivery of the first 45 bearing his name as songwriter: “Imposters of Life’s Magazine” by his band The Idle Race -- a 1967 period piece in name and sound. When the anxious burgeoning tunesmith finally gets the record, he is deflated to see that it’s credited to one “G. Lynn.” “It was my really big moment,” he remembers, “and it just turned to shit.” The Story of Jeff Lynne and ELO is something of a misnomer in that it really doesn’t spend much time on the band. Rather, the inclusion of ELO in the title supports the notion that Lynne’s name simply isn’t that recognizable to many. But there’s no doubt just about every fan of pop’s past half-century knows the music he has produced. The list is impressive: Along with ELO and many others, there’s George Harrison’s Cloud Nine, featuring the No. 1 single “Got My Mind Set on You”; Petty’s Into the Great Wide Open and Full Moon Fever (Lynne co-wrote “Free Fallin’ ”); The Traveling Wilburys, of which he was a member; and the final albums by Roy Orbison (“It was Jeff who really got him comfortable with recording again,” Petty says) and Del Shannon, both cited along with The Beatles as Lynne's biggest influences. Speaking of the Fab Four, it was Lynne who was called when the surviving members reunited to record John Lennon’s “Real Love” and “Free as a Bird” for inclusion in the mid-’90s Anthology series. The story of the grueling effort to record the latter song is among the movie’s highlights. Of the obvious pressure and burden of recording McCartney, Harrison and Starr together, Sir Paul says: “You want someone who can control the situation without appearing to. You wouldn’t know [Lynne] was pulling the strings.” During the postscreening Q&A, Lynne was asked how he handled that task. “When it’s The Beatles, I’m really polite,” he said. “Usually I’m an asshole.” An audience member asked whether Lynne is planning any concerts to promote the two new albums. From behind his trademark shades, the guest deadpanned: “Live shows are fun – sometimes. But you have to practice for months on end.” Later, the man who staged the ELO concert extravaganzas of the ’70s said he’s thinking about doing “some scaled-down kind of shows.” Another guy in the crowd noted how well Lynne’s voice has held up -- a fact that’s backed up in the film. “My voice does seemed to have improved,” he replied. “It’s gotten older, deeper and more resonant. It’s softer.” So after years on the sidelines – maybe “behind the bench” would be more accurate -- the documentary, new records and some planned reissues have the 64-year-old Lynne ready for the next phase of his career. Now it’s the public’s turn to take notice. “I’m glad you’re doing this movie,” Petty says onscreen, “because someone should.” Watch the Lynne-fronted ELO performing "Do Ya" on The Midnight Special circa 1976 below. http://www.hollywoodreporter.com/news/elo-jeff-lynne-tom%20petty-grammy-370321

Storiesofold: Спасибо за объяснение))))

Sergey`M: Здесь некоторые съемки и запись аудио голоса Джеффа с этого знаменательного события.

Voldar: Очень понравилось имя тёти,которая этот ролик выложила.

Sergey`M: Видимо это уменьшительное от имени - Amanda. Ну что поделать, коль девочку так уменьшили родители.

Voldar: Опять же Николя выложил новую версию Showdown,правда не совсем понятно насчет видеоряда,если это официоз,то уж очень политкоректно. Jeff Lynne - Showdown (new version 2012)

Voldar: На usatoday Джефф попал на первую строчку "песни недели",что приятно вторым идет Боб. Song of the week: Mercy, Mercy, Jeff Lynne How would '60s Southern R&B have sounded with Jeff Lynne helming the production? Much like the Traveling Wilburys, if his remake of Don Covay & the Goodtimers' 1964 R&B chart-topper is any indication. The first single from covers album Long Wave, out Oct. 9, has that distinctive Lynne production â?? the gated snare drum, the raspy stacked vocals. And just wait till you hear what he does with Bobby Darin's Beyond the Sea and Etta James' At Last. â?? Brian Mansfield The playlist: USA TODAY's music critic Edna Gundersen highlights 10 intriguing tracks found during the week's listening. Pay in Blood, Bob Dylan "I pay in blood but not my own," Dylan bitterly intones in a sinister, gospel-tinged standout from the sublime Tempest. http://www.usatoday.com/life/music/story/2012/09/17/playlist-jeff-lynne-bob-dylan-cat-power/57795162/1

AlexYar: Voldar пишет: Song of the week: Mercy, Mercy, Jeff Lynne Это конечно замечательно, только мне вот не совсем понятно как это до официального релиза уже какие-то рейтинги строятся!? Вроде бы как USA TODAY вполне сурьезная и солидная контора.... Кстати, в тексте говорится о данной вещи как первом сингле с альбома Long Wave, в связи с чем могу предположить, что наверное в Америке все-таки уже состоялся ее релиз... Хотя тот же Николя сообщал (даже с картинкой! ), что в качестве сингла (правда не для всех, а для промоушна на радио) будет представлена At Last! Интересно, а может для японцев тоже уже что-то выпустили на сингле?

Voldar: Саш,я тоже сначала кинулся по всем ресурсам шарить,где это сингл запостили и жестоко обломился,так что или речь идеи о демо или мы действительно чего то не знаем.

Goldenday: Voldar пишет: если это официоз, Мне кажется, что нет. Скорее смахивает на чей-то самопал.

Voldar: Ну и я о том же,так что бы вообще не одного ероамериканца в кадре не было это как то слишком.

Sergey`M: Только сегодня обнаружил Джеффа на обложке. Вот он - подмигивает! Прикупил себе новенький Fender Stratocaster.

Goldenday: Sergey`M пишет: Вот он - подмигивает! Явная аналогия с обложкой Secret Messages, не находите?

Voldar: Серег,какой ты молодец что вообще его углядел,я вот честно не обратил внимания.

allamina: ух ты, как Джефф умеет прятаться Даже в голову не пришло что-то искать концептуальное Сергей, ну ка расскажи, как оно к тебе пришло? Долго смотрел?

Sergey`M: Новые фотографии Джеффа!!!!!!!!!! Вот кто молодец!!! http://www.elo.biz/media/photos/26161

Voldar: Вчерашние ещё ничего (это которые чернобелые) , а остальные мне чего то не очень,ну это дамам виднее.

Goldenday: Статичные фотографии. Не то, чтобы неудачные - с Джеффом всё в порядке - но, по-моему, не хватает динамики. Нужны разнообразные позы, виды природы вокруг, интерьеров и пр... а тут словно всё снимали на скорую руку в спешке пока не выгонят пинками.

allamina: Мне кажется, стандартная фотосессия... пришёл фотограф, установил освещение, Джеффа.. даже гитары сменил пару раз и майки. А Джеффу не очень это интересно, он, наверное, думает о музыке (или о пиве ). Мне не нравится цвет краски для волос, какой-то он неестественная и плохо сочетается с расцветкой бороды. А так, глаз и душа радуется, какой-никакой, но Джефф наконец зафотился, "как взрослый", а не с бокалами на пьянках

Voldar: Вот и я про тоже - фоты ПРОТОКОЛЬНЫЕ (фас,профиль,с уколком,в уголке).

SLQ: allamina пишет: Мне кажется, стандартная фотосессия... пришёл фотограф, установил освещение, Джеффа.. даже гитары сменил пару раз и майки. А Джеффу не очень это интересно, он, наверное, думает о музыке (или о пиве ). Мне не нравится цвет краски для волос, какой-то он неестественная и плохо сочетается с расцветкой бороды. А так, глаз и душа радуется, какой-никакой, но Джефф наконец зафотился, "как взрослый", а не с бокалами на пьянках Да, динамики не хватает. Но с другой стороны, Джефф довольно статичный по своей природе , его, как мне кажется, довольно сложно заставить позировать и двигаться много.

Storiesofold: блин,а как же я раньше то не заметил?????? вот это даааааааааа

Voldar: Mercy Mercy, где же оно,а оно действительно выложено уже 3 дня. http://soundcloud.com/979theloop/jeff-lynne-01-mercy-mercy Jeff Lynne, ‘Mercy Mercy’ – Song Review Fans waiting for Jeff Lynne‘s first solo album of original material since 1990 will have to wait an indefinite bit longer, with the 11 songs on ‘Long Wave‘ being hits that influenced the ELO singer as a child in England. The cloud of disappointment lifts however when one plays ‘Mercy Mercy,’ his first single. R&B singer and songwriter Don Covay wrote and found success with this song in 1964, and Lynne stays true to that original composition. ”Well I went to see the gypsy / To have my fortune read / She said man, your baby’s gonna leave you / Her bags are packed up under the bed,” he sings, telling the oft-told story of man being dumped by woman. It’s an ironic trick to dial up ’60s-esque production in 2012 without sounding hackneyed or dishonest, but Lynne — widely considered amongst rock’s best producers — nails it. A thick bass line and rattling drums give the single a sense that it comes from a neighborhood garage. Lynne’s voice isn’t quite as smooth as you’d want, but he doesn’t try to pour it on too thick. That little bit of gravel adds character to make the recording unique. “If you stay now baby / I tell you what I’m gonna do / I’m gonna work two jobs, seven days a week / And bring my money home to you,” he adds during the final verse. This is a genuine effort from Lynne, and it gives one hope that the remaining 10 songs on ‘Long Wave’ will be unique and intriguing, even if somewhat familiar. It’s curious that he settled on this project as his first since ‘Armchair Theater,’ but a spin of ‘Mercy Mercy’ shows his honest passion for this collection of songs. It could be special. http://ultimateclassicrock.com/jeff-lynne-mercy-mercy-song-review/

Goldenday: Ещё и She (unplugged-semi-mix-2012) выложили там же: http://soundcloud.com/thundergodzilla/12-she-unplugged-semi-mix-2012

Voldar: She меня просто завораживает.

SLQ: Goldenday пишет: Ещё и She (unplugged-semi-mix-2012) выложили там же: http://soundcloud.com/thundergodzilla/12-she-unplugged-semi-mix-2012 Очень красивая песня. Слушаю снова и снова

allamina: Шиииииииииииииии Даа, хожу тош шиикаю Вот включаю песню... вступление то-сё, гитарка брыньк-брыньк а мозг уже ждёт: Диииип вааатерс флёоооу... (это из One Summer Dream). Ну во всяком случае мне настроение и антураж напоминает сильно... Извините, если это вам не кажется, но что делать, если у меня заклинило чуток

Sergey`M:

Storiesofold: да, песня сильнее чем первый сингл и чем Мерси

AlexYar: На www.elo.biz выложили небольшое видео с фрагментом интервью Джэффа: http://www.elo.biz/media/videos/30561

SLQ: еще немного фото с премьеры

allamina: аа, Джефф в коротких штанишках смотрится прикольно и довольный такой сидит И в Тома тычет, ах

ТНЮ: Одни очкарики кругом

SLQ: Да, штанишки коротковаты

SLQ: Premiere: Jeff Lynne Covers Soul Nugget 'Mercy, Mercy' ELO main man readies two new projects By Greg Prato September 21, 2012 8:00 AM For the past decade, not much has been heard musically from ELO mastermind (and solo artist/former Traveling Wilbury) Jeff Lynne. For fans clamoring for some new Lynne recordings, you are about to be treated to a pair of new releases from the bearded, sunglass-sporting gentleman. October 9th will see the release of both Long Wave and Mr. Blue Sky: The Very Best of Electric Light Orchestra – the former a covers collection of early radio favorites of Lynne's, and the latter re-recordings of ELO classics. "The idea was to get them to sound better," Lynne told Rolling Stone about Mr. Blue Sky. "Because I've been working for all these years with these great people and producing records with people, I became a much better producer. So when I listen to my old ELO songs, I used to think, 'I wish I'd done that a bit better.' And in the end, I drove myself mad. So I decided I should re-record one. I started with 'Mr. Blue Sky,' and re-recorded the whole thing from scratch. I enjoyed doing that a lot, and when I listened back to it and compared it to the old one, I really liked it much better. My manager suggested I do another couple and see how I get on with them, and I did 'Evil Woman' and 'Strange Magic,' and they came out really good too. So I just carried on doing them." As for the covers collection: "Long Wave is really an album of songs I used to hear on the longwave radio, which in England was one channel – the BBC. That’s all they got in the late Fifties. I used to have a crystal set, too, which is like what you have in bed, with a pair of headphones. That was always a wonderful thing – to go to bed and listen to the radio. One day a week, they had a pop program. So what I did was try to recreate the feeling of an old-fashioned radio, the sound of it – the soft bottom on it and the lack of top – it's just so old fashioned and evocative." Included are such pre-rock favorites as "Smile" and "Love Is a Many Splendored Thing," as well as early rockers "Mercy, Mercy" – seen here in an innovative video directed by Martyn Atkins – and "Let It Rock." While expected classics "Evil Woman" and "Turn to Stone" are included on Mr. Blue Sky, the collection (on which Lynne plays all of the instruments himself, recording at his own Bungalow Palace studio in L.A.) features a few pleasant surprises, including the early, Roy Wood-era tune "10538 Overture." "It wasn't really a band when Roy was in it. It was more of an experiment. So Roy didn't really stay with it very long – he left after about a few months. But that was recorded in a very strange way in the first place – with no drums on it, and the drums were put on afterwards. But this one was recorded as you'd expect, the proper way." Long Wave and Mr. Blue Sky are the beginning of several Lynne-related releases on the horizon. Next year will see the release of a concert recording, ELO Live!, as well as expanded reissues of ELO's 2001 album, Zoom, plus Lynne's 1990 solo effort, Armchair Theater. Additionally, a new solo album, with all-new material, is on the horizon. "I've done eights songs so far, and I need another three or four, maybe," said Lynne. "And that will hopefully come out next year, too. It's slightly shifted over from things I would normally do. "I think doing Long Wave really sort of opened my eyes to a lot of different chord shapes. I've always loved great chord changes. There are some great ones in Long Wave. I found I'd already been using these great chords in some of my earlier works. I was using diminished and augmented chords in all my old ELO stuff. And these songs on Long Wave have got lots of diminished and augmented [chords] . . . or as George [Harrison] would say, 'the naughty chord.'" . Read more: http://www.rollingstone.com/music/videos/premiere-jeff-lynne-covers-soul-nugget-mercy-mercy-20120921#ixzz2776845uq По ссылке видео с Джеффом.

AlexYar: SLQ пишет: По ссылке видео с Джеффом. Прикольненько! Ну маэстро прям многостаночник! И жнец и чтец и на дуде игрец, как говориЦЦЦо!

SLQ: А гитара то Майка

allamina: которая? А даа, вижу, даже подписанная как не узнать... А вообще, Джефф жжот!!

SLQ:

allamina: Гитара есть, хозяина -нет... Хочу хозяина с гитарой!!!! и в напульснике Лена, пиши отчёт про Евротрип, я буду добавлять.. Нахлынуло

SLQ: allamina пишет: Лена, пиши отчёт про Евротрип, я буду добавлять.. Постараюсь за эти выходные. У меня собака серьезно заболела, я тут вся в расстройствах была и по врачам бегала и все такое, не было вдохновения и сил, что-то писать

allamina: а в клипе еще Джорджеву гитару из Handle With Care показали... осталось выяснить про остальные гитары, засветившиеся в этом клипе И про очки: у всех Джеффов они разные и здороваются Джеффы друг с другом, как родные

Voldar: У меня обострение джеффофрении,ну сразу четыре это конешно прикольно,Лене отдельное спасибо за такой приятный сюрприз.Гитары,кстати которые попадают в кадр - это как знак качества,вилбуристая Джоржа это понятно,но там отдельно ещё 12 -струнная Роя.

Goldenday: Блин, эта фотка гораздо поэтичней и приятней многих официальных на сайте. Спасибо за праздник для души и глаз!

Voldar: Как львенок и черепаха пели песню.Если бы львенку как раз очки от черепахи,то не напоминает?

ТНЮ: Здесь он помоложе выглядит, чем на других подобных.

Voldar: Жаль конечно,но уже вчера Long Wave,появился на на одном из иностранных торрентов.

Goldenday: Кому надо - всё равно купит оригинал (за 11 лет-то уж разок-то можно потратиться!), а халявщики так или иначе раскошеливаться не будут, так что, Володь, мне кажется, что ничего страшного.

Voldar: Это точно,обидно что и Джефф не избежал печальной участи - попадания альбома в сеть за 2 недели до выхода.

Шубидуба: Володя, не за 2 недели, а за 2 дня. Завтра он уже должен появиться в Японии.

Voldar: Влад,ты прав,тогда понятно,что утекает скорее всего из печати.

Voldar: Как львенок пел песню без черепахи,но в её очках.

Goldenday: Voldar пишет: но в её очках. Колёса я не ем, но Джефф с зелёными волосами и танцующие гусеницы обеспечат мне сегодня здоровый психоделический сон

Voldar: Goldenday пишет: Колёса я не ем, но Джефф с зелёными волосами и танцующие гусеницы обеспечат мне сегодня здоровый психоделический сон На жёлтой подводной лодке.

Goldenday: Ага, ещё вспомнилась локация из "Тайны третьей планеты", где росли зеркала и было много-много разноцветной живности

Voldar: И ещё кажется ты сам находил раньше тоже наш самый психоделический мультик про папу с мальчиком.

Goldenday: Да, чудесный мультик!

Storiesofold: капец

Voldar: Вот и биллборд подтянулся. Jeff Lynne Q&A: ELO Guru Reboots Old Songs, Preps New Ones Though he fronted the Electric Light Orchestra since its 1970 inception and was part of the short-lived Traveling Wilburys, Jeff Lynne is primarily a behind-the-scenes figure. The studio has always been his primary playground more so than the stage, and beyond his own endeavors he's produced the likes of fellow Wilburys George Harrison, Tom Petty and Roy Orbison as well as Brian Wilson, Dave Edmunds, Del Shannon, Joe Walsh and others. And then there was that other little gig, working with Harrison, Paul McCartney and Ringo Starr on the new songs they recorded for "The Beatles Anthology." Lynne himself has recorded just one solo album, "Armchair Theatre" in 1990, but he emerges on Oct. 9 with two labors of love: "Long Wave," a collection of rock oldies and pop standards he heard on radio while growing up in England; and "Mr. Blue Sky -- The Very Best of Electric Light Orchestra," comprised of one-man recreations of 11 of the group's favorites plus the new song "Point of No Return." Lynne talked with Billboard about weaving this particularly kind of "Strange Magic" and keeping music a "Livin' Thing" in his life... So somebody's been keeping busy, apparently. Yep, I'm afraid so. (laughs) I've been working on both these albums for probably about three years or so. The old ones, "Long Wave," is just a labor of love, really. I just had to do them. It was an urge I had in the last few years; I really wanted to do some of these classic songs and just learn how they all went, and just learning them was a real treat. It was like going to music university to really discover all these harmonies and chord changes and bass parts and how brilliantly they're written. So there was a lot of finding out some great stuff and really enjoying myself, musically. And the ELO album? That started out because I really wanted to see if I could get "Mr. Blue Sky" (the song) better, because I used to hear it on the radio...actually all my songs that are on there, I used to listen and go, "Wow, that's not quite how I meant it." So I tried "Mr. Blue Sky" to see what it would be like to re-record one and finish it and make it into a brand new record, and I enjoyed the results of that so much that I tried another one and another one and decided I would do the whole lot -- not the whole lot, but make an album's worth of them, just so people could hear them in a different way and probably the way I intended them to be heard in the first place. Those songs are so ingrained and so well-loved. What were your dissatisfactions with the original versions? They just...they weren't tight enough. They weren't as tight as they could have been. And some of the sounds on there, like some of the guitar sounds, didn't sound as good as they could. Some of the piano parts were too dry, recorded too close together, things like that. A lot of technical stuff. It wasn't the performance, particularly; it was my maybe lack of knowledge as a producer. I didn't really understand some of the things I was doing. You start making up a song and you tell somebody you're the producer and you get away with it, basically, but you don't really learn what you're doing until later on. I've had another 30 years' practice of doing lots of other folks since then...and so I gradually learned a lot more than I knew at that (original) point, and now I know enough to actually know what I'm talking about. Did dipping back into the ELO material bring any revelations about them? I learned that a lot of these songs don't mean what I thought they meant when I wrote them. I get comments like, "Wow, that uplifts me so much, that song," and I never thought they were that uplifting...or that they would help people enjoy themselves more. So they're slightly different than what I thought I was writing, but I'm much less critical about them now. Not all of them; there's some I still don't like, but most of them I do like and I'm less critical of those because I realize when I did them they were just coming straight off the top of me head. "Point of No Return" puts a new ELO song into the world. Where did that come from? That was written and tied in with the banking scandal a little bit. It was the general mood of the time like 2009 or something. It's a story about a guy who's not very pleased with lots of things that are going on. Does that music feel like another lifetime to you? It actually feels like both. It's hard to say; the music so instant, when you play it it's like you're playing it right then, so it's always kind of new. But it does have a tremendous history as well, so it's both of those things, I'm afraid. Any thoughts about reactivating ELO? No, not really. I might do some little shows with Richard Tandy on piano. We made a little movie with me on guitar and singing and Richard on piano, and it came out really well so I might be doing a bit more of that. I have this documentary as well which is coming out that's going on the BBC in October, but that's about it, really. What about some new music from you? Yes there is, actually, believe it or not. I've got about eight tracks towards my new album, which is all new songs. It sounds good; I can't really describe it to you. I'm hoping it'll be ready for next year; I've just got to write a couple more tunes, two or three. So I've been real busy, and I've never had more fun in the studio as I have the last couple of years. http://www.billboard.com/news/jeff-lynne-q-a-elo-guru-reboots-old-songs-1007959532.story#/news/jeff-lynne-q-a-elo-guru-reboots-old-songs-1007959532.story

Voldar: Мдя,вот честно, хочется очень нецензурно высказаться относительно снобов на битлсру,хотя высказывания напоминают обычных троллей. http://www.beatles.ru/postman/forum_messages.asp?msg_id=4996&cfrom=1&showtype=0&cpage=3

SLQ: Voldar пишет: Мдя,вот честно, хочется очень нецензурно высказаться относительно снобов на битлсру,хотя высказывания напоминают обычных троллей. Да забейте на них, дураков везде полно, увы. :(

Voldar: Точно,Лена,ну их на...

SLQ: На самом деле меня удивляют люди, которые считают что им везде все должны. Музыканты должны выпускать такие альбомы, как им хочется, солнце и дождь должны быть тогда, когда им хочется, господь Бог им тоже чего-то должен. Ну вот пусть ходят и страдают от несовершенства этого мира. Лично я уже давно не жду ничего от своих любимых музыкантов, только надеюсь. Они и так уже столько сделали, что с лихвой на долгие годы хватит. В конце концов, в этом возрасте они вообще , если захотят, могут ничего не делать. И спасибо, что что-то делают.

Voldar: Лена,не пугайтесь.Это я взял на себя смелость несколько укрупнить ваше сообщение,а вообще надо бы в гранит.

Goldenday: Лена, хорошо сказано. А высказывания этих козлов я даже читать не собираюсь.

Voldar: Полный список "кредитов" к мистеру... выглядит так: ALL SONGS WRITTEN, PRODUCED AND PERFORMED BY JEFF LYNNE ALL SONGS PUBLISHED BY EMI APRIL MUSIC, INC. (ASCAP). EXCEPT "POINT OF NO RETURN" PUBLISHED BY SHARD END MUSIC INC. / EMI APRIL MUSIC, INC. (ASCAP). "TWILIGHT" RECORDED LIVE AT CBS TELEVISION CITY, 2000. ENGINEERED BY STEVE JAY ADDITIONAL ENGINEERED, RYAN ULYATE & MARC MANN MIXED BY STEVE JAY AND JEFF LYNNE JEFF LYNNE: LEAD VOCALS, BACKGROUND VOCALS, LEAD GUITAR, RHYTHM GUITAR, PIANO, BASS, DRUMS, KEYBOARDS, VOCODER & COWBELL MARC MANN: STRINGS LAURA LYNNE: ANSWER VOCALS ON EVIL WOMAN, STRANGE MAGIC, SHOWDOWN AND LIVIN' THING STEVE JAY: SHAKERS AND TAMBOURINE RYAN ULYATE: PIANO SOLO ON EVIL WOMAN MARC MANN: MINI MOOG ON TURN TO STONE RECORDED AT BUNGALOW PALACE STUDIO MASTERING: HOME WEINBERG AND DAN GERBARG AT HOME WEINBERG MASTERING, LOS ANGELES MANAGEMENT: CRAIG FRUIN FOR FRUIN MANAGEMENT COMPANY PHOTOGRAPHY BY MARTYN ATKINS OPPOSITE PAGE PHOTO BY STEPHANIE LYNNE ART DIRECTION, DESIGN AND ILLUSTRATION BY RYAN COREY FOR SMOG DESIGN, INC. SPECIAL THANKS TO CAMELIA KATH FOR BEING MY CHEERLEADER SPECIAL THANKS: CRAIG FRUIN, LAUREN A. SPALDING, DEBORAH OWEN, DAVID ALTSCHUL, SMOG DESIGN, JERI HEIDEN, RYAN COREY, MARTYN ATKINS, JURG WALTHER, SERAFINO PERUGINO & FRONTIERS RECORDS. Вот это отдельное спецспасибо Камелии,наверно очень не спроста,скорее всего именно ей мы обязаны тем,что имеем на сегодняшний день.Похоже именно она как и жена Джо Уолша - Марджори Бах говорила ему: - А ну ка поднимай свою задницу и тащи её в студию Только Марджори добавляла -к Джеффу Линну,а что добавляла Камелия я не знаю. Надо сказать,что Камелия оказывается очень не простая американская женщина,подробности тут: http://www.whosdatedwho.com/tpx_423/camelia-kath/

Goldenday: Не знал, что она в кино снималась А ещё новость видели? На сайте Николя выложен рекламный лист к переизданиям Zoom, Armchair Theatre & ELO Live. Первые два альбома пополнятся 2 новыми песнями КАЖДЫЙ, а на концертнике выйдут 4 песни, не вошедшие на DVD и два новых студийных трека. Итого: минимум 6 новых песен!

Voldar: Как-то всё нажористее и нажористее становится и это здорово.

Goldenday: Ага! И обложки становятся всё цветнее и наряднее.

SLQ: Voldar пишет: http://www.whosdatedwho.com/tpx_423/camelia-kath/ Спасибо за информацию. Я про нее не знала ничего.

Voldar: Честно говоря,я тоже думал,что Джефф по примеру другана Джоржа завел себе простую мексиканскую женщину (ну типа чтобы маньяков с ножами отгоняла) - ан нет.

SLQ: попалось в каком-то японском блоге Я так понмаю, что это передачи, где Джефф мелькнуть должен? http://blue.ap.teacup.com/jeff/3237.html 10/2 Later... with Jools Holland BBC 2 and BBC HD 10:00-10:30pm 10/3 Kenny Everett Night on BBC 4 Top of the Pops featuring ELO performing Showdown from 11 Oct 1973 BBC 4 Starting at 8pm 10/5 Steve Wright in the Afternoon BBC Radio 2 sometime between 2-5pm Mr. Blue Sky - The Story of Jeff Lynne and ELO ELO Live at Wembley 1978 Rock Family Trees new Live from Bungalow Palace BBC 4 Beginning at 9pm Extended replay of Later... with Jools Holland BBC 2 and BBC HD 11:50pm

Voldar: Можно ещё добавить радиостанцию Роклайн 7 октября. Будет больше интервью, в котором Джефф Линн будет участвовать в этом и следующем году, кроме одного, который состоится в США на национальныой радиостанции Rockline и через Боб Коберн 7 ноября 2012 года, между 20:30 и 23:30., который будет уникальным в связи с тем, что поклонники смогут бесплатно звонить и задавать вопросы Джеффу, на которые он будет отвечать. Кроме того, после прямого эфира через пару недель ту же программу можно будет послушать на сайте Rockline. Это перевод с испанского. http://www.rocklineradio.com/

Voldar: Джефф таки ,все больше вылезает из раковины,он даже попал с соцсеть к Цукербергу. http://www.facebook.com/OfficialJeffLynne и дал пространное интервью classicrockrevisited,обратите внимание на слова о том как создавались Traveling Wilburys. Jeff Lynne: A Blast from The Past By Jeb Wright Jeff Lynne is as famous for being the main creative force behind the Electric Light Orchestra as he is for producing such musical luminaries as George Harrison and Tom Petty, among others. Lynne has a solid reputation as a perfectionist musician, an incredible songsmith and a no nonsense producer – well, maybe a little nonsense but it’s all in good fun! Now, after a 22 year hiatus as a solo artist, Lynne returns, on October 9th with two new albums on Frontiers Records. The first, titled Long Wave sees Lynne return to the music of his childhood and remake some classic songs he fell in love with as a young child. In typical Jeff Lynne fashion, he takes the songs and not only remakes them; he does so in Jeff Lynne/ELO style. This makes the songs very interesting to listen to, none so much as his take on the Roy Orbison classic “Running Scared.” Lynne’s version is a heartfelt tribute to his old friend, and band mate. The other new album is Mr. Blue Sky the Very Best of Electric Light Orchestra. Lynne, bothered by some of his songs imperfections, set out to right his wrongs by recreating the tunes from scratch. While this might seem an odd thing to do from a fan viewpoint, the result is perhaps the best sounding ELO album in history. Read on to discover how Lynne chose the songs to be on his solo album and talk about how he came to redo the ELO songs. Lastly, we discuss how The Traveling Wilburys were formed and how Jeff Lynne ended up in the band. Jeb: Long Wave is a great album. You named the album after longwave radio. What is that? Jeff: It’s still going on, believe it or not. The BCC has a station that broadcasts on longwave. It is a band that was used, in England, for the English Delight program, which was a program that was dedicated to playing new songs. It was sort of a variety show. It was the only real channel you could listen to for sort of thing. Jeb: The songs on the album are older songs that inspired you as a child. Jeff: Some of the songs on Long Wave I was only five years old when I first heard them. The only reason that I ever heard them was that me dad would play them every week, sometimes every evening, and even twenty years after that. There was always some music on in the house where I grew up in. Jeb: You are a person who is really hooked on music. A lot of people can enjoy music and like music but we are people who live and breathe music. Does that make sense? Jeff: It totally does, yeah. I can’t do without it. I have to play every day, or I don’t feel good. Whether it be guitar, or piano, or drums, I have to play. Music is so important to me that I can’t do without it. Jeb: It has been many years since you have recorded, so what have you been doing? Jeff: I have spent a lot of time producing other people, as you probably know. I’ve spent the last three years doing these two new albums. Jeb: Three years? That is a lot of time for an album, these days. Jeff: I rebuilt these songs from the ground up. I had to get all of the arrangements off of there – all of the flowery stuff. I had to get to the basic track. I literally had to listen to the recordings of all of the songs on Long Wave and learn all of these songs. It probably took 100 listens before I could actually understand the song, because of all of these big arrangements. When you get to where you have this tunnel hearing on, then you start listening to one instrument at a time. It is great because you can learn how all the parts go; the piano part, the bass part, the string part… It is a learning process. You learn what they are and then you have to learn how to play them. You don’t want to just copy them; you want to make them your own. Jeb: How did you take a song like “Love is a Many Splendored Thing” from the famous version to where you ended up with it? Jeff: I knocked off all of the orchestration and arranging. Basically, the song is a lovely little pop song with great chords. I turned it into a shuffle because that is the way I needed it to be in order make it easier, and more fun to sing. Jeb: Even though you’ve done this for a lot of years, when you accomplish remaking a song from one of your idols, how satisfying is it? Jeff: I was very proud of this. The last thing that I ever do is sing. I always put it off and put it off. These are pretty daunting songs to sing. When you start the track up and you hear the music come on and then you know you have to sing you just think, “Oh God, what am I going to do to this?” When you hear it back, you’re expecting it to sound like shit. I was so pleasantly surprised and amazed when I played it back because it wasn’t horrible. I had never tried this before in real life. It was actually quite good and I did a few more takes and it really was sounding good. Jeb: Talk about “Beyond the Sea.” Jeff: That song came out when I was about 13, in 1960. That song was a throwback in its own day, as it sounded like 1940, but it was 1960. My thing has always been to make things sound older than they are. I used old microphone positions and fat analog equipment. That song was quite a challenge because it is so fast it is ridiculous. It took me four days to learn just the bass part. Jeb: The song “She” is a great song and I love your version. Jeff: I had to make a new version for me to sing in my style for that song. The best way for me to do my style was to do harmonies. I played it for Paul McCartney one day and he loved it but he said, “Don’t use all the harmonies right at first. Save a little bit or you’re giving the whole thing away.” So, I thanked him, and he was dead right because it does sound better with no harmony in the first verse. Jeb: You sound very at home on “Mercy Mercy.” Jeff: I used to play that one in my first group The Idle Race. We used to play it every night for about a year in the clubs and pubs around Birmingham. It was a treat to have a go at it again. It is just a lovely old R&B thing. I did a video for it and I play all the parts. In the video, I am the lead singer; I’m the bass player, the lead guitarist and the drummer. It looks like a real group, but when you look a bit closer you realize it is all me doing it. It is really comical. It is peachy, but it is very good. Jeb: Talk about “Bewitched, Bothered & Bewildered.” Jeff: This is from a film called Pal Joey, which was from the 1950’s. The only reason I’ve heard it is because me dad had the record of it. He used to listen to it every weekend, and every night, sometimes. I love that song. I think it is one of me favorite songs, ever. You have to listen to the chords, as it has some of the most beautiful chords, ever. You listen to it and you realize just how clever of a song it really is. Jeb: The song “Let It Rock” is a great old tune. Jeff: Everybody always does “Johnny B. Goode” but not many people do that one. They used to do it back in Birmingham. I never knew what it was about. I used to play that one in me first group and I sang it. I didn’t know the words and I just used to fumble about. Jeb: One of the most emotional songs is “Running Scared.” Jeff: When you tackle these old, beautiful songs then you have to treat them with total respect. The fact, that I knew Roy very well, made that even more important. One night, Roy and I were talking and he told me that “Running Scared” was the favorite song that he ever did, of his old stuff. It was great to hear that. I know that I can’t come close to his version, so, once again, I had to do me own version. I think it ended up being a great production. Jeb: What can a person who loves ELO learn about Jeff Lynne from listening to these songs? Jeff: It shows that I really understand these songs. I put a lot of work into doing them because I just wanted to get them right. It was very important for me to get them right and not just to do them. I didn’t want them to be a big horrible thing that I would be ashamed of. I really needed to be proud of these songs when I was finished. Jeb: To an outsider, this shows depth. You go clear back to the music that inspired you and that made you love music in the first place, yet it has your own stamp on it. Jeff: You’re right, that is what it is. Jeb: Mr. Blue Sky sees you take on some of ELO’s most loved songs. Clear this up, these are not remastered from original tapes, you re-recorded these. Jeff: I started from scratch. What bothered me, over the last few years, I would hear a song on the radio, or I would listen to a record, and I would think, “Oh, we should have got that part better than that.” Eventually, I decided to try to redo one of these songs. The first song I tried was “Mr. Blue Sky.” I just did it on an impulse and it turned out really well. I decided that I would do another one and it turned out really well. I had done about three or four and me manager said, “Why don’t you do more and see how many you get.” I was really enjoying them and I was fixing all of the bits that I didn’t like on the albums. I was re-recording them in a different way because I have 27 years more experience as a producer than I had before. I had so much more practice and experience than I had when I did those ELO albums that I couldn’t help but do them better. Jeb: Did you do them digital? Jeff: They are digital recordings through analog equipment. Jeb: I was so afraid when I heard you did this because I didn’t know what to expect. But, Jeff, you really, really made these songs come to life. They really jump out of the speakers at you. Jeff: Thanks very much as that is exactly what I was trying to do. I’m very glad to hear you say that. Jeb: A couple of the songs were not major hits that you redid. I would like to get a couple of comments on them. You go way back with “10538 Overture.” Jeff: The reason I chose to put that on the album was because it marks the 40th anniversary of ELO. I thought it would be nice to put it on there because it brings it all around. Jeb: Tell me about “Point of No Return.” Jeff: “Point of No Return” I wrote about four years ago as part of a new album. I haven’t finished me new album yet but it is on the way. I’ve got quite a few songs, like six or seven, towards it. I decided to finish that song, so I mixed it and put it on the album as a bonus track. Jeb: You are going to do more album releases for Frontiers Records. Jeff: There are some reissues coming out. Armchair Theater, my first solo album from 22 years ago, will be released. There is a live album and there is Zoom. Jeb: Are you going to be going back over the tapes and remastering all of these? Jeff: It’s already done. All I am doing is putting two bonus tracks on Zoom. Jeb: Will you perhaps get inspired to perform some concerts? Jeff: We will wait and see. It is not my favorite thing, as you know. I just love recording and you can’t get me out of the studio. Jeb: Last one: Tell me about the creation of The Traveling Wiburys. Jeff: I was producing George Harrison’s album, Cloud 9. The Traveling Wilburys were just me and George to start with. I was not invited into the band; I actually formed it with George. One night, we had a little discussion and George said, “You know what, you and I should have a group.” I said, “That’s a good idea. Who should we have in it?” He says, “Bob Dylan.” I said, “Oh, Bob Dylan…hmm, yes.” He said, “Roy Orbison” and I said, “Oh Yes, Roy.” I was all for it, of course. We both wanted Tom [Petty]. I had started working with Tom just a little after that producing Full Moon Fever. That is really how it all came about. It is also how I came to be in the Wilburys as the guy that no one had ever really heard of. Jeb: It had to be exciting to have Harrison throw out those names knowing that he was serious and that you would get to be in a band with those guys. Jeff: Exactly, but even better was sitting in the studio playing with all of them. We wrote those songs together and it was a fabulous experience. http://www.classicrockrevisited.com/inteviewlynne.htm

SLQ: На передаче у Jools Holland

SLQ: http://www.youtube.com/watch?v=zXtiBsZ8YEs

Goldenday: Блин, я за последние месяцы просмотрел и прочитал о Джеффе и про него больше, чем за последние лет 10, если не 20. Вот это мне особо нравится: Jeb: You are a person who is really hooked on music. A lot of people can enjoy music and like music but we are people who live and breathe music. Does that make sense? Вы являетесь человеком, по-настоящему помешанным на музыке. Множество людей может наслаждаться музыкой и любить её, но такие, как мы, живут и дышат ей. В этом есть смысл? Jeff: It totally does, yeah. I can’t do without it. I have to play every day, or I don’t feel good. Whether it be guitar, or piano, or drums, I have to play. Music is so important to me that I can’t do without it. Да, конечно. Я не могу без музыки и играю ежедневно, в противном случае мне не по себе. Будь то гитара, пианино или барабаны, я должен поиграть. Музыка настолько важна для меня, что жизни без неё нет.

ТНЮ: Goldenday пишет: Я не могу без музыки и играю ежедневно, в противном случае мне не по себе. каждый раз мысленно благодарю его родителей, что купили гитару с одной струной!

SLQ:

Voldar: Абааалденная песня.

SLQ: Interview: Jeff Lynne talks recording standards and rerecording classic ELO songs "That's what I really love to do – I love to play all the instruments." Joe BossoOctober 3, 2012, 20:10 GMT One thing you have to say about Jeff Lynne: the man doesn't back down from a challenge. Two of them, in fact. On a pair of just-released new albums, the creative force behind the Electric Light Orchestra, former Traveling Wilburys member and the man the Washington Times called the fourth greatest record producer in history, treads confidently on what many music fans would consider to be sacred ground. Long Wave sees the singer-songwriter and multi-instrumentalist paying tribute to some of the songs that first filled his senses as a child, covering standards such as Smile, Beyond The Sea, Running Scared, At Last, and Mercy, Mercy. Lynne played every instrument on Long Wave, which he also does on Mr. Blue Sky – The Very Best Of Electric Light Orchestra, a fascinating, deeply entertaining reworking of his own hits. Evil Woman, Don't Bring Me Down, Telephone Line, Livin' Thing – they're all here and more. Lynne doesn't maim his ELO legacy so much as puts a fresh spin on some of the greatest pop-rock songs to flood the radio waves during the '70s and early '80s. Lynne sat down with MusicRadar to discuss the origins behind both albums, the guitars he used, how he felt tackling songs associated with the likes of Bobby Darin, Nat King Cole and Etta James, and whether it was strange trying to one-up himself. On Mr. Blue Sky, amongst other credits, you're listed as playing cowbell. [Laughs] "Yes. Hey, don't knock it. I've tried for years to learn that." When you were recording, did you keep saying to yourself, "I've got a fever, and the only prescription is… more cowbell!"? "Absolutely! Of course that little joke kept going around in my head as I was doing it. Then when I played the mixes for somebody, I put the cowbell up ridiculously loud, just for fun." You play all the instruments on both albums. With all the people you've produced and worked with, why the one-man band approach? "Because you know what? That's what I really love to do – I love to play all the instruments. To me, the one-man band thing is when I'm the happiest and most fulfilled. It's so much fun. Like on Long Wave, for each song, I would take the old record and play it a hundred times. I'd learn the guitar part, the bass part, the drum part, the piano part, learn all the chords – and it was great! Then I'd play it myself in my own style. "I was very true to each song musically. I used all the proper chords, but I changed the arrangements a bit. Really, I just simplified them, because a lot of those songs have so many things going on – flutes, clarinets, some other things. It was interesting. I've loved these songs for so long, from before I learned to play the guitar, but I've always been scared of them. You go, 'What the hell's going on here?', you know? [Laughs] There's so much in these arrangements. "So what I did was, I developed a kind of tunnel hearing. I'd listen to different parts at a time. You can zoom right in and concentrate on the bass if you try real hard." You were working in your home studio? "Oh, yes." What kind of setup do you have? "A pretty good one, actually. I've got a 40-channel analogue desk. And then I've got the Pro Tools rig and all the latest gear. I can still keep the analogue distortion going and make everything sound warm and great, but I've also got the modern facilities of the digital environment. I use plug-ins sometimes, and they work really well." Looking at both projects together, one would assume you're in somewhat of a nostalgic mood. "I guess so. I was just looking for something that would fulfill me, and I started looking at all of these old tunes. I was listening to iTunes and buying all of these old records, all the ones I used to hear as a kid, at home in my mom and dad's house in Birmingham. The thought of trying to re-create those things was such a great pull – I just couldn't resist it. "It just came to me about three years ago. Concurrently with the Mr. Blue Sky album, that's when I started this record. I tried one first, the song She – it's not that old, but I liked it. Obviously, I couldn't sing it like Charles Aznavour, so I sang it like me. I tried the harmony route on that; every verse was filled with three-part harmony. "Then I played it for Paul McCartney, and he loved it. But he said, 'Why don't you leave that first verse a little empty so you can build up?' Because it was so full that there was nowhere to go. I thought that was a great idea, so I tried it, did a remix on it, and that's how it came out. All thanks to Paul." Because of the nature of Long Wave, did you stick with more vintage instruments and gear? "Well, I do both, really. I've got the analogue desk, and then there's various miking techniques – I was miking things a little bit further away to get that vintage sound. Back then, there weren't all of these close mics. All the outboard gear is mainly analogue, except for things like the AMS, which is the first great digital echo machine. I class that as a vintage piece, as well." I love your version of Beyond The Sea. Were you a big Bobby Darin fan? "Oh, I was a big fan. What's interesting is, he'd actually transposed his music to 20 years earlier, that big band arrangement. It sounded old when Bobby did it. So it really works now 'cause it sounds so old! [Laughs] What I marveled at was the drum sound on that. It's such a sound, like a madman running around the studio bashing things with sticks. It sounded brilliant to me as a kid. "That was the hardest one of the lot, really, because the bass part is furious. It was like, 'How am I going to keep up with this?' [Laughs] It was moving so fast. I practiced it for probably three or four days, just the bass part. It was really hard to do, but that's why I loved it – it was a big challenge." Your guitar solo on the song Smile is terrific. What kind of guitar did you play on that – and is that a phaser I'm hearing? "No, it's not a phaser. It's EQ, actually. I've got a couple of modules from my old desk, and what I do is, I pick a frequency like around 800 or so, and I sweep around it like it's a wah-wah pedal. It gives it an effect like it's a double tracked. The guitar… I imagine it was a Telecaster, the one I've had since 1966." Others have covered Smile, but there's still the Nat King Cole version. Did that give you pause for thought? "Not really, because I'm doing it completely different from what he did. If I could do what I wanted to do with it, I wasn't going to worry about who sang it before. The arrangements on that original were big and fluffy and flowery – not that that was a bad thing, especially in those days. But I couldn't do it like that. So again, I had to get the chords down and just simplify it, more like a pop song than a big epic." And with At Last, you take on a song so identified with Etta James. You're a brave man! "Well, thanks very much. I loved doing that one. It's such a great bluesy song. I don't do a lot of that – jazzy, bluesy stuff. I never have. So that one was great for leading me into it. I found it to be a lot of fun. Maybe I'll do more bluesy stuff one day." Let's move on to Mr. Blue Sky. What was your reason for rerecording your own ELO hits? A lot of people would say they're perfect the way they are. "Over the years, I've played some of the albums from time to time, and I would go, 'Hmm… I don't know.' And then I'd hear some of the songs on the radio and I'd say, 'That doesn't sound like I thought it did.' So I thought, Maybe I should have another go at these. The first one I tried out was Mr. Blue Sky, just to have the experience, to see if I could do it again. I mean, I have a studio – why not have a go at it? "I did an A/B with the two versions. On the older one, I sound like I'm about 12 years old! [Laughs] And on the new one, I'm… 64! [Laughs] But that's why I did it, just to see what it'd be like. I played it for lots of people, and they said, 'Well, you should have a go at another one.' That's when I did Evil Woman and Strange Magic – then I was hooked. I had to do more." Your guitar solo on the song Smile is terrific. What kind of guitar did you play on that – and is that a phaser I'm hearing? "No, it's not a phaser. It's EQ, actually. I've got a couple of modules from my old desk, and what I do is, I pick a frequency like around 800 or so, and I sweep around it like it's a wah-wah pedal. It gives it an effect like it's a double tracked. The guitar… I imagine it was a Telecaster, the one I've had since 1966." Others have covered Smile, but there's still the Nat King Cole version. Did that give you pause for thought? "Not really, because I'm doing it completely different from what he did. If I could do what I wanted to do with it, I wasn't going to worry about who sang it before. The arrangements on that original were big and fluffy and flowery – not that that was a bad thing, especially in those days. But I couldn't do it like that. So again, I had to get the chords down and just simplify it, more like a pop song than a big epic." And with At Last, you take on a song so identified with Etta James. You're a brave man! "Well, thanks very much. I loved doing that one. It's such a great bluesy song. I don't do a lot of that – jazzy, bluesy stuff. I never have. So that one was great for leading me into it. I found it to be a lot of fun. Maybe I'll do more bluesy stuff one day." Let's move on to Mr. Blue Sky. What was your reason for rerecording your own ELO hits? A lot of people would say they're perfect the way they are. "Over the years, I've played some of the albums from time to time, and I would go, 'Hmm… I don't know.' And then I'd hear some of the songs on the radio and I'd say, 'That doesn't sound like I thought it did.' So I thought, Maybe I should have another go at these. The first one I tried out was Mr. Blue Sky, just to have the experience, to see if I could do it again. I mean, I have a studio – why not have a go at it? "I did an A/B with the two versions. On the older one, I sound like I'm about 12 years old! [Laughs] And on the new one, I'm… 64! [Laughs] But that's why I did it, just to see what it'd be like. I played it for lots of people, and they said, 'Well, you should have a go at another one.' That's when I did Evil Woman and Strange Magic – then I was hooked. I had to do more." What's the story with the song The Point Of No Return? Was it an ELO song you wrote and recorded but never released? "No, it was recorded as a one-off about four years ago. I just never had anything to use it for. I remixed it for this album as a bonus track. I really like the song. It's got an excitement to it, the chord shapes and all." It fits in with the ELO sound, but it's also got a bit of a Traveling Wilburys vibe to it. You might have heard of that group... [Laughs] "I haven't heard of them, but I'm sure they're good if you recommend them. [Laughs] But that's good that you thought that, because I was trying to make it fit in with the rest of them. That's the way to mix it, to stamp that particular period on it." I'm curious: As opposed to Long Wave, where you were covering other people's songs, was there any song of yours that gave you trouble? Like, "Wow, how did I do that?" [Laughs] "Actually, there weren't any surprises, because I've had so much practice since I stopped doing it in '85. I've had so much practice as a producer – 27 years since then. I've learned so much in that time. Experience really is a great thing." http://beta.musicradar.com/news/guitars/interview-jeff-lynne-talks-recording-standards-and-rerecording-classic-elo-songs-564554/4

Voldar: Лена,я это интервью как раз читал,когда вы его запостили.Очень интересная информация о том как все записывалось и на каких инструментах.

SLQ: Voldar пишет: Очень интересная информация о том как все записывалось и на каких инструментах. Да, очень интересно прочитать все эти подробности.

SLQ: Andrew Lloyd Webber and Electric Light Orchestra's frontman Jeff Lynne

ТНЮ: Джеффу не хочется улыбаться?

SLQ: http://www.bbc.co.uk/programmes/b01n3yf4 страничка о предстоящей трансляции Mr Blue Sky: The Story of Jeff Lynne and ELO Кстати, интерсно, есть ли трансляция этого канала в Интернете?

Voldar: Я вообще знаю одного онлайн транслятора,только сейчас не могу посмотреть есть BBC или нет. http://www.channelchooser.com/

Шубидуба: If I Loved You появилась:

SLQ: О, еще одна прекрасная песня!!!!!

Storiesofold: когда уже альбом то? он же вышел уже, пусть в Японии, но ведь вышел, Япония разве в другой галактике находится?

AlexYar: Storiesofold пишет: когда уже альбом то? он же вышел уже, пусть в Японии, но ведь вышел, Япония разве в другой галактике находится? Вот один из счастливых обладателей:

Storiesofold: почему то глядя на это видео, положительных эмоций не возникает(((

AlexYar: Storiesofold пишет: почему то глядя на это видео, положительных эмоций не возникает((( Ну, у кого как... Лично я так вспомнил свою "виниловую юность"!!! И эмоций положительных от этого хоть отбавляй! А вот на мой взгляд просто потрясающее интервью Джэффа на BBC show "The One Show":

SLQ: Мне особенно первая часть интервью понравилась. Джефф так оживился в присутствии дамы. В телестудии он более сдержан.

Voldar: SLQ пишет: Джефф так оживился в присутствии дамы. Ну ещё бы.

Goldenday: Видеоролики один другого чудеснее. Настоящий бальзам для души

AlexYar: Ребят, не сочтите за поощрение пиратства, но на рутрекере уже появился "Long Wave"... Long Wave

Goldenday: Оперативно работают, но начинать прослушивание с мр3 не хочется. Подожду-ка я настоящего, "родного" альбома, чтоб взять его в руки, распечатать, посмотреть, полапать, понюхать, послухать и насладиться в полной мере

SLQ: Мне пока оффициальный не светит, так что я не удержалась, скачала. Дома послушать не успела, притащила на работу - слушаю.

Voldar: Ну и мистер уже там. http://rutracker.org/forum/viewtopic.php?t=4205948

Sergey`M: Джефф Линн порадовал своим интервью. Очень хорошо, что он так активизировался. Видимо совсем надоело уже в студии сидеть, другая волна пошла. Давай, давай Джефф! А пиратов жаль. Не благодарным делом занимаются. (Для себя все равно официальный диск куплю, а так скачал пока).

Goldenday: Sergey`M пишет: А пиратов жаль. Неблагодарным делом занимаются. Не бери в голову, Сергей. Как я уже говорил, те, кому надо, всё равно купят оригиналы, а халявщики так или иначе найдут способ не платить. Хер с ними. Одно хорошо: возможно, пираты помогут какому-нибудь несведущему пареньку, дяденьке, девчонке или тётеньке полюбить творчество Джеффа, что уже неплохо.

SLQ: Пошла смотреть Mr Blue Sky-The Story of Jeff Lynne and ELO Я нашла его тут

shangri: SLQ пишет: Пошла смотреть Mr Blue Sky-The Story of Jeff Lynne and ELO Это тот фильм, что будут показывать в эту субботу на bbc? Не смогла скачать по ссылке, пишет ошибку. :( А на сайте bbc четко написано, что фильм для скачивания доступен только английским ip. В принципе люди прописывают в браузере любой английский проксм (например, 109.123.70.47 порт 80), но у меня на работе этот фокус не прошел, т.к. я так и так сижу за прокси. :( Может у кго получится и он сможет насладиться фильмом. А пока была бы благодарна, если бы мне закачали этот фильм куда-нибудь поближе :), т.е. на более известные файлообменники.

Voldar: Наташа,история и аккустический концерт выложен на торрент трекере ,там надо регистрироваться,что бы пустили. http://www.hungercity.org/login.php?returnto=%2Fdetails.php%3Fid%3D19864 Я наверно попозже переложу на народ,если есть проблемы.

Sergey`M: Спасибо за ссылку SLQ! Очень интересный ресурс.

SLQ: Кадры из фильма Mr Blue Sky-The Story of Jeff Lynne

SLQ: Посмотрела фильм. Великолепно!!! И так приятно, что Джефф своих слушателей к себе домой пригласил, показал святую святых. Как у него дома красиво! Да, его дом много о хозяине может рассказать. Фильм понравился, но МАЛО! Очень приятно, что о Джеффе говорят его друзья. Ну понятно, что Том плохого не скажет :), но очень приятно от Пола было услышать много хороших слов. И момент, который Барбара Орбисон рассказала - очень трогательный. Надо конечно внимательно слушать, перводить. С одного раза я не все понимаю, разумеется.

SLQ: TV review: Mr Blue Sky – The Story of Jeff Lynne and ELO (BBC4) This was a charming rockumentary, but where was my cello teacher? Sam Wollaston The Guardian, Saturday 6 October 2012 "Funny, shy, ever so clever, great musician ... and a total twat," says Paul McCartney, affectionately. Well, he can't be talking about himself, can he? Although I'm not sure how clever Macca is, I'm pretty sure he's neither funny nor shy. Anyway, he's not the centre of attention here, for once; he's just being a pundit. This is Mr Blue Sky: The Story of Jeff Lynne and ELO (BBC4). The title is a little misleading – the Electric Light Orchestra is glossed over. Which is a shame for me. Not just because I've always had a soft spot for the band that only recently seems to have gained the respect and credibility I always thought they deserved. But because a member of ELO – Hugh, he was called, Hugh McDowell – used to be my cello teacher. I liked Hugh. He wasn't like most music teachers. He had long hair, flared jeans – he smoked. He was always late, quite often he didn't show up at all, probably because he hadn't got up in time, or was touring America or something. I thought this film might reunite me with him. Sadly not (though I think he is there, briefly, once). It's less about ELO, more about Lynne as producer, arranger, collaborator, genius, wizard. Somebody thought that his work with the great and the good – Roy Orbison, Bob Dylan, Tom Petty and George Harrison (as the Traveling Wilburys SaveFrom.net ), and with the other remaining Beatles (on the Anthology album) – was more interesting than focusing on my old cello teacher. Somebody is probably right, to be honest. It's a lovely rockumentary: serious, without taking itself too seriously, probably because that's how its subject is. I could listen to Tom Petty for ever: he's got such a wonderful, laconic lugubrious southern way of talking SaveFrom.net. Lynne's brummie brogue, too. And actually Macca's little summary of him seems to be spot on. But twat in the nicest possible way.

ТНЮ: Перевела через переводчик - там в первой же строке матом написано.

Goldenday: Если ты имеешь в виду twat, то это слово можно просто толковать как "скотина" или "ублюдок".

AlexYar: Goldenday пишет: то это слово можно просто толковать как "скотина" или "ублюдок" Дим, енто есчё мягко сказано..... ВИКИ куда жестче переводит.... Но учитывая, что англичанЫ люди юморные, то тут все не так просто и дословно....

ТНЮ: Вот как раз у меня перевелось на букву "п".... Пол - фулюган и шалунишка

SLQ: ТНЮ пишет: Перевела через переводчик - там в первой же строке матом написано Я бы перевела это как " сукин сын". Мне кажется, что это довольно культурно, но суть отражает.

Goldenday: SLQ пишет: Я бы перевела это как " сукин сын". Да, такой вариант хорош. ТНЮ пишет: Пол - фулюган и шалунишка Это не Пол, а эл. переводчик - фулюган и шалунишка. Не впервой сталкиваюсь, когда смысл слов там искажается.

Storiesofold: наверное первый документальный фильм про Линна!!! Спасибо большое.

Goldenday: SLQ Низкий поклон за ссылку! Там выложили ещё и "Jeff Lynne - Live From Bungalow Palace (Acoustic) -BBC Broadcast-2012-10-05-Proshot DVD" Великолепно!!! 01 Intro 02 Evil Woman 03 Showdown 04 Save Me Now 05 Telephone LIne 06 Cant Get You Out Of MY Head 07 Steppin Out 08 Strange Magic Running Time 28 min

SLQ: Goldenday пишет: Там выложили ещё и "Jeff Lynne - Live From Bungalow Palace (Acoustic) -BBC Broadcast-2012-10-05-Proshot DVD" О, побежала качать! Утром еще не было.

SLQ: Jeff Lynne - Breakfast TV Interview - 5th October 2012

SLQ: С Джулсом Холландом и другими гостями шоу.

Goldenday: Чего-то мне показалось, что крайние пацаны не до конца отдают себе отчёт - рядом с кем им посчастливилось сфотографироваться.

Storiesofold: крутышечная фотка, узнаю Албарна из Блёр!!!

AlexYar: Jeff Lynne - Live From Bungalow Palace (Acoustic) Steppin Out - просто ОФИГЕННО!!!!!!!!!!!!!!! Вообще, все классно, но вот Steppin Out это бомба! Также очень понравилась Save Me Now. Блин, после таких видео особо хочется встать у дверей дома Джэффа с огромным плакатом, призывающим его к живым выступлениям!!! Неужели мы его никогда так и не увидим "живьем"!? Кстати, там в титрах (в самом конце) когда идет список песен есть еще и Don't Bring Me Down, но вот ее почему-то нет....

Goldenday: AlexYar пишет: Don't Bring Me Down Мы тоже с Владом сегодня, когда смотрели, обратили на это внимание, Саш. Непонятно, однако, куда задевалась Её инструментальная версия звучала фоном во время интервью Пола или Ринго в Story of Jeff Lynne. Похоже, оба фильма снимались почти одновременно. Может, эти, ну которые прописывают титры, напутали что-то?... А насчёт Steppin Out... Джефф вроде вообще её впервые исполнил живьём. И ведь как звучит! Всего три инструмента (если считать вокал), а такой набор гармоний, оттенков и звуков! Полный улёт!!!

AlexYar: Goldenday пишет: Непонятно, однако, куда задевалась Её инструментальная версия звучала фоном во время интервью Пола или Ринго в Story of Jeff Lynne Там же и часть видеосъемки с ее исполнением есть! Классно было бы целиком посмотреть или послушать хотя бы... Все-таки аккустическая версия DBMD- тоже в некотором роде шедевр, как и Steppin Out - лично я в этом ни на секунду не сомневаюсь! Я только что посмотрел фильм - обалденно!!!! Такой бальзам на душу!!!! Действительно жаль, что по сути весь период его творчества в ЭЛО как бы "вычеркнут" оказался... При этом возникает дикое предположение о том, что может быть существует более полная версия этого фильма!? Хотя, в данном случае вполне можно было бы снять сериал, т.к.с учетом всего, что так или иначе "натворил" Джэфф это явно не укладывается во временные рамки представленной в Музее Грэмми версии фильма... На самом деле история этого замечательного мистера BS - музыканта, композитора и продюсера гораздо ярче и богаче, и наверное невозможно создать исчерпывающий с точки зрения хронологии документальный фильм обо всем этом! Спасибо и за то, что сделали!!!!

SLQ: Может быть планируют это на видео выпустить, и туда она войдет. А в телеверсию не влезла из-за лимита времени?

Goldenday: Так вроде DVD сделан как официальный. Размер маловат, но титры и меню - всё присутствует. Вообще всё может быть. Мы тут с Владом прикинули, что Story of Jeff Lynne смотрится как полноценное дополнение к DVD 'True Story of Traveling Wilburys', и Линн вполне может при удачном стечении обстоятельств попозже выпустить, скажем, лимитированное издание, состоящее из двух сольников и этого DVD в комплекте, наподобие бокс-сета Traveling Wilburys. Как говорится, мечтать не вредно

SLQ: Насколько я понимаю, пока это телеверсии были.

SLQ: А еще меня вот это фото порадовало

Goldenday: Да, доселе невиданная фотография. Возможно, из книжки про Вилбурис.

SLQ: Ой, не травите душу этой книжкой. Эх... Цена какая-то не реальная у нее. :( А так, я думаю, у них у всех столько фото, которые ни в какие книжки не вошли, что нам и не снилось.

Voldar: Новости у нас просто посыпались. PAUL MCCARTNEY KEEN TO REWORK ANOTHER LOST JOHN LENNON TRACK WITH JEFF LYNNE SIR PAUL McCARTNEY is plotting to return to the studio with producer JEFF LYNNE and complete work on another JOHN LENNON tune he and his BEATLES bandmates gave up on while recording FREE AS A BIRD for the group's ANTHOLOGY project. The rocker has fond memories of working with Lynne on the Beatles best of, but he regrets not challenging the late George Harrison over a forgotten track that featured Lennon's vocals. In new Jeff Lynne documentary Mr. Blue Sky, McCartney raves about Lynne as a producer and musician - and admits he is looking forward to returning to the studio with him. He says, "There was another one (track) that we started working on but George went off it... We were like, 'No George, this is John'. He said, 'It's still rubbish!' 'OK then'." "So that one (track) is still lingering around. I'm gonna nick in with Jeff and do it, finish it, one of these days." http://www.express.co.uk/posts/view/350847/Paul-McCartney-keen-to-rework-another-lost-John-Lennon-track-with-Jeff-Lynne

ТНЮ: Лёгок на помине

Sergey`M: Тоже неплохо. От их сотрудничества неплохие плоды были.

Voldar: Сереж,Пол это такой хитрый twat,что никогда не упустит шанса получить свой кусочек пиара.

Goldenday: Вот это да! Что ни новость - праздник!

SLQ: Сегодня 9 октября. День рождения Джона Леннона. Во-первых, хочу сказать, что мне очень понравилось, что в фильме про Джеффа включили кусок записи интервью Леннона, где он говорит о том, что если бы The Beatles не распались, то скорее всего пошли бы в музыкальном плане куда-то в сторону того, что делает ELO, А, во-вторых, расскажу историю из своей жизни, которая так сказать имеет отношение и к Леннону и к ELO. Много много лет назад. в конце 80-х, когда с информацией было туго даже о битлах, когда появлялись первые студии звукозаписи, где за денежку на кассету можно было записать какие-то альбомы любимых групп, и когда я была очень очень юной битломанкой случилась такая история со мной. На тот момент свой биографии из битлов мне нравится больше всех именно Джон. Я, конечно, старалась собрать все его альбомы. Вот пару из них я и записала в одной из таких салонов звукозаписи. Кажется, это были альбомы 74 и 73 года. Записала я их, слушала и радовалась. И была у меня там одна любимая песня, в самом конце альбома. Ну вот самая при самая любимая. Я даже ее могла бы назвать любимой вещью у Джона. И вот в один прекрасный день пришла ко мне в гости подруга, стали мы эту кассету слушать. И она мне радостно сообщила, что это совсем не песня Джона. Это в студии звукозаписи мне сделали после альбома Леннона добивку из песен, чтобы так сказать занять драгоценное место на кассете. (Раскладки по песням альбомов на тот момент у меня не было). А исполняли ту мою любимую песню Леннона :) группа ELO. У подруги папа был меломан, поэтому она про них слышала и их записи ей тоже слушать приходилось. Так состоялось мое первое знакомство с Джеффом и его творчеством. И ведь с музыкальной точки зрения (делаем скидку на мою неопытность тех лет) у меня все это слушалось как единое целое: сначала Джон, потом ELO. Да, песня была Rain' is fallin, которая ,к стати, до сих пор у меня одна из самых самых любимых песен вообще.

Voldar: Лена,пока читал,всё время одергивал себя,что бы не посмотреть в конец и узнать,что же это за песня,кстати прикольно,что все записи в фильме появляются на аутентичных носителях,а голос Джона кажется звучал из маленького приёмника Дженерал Электрик(что наверно символично).

SLQ: Voldar пишет: записи в фильме появляются на аутентичных носителях Да, этот момент хорошо продуман. Я это тоже оценила. А какие версии насчет песни были?

Voldar: Лена,вы просто такую ностальгию на меня нагнали,когда написали про студии звукозаписи...У нас в маскве центральная студия была на калининском(ныне новый арбат),находилась сбоку от кинотеатра Октябрь в подвальчике,в хорошую сторону отличалась неплохим качеством перезаписи,богатым репертуаром и самое главное у них были дефицитные кассеты.В конце 80-х мне через профком удалось пробить в этой студии чудовищный по объему заказ по записи классики рока - это было счастье. Там тоже добросовестно занимались добивками к основному альбому при перезаписи и конечно подумал,что вам наверняка дописали к Джону Time.В этом альбоме вообще то можно любую песню выбрать,но я подумал,что это Strange magic или One summer dream(ну с поправкой на возраст).

SLQ: Voldar пишет: Strange magic или One summer dream(ну с поправкой на возраст). Да, я думаю, что они мне тогда тоже бы очень понравились.

allamina: Очень интересная история Хоть и не в ленту новостей Джеффа Линна, но по теме Лениной темы.... Моя история не менее забавна. Лет мне было этак пять И как-то мой старший брат купил пластинку ЕЛО Time. Вообще-то оказалось в последствии, что он хотел купить пластинку Space. Так то он был киноманом, но Спэйсы это тогда было жутко модно же!!! И вот промахнулся. Слушать так её и не слушал, я забрала её себе и как взрослая давай её слушать, причем, по-фанатски слишком часто. Мама у нас следовала моде советской эстрады, а отец чет вообще ничего не слушал и помоему не мог отличить даже Ротару от Кобзона... А я вот продвинутая была не по годам))) так что мой стаж эломании получается уже больше 30 лет. Правда, половина из них только от одного альбома Тайм. До сих пор рыдаю под Ticket to the moon, пусть она и укатала всем мозг . Rain' is fallin.. о как сейчас помню... любила невероятно, да и всю пластинку...Были времена, даааа...

ТНЮ: allamina пишет: не мог отличить даже Ротару от Кобзона... надо запомнить!

Voldar: allamina пишет: Лет мне было этак пять Алла,наверно это уникальный случай среди эломанов.

Sergey`M: Забавные истории. Наверное такие были у каждого меломана. Я уже как-то писал, про свой забавный момент. Как и в случае SLQ на катушке были записаны ELO, а вдобавок наоборот - Джон Леннон (одна вещь). Я конечно не знал, что это была песня Джона и воспринимал её как часть альбома "TIME" . А песню послушайте, #9 Dream 1975 года. Я до сих пор от неё в восторге! Так Джон опередил время....

allamina: Так звучание к ЕЛО- была его мечта #9

Storiesofold: группа А-ха тоже отлично эту вещь исполнила

Goldenday: А мне в 90-91 году в студии звукозаписи бобину после сольника Джеффа "добили" альбомом "Rock On" и уверяли, что это второй новый альбом Линна Хотя, в чём-то они были и правы: эти работы очень близки и по саунду, и по составу участников.

Voldar: Вот и домашняя пресса зашевелилась. Jeff Lynne Sits At Home, Re-Recording ELO's Biggest Hits (We Visit Him There) There's one stipulation that comes with my invitation to visit Jeff Lynne at his house: Don't tell anyone where he lives. This is mentioned more than once. He's been kind enough to invite me over in front of his new disc of refurbished works, Mr. Blue Sky - The Very Best of Electric Light Orchestra, out today. The thing is, Lynne is a bit of a homebody. Kind of private. In the opening scene of the new documentary chronicling Lynne's life and work, Mr Blue Sky: The Story of Jeff Lynne and ELO, Paul McCartney calls him shy. You may have known that Lynne is friends with McCartney, considering he worked on Sir Paul's album Flaming Pie and on Beatles songs that came out in the '90s. In fact, Lynne is a bit of a name-dropper. Bob, George, Roy, Tom....You can probably figure out those Traveling Wilburys. One tends to forgive him, though, considering he is music royalty of the highest caliber. In fact, it's as much as I can do to not jump on top of his velvet couch and start screaming, rock hysteria style. So, I won't mention where he lives, but I will say it's lush, sprawling, quiet, and tucked away at the end of a street where few cars pass with views that overlook Los Angeles. It is the perfect haven of solitude for a man who went around the world again and again as the leader of '70s rock outfit Electric Light Orchestra. A man who now just wants hang out at his home studio and make music, which he calls his favorite thing in the world to do. "It's really private," Lynne, 64, says of his workspace. "I can make a lot of racket and nobody can hear me." In said studio, the afternoon sunlight illuminates the mural of a jungle scene -- think monkeys and toucans -- painted on the wall above the massive mixing board. There are at least a dozen guitars. I spot a platinum album for Lynne's work as producer on the 1995 Beatles anthology. "Free As a Bird"? He did that. "Real Love" too. He also co-wrote "Free Fallin," produced albums for Brian Wilson, Tom Petty, Roy Orbison, and Del Shannon, and sold millions of records with ELO. You could call his Traveling Wilburys the greatest super group in the history of popular music. I would. "It was so simple in the old days," Lynne says. "You put out an album, people promoted it, it got in the charts, and you had a hit. It must have been the golden age of rock and roll." It's rare to find a photo of Lynne without his aviators on, and he doesn't take them off while we talk either. He wears jeans, a neatly pressed black button down shirt, black socks and black Vans slip ons. He is warm and funny and quick to laugh, like a jovial uncle with a million stories that just happen to include meeting Tom Petty on the street and subsequently writing Full Moon Fever together. We're sitting in a vast, cedar-lined, high ceilinged room where Lynne sometimes records. The vibe is upscale hunting lodge. The fireplace is practically bigger than my apartment, and the far wall is lined with framed gold records. I lose count at forty. Surely many of these are for the ELO classics that still populate rock radio playlists. For Lynne though, many of these songs were never quite right, which is kind of why I'm here. Lynne has spent the last three years in his studio, re-recording ELO's biggest hits from scratch. Seriously. "I listened to the songs," Lynne says, "and I thought, 'that doesn't sound as good as I remember.' I was quite an inexperienced producer when I made those albums." The newly refurbished tracks make up Mr. Blue Sky - The Very Best of Electric Light Orchestra. The album also coincides with the 40th anniversary of the band. Lynne worked six days a week perfecting songs including "Do Ya," "Evil Woman," "Strange Magic," and "Don't Bring Me Down." He did this at home, mostly on his own. "I just love playing all the instruments and going back and thinking 'fucking hell, I did all that.'" The new old songs sound excellent -- clean with the thousand layers of upscale instrumentation, cellos, violins, etc., that made Electric Light Orchestra one of most ambitions acts of the 1970s and early '80s. To my untrained ear, the primary difference on the new recordings is Lynne's voice. It's slightly warmer, lower, more mature, the result of age and a maybe a few wild nights on the road. "I used to be a big smoker and drinker," Lynne says. "You're on tour and of course you want to party, because that's what everyone is doing. I wasn't going to miss out on all the fun and games, but it messes your throat up." We do a bit of free association with the hits. "Mr. Blue Sky" was written when "I was on a mountain in Switzerland." (He yodels here a bit). "It had been horribly foggy for days. Then the fog lifted and beams of this fabulous sunlight came down and the sky was blue. I wrote the song right there and then." "I didn't have a clue "Strange Magic" was going to be a hit." "Evil Woman" was "a premonition of somebody I was going to meet." "Don't Bring Me Down," an attempt at a "big, nasty rock and roll song. I think it came off," he says, "because it is a big, nasty rock and roll song." Venturing into Wilbury territory, Lynne recalls, that, "George had written a tune. The title didn't come until we were actually playing the track. It said 'Handle With Care' on this cardboard box in the studio, and that became the song. George had one verse and then we all joined in and had it finished. "Handle With Care," there it was. We recorded it that same night after dinner." "There was so much input with the Wilburys," Lynne continues. "We were five songwriters and five rhythm guitarists. It was quite comical actually, all of us sitting around strumming acoustics. There's Bob strumming and Roy strumming and Tom strumming. I loved it. It was like 'Hey, there's George Harrison. This is a good group!'" "We used to do the backing tracks in the afternoon around lunchtime, write the words during dinner, and put the vocal on after we ate. Each song was done in a day. With our first Wilbury album, it was 10 days and 10 songs. Amazing. Fastest thing I've ever heard of." Lynne then reflects on Long Wave, the collection of pop standard covers, ("At Last," "Love is a Many Splendored Thing"), he is releasing in tandem with Mr. Blue Sky. This album was influenced largely by the music he heard his father playing during his childhood in Birmingham, England. "I kind of hated it when I was a kid, but all these years later, I get all of this old stuff. Without be too slushy about it, I've never heard songwriting as good." But don't get your hopes up about hearing any of this material live. "I don't actually like touring," Lynne says. "I'm very grateful for all of the success, it was marvelous, but I had enough. I just want to be in the studio. When you've got all the gear you want in your own house, it's difficult to go out and do something else, you know?" I nod as though this is a relatable situation. Soon our time is up. We hug goodbye and Lynne escorts me out, past myriad rock relics and through the cozy studio in which he spends most of his time. If it were my inner sanctum, I'd never want to leave either. http://blogs.laweekly.com/westcoastsound/2012/10/jeff_lynne_house_electric_light_orchestra.php

Voldar: Так вот,что он решил выделить. Roll Over Beethoven: Jeff Lynne's Favourite Albums Mr Blue Sky works up thirteen of his top LPs The common complaint from Baker’s Dozen’s many participants is that of the struggle of narrowing down a list of life-long favourite long-players into a relatively compact list of just 13 albums. Not so for Jeff Lynne. Quite the opposite in fact. “I have had a hard time whittling them up to 13!” he laughs. Jeff Lynne, singer, songwriter and producer is still best known for his work with ELO, the Beatles-influenced pop monster that gained the approval of the Fab Four. But as Lynne is keen to point out with his choice of albums, there’s so much more to him than the band that truly made his name. “I’m sorry they’re all by me!” says Lynne by way of apology as he meets the Quietus in the genteel surroundings of a Belgravia hotel. “Craig, my manager, asked for the list in the car on the way to this hotel and I’m thinking, ‘I don’t know what my favourite albums are off the top of my head right now’ because this is the first time I’ve ever been asked this question,” he says as he explains both his predicament and the rationale behind his final choices. “I’m going, ‘do you think they’ll mind if I include some of the ones that I’ve produced?’ because I do like those albums and he goes, ‘No, go ahead and do them.’ So I’m sorry about that! But at least I’ve got some stories about them!” Travelling Wilburys – Volume 1 I’ve chosen this because it was such an amazing thing to happen. It sounds really good and it was such a brand new kind of sound. It really was! Not just because me and George [Harrison] produced it but it was the actual thing of it existing even. It came about as a whim when I was working with George on Cloud Nine, and he said to me one night after we finished work and we were having a couple of bevies, he said, "you know what? Me and you should have a group." And I said, "well, that’s a good idea. Who would we have in it?" And he said, "oh, Bob Dylan." And I said, "oh, Bob Dylan, yeah. How about Roy Orbison?" And I thought we were joking and he says, "yeah, OK. Roy’d be great." And then we both said "Tom Petty". We both loved Tom and we’d met him a couple of times. Anyway, everybody wanted to join so that was how the Wilburys came about. And so we went to LA, recorded ‘Handle With Care’, at first as a bonus track for George’s single off Cloud Nine, but when [label boss] Mo Ostin heard it he said, "you can’t do that! This is the first track off your new group!" and we all went, "oh yeah! That’s a good idea." ‘Cause we had recorded it in Bob Dylan’s garage, which is pretty amazing. We had a barbeque in his back garden and after that we wrote the words to ‘Handle With Care’, finished the words and George had got the chorus but he hasn’t got the verses so I wrote them at dinner time, sang them in the evening and it was finished. We had to mix it at George’s house later. That’s why it’s interesting to me, how it came about. The rest of the songs we did in Dave Stewart’s studio and they were all instant songs. Each song only took a day. We gave ourselves one day to write a song so we did ten days and ten songs. I did have to pinch myself! I got used to it in the end and of course we did another album after Roy had passed but it was a marvellous time and that’s why I chose it. George Harrison – Cloud Nine I didn’t know George at that time. I got to know George because of Dave Edmonds. I did a song with Dave Edmonds in Holland because I was doing an album over there – an ELO album – and he rang me up and said, "do you fancy writing a song for me and I’ll come over while you’re there and I can sing it?" So he came over and we recorded this track together and he played this big six-string bass. We recorded it, finished it and a few weeks later we’re having dinner, finished dinner, went our separate ways and he shouts down the street, "by the way, I forgot to tell you: George Harrison asked me to ask you if you’d like to work on his new album with him!" I said, "what do you mean, 'by the way'?" [laughs] As if that shouldn’t be the first thing you’d say over dinner! But that’s what happened. I got invited to George’s and I went there, we got on great and we went to Australia to the Grand Prix together to see if we were going to be pals. And we were. We were great pals and we got on great and we worked together for about 13 years or so. I love Cloud Nine because it was my first outside production that I’d done; it was a big album. And producing a Beatle wasn’t lost on me. It was like, “fucking hell! This is good, this, innit?” You know, it was great because I’d just had a year off and playing in my own studio in England and learning to be an engineer, believe it or not. I’d never really mastered engineering; I’d always been a producer and always had to tell the engineer what I wanted because I couldn’t do it myself. I taught myself how to do it myself and I was much more in tune with all the knobs. You know, I knew exactly which little tweak I needed to do because I’d been there doing it in my own studio for about a year. Tom Petty – Full Moon Fever This was a bit of a dodgy situation at the time but I didn’t know that. Tom had asked me to work with him and it was a solo record and that was all I knew. It wasn’t with the group. He used Mike [Campbell, Heartbreakers lead guitarist] for guitar and it was Mike’s studio that we recorded in, in his garage in LA. Tom just stopped me in the street one day in Beverley Hills somewhere and he said, "I’ve just been listening to George Harrison’s new album. I love it. I’m having a barbecue. Do you wanna come?" I couldn’t go so he said, "do you fancy writing some songs together and see what we come up with?" and I said, "yeah, I’d love to!" So I went round his house the next day and after we wrote one, we then wrote, believe it or not, ‘Freefalling’ which was such a big hit for him. So it worked out great and we carried on doing them in Mike’s garage, which was an amazingly sparse studio. It was a garage full of motorbikes and oil cans and bedsteads and things like that - it was pretty amazing! Where him and George looking for that panoramic ELO sound? Well, it wasn’t always that panoramic a sound. I was gradually quietening that sound down that ELO had done and there were less strings. In ELO, it used to be a case of, "oooh! String day tomorrow!" and then by about the tenth album it became [adopts dismayed voice] "oh, fucking hell! It’s string day tomorrow." I’d had enough of them. I grew tired of the strings. But that’s not why they asked me. It was more the punch I was doing later on and they just liked the sound that I made, whatever it was. They liked something about it. Del Shannon – Hats Off To Del Shannon I’ve always loved Del. He was my first hero when I was young. When 'Runaway’ came out I was only 13 or 14. I had to have my own rock star. Well, they weren’t called ‘rock stars’ then – they were all pop stars. But my sisters had had Elvis – and I loved Elvis of course – but you had to have your own hero, you know? So Del Shannon was my one. But there’s a great story about Del and ‘Runaway’. He’d made the record and he was on the road and someone had sent him a copy of the record and he put it on his record player, played it and went, "what the fuck?!" It was semitone faster than it should have been! And he phones up his manager and he says, "what the hell have you done to my record?" And the manager said, "oh, we sped it up because we thought it was too slow." And that’s how it is to this day. It’s in B flat minor instead of A minor. Which is amazing and it sounds better when it’s sped up. I’ve slowed it back down to see what it sounded like when it was originally done and it doesn’t sound as good as the sped-up version. You can tell that his vibrato is really fast and you can tell it’s sped up. Roy Orbison – Greatest Hits What a beautiful guy. He was so sweet. I mean, every song he’s done is my favourite. You can’t go wrong with them. Some of the songs aren’t as good as others but most of the ones he wrote with Joe Melson and Bill Dees are great. I’ve just recorded ‘Running Scared’ for my new album, Longwave, and he once told me that ‘Running Scared’ was his personal favourite of all the songs he’d ever done. I actually got to work with Roy and be his pal and be his producer and his co-writer on a song called ‘You Got It’ which was a big hit in America and here too. So that was a big thrill for him to have a hit. And it was his first hit in 20 years and we’d done it together and that was a great, marvellous feeling. In real life, he was actually a very funny guy. And he could do all Monty Python sketches on his own! He did all the parts! When we were doing Wilburys videos, we’d be going in a van to Grand Union Station in LA to film ‘Handle With Care’ and he’d be doing Monty Python sketches. And he’s got this enormous and most infectious giggle you’ve ever heard and we’d all be giggling like schoolgirls after a minute or two and all fucking fall about! He was a lovely guy and if he was sad he never showed it. When Roy died we did talk about getting someone else in but we thought that nobody could replace Roy Orbison. Regina Spektor – Far It’s not an obvious pairing but someone asked me if I wanted to do it and if I’d like to work with her and sent me a couple of her albums. When I heard them I was really blown away with them. I thought, "this girl’s superb"! She came to my studio and we talked about for a while and she was a lovely girl, very sweet, and her voice is so amazing! So in tune! Beautiful quality and a lovely tone. And a beautiful plumage! [laughs] She was beautiful and I loved her voice and her pitch and her sense of timing was absolutely marvellous, you know? In fact, in her live show, sometimes her drummer is playing his bass drum to her left hand. Her hand’s like a drum machine, almost. Very tight, rhythmically. And I just love her voice. We laid down four or five tracks with her on piano and sometimes she wanted to do it all at once and I’m going, "hmmm… Don’t do that! Because I’ve got to separate it again and it’s almost impossible to get the separation.’ I wanted to have the complete control that I like; I like total separation and control over the stuff so I can make it sound good. And we did it like that, just one track, and then we did them all separate so she played the piano parts separate and did the vocals separate standing up at a vocal mic and I just really enjoyed it, you know? I still listen back to those songs and I think they’re great. The Beatles – Revolver This is pretty amazing. I think this is Geoff Emerick’s first go as engineer. He’d been working there [at Abbey Road studios] but he hadn’t become an engineer yet. When I was working with Paul McCartney on his album, Flaming Pie, Geoff was the engineer as well. He told me what a marvellous thing it was for him because he used this close mic ambience on this album and did some really amazing effects, like on ‘Tomorrow Never Knows’. Backwards stuff and all that and this was pretty advanced stuff in them days. It was more experimental than anything they’d done before. Some of the tunes on there are just great and it was them nearly getting into Sgt Pepper, you know? Probably doing more experimenting and copying tapes and bouncing them across. They hadn’t got the tracks to do it, really, so they had to use two machines and sometime three machines and then mix everything down from four tracks onto one and then start on another and mix that down to another machine. So it was very difficult to make those records, I would imagine. How did it sound back in ’66? Way better than everything else, I would say. It stood out like a sore thumb really. It was so tight and beautiful and punchy. It was the punchiest thing around. It was, like, powerful and, it seemed to me, majestic. The Beatles – Please Please Me Oh, this is brilliant! And the sound George Martin got on it! I love the opening drumbeat and the bleed with all the drums leaking onto the guitar mics and sometimes onto the vocals if they did the whole track live. The sound of it, to me, was real, raw excitement. They were a great group, they really were. From their days in Hamburg, they were so tight and on that record it really shows how brilliant they were. I think ‘I Saw Her Standing There’ was probably the greatest ever English rock’n’roll song. I would imagine that it’s a good as any old American rock’n’roll song, like the real thing. The real stuff. As good as a Chuck Berry tune or something. It was as solid as anything I’d ever heard or better. With the rock’n’roll records I’d started playing a bit by then – not bad, but a bit – and this song was nice and simple but don’t let that simplicity fool you. Some of the hardest stuff to do is the simple stuff, to make it effective and make it real and make it worthwhile. I thought it was unbelievable and I still do. Today, I still think, "how the fuck did you do that"? It was like giving it back to the Americans: "'ere y'are – we can do this as well!" The Who – Meaty Beaty Big and Bouncy I love the sound of ‘I Can’t Explain’. It’s my favourite and I love all those earlier ones. I used do them onstage with a group called The Nightriders and The Idle Race as well. ‘Pictures Of Lily’ and that kind of stuff. I used to love playing all those Who songs. They had something about them, The Who. It was like magic, the sound. And just watching Pete Townshend, he was always amazing. Did I ever catch them back in the day? Yeah! Not half! The loudest bloody thing I’ve ever heard in my life! I went to this place called Midnight City in Birmingham and it was quite a big room and everyone was waiting for them: "wow! We’re gonna see The Who!" and they struck up and went BLAAANG! and your earholes would go WOOOOM! and you couldn’t hear a fucking thing! Your hearing was gone! You know when your ears go inside out? And it’s like silence and you can’t hear fuck all for the next 10 minutes until your hearing starts coming back! And gradually you could start hearing them again. It was like a compressor, almost. It was really exciting to hear that when you’re a kid. And the tunes they played were so great. It was beautiful. Fantastic! The Zombies – Odessey and Oracle My friend, Ian La Frenais, gave me that, a cassette of it. He goes, "bet you haven’t heard this for a few years" because he’d found it in his drawer. And he gave to me and I played it for months, it must have been. I just loved all the songs on it. I love Colin Blunstone’s voice on it. And lovely, crafted songs. Great harmonies, what more could you want? I love The Zombies. This strikes me as lovely all the way through. The Beach Boys – Pet Sounds Is this the ultimate in production? It’s probably one of them. I think you’ll find The Beatles might say that! They were always in competition at that point. You know, I’ve obviously spoken to The Beatles a lot but I like every track on Pet Sounds; I think they’re all equally as good. I couldn’t even pick one out if it because the arrangements were so unusual at the time. I remember it was ’66 and in some parts it sounds like an old dance band. I’d think, "wow"! That’s so old fashioned yet so brand new at the same time. The arrangements were weird with these big harmonicas and funny, deep saxophones and plain little paper cups and playing the drums on them. What the hell was that? Brilliant! Brian [Wilson] was absolutely marvellous. Luckily for me, I did get to work with him and we wrote a song together called ‘Let It Shine’ on his album, Brian Wilson, in about ’89 or something. I got to know him quite well and he was a lovely guy and we wrote this tune and it was very nice and I’m really glad that I did. Don Covay And The Goodtimers – Mercy I love this album. We used to play these tunes in The Idle Race; about two or three songs off that album. For about a year we did them and they were so good to play. That big, rough r'n'b sound. I’ve actually recorded ‘Mercy, Mercy’ on my new album, Longwave. It’s a version like we used to do it – just two guitars, drums and bass and background shouting. It sounds like the old record, really. I think that sound was important back then. There was a lot of r'n'b going on. Obviously, you had The Spencer Davis Group with Steve Winwood, who I love – he’s a brilliant guy. He’s one guy I’d like to work with one day. I haven’t seen him for a few years but we used to hang out a bit. The Marvelettes – Sophisticated Soul Beautiful drumming and bass playing. And the song I really like is called ‘The Hunter Gets Captured By The Game’. It’s a timeless sound with really wonderful bass parts that are so intriguing. Those kind of soulful bass bits were just wonderful and their voices are so classy. It’s the classiness of it, you know? It’s cool, wonderful rhythm and this is as good as it gets, probably. It doesn’t take me back, listening to it these days; it just impresses me more. Like, wow! How did they do that? How did they get that sound then? What a beautiful mix. I’m always impressed by the balance of things. I’m blown away by the balance. How they did it, I don’t know. http://thequietus.com/articles/10299-jeff-lynne-favourite-albums-2?fb_action_ids=556089153432&fb_action_types=og.likes&fb_aggregation_id=288381481237582&fb_source=aggregation&page=1

Voldar: Чем же всё таки его Регина так зацепила...

Goldenday: Володь, потрясно! Как тебе это удаётся - раскапывать такие новинки? Столько интервью всяких и столько про Джеффа сказано за последнее время, что переводить всё это надолго хватит! Открываю для себя новые грани внутреннего мира Джеффа. Некоторые альбомы, которые он упомянул, захотелось послушать. Про некоторые не знал вообще. Про Runaway интересный факт вылез. Да много всего вообще.... Ощущение, что открылся ящик Пандоры

Storiesofold: там надо раздавать что скачал , как и на любом торренте, чтобы рейтинг не упал

SLQ: Storiesofold пишет: там надо раздавать что скачал , как и на любом торренте, чтобы рейтинг не упал Ну Джефф там новый, быстро отбивается. У меня что-то уже в 2,5 раза отбилось по рейтингу

Goldenday: SLQ пишет: Ну Джефф там новый, быстро отбивается. Да, это так, но в конечном счёте всё равно всё зависит от провайдера и скорости. У меня отбилась пока только половина, несмотря на то, что комп трое суток пашет без пауз. Чёртов Авангард! (правда, телек подключён к "Твоё ТВ", чтобы сын нормально мог играть в игрушки по сетке на PS3. Там 6 мб в обе стороны и на них всё летает).

Voldar: Goldenday пишет: Ощущение, что открылся ящик Пандоры Тогда главное ,что бы он обратно не закрылся.Ну должен же был бы быть,когда нибудь и на нашей улице праздник,вот и пришел,а конкретно на Шерборн стрит.

shangri: Друзья, организуйте как-нибудь мне (выложите куда-нибудь) скачку всех тех последних видео с сайта hungercity. Ну не могу я скачать, пишет, что доступ закрыт. Я и про фильм bbc и что там еще вы нашли! Заранее спасибо :) P.S. Лена SLQ, а вы самая Лена из Питера, что подруга Айи?

SLQ: shangri пишет: Лена SLQ, а вы самая Лена из Питера, что подруга Айи Я не могу сказать, что мы подруги, но мы знакомы, хотя давненько не общались.

Voldar: Видео с двух DVD. http://narod.ru/disk/62310107001.44e36c1b4edb1a3fe0bb133d9a653116/Mr%20Blue%20Sky-The%20Story%20of%20Jeff%20Lyne%20and%20ELO-Proshot%20DVD.rar.html http://narod.ru/disk/62308205001.8028c195802103f9fe3ee6775d2a455d/Jeff%20Lynne-Live%20from%20Bungalow%20Palace-Proshot%20DVD.rar.html

Goldenday: Спасибо, Володь!

shangri: Спасибо, Володь! Кстати, вопрос всем. Вчера из дома я смогла зайти на западный треккер, с которого вы все качали видео, даже зарегистрировалась. Во все темы спокойно смогла зайти, а эти 2 темы с Линном выбивает снова на логин и предагает страницу с пожертвованием. Как вам удалось скачать?

SLQ: shangri пишет: Спасибо, Володь! Кстати, вопрос всем. Вчера из дома я смогла зайти на западный треккер, с которого вы все качали видео, даже зарегистрировалась. Во все темы спокойно смогла зайти, а эти 2 темы с Линном выбивает снова на логин и предагает страницу с пожертвованием. Как вам удалось скачать? У меня такой проблемы нет, но у меня там пока рейтинг хороший. больше 1. Так что я тут мало что могу посоветовать. НЕ сталкивалась с этим.

Voldar: Я вообще торренты не люблю,но здесь пришлось залесть.Самое прикольное,что я даже сам торрент не стал ставить,а скачал по ссылке флешгетом с торрент плагином.

Шубидуба: Где-то прочитал: 2 альбома Линна на двух первых местах по предзаказам на Амазоне. А ещё где-то прочитал, что полные версии этих видео будут изданы на DVD в конце года. О как!

Voldar: Даже на битлсру наметился позитив в отношении Джеффа и всё благодаря Лене,за это ей отдельное спасибо,всё таки обидно было за ведущий битломанский ресурс. http://www.beatles.ru/news/news.asp?news_id=8599 http://www.beatles.ru/postman/forum_messages.asp?msg_id=15059&cfrom=1&showtype=0&cpage=2

Voldar: Пресса пока не оставляет Джеффа вниманием.даже центральная американская. Jeff Lynne Discusses His Two New Albums, Which Hit Stores Tuesday Electric Light Orchestra frontman Jeff Lynne releases not one but two brand new albums Tuesday. Long Wave features versions of 12 songs that inspired and influenced the multi-talented musician when he was growing up, while Mr. Blue Sky: The Very Best of Electric Light Orchestra includes updated renditions of many classic tunes by his old group. In recently interview with The Montreal Gazette, Lynne discussed the concept behind Long Wave, which offers his take on standards such as “Bewitched, Bothered and Bewildered,” “Love Is a Many Splendored Many Thing” and “Smile,” as well as early rock-era tunes his late Traveling Wilburys band mate Roy Orbison‘s “Running Scared,” Chuck Berry‘s “Let It Rock” and The Everly Brothers‘ “So Sad.” “The old arrangements of them were busy and grand,” he notes. “[The chords] were obscured by the arrangements. I wanted to get them really simplified down, so I just studied them.” Lynne admits that in order “to really get hold of” the tunes featured on Long Wave, he listened to each original version “100 times” before recording his renditions. As for “Running Scared,” he tells The Gazette that his friendship with Orbison, who died from a heart attack at age 52 in 1988, was in his thoughts as he worked on the song. “I got to know him really well, and what a sweet guy he was,” says Lynne. “He was a lovely man.” Mr. Blue Sky, meanwhile, is the first studio album Lynne has issued under the Electric Light Orchestra moniker since 2001′s Zoom. Fans wondering why Jeff felt the need to rerecord some of the band’s best-known and best-loved songs, he tells The Gazette, “When I used to listen to them on the radio or play a record of my old ELO stuff, they never really sounded like I wanted them to sound.” Adds Lynne, “They tended to sound, to me, a little bit woolly and not too focused in some ways.” He says that his experience as a producer, along with technological advances, have allowed him to create better-quality versions of those ELO classics. “I was able to make things cleaner and clearer and get a better sound on guitar and piano,” Lynne notes. Copyright 2012 ABC News Radio http://www.classichitsandoldies.com/v2/2012/10/09/jeff-lynne-discusses-his-two-new-albums-which-hit-stores-tuesday/ Jeff Lynne: Can’t get it out of his head MONTREAL — Jeff Lynne hasn’t put out an album using the Electric Light Orchestra tag in 11 years. It’s been twice that long since he released one under his own name. The wait, on both counts, ends Tuesday: Mr. Blue Sky, Lynne’s re-recording of ELO’s greatest hits, will be issued under the group signature. Joining it in the marketplace is Long Wave, Lynne’s homage to the pre-rock and early rock ’n’ roll songs that made a big impression on him. “It’s like buses in England,” Lynne said during a recent telephone interview. “You wait forever and then they all come at once.” Lynne said the songs he chose for Long Wave — including evergreens like Bewitched, Bothered and Bewildered, Smile and If I Loved You — were on his mind for years, germinating until he believed he had learned enough to do them well, in his own style. “The old arrangements of them were busy and grand,” he said. “You couldn’t really hear the chords. They were obscured by the arrangements. I wanted to get them really simplified down, so I just studied them. I probably listened to each one 100 times before I did it — to really get hold of it. “Learning these songs was the most pleasure you could have,” Lynne said. “It was like going to university and learning all these beautiful chords and all the parts of each song, because I play all the instruments, too. I felt it was now time to have a go at something really challenging. It took me a while, but 40-odd years later, I understand them totally, these songs. And I can do them justice.” The Bobby Darin version of Beyond the Sea — itself an adaptation of Charles Trenet’s 1946 song La mer — is among the covers on Long Wave. “I remember when I first heard it, probably around 1960,” Lynne said. “I remember it sounded really old-fashioned then. (Darin) made it sound like a ’40s-type arrangement. I just wanted to see if I could play that style and learn the parts, because the parts to that were really difficult. There are thousands of chords in it, and it’s going at quite a pace. And the bass line is particularly tricky.” Long Wave occasionally deviates from its pre-rock setting to visit early rock ’n’ roll songs, with Chuck Berry’s Let It Rock, the Everly Brothers’ So Sad (To Watch Good Love Go Bad) and Don Covay’s Mercy Mercy on the track list. “The very old ones are the ones I used to hear on the radio all the time. My father would have the radio on all day. The ’60s ones are from when I really got my own thing going with music that I had chosen to love,” Lynne said. Among the more striking manifestations of Lynne’s youthful musical independence was one of his early bands, the Idle Race. With that late-’60s Birmingham band, he recorded two albums of twisted and infectious pop songs like The Skeleton and the Roundabout, I Like My Toys and Hurry Up John. The group, he said, was “kind of wacky. At the time, I was obviously trying to be very different and not sound like anybody else. We certainly didn’t. That’s for sure.” Lynne later joined the Move, appearing on their two final albums, Looking On (1970) and the brilliant Message from the Country (1971). “(The albums) weren’t the best sound I’ve ever heard, but the ideas were there. Lots of ideas. And Roy Wood and I worked quite well together,” he said. Wood and Lynne formed the Electric Light Orchestra in 1970, but the restless experimenter Wood left after the group’s 1971 debut album. Lynne took over the leadership of the pop group and fronted it through a decade of hits. Putting together a hefty ensemble, with strings, was necessary mostly to play the songs live, said Lynne, who wrote, arranged, produced and sang on the records. On Mr. Blue Sky, Lynne plays ELO’s biggest hits alone, overdubbed multiple times, and the new recordings sound impressively close to the originals. “When I used to listen to them on the radio or play a record of my old ELO stuff, they never really sounded like I wanted them to sound, or like I thought they sounded at the time I did them,” he said. “They tended to sound, to me, a little bit woolly and not too focused in some ways. A lot of it is my lack of experience as a producer in those days. I’ve had another 25 years of experience in recording, and technology has improved a fantastic amount. I was able to make things cleaner and clearer and get a better sound on guitar and piano.” After ELO officially disbanded in 1986 (subsequent uses of the name have been strictly Lynne projects), Roy Orbison was among the artists with whom Lynne honed his production skills. He said he was thinking of their friendship when he recorded Orbison’s Running Scared for Long Wave. “I got to know him really well, and what a sweet guy he was. He was a lovely man,” Lynne said. Lynne and Orbison were, memorably, part of the Traveling Wilburys, an idea George Harrison and Lynne hatched when Lynne was producing the ex-Beatle’s Cloud Nine album. Bob Dylan and Tom Petty made it a quintet. “The Wilburys was a marvellous thing,” Lynne said. “It has to be up there with some of the best things I’ve had a go at.” Lynne’s friendship with Harrison gave him an entry into producing the Beatles’ “reunion” tracks Free as a Bird and Real Love when the Fabs did their Anthology project in 1995. Although Lynne said he considers working with the surviving Beatles the highlight of his production work, he had a giant challenge. Technically, he said, it’s the biggest one he has ever faced: the tracks were built around two poor-quality recordings by John Lennon. “They were just on a cassette, in mono,” he said. “His voice was with the piano and we couldn’t separate it. It was all one track. That was the hardest thing to get around.” And dealing with the volatile chemistry between the surviving Beatles at the time? On the other end of the line, you could almost hear Lynne lacing up and beginning to skate away, waving a hearty goodbye. “They’re all different people, of course, and they all have their own things. I’m usually very polite to the Beatles,” he said, laughing. “And I will always be, because I hold them in great esteem.” Read more: http://www.montrealgazette.com/entertainment/Jeff+Lynne+head/7359001/story.html#ixzz28yuJY9YJ ELO's Jeff Lynne returns to the spotlight Other than perhaps wearing his trademark sunglasses, Jeff Lynne of the British band Electric Light Orchestra is not exactly a recognizable or charismatic figure compared to other rock stars of his era from the '70s and '80s. In its entry about the group, the Rolling Stone Encyclopedia of Rock and Roll once wrote: "The Electric Light Orchestra has a history of facelessness. Even the most ardent fans generally can't name more than one or two band members." But the music Lynne as the leader of ELO is definitely nothing short of anonymous. From the early '70s to the mid 80s,' the group blended Beatles- influenced rock and roll with strings (at least for most of its career), resulting in such hit songs as "Can't Get It Out of My Head," "Telephone Line," "Evil Woman," "Don't Bring Me Down," and "Hold On Tight." After the group went on hiatus, Lynne went on to even bigger fame in the late '80s and '90s as a member of the Traveling Wilburys, the supergroup that also consisted of George Harrison, Roy Orbison, Bob Dylan and Tom Petty; and as a producer for the aforementioned Harrison, Orbison, Petty, and most recently Regina Spektor. Along the way, ELO's music has maintained its popularity in commercials and in the film "Boogie Nights." This past Tuesday, the ELO founder returned with two brand-new albums: "Long Wave," his first solo recording under his name in over 20 years; and "Mr. Blue Sky: The Very Best of Electric Light Orchestra." Both releases come as ELO marks the 40th anniversary of its debut record, "Electric Light Orchestra" (or known as "No Answer" in the United States). Anyone familiar with Jeff Lynne knows how much he loves to be involved in every aspect of the music--from writing and producing his own material, to singing and playing all the instruments himself. So it may come as a surprise that "Long Wave" is a collection of cover songs from the '50s and '60s. It is probably the most tender of music Lynne has ever released, from his renditions of ballads as "At Last" (made famous by Etta James), "She," "If Loved You," and "Love is Many Splendored Thing"; to rockers in "Let It Rock" and "Beyond the Sea" (immortalized by Bobby Darrin). According to a press release, "Long Wave" is a look back at the songs that Lynne had listened to in his youth long before forming ELO. "I call this new album 'Long Wave' because all of the songs I sing on it are the ones heard on long wave radio when I was a kid growing up in Birmingham, England," Lynne said. "These songs take me back to that feeling of freedom in those days and summon up the feeling of first hearing those powerful waves of music coming in on my old crystal set. My dad also had the radio on all the time, so some of these songs have been stuck in my head for 50 years. You can only imagine how great it felt to finally get them out of my head after all these years." "Long Wave" is not the only new music coming from Lynne. "Mr. Blue Sky: The Very Best of Electric Light Orchestra" is an album of 11 re-recorded greatest hits with Lynne performing all the instruments himself. Essentially, they're near-letter perfect versions of the original ELO songs with some slight variations and quirks here and there -- "Do Ya" for example, sounds more aggressive than its predecessor, as does "Don't Bring Me Down," The only exception on the record is the excellent new song, "Point of No Return," which hopefully is a sign that Lynne will be releasing more original material by either himself or under the ELO name. "When I listen to the old versions they don't sound the way I thought they did when I first wrote and recorded them," he said in the press release. "I wanted to use the experience I've gained producing records ever since and have a completely new try at them. I'm not saying the old versions aren't good; I like them very much. We were doing our best, but experience and technology also play a big part, and these new ones sound much more solid and tight." The release of the two new albums is proof that at 64 years old, Lynne hasn't lost his skill in crafting melodic rock and roll. © 2012 CBS Interactive Inc. All Rights Reserved. http://www.cbsnews.com/8301-207_162-57528073/elos-jeff-lynne-returns-to-the-spotlight/

Voldar: Джеффа номинировали на следующий год на включение в зал славы авторов песен. Songwriters Hall of Fame 2013 Nominees For Induction Announced New York, NY – October 11, 2012 – Jimmy Webb, Chairman of the Songwriters Hall of Fame has announced the slate of 2013 nominees for induction. The organization, which is dedicated to recognizing the work and lives of those composers and lyricists who create popular music around the world, holds annual elections to determine those who will make up the roster of inductees for the following year. Eligible voting members will have until December 17th, 2012 to turn in ballots with their choices of three nominees from a non-performer and two from a performer category. For information with which to register or renew as a voting member before November 19th in order to participate in this election, please go to songhall.org/join. The 2013 Annual Awards Gala will take place at the New York Marriott Marquis on Thursday, June 13th. English pop-rock luminary Jeff Lynne first found fame in The Move, then made it big on both sides of the pond as leader of the Electric Light Orchestra. With ELO, he wrote such hits as “Can’t Get It Out of My Head,” “Livin’ Thing,” “Mr. Blue Sky” and “Don’t Bring Me Down.” He later co-founded the Traveling Wilburys with George Harrison, Bob Dylan, Roy Orbison and Tom Petty, and had a writing hand in their hits “Handle With Care” and “End Of The Line;” he also wrote hits for the likes of Orbison (“You Got It”) and Petty (“I Won’t Back Down” and “Free Fallin’”). Key songs in the Lynne catalog include “Evil Woman,” “Do Ya,” “Don’t Bring Me Down,” “Mr. Blue Sky” and “Strange Magic.” http://www.songhall.org/news/entry/songwriters_hall_of_fame_2013_nominees_for_induction_announced

Voldar: Красавец Николя выложил у себя на сайте аудио дорожку из акустического концерта в лосслессе и мр3,скачать можно прямо с сайта. http://www.elodiscovery.com/all-over-the-world.html

shangri: И где и как за это проголосовать?

Voldar: Эээ ребята,это оказывается любовь за деньги,что бы проголосовать за любимого надо сначала стать голосующим членом этого хола,минимум $ 50 в год. Non-Voting Memberships Supporter To embrace songwriters and fans of popular music. Receive exclusive emails with news, events and updates. $15 / year Associate For the up-and-coming songwriter to enable participation in our educational programs. $25 / year Voting Memberships Professional Sponsor membership. $50 / year Executive Patron membership with preferred benefits. $100 / year Lifetime Benefactor membership with annual induction and awards dinner journal listing and preferred benefits. $1000 / lifetime http://songhall.org/join

shangri: Вот я тоже так поняла, что надо платить. :( Получается, у кого у поклонников лишних денег больше. тот и победитель? Фу, противно!

SLQ: Jeff Lynne - Long Wave/Mr. Blue Sky: The Very Best Of Electric Light Orchestr ELO man upgrades his hits and re-imagines his youth... At a certain point in their career, the successful rock star naturally leans towards a touch of retrospection, whether by way of an autobiography (as with Dylan’s Chronicles Vol. 1), a variously revised, remixed or re-recorded edition of their oeuvre (as with Kate Bush’s Director’s Cut), or a sentimental indulgence in the kind of greasy-kidstuff radio fodder that first drew their attention to music (as in McCartney’s Kisses On The Bottom). Never one for half measures, Jeff Lynne has opted for two out of the three, with the simultaneous release of a re-recorded greatest hits album and an album of teen favourites from the dawn of rock’n’roll. Can his life story be far behind, one wonders? Unlike Kate Bush’s career retrospective, Mr. Blue Sky (in which Lynne replays and re-records his old songs), doesn’t seek to find new depths in any of ELO’s classic hits, or re-contextualise them in the light of subsequent musical developments. The new versions are, to all intents and purposes, exactly the same as the old versions, they’re just more so, if that makes sense. Like many a musician forever encountering their own back catalogue on random radio broadcast, Lynne seems to have become able to hear only the imperfections: rather than an ego-boost, it afforded him instead the nagging irritation that, surely, these tracks could sound so much better? And being a top studio boffin type and all-round musical polymath with state-of-the-art equipment at his everyday disposal, he realised he was perfectly placed to give these old hits the presence and pizzazz he felt they lacked. One by one, the ELO songs were given the musical equivalent of a software upgrade. The effect is understandably more noticeable on the older tracks, like “Showdown” and “10538 Overture”, than on the later material: the latter song, for instance, now has a spangly presence that distances it slightly from its Walrusian origins. But in general, this is a subtle restoration exercise that shouldn’t annoy even the most obsessive of anorak fans. The bonus track “Point Of No Return”, with its arpeggiated guitar figures, melodic logicality and sleek harmonies, sounds like a refugee from Tom Petty’s Lynne-produced Full Moon Fever, which is fine by me. Long Wave – named after the wireless waveband that carried the BBC Light Programme of Lynne’s youth – takes a very different approach to its source material, which is re-imagined in ways that set it sometimes strikingly apart from the original versions. The older, pre-rock crooner tracks like “She” and “If I Loved You” are reminiscent more of the early Beatles covers of things like “Bйsame Mucho”, with arrangements stripped back to guitars and piano, and chiming harmonies illuminating complex melodies. Lynne’s version of “Beyond The Sea” prances along on his swaggering bassline where Bobby Darin’s glides, and there’s a similarly lollopy bonhomie to his take on Charlie Chaplin’s “Smile”, a sort of lazy cowpoke trot that suits the song perfectly. The tone of relaxed confidence extends to Chuck Berry’s “Let It Rock”, which accrues a low-slung gangster lean through being taken as a lazily galloping boogie rather than a motorvating rocker. And there’s an interesting adaptation of Etta James’s R’n’B inflections to suit Lynne’s milder pop intonations on his version of “At Last”. The most drastic re-imagining occurs on a version of Don Covay’s “Have Mercy” that harks back to Lynne’s own youth in The Idle Race: here, there’s a brash, primitive beat-boom attack to the guitar and drum groove that recalls The Spencer Davis Group’s “Keep On Running”, no mean thing to pull off on your own. Elsewhere, his take on Roy Orbison’s “Running Scared” is suitably respectful as it climbs to its operatic climax, while the harmonies on the Everlys’ “So Sad” are so spot-on it’s as if Lynne has located his inner Don for one pass, followed by his inner Phil for another. All in all, an interesting exercise, far less arch and shamateurish than Kisses On The Bottom. Andy Gill Q&A Jeff Lynne Did you play all the ELO parts? Yes, I played all the instruments myself, except for the string lines, played by Mark Mann. Didn’t you once play strings? Not really. I could scrape out a crummy tune on a cello. Then I had frets put on my cello, to make it more tuneful. I used to love doing slides, but you could hear it on the frets: badumbadumbrrrrrup! It’s interesting how the earlier, pre-rock’n’roll songs are more reliant on melody than rhythm, compared to the rock songs. Those chord structures are very, very complex. You have to do a kind of tunnel-hearing thing, just listen to an individual instrument and think away those big arrangements that are fluffing all around it, with all those flutes and clarinets that obscured what the real chords were. If you listen in a different mode and just learn the guitar chords, they’re actually very simple songs – but you would never know that from hearing those old recordings of them. “Have Mercy” is effective in beat-boom style. I tried to get a live feel, which is difficult to do when you’re playing it all yourself – you can’t really bounce off yourself: once you’ve laid down one track you can’t think about it again, because you’ve got to try and get the next one to bounce against that one. The reason I know that song so well is that it was one of my favourites when we used to play it in The Idle Race, in the pubs and clubs of Birmingham. INTERVIEW: ANDY GILL Rating: 8 / 10 FRONTIERS http://www.uncut.co.uk/jeff-lynne-long-wavemr-blue-sky-the-very-best-of-electric-light-orchestra-review

Voldar: Лена мне фотка понравилась,вот и вставил.

chimike: это старое??? http://rutracker.org/forum/viewtopic.php?t=4211338

Voldar: Этот рип видел уже 2 дня назад,полиграфия там неплохая.

chimike: значит устарело уже

Voldar: Conversations With Electric Light Orchestra's Jeff Lynne Mike Ragogna: Hiya, Jeff, how are you? Jeff Lynne: Oh, not too bad, and how are you? MR: I'm pretty good, pretty good. Hey, it looks like you've got a couple of projects, your solo album Long Wave, and also The Very Best Of Electric Light Orchestra. JL: Uh-huh. MR: Where do you find the time in the day? JL: Well, don't forget, that's all I had to do. I spent three years six days a week doing those two albums plus another eight songs for my new album, original songs. MR: Let's first get into Long Wave. Long Wave is a bit of a tribute to your musical history. Things you loved? JL: Yeah, things I loved, that I've loved since I was a tiny lad. MR: Your track list includes older classics, such as "Bewitched, Bothered and Bewildered," "Smile," and "Love Is a Many-Splendored Thing." But there are also tracks such as "Let It Rock" and "She." JL: What can I say? I've got a very diversified taste. Part of it was, obviously, that I'd grown up through the rock 'n' roll era, and so that's why they're in there, because they were very formative in my rock 'n' roll years. MR: It must have been hard for you to come up with a track list for this one. How did you choose them? JL: It wasn't difficult, they sort of jumped at me when I wrote them down, a few of them. I've been thinking about doing this for years, but I never actually got around to it because they sounded so complicated to do. I never even tried them before. I actually listened to the records, probably a hundred times, each song, just to get into it in such a deep way. I really wanted to do them perfectly. There wasn't a musical mistake anywhere, and there isn't, so I'm really glad to say that. MR: I imagine some of these songs were favorites of your parents, maybe playing in the house when you were little? JL: That's right. We didn't have a TV 'til I was about thirteen. That's when Roy Orbison and Del Shannon came along, so, okay, I was safe. That's what I did. I listened to them, and I also had a crystal set in bed, you know? I would listen to all that stuff, because the BBC was on long wave and that's all you could get in those days. MR: Thus the title for Long Wave. You've been part of ELO, The Traveling Wilburys, The Move, and you've been associated with many more. You're constantly in musical motion, aren't you? JL: Well, I like to be. Music is my first love. I have so much fun doing it, especially doing these old, beautiful songs where not only is the tune great, but the chords are marvelous and the words are superb. It's just so rare that you get all three things spot on. This is why they sort of jumped off the page for me, you know? Sometimes, I would trawl through iTunes to try and find different versions of it, so I could do...what do you call it? MR: An amalgam? JL: Yes, exactly. Very well spotted. MR: Thank you. JL: Yes, an amalgam of different styles of that song rather than get trapped. What I really did was discard the arrangements from them and make my own arrangements so that they sounded like my style, more like harmony and no flutes and clarinets and all that kind of stuff. I wanted to make it a little bit more rock 'n' roll or kind of a bit more sixties, I suppose, rather than fifties. MR: It was Jeff Lynne-ized. JL: I hope so, yeah. MR: When you have a project like this, is it tempting to go on the road and tour with nothing but this kind of material? JL: Nothing's ever tempted me to go on the road yet. MR: [laughs] Perhaps you'll want to return to material like this again for another project? JL: You never know. If somebody wants me, maybe I'll do a show, but we'll see. I've just done a documentary, really. It's like an hour and a half long and it tells you the whole story of me and ELO and all the people I've worked with. There are interviews from all the people I've worked with and produced. It's quite fun, it's really good. We had a screening of it at the Grammy museum and it went down really well. I was really pleased. MR: Looking back at your career from the early days until now, are you surprised at the amount of achievement you've had to this point? JL: Well, when you're doing it yourself, you don't notice it. It's when people tell you about it, when it's written down or, obviously, the documentary, then I do see all the achievements. I don't gloat over it. I'm very thankful. MR: Speaking of your achievements, they include big ELO hits such as "Telephone Line," "Living Thing," "Evil Woman," "Don't Bring Me Down," and more, such as "Do Ya" with The Move. Looking at that body of work, you've created a lot of anthems. JL: Oh, that's very sweet, thank you. MR: Yeah, the way that people have used personalized some of these songs over the years goes beyond just having an enduring pleasant song. JL: Yeah, they've gone further than I ever imagined. When I first wrote those songs, all I was hoping for was that they'd get on the charts; "Ooh, maybe they'd get in the Top Ten. That would be great!" As a songwriter, that's what you're sort of aiming for, because you want people to hear them. But when they're still sticking around after forty years, it's really quite amazing, and then I do become amazed by it. MR: Now, in a group like ELO, you are participating with other band members in coming up with some of the arrangements, et cetera, right? JL: Yeah. MR: But on your new solo album, Long Wave, you play every instrument. JL: Yes, I love to play drums and bass and guitar and piano. Those are the main instruments I play. That is it. I've always loved to. On some old ELO stuff, I'm playing bass on a couple of albums, so it's not like it's something brand new. I have done bits and pieces of it, it's just that now, I've had so much more experience as a producer. I've had like thirty years more experience than those songs, and I've been working with lots and lots of great people. I've actually learned a lot more than I knew when I recorded those ELO songs, and that is really why I wanted to redo them. I listened to them on the radio and I go, "I dunno, it's a bit wooly, that. It's wooly sounding. There's no clarity, and that's what I was looking for." So I went into my studio and I started on "Mister Blue Sky." I finished it as this brand new version and I played it for my manager Craig and he said, "Wow, that's fantastic, it's much better. Why don't you try some more," and so I did. I tried "Evil Woman" and "Strange Magic" and they came out really good, too--bright and full with nice punchy bottom end. I'm very, very pleased with them and I'm really glad that I did it because now they exist in the world in a much better form than they were before. MR: And you have the new song, "Point of No Return." JL: Yeah. That song's about five years old, actually. MR: When you looked at the ELO body of work and chose the twelve for this project, was it hard to stop? JL: It was, actually. I actually got enough for two volumes, so it's quite amazing that I couldn't stop at that point. Also, my manager always wanted bonus tracks, that seems to be the new game. "Oh yeah, you finished it, but where's the bonus tracks?" "Ah." MR: That's right, you need one for iTunes, one for Amazon, one for Wal-Mart... JL: Yeah, you've got to have loads of these bonus tracks. It's just odd. It didn't used to be like that, of course. MR: With Long Wave, you have these eleven songs. I would love a childhood memory or two--sweet, bittersweet--associated with these songs. JL: I was sitting in the living room and my mum and my auntie was there listening to the radio. Well, they were talking, basically, but the radio was on, and "Only The Lonely" by Roy Orbison came on and it made the hair on the back of my neck stand up. It was like, "What the...?" My mum and my auntie said, "Ooh, that's horrible. It's too sexy," so that's a funny thing. I was only thirteen at the time, but I thought, "That's the most marvelous thing I've ever heard," and I told them so. They said, "Ooh, don't be silly, that's too sexy," whatever that means. I just remember that happening and that "Only The Lonely" opened my eyes to what actually was going on and I thought, "Who told everybody what to do on these records? How do they know what to play? Who tells them? Who does such-and-such?" One great story I heard about that session--well, all his sessions--was Roy Orbison used to sing behind the coat rack in the studio because they hadn't got any baffles in those days. That's the most hilarious picture in my mind, of this most wonderful singer ever, stuck behind this coat rack all muffled and that. You couldn't hear the instruments into the mic if he couldn't hear his mic in the instruments. MR: What's amazing is you have no hint of that because of the amount of reverb on his voice. JL: Yeah, reverb and echo. There'd be reverb and a slap of feeding back a little bit. It's like Fred Foster used to say of him, "It's like putting icing on a cake for him." If you've got a beautiful voice you can do it, if you haven't got a great voice, echo doesn't actually work sometimes. MR: And it isn't like you're using it to hide anything. JL: That's right. You can hide a little bit, but at the end of the day, if you don't sing in tune, then echo will make that twice as bad because it lingers on twice as long. MR: [laughs] That's right, good point. There was no major pitch correction going on in those days. JL: No, none at all. But he didn't need it, he was such a beautiful singer. On some of the other songs, there's always a story. Like you're sitting there, I could be in bed listening on my crystal set, for instance, on the long wave--it's always long wave, that's where everything came from off the BBC. I've got memories of that, hearing songs for the first time in bed and going, "Wow, what a great thing." MR: A lot of fifties kids in the United States went to bed with their radios on, including me. Yeah. JL: Yeah, with the headphones. MR: When you were thirteen and thinking how sexy Roy Orbison was, [laughs] was that the point where you decided you wanted to be doing this? JL: Oh, definitely. I think from the age of thirteen, I really wanted to be a producer and I've always thought that the producer was the top of the tree. I always went, "Oh, he's a producer," people like George Martin and that. I think, "Wow, you've got to learn so much of that," and you really do, actually. When I first started out, I didn't know much at all and I didn't realize I didn't but I just thought I could do it without even being taught, but what it was I've learned over the years is it's happened by teaching myself--learning from my mistakes and all things like that. Now I've been doing it for this many years--forty-five years or whatever--record producing and songwriting and stuff. It's like, "Wow, that's a long time to be doing it," longer than my dad was working for Birmingham Corporation, which is unbelievable. He retired. MR: It's interesting that addition to your arsenal of knowledge and tools for producing, you also can play musical a few instruments. JL: Yeah, I mean it's only because I love to play. I started out on the guitar, obviously, and then I taught myself piano from the guitar. I was lucky enough to live in my mum and dad's house, which had a front room separate. The only trouble with it was that the bus used to go past every five minutes or ten minutes, so all my demos I made on my B&O tape recorder, when you come to listen to them now, there's always a bus rumbling through the track. It's really funny. But I did learn how to make records on this little tape recorder called Bang & Olufsen. MR: Right, Bang & Olufsen. I had a set of B&O speakers that lasted forever. JL: Oh yeah, they do still make some great stuff. Very innovative and futuristic. MR: Jeff, let's talk a little bit about The Traveling Wilburys. Basically, you guys were all pals--Tom Petty, Roy Orbison and George Harrison. What an interesting period. Can you go into how that all came together? JL: Okay, I'll tell you how it started. Me and George were making Cloud Nine in George's studio in England, because he'd asked me to produce it with him. After a few weeks of working on it, we'd always finish at dinner time, and then go back up into the studio and listen back to the work we'd done and make notes for the next day. One night, he said, "You know what? Me and you should have a group." I said, "Wow, that's a good idea, who should we have in it?" He said, "Bob Dylan." I went, "Oh, Bob Dylan, yeah, of course," and I said, "Well, what about Roy Orbison?" He said, "Yeah, great, Roy Orbison," and we'd both just gotten to know Tom. Tom was always brilliant, like the All-American Boy, so we asked him as well. Funny enough, everyone we thought of in this group all joined immediately, which was fantastic. MR: It resulted in this album The Traveling Wilburys, which, considering all the artists and talent that went into it, sounded like one cohesive album. JL: Yeah, well it was really. We wrote those songs, one song a day, for ten days, and that's how we got the ten songs. What the fun part was, we'd sit around a big round table, each with an acoustic. Sometimes, one of us would have a twelve-string or two of us would have an acoustic twelve-string and that rhythm track would be five acoustics. Then sometimes we'd double-track that and it'd be ten acoustics on the backing track, which is just the basic rhythm guitar. Then we'd sing the words at night after dinner and we'd take all the tapes back to George's and just finish it off, really--put on the finishing touches and mix it over at George's studio. I think that's why it comes out like that, because it was done in a specific time...really quickly. MR: Let me ask you a personal question. Obviously, you guys became pals, and you had a few passings. You also worked with Del Shannon when Roy Orbison passed... JL: ...no, he didn't join, no. MR: But you did some tracks with him, right? JL: Tom and myself and Mike Campbell were producing some tracks for Del. That was a separate thing. That was a couple years later. MR: Yeah, and some of the recordings were released on bootleg as The Traveling Wilburys. JL: That's probably what it is, it gets mixed up because people put different labels on them. MR: And George passed recently. My point is you must miss your buddies. JL: Oh, of course. Always. I miss both of them, I miss George and Roy. They were both great. We had so much fun and did so much music together. MR: Yeah, it's wonderful. Jeff, what advice do you have for new artists? JL: Uh, stick at it. That's probably it, really. MR: Well, that's the best advice. JL: Stick at it and don't give up. MR: Jeff, thank you so much for talking with us about your new solo record, Long Wave, and Mr. Blue Sky - The Very Best of Electric Light Orchestra. JL: Re-recordings, that's what you can call it. MR: Hey, if you were to sit down with a glass of wine and listen to that ELO project top to bottom, what would you think? JL: I feel very pleased with it. It's made it sound more alive--more punchy, more present. I'm very, very pleased with it, even without the bottle of wine. MR: [laughs] Thank you again Jeff, and all the best with your projects and whatever you've got coming down the pike. JL: Cheers, all the best to you, too. http://www.huffingtonpost.com/mike-ragogna/conversations-with-electr_b_1983949.html

Goldenday: Ещё один клипчик про Синего Мистера. Простенько, но не без изюминки.

Voldar: Очередная статейка в Сан.

Voldar: На этой неделе каждый день Джефф участвует в передачи на BBC Radio 2 по теме Tracks OfMy Years," 10 songs by other artists that have meant most to him. "Tracks Of My Years" starts at approximately 11:40am each day. http://www.bbc.co.uk/programmes/b01ncgzf

Voldar: Мировая эломанская общественность только сейчас нашла оригинал фотографии с обложки волн,причем одновременно сообщения появились и у французов и у испанцев,обидно что заслуги они приписывают себе. 27 октября Джефф и Камелия посетили благотворительное мероприятие вместе с Джо Уолшем,который расчуствовался и даже спел. http://myeloma.org/ArticlePage.action?tabId=0&menuId=0&articleId=3670 Ну и Джефф,наконец решил почирикать.. https://twitter.com/RealJeffLynne

allamina: при пинжаке и стрелочках... тапки вообще зачётные

Voldar: А тетя в чём?

allamina: тётя... в свитере и босоножках по-моему им вообще без разницы в чем они выходят на красные дорожки... кому надо, будут рады

Voldar: allamina пишет: по-моему им вообще без разницы в чем они выходят на красные дорожки Ой девочки,что то не вериться...Думаю,что даже Том не всякие кеды наденет на мероприятие.

allamina: Володя, думаешь, готовятся неделю, стрелки наглаживают, воротнички крахмалют? Так а по теме: хочется расчувствовавшегося Уолша! В твиттере Джефф чего-то пока не чирикает.. по нулям.. одни подписчики Вот интересно, он сам это всё завёл или кто другая

Voldar: Эта сцена, как Том наглаживает шнурки у кедов так и стоит у меня перед глазами...а Дана стоит рядом и подзуживает - Пока ты тут красоту наводишь,мы опять опоздаем на твой фестиваль. Насчет свитера Джеффа,это точно,скорее всего там писать будет тоже Линн,но только Хоскинс.Это дамочка которая ведет сейчас мейлинг-лист.

allamina: Том скоро приедет.. в следующем году Про Джеффа не знаю, но верю

Voldar: allamina пишет: Том скоро приедет.. в следующем году Алл,а Том о этом знает?Я понимаю конечно,что очень хочется....У нас на соседнем форуме как то была идея выкрасть Джеффа.

allamina: Стив, который Феррон ответил на приглашение Николая (это фанат такой): "возможно в следующем году"... Значит они об этом думали. Том на концерте почти лично нам сказал: ЕЩЕ УВИДИМСЯ. Майк тоже при встрече в Стокгольме несколько раз восторженно произнёс "Россия"... Ну слова материальны же... Правда, в этом уверена только я. Но мои хотения обычно исполняемы. Джеффа красть не нужно Он не любит концерты Пусть выпускает альбомы хотя бы... лёд тронулся, господа (мы тож тут чуть-чуть, правда, не тронулись)))) Том тож, по словам Стива, уже готов к записи нового

Voldar: Джеффу похоже понравилось устраивать просмотры в музее Гремми.!4 ноября будет ещё один с участием радио KLOS и журнала Q&A.На шоудауне даже есть несколько бесплатных билетов. Los Angeles radio station 95.5 KLOS-FM today announced a special screening, Wednesday, November 14 at The GRAMMY Museum in downtown Los Angeles, of the JEFF LYNNE documentary “Mr. Blue Sky: The Story of Jeff Lynne and ELO.” It will be followed by a Q&A with the creative force of ELECTRIC LIGHT ORCHESTRA and the singularly accomplished British singer, songwriter, guitarist and producer. KLOS DJ Cynthia Fox will host the event, which starts at 7:00 PM, and moderate the Q&A. LYNNE's illuminating and entertaining documentary “Mr. Blue Sky: The Story of Jeff Lynne and ELO,” written and directed by Martyn Atkins, gets to the heart of who JEFF LYNNE is and how he has had such a tremendous musical influence on our world. The answer--as told by the British artist himself and such distinguished collaborators and friends of JEFF as Paul McCartney, Ringo Starr, Tom Petty, Joe Walsh, Olivia and Dhani Harrison, Barbara Orbison and Eric Idle--is that LYNNE is a true man of music for whom the recording studio is his greatest instrument. In other news, LYNNE recently received a nomination for inclusion in the 2013 Songwriters Hall of Fame. The event will take place June 13, 2013 in New York City. LYNNE just released two albums on Frontiers Records on October 9 to critical praise: the solo disc LONG WAVE, a heartfelt and vivid tribute to some of the very songs that originally inspired him, and MR. BLUE SKY–THE VERY BEST OF ELECTRIC LIGHT ORCHESTRA. For the latter album, LYNNE has artfully revisited and created brand new versions--at his home studio in Los Angeles--of the greatest hits of ELO, actually improving on the gems that catapulted them to sales of 50 million-plus records worldwide. The release of the albums marks the 40th anniversary of ELO. Both albums contributed to what Billboard.biz called a “spectacular chart comeback (10/15/12),” with three top-10 albums on the U.K. charts at the same time—LONG WAVE, MR. BLUE SKY—THE VERY BEST OF ELECTRIC LIGHT ORCHESTRA, and ALL OVER THE WORLD. http://www.955klos.com/Article.asp?id=2563828&spid=16106

Voldar: Очередное интервью Джеффа,в котором наконец задан вопрос относительно возможности выхода второй части волн. Interview: ELO Frontman Jeff Lynne Discusses Long Wave and Mr. Blue Sky It’s hard to imagine how anyone with an appreciation of classic pop or rock music of the past 40 years could not be affected in some way by the work of singer-songwriter and multi-instrumentalist Jeff Lynne. It all began in the late '60s with his lesser-known releases as leader of The Idle Race, then dipped into the very early ‘70s after he joined The Move. Hit after hit poured forth from Lynne throughout the ‘70s and into the ‘80s with Electric Light Orchestra. The latter half of the ‘80s found the self-taught producer successfully moving into outside production work with legends like George Harrison, Tom Petty, and Roy Orbison. Together with those three artists, plus Bob Dylan, Lynne was part of the beloved Traveling Wilburys. Lynne co-wrote and produced more hits in the ‘90s. He also ventured out on his own for the first time with the release of his solo debut, Armchair Theatre. A monumental challenge (and once-in-a-lifetime opportunity) presented itself in 1994 when the surviving members of The Beatles approached Lynne to produce their reunion sessions. Using primitive John Lennon demo recordings, he—along with Paul McCartney, George Harrison, and Ringo Starr—crafted the singles “Free as a Bird” and “Real Love,” both part of the Beatles Anthology project. But it’s simply not enough to rattle off a list of credits and accomplishments. Songs such as “Strange Magic,” “Do Ya,” “Mr. Blue Sky,” and “Don’t Bring Me Down” have permanently fused with the very fabric of pop culture. Jeff Lynne’s songs are heard in movies, advertisements, department stores, and—most importantly—the stereos and iPods of music fans all over the world. His recently released solo album, a batch of non-original oldies titled Long Wave, and a collection of newly re-recorded ELO hits, Mr. Blue Sky: The Very Best of Electric Light Orchestra, offer proof that he hasn’t slowed down or lost a step to this day. I recently had the great privilege of spending some time talking to Mr. Lynne about his recent projects and storied career. I loved the new album, Long Wave. Did you record any additional songs that didn’t make the final cut for some reason? Well no, they all could’ve made the final cut. There was no reason why not. But I just had too many. I had enough for two volumes, really. So I just wanted to do the ones I felt were ready to go. And some are still a little bit unfinished. It’s just that you can only put so many out at once really. The relatively brief running time left me wanting more. Well, it is short because those songs, all of them, are only like two minutes or two minutes, 15 seconds or something. And that’s the way they used to write them in those days, which I actually love. I love short songs. I think it’s so much better to get in and get out again. Being a skilled multi-instrumentalist, you played every part on the album and made it sound like an ensemble. Is it easier for you to do it that way, or do you enjoy the challenge it presents? Oh, well it’s a total challenge for me to learn all the parts, every single part that goes into the song. And that’s why I do it, because it’s a stretch for me musically as well. It’s much harder music than I’m used to doing. So when I actually started on this album, which was about three years ago, I just realized what a stretch it was. Stylistically, you cover a lot of ground on the album, going back to pre-rock standards from the ‘30s and ‘40s like Charlie Chaplin’s “Smile” and Rodgers & Hart’s “Bewitched, Bothered and Bewildered.” I’ve learned a lot doing these songs. It’s made me a better musician, for sure. Learning all the parts was sheer pleasure for me. It was like going to university and discovering all these things I didn’t know about. And so absolutely, playing all the things myself was integral to doing it, really. I feel the song choice that probably stands out the most is “Love is a Many-Splendored Thing.” I was curious about how you decided to do that one. Yeah, me too! [laughs] It’s a very strange one. I’ve always loved the tune of it, the melody. I’ve never liked the old arrangements that I’ve heard up to now particularly. They’ve always been a bit too flowery and grand. I wanted to try and make it more of a shuffle and just rock it up a bit. It worked! It sounded like Jeff Lynne—a real highlight of the album. Ah, thanks. Sure. With the Mr. Blue Sky album you’ve meticulously recreated the ELO sound, track-by-track, again playing everything yourself. Was there any temptation to introduce new arrangements? No, I never wanted to change them. I always wanted to be faithful to the actual original songs, on Long Wave as well. A lot of people tend to abuse old standards, and sort of go off on their own merry little tune. I prefer to stick to what was written down, what they actually meant the tune to be. So I don’t like really altering things from how they started out. So that’s why I never altered the Mr. Blue Sky ones. All I wanted to do was make it technically better, you know—to sound better. So I started off with a click track and gradually built it up from there, layering it until it was sounding good. Can you describe the process of creating these re-recordings? I did “Mr. Blue Sky” first to see what the difference would be, recording it now as opposed to recording it 35 years ago. And it was a big, vast difference because of the facilities I’ve got now in my studio, like an 80-channel analog desk. Then I can go into the digital stuff from that. So it’s like the best of all worlds really. There are no moving parts. It’s analog and it sounds really good. The difference is, in the old days I used to try and stuff thousands of instruments onto these little few tracks and they just would tend to wear the tape slightly, a little bit. And so they’d be a bit hissy and have a lot of top missing out of them from bouncing down tracks over and over again. I knew it was a little bit naughty in those days, but I had to do what I had to do to get the song finished, how I wanted to do it. So that’s the main difference really. Now they’re all clean as a whistle. There’s no wear and tear on the tape, so they’re all clean for the first time. Would you like the new ones to replace the old, in terms of radio airplay? Or should they just exist comfortably alongside the old ones? I think they can exist together. But personally I’d love to hear the new ones played rather than the old ones. Because when I listen to the old ones now I go, “Oh my goodness, I wish I’d done that a bit better,” or “I wish I hadn’t worn the tape out quite so much.” There’s always some reason that I go, “Hmmm, I don’t know, I don’t think so.” So they can co-exist, but I do prefer to listen to the new ones. We’re coming up on the ten-year anniversary of the Concert for George, which itself marked the first anniversary of George Harrison’s passing. Did you organize that tribute concert with Eric Clapton? Basically Eric organized it. I just helped in any way I could, like by singing four of the songs. Or five, was it? Four, I think. Including a pair of duets, you did five songs. My favorite was the very first one you did, “The Inner Light,” with Anoushka Skankar, daughter of Ravi Shankar, on sitar. Oh yeah, that was a scary one! You know, I mean with Ravi standing right there. Had you played with classical Indian musicians prior to that? I had before, previously on my album Armchair Theatre. I had probably eight Indian drummers. George conducted them for me in my house in England. We recorded them in a hall. It sounded fantastic. George really knew how it works, this technique called the tihai. Which is a… God knows how it works. I don’t really. Somehow you count backwards and you end up finishing on the right note. And I don’t know how to do it, but he could do it. That sounds pretty interesting. Big, long strings of numbers and it all works out. I don’t know. I’ve no idea how it works. And, of course, I had these two great classical Indian singers on there too, on a song called “Now You’re Gone.” And I was thrilled with them, they were such brilliant singers. Mournful and just so sad, their voices. Beautiful. You helped induct George Harrison, as a solo artist, into the Rock and Roll Hall of Fame in 2004. You, Tom Petty, Dhani Harrison, and Prince performed “While My Guitar Gently Weeps.” Yeah. Do you know whose idea it was to get Prince involved? Um, you know I really don’t know. It just sort of happened. The next thing I knew, we were playing together, rehearsing one of them. I don’t know how it happened, but it must’ve been somebody at the Hall of Fame I would suspect. Do you remember what you were thinking when Prince stepped up and launched into that epic solo? Well yeah, I was thinking it sounded pretty good, actually! [laughs] It was great, I enjoyed that. But obviously it’s always tinged with sadness when it’s for someone who’s no longer with us. Yes, of course. The second Traveling Wilburys album, Vol. 3, is also tinged with sadness, as it was recorded after the passing of Roy Orbison. It’s less talked about than the first, but there’s some great playing on it. Whose idea was it to bring in the late, great Gary Moore to play lead guitar on “She’s My Baby?” Oh, it was George. Gary was friends with George at the time, that’s how he got invited in. Of course, I knew him as well a little bit and he was a really nice guy. And we just got him in because we were working at George’s house and he lived not far away at that time. He just came in one day and overdubbed his guitar. Stepping way back to your work with Roy Wood in The Move, how do you assess the albums Looking On (1970) and Message from the Country (1971) with over 40 years of hindsight? Well, really it’s that I can see my total lack of experience as a producer. But I like some of the songs. It’s just that some of the ways that they’re recorded is a little bit odd, the things that I did when I wasn’t very experienced. I mean, we’ve all got to start somewhere. I had started producing with The Idle Race. I’d done one album before The Move. And so those were my second and third albums [as producer] as part of The Move. I didn’t have all that much experience, like I say. Good songwriting though, "Open Up Said the World at the Door" deserves to be a Classic Rock radio staple. Was that a period of growth for you as an artist? Well, I probably wrote half the songs on each of the albums, me and Roy Wood. So I don’t know, I don’t really think about it in terms of progressive or whatever. I was just still learning. And I think they’re good, I think we did our best on them. And some of them sound pretty good. They’re just a bit rough, production-wise. http://www.themortonreport.com/entertainment/interviews/interview-elo-frontman-jeff-lynne-discusses-long-wave-mr-blue-sky-and-more/

Voldar: Интервью с родины. The making of our Mr Blue Sky Jeff Lynne Jeff Lynne was born in Birmingham on December 30, 1947 and has the same birthday as one of his musical heroes, Del Shannon, who he ended up producing. His rise to prominence started when Mike Sheridan and the Nightriders, one of the best bands on the Birmingham scene, disbanded after both Mike and guitarist Roy Wood left (Roy to form The Move). The remaining three members of the band recruited 18 year-old Jeff. “I’d been hanging about learning the guitar and recording stuff at home,” he says. “I’d bought a B&O tape recorder for 120 guineas (about £130, which was a lot in those days) and I learnt how to record sound on sound on it (overdubbing) in that little front room in Shard End.” The Idle Race, as the band changed their name to, also made it big on the local scene, but despite being championed by the likes of DJs John Peel and Kenny Everett (who was honorary president of their fan club), they failed in their bid for stardom. The band’s two albums were mainly written by Jeff. The second was also produced by him. The songs were touches of whimsy with more than a hint of an influence from The Beatles (who received a name check on the track Girl in the Window). Eventually, the band’s lack of commercial success prompted the fledgling producer to accept Roy Wood’s second invitation to join The Move in 1970. Jeff’s condition on joining The Move was that he could be a part of Roy Wood’s vision that became The Electric Light Orchestra. The initial shows were rather fraught, as Jeff remembers. “There was a famous occasion when the seven of us in the band outnumbered the audience and another time the neck busted off Roy’s cello. That caused a bit of a kerfuffle,” he smiles. ELO’s first album, released 40 years ago in 1972, spawned the hit single 10538 Overture, which Jeff wrote. But Roy then left to form Wizzard. “I didn’t know Roy was gonna leave. But we’d done about half a dozen gigs and we weren’t getting on as we used to and he decided to leave. That, of course, left me to pick up the pieces.” From then on, Jeff and ELO could do no wrong. A string of hit singles ensued. Livin’ Thing, Don’t Bring Me Down, Xanadu (with Olivia Newton-John – their only Number One), Sweet Talkin’ Woman, Wild West Hero and, of course, Mr Blue Sky cemented Lynne’s reputation as an excellent songwriter. “It was pretty damn amazing really,” he says of those days. The band’s tours grew to be enormous and for their 1978 world tour they had lasers and a giant spaceship that rose into the air. However, Jeff wasn’t the biggest fan of touring. “I don’t hate it,” he emphasises. “I just prefer to be in the studio making new stuff. I toured because I had to. I call it doing the legwork.” Jeff wanted to produce other artists’ work and disbanded ELO in 1986. Drummer Bev Bevan formed ELO Part Two a few years later, touring and recording an album, and Jeff released an album under the band’s name in 2001 entitled Zoom. And despite all the rumours of bad feeling between the former Move members Lynne, Wood and Bevan, Jeff says it’s all nonsense. “We’re still mates although I haven’t seen ‘em for nearly 20 years. We all went our separate ways and I wish them all the best.” After ELO, Jeff went into production work and worked with the very best, Brian Wilson, The Everly Brothers and Del Shannon among them. Then, after producing albums by George Harrison, Tom Petty and Roy Orbison, Jeff co-founded the super-group The Traveling Wilburys with Petty, Harrison, Orbison and Bob Dylan. The Wilburys recorded two albums (the second without Orbison who had passed away) with great success and Jeff also brought out a solo album entitled Armchair Theatre. He also produced The Beatles when Harrison, Ringo Starr and Paul McCartney reunited to record Free as a Bird, around an old tape of John Lennon’s vocal. Having seemingly been quiet for a few years though, the Birmingham-born musician is back with a brace of albums; both with a nod to the past. But why two at the same time? “Well,” he muses, “they are quite different albums and despite working on them for the past three years they were both finished at the same time.” Mr Blue Sky – The Very Best of The Electric Light Orchestra sees Jeff revisiting his hits and re-recording them “I recorded these songs again because over the past few years when I’ve listened to them, they have sounded a bit woolly. Also,” he adds, “I’ve got 30 years’ more experience as a producer, so I decided to make them more punchy. I couldn’t use any of the old tapes but I was faithful to all the original arrangements.” Among those on the album are, of course, Mr Blue Sky, Strange Magic and Telephone Line. And as a special treat there is a brand new track called The Point Of No Return. Of all the songs he recorded with ELO, he cites Mr Blue Sky as his favourite. “Of the hits, yes, but I also love Take Me On And On from the Secret Messages album.” The second album, Long Wave, is so titled as it is full of covers of songs he used to listen to on long wave radio when he was younger. Jeff takes up the story. “Basically, I was forced to listen to these songs as a kid. My dad had the radio on all the time and it would be on pretty loud. “He used to say ‘Ahh, this is the stuff’, but I just couldn’t understand it. It was the arrangements that got me, they were so complex. But the years went by and I started to understand them and I wanted to record them.” “Then when I worked out the songs I found that they were really quite simple. I don’t read music so I learnt all the songs by ear and I love all that music now.” The songs include such classics as She. “I’ve wanted to do it for years,” Jeff says. “Like all the songs, I couldn’t sing it like the original and I wasn’t going to sing it like me (as the singer with ELO). I made She into a harmony song and did the three-part harmonies.” There’s also Smile, Love is a Many Splendoured Thing and a superb version of Beyond The Sea. Naturally, Lynne has included a Chuck Berry song – Let It Rock. “I had to,” he says. “I love Chuck Berry ‘cos that was what started us all off.” As with Mr Blue Sky, Jeff has worked mainly solo on the recordings. “I’ve had help from Marc Mann on the strings and my eldest daughter Laura has put some backing vocals on. Apart from that I play virtually everything.” “I love recording on my own. I get a sense of satisfaction and I’m a nutter for getting it right.” The good news is that we could also soon get to hear some new compositions from the 64 year-old Brummie. “I’ve got eight new songs so far for a new album I hope to have out next year.’’ Read More http://www.birminghampost.net/life-leisure-birmingham-guide/birmingham-culture/music-in-birmingham/2012/11/02/the-making-of-our-mr-blue-sky-jeff-lynne-65233-32138636/2/#ixzz2BWjyhTyD

allamina: new album I hope to have out next year ... а мы то как надеемся

Voldar: Очень богатая статья в профессиональном журнале звукоинжинеров с описанием оборудования которое использует Джефф для записи. Jeff Lynne - Strange Magic Since his introduction to the recording studio in the late 1960s, Jeff Lynne has proven himself a continual innovator. With the formation of Electric Light Orchestra (Lynne, Roy Wood, Bev Bevan) in 1970, he introduced the inclusion of orchestral string players as permanent members of the band, adding a new layer to the pop soundscape. Soon after, the move to Giorgio Moroder’s Musicland studio and collaboration with engineer Reinhold Mack in the mid-’70s culminated in what many consider Lynne’s crowning achievement in recording, ELO’s 1977 double-LP release, Out of the Blue. Following the breakup of ELO in 1986, Lynne turned heavily to producing other artists, including George Harrison, Dave Edmunds, Paul McCartney, Ringo Starr, Tom Petty, Roy Orbison and a band listed at the top of his recording heroes, The Beatles themselves, for whom he produced the group’s Anthology reunion tracks, “Free As a Bird” and “Real Love” in 1994-95. He was also, of course, a member and co-producer of The Traveling Wilburys, with Harrison, Petty, Orbison and Dylan, releasing two acclaimed discs in 1988 and 1991. Lynne released one solo album, Armchair Theater in 1990, and 22 years later, on October 9, released a second, Long Wave, a tribute to the classics he heard on the BBC on his father’s long-wave radio in the late ’50s and early ’60s. Released the same day was Mr. Blue Sky: The Very Best of Electric Light Orchestra, for which Lynne has taken a second pass at some of ELO’s biggest hits. Recording of the two albums took place at Lynne’s Los Angeles home, where he has lived these past 17 years overlooking L.A. and on a good day gaining a view of Catalina. The space has a warm tone with wood-paneled rooms, and Lynne might plug in anywhere. As Joe Walsh, one of Lynne’s most recent collaborators [see Mix August 2012], says in a new documentary (Mr. Blue Sky: The Story of Jeff Lynne and ELO), “Every room in that house is a recording room.” The control room still reflects Lynne’s analog roots, with a classic 40-channel British Raindirk Symphony LN1 console, a load of EQ modules rescued from his previous Raindirk Series 3 desk, AMS DMX 15-80, S-DMX and RMX-16 digital delays, API 550 and Massenburg 8200 EQ units, API 512b and Brent Averill 1073 and 1272 mic preamps, and plenty of UREI 1176 limiters. Lynne and engineer Steve Jay, with whom he has collaborated for the past five years, record to Pro Tools and mix through the Raindirk, monitoring through Yamaha MSP-10s or Event Opals, as well as larger ATC SCM100 speakers. Lynne records guitars and vocals in a half-office/half-studio space next to the control room and drums in an extra room filled with spare CDs, box sets and 7-inch vinyl. A very large wood-paneled, high-ceilinged room downstairs, looking much like the interior of a warm hunter’s lodge (and formerly used to store pinball machines by the previous owner), is used for recording piano and string and choir sections, among other things. For Mix, Lynne reveals his current recording process, as well as that of his pioneering work with ELO, some techniques of which remain in his massive bag of recording tricks. You’ve had personal recording studios for years. When was your first? [Points to a Bang & Olufson Beocord 2000 Deluxe reel-to-reel machine in the control room]. That’s my original studio. I got it in 1968. I had a Mellotron in the front room of my mom and dad’s house, and I had that set up, with a record player right next to it in this big cabinet. It’s a 2-track “sound on sound” machine. So you would record on the left track, and then record a mix of that along with, say, a second guitar, onto the right track, and just keep bouncing, adding a vocal or a bass drum. Sometimes I’d bounce 20 times—you’d see through the f***ing tape! It was like Scotch tape in the end. And I could do the best phasing on Earth. What did you learn from using it? I learned to experiment. I learned about having sounds together, seeing what piano sounded like with the guitar and how to include the Mellotron. What do you like about the rooms you use here for recording? Everything’s made of wood. The big room downstairs has just the right amount of bounce—very soft, not trashy, like a big room can be. The other room, where I record guitars mainly, has just that perfect ratio of room and guitar, like the old BB King kind of blues sound. Dry, but slightly wet. No reverb. I never use any reverb. And my drum room, which is like a storage cupboard—I have some great fun recording in here. You’ll see, I’ve got tielines in each room that lead back to the control room, so there’s no cables running down the halls. On the two new albums, you play everything yourself. Do you miss having a band of guys around to play with? No, not really. Don’t forget, when I first started recording, with the B & O, I was on my own. I always record by myself, which I love. I love playing every instrument—that’s my favorite thing, just making a whole, big landscape of racket, with me doing it all. If we’d record everything live, at once, I could never get the separation I wanted, and I could never concentrate enough on the bits that were really important. When you get those bits done early on, and they’re tight and just right, it’s much nicer to play to, to add all the guitars, pianos, keyboards and the harmonies. Once it’s solid, it’s just that much more fun to play. Walk us through how you build a track. I’ll start with a click track, which I’ll play to with a hi-hat for about 20 seconds, recording a really good groove. Then I’ll use the click to build up the tracks. I’ll put the snare on, and then tom-tom fills and snare fills. I can play a full rhythm track—I’ve been drumming since I was 13; I play on a Gretsch kit now that I got during the Wilburys sessions—but not necessarily great. So I prefer to build it up, with lots of assistance from Steve and the computer, and just layer it. Nearly all the time now, I’ll also use a big fat bass drum—a 28-inch Ludwig from 1941 that belongs to Steve. You can cut the room decay down to different lengths. So on some really slow songs, you can have it quite long. Or if it’s a fast song, like “Beyond the Sea” on Long Wave, you gotta pull it in a bit, because otherwise, it’s just one big BOOMBOOM-BOOMBOOM. After the bass drum is in place, I’ll put the bass on, real punchy, dead on, on the note. Then I’ll put the guitar rhythm. From there, I have a foundation to work from. One of the hallmarks of any great Jeff Lynne recording is the drum sound. How do you create that? There’s a certain sound that I can hear in my head that I can usually create, depending on the room we’re in. I can always get it in here because Steve knows how to get me the old-fashioned drum sound that I love in that room—a little bit of room on it, and plenty of separation. But a big part of it is I move the overheads out about 10 feet. I don’t like close-up mics. I don’t like the clickiness of them. I especially don’t like a mic under the snare, that little Shure—I hate that sound. It doesn’t even sound like a drum. This sound really goes back to even the earliest ELO days. One of the things I do comes from the fact that I couldn’t get enough separation when I would record Bev’s drums. So I used to get him to double-track the snare drum and some of the tom-toms in a room, on their own. So you’d pick up that, along with just the room sound of those drums, which you can then turn up separately in the mix of the kit. It was a much better sound, because the room sound of those drums doesn’t bleed onto the bass drum and everything else. I did that from Day One—4-track the snare drum and the tom-tom. That is the drum sound, really. That’s all it is. On Mr. Blue Sky, you match the signature sound of “Don’t Bring Me Down” perfectly. That’s basically a snare that’s just crushed to death by a UREI [1176]. That’s as flat as I could have it without it blowing up or becoming a fuzz box. That’s how I did it in the first place, and I did the same method on the new version. On the original record, that was actually a drum loop from a different song. I just took two tracks of drumming—bass drum and snare, with a bit of leakage on the hi-hat—put it on the 2-track machine and did the old trick, wound it round a mic stand and my old pencil. I think it was two bars long. Recorded that onto the 24-track, and then I was ready to go. Believe it or not, I think that had eight pianos on it, all doing the same note. God knows what I was expecting to happen. It just gets eight times louder! If you turn it down, it’s still only one piano. It doesn’t track like a guitar [recorded with multiple passes], because a guitar bends a bit. You can slightly knock it out of tune, and you get this big chorus effect. A piano doesn’t do that, of course, until you bang it out of tune. Do you miss tape? I don’t miss anything about tape, except the fact that you can tie your plants up with it. [Laughs.] When did you first get introduced to Pro Tools? Probably about 14 years ago. I didn’t like it when it was new; it was very low-bandwidth, it sounded brittle and gray, no color to it. Gradually, over the years, the sampling rates got better. What do you like about working in Pro Tools vs. analog recording? I love everything about Pro Tools. There were things that sometimes would take a week to do that we can now do in half an hour. It’s so much better, and there’s no moving parts. There’s 10 different ways to get the same sound. I just think it’s super duper. And you can see everything you’re doing. Who’d have thought you’d end up looking at what you’re recording? You can see where the hit is. In the old days, on tape, you wouldn’t have a clue exactly where a beat was while editing. You just had to get it right, and then, if you were wrong, you had to do it again and again. You can still hear edits in some of the old ELO tracks, when we were recording on tape. Now it’s all smooth. How did you do basic tracking with ELO? When I had the band, I’d always start out with piano, bass, guitar and drums—live. And I always used to tell them, “Don’t worry, you won’t hear any of this,” because of all the overdubbing! [Laughs.] And that goes back to what I was saying about recording by myself. When I would record with a band, it was four guys having to get it right, each playing in their own time, trying to get it right all at once at the same time. Now you can have as many goes as you like, and then still tighten it up if you want. If you don’t want anything wrong, you don’t have to have anything wrong. Now you can do it and there’s nothing wrong. I love it. Do you find you produce songs in your head prior to recording, particularly in the days of complex ELO recordings? Yeah, I used to think about sounds a lot. There are certain sounds that are just built into me. I imagine it was great fun for you to create those sounds, as well. Yeah, it was always fun, because I was using stuff that I never dreamed of using, like choirs. 20 people in a choir—that’s quite an amazing thing to use, if you’ve never done it. And it does certainly add a completely other dimension to something. Same for big string sections, like 30- or 40-piece. It’s funny, at the start, it used to be, “Oh, a string day tomorrow!” with four sessions of strings. But by about the sixth album, it was, like, “Ugh, string day tomorrow—f***. We’re gonna have to do that all day.” Cause by then, I just wanted to simplify it. The production on Long Wave is decidedly simple. It’s because the songs are brilliant. You don’t need much to make ‘em work. They’re written by proper geniuses, like Rogers and Hammerstein—absolutely brilliant people. When I was a kid, I didn’t get it at all. My dad would say, “Oh, this is Richard Rogers,” and I’d go, “How? Why? I don’t understand it. It’s just a big load of grownup stuff. What does it mean?” Until I tried listening to it again a few years ago. And I thought, “I’ll have a go at one of these buggers and see if I can make sense of it now and do it.” How did you approach them? To learn these songs, I just sat there, playing a guitar part, listening 100 times, tunneling in the bits I needed to learn. The way I’ve recorded them, I’ve stripped them all of their original flowery arrangements that were very good in the day but not really suitable for the way I wanted to do it, which was more punch, make ’em electric. We rebuilt these songs onto my own track. Your vocal performance, then, becomes so much more important, because it’s really all about the melody and the emotion with songs like these. Exactly. And that’s why I really had to try really, really hard to get them right. I’d do 10 takes sometimes ‘cause I still wasn’t sure that I’d got everything covered. It was daunting trying to sing any of them. I’d come in to sing it, and it was, like, “Oh, my God. Oh, here we go… “ It’s some of your best singing ever. Particularly challenging, I would imagine, was Roy Orbison’s “Running Scared.” Did you find that, having known him and sung with him, you were able to infuse your performance with some of his heart or intonation? That’s a really difficult question. I’d listened to him, since I was 13 or 14. It’s like some kind of god…that voice. He’s just…I don’t know, ridiculous. I mean, how can anybody sing like that? It’s so pure and marvelous and emotive. Everything about it just sensational, your hair stands up on end. In the ELO days, how would you map out all of those interesting lead vocal and background parts, which are so much fun to listen to? Well, kind of backwards to how most people would do it. I didn’t have any words to any of those ELO songs until the last couple of days, until I had to mix ‘em. I’d got bits of ideas for words, but I never sat down and wrote them. I was too busy doing the music. Lyrics were always the big chore. I’d be, like, “Ugh, I’ve gotta do ’em tomorrow.” I’ve got the tune in the back of my mind, which I could rely on in between doing the rhythm track and finishing all the overdubs, before I did my vocal. For my lead vocal recording, I usually modified the tune to work best with the backing track we’d done. And that sometimes made it difficult to do the backgrounds, because I hadn’t actually made the words up yet. So I couldn’t commit myself if they had words in them until I’d done the vocal. On tracks like “Mr. Blue Sky,” you always had so many wonderful miscellaneous vocal bits thrown in, as well. “Mr. Blue Sky” had a lot of stuff going on, little instances popping up. Back then, you could fit ’em in between, where there was an empty part on one section. The engineer, Mack, would say, “You can have four tracks there, just on that bit.” Those little pieces popping up—that is the best fun. I love doing harmonies; it’s my favorite thing to do. How has your recording experience evolved since ELO? I had a year off, after I disbanded ELO the first time, and I just played on my desk at home, with me as the engineer. I learned tons about EQ and echo and AMS and stuff. So when I started work with George [Harrison], the engineer, Richard Dodd, knew I was well aware of all that stuff. What I’m good at is EQ, and I like certain effects that I always use, though there are certain ones that I like to experiment with. I have here all the EQ modules from my old 16-track Raindirk desk, because the EQ on them is really, really powerful. It’s got a tremendous sweeping ability. You can sweep through certain frequencies on an electric guitar, and it makes it sound like a slide. I used it twice on Long Wave—on “Love Is a Many Splendored Thing” and “Smile.” It sounds like you’re playing some weird instrument, but it’s actually just that. Oh, shut up! Now I’ve told ya—secret’s out. [Laughs.] You record dry? I notice you’ve got a nice collection of AMS units. Everything’s recorded dry, yeah. I love the AMS, even though it’s digital. It’s 30 years old, and it’s so easy to use. It’s just the best gadget or box I’ve ever known. Very rarely use echo on anything, but, if I do, probably would be on voice, just as an effect. And I never use reverb, except as an effect on the end of something. How did the Mr. Blue Sky album come about? I heard “Mr. Blue Sky” playing once, and I thought, “I thought it was better than that.” But it obviously wasn’t, not the way I had always heard it in my head. So I started with that one, to see what it would be like. I played it for my manager and a lot of other people, and they all went, “Whoa, you should do more.” So I tried “Evil Woman,” and then I tried “Strange Magic.” And I thought, ”Just keep going, then.” And I enjoyed doing them. My goal here really wasn’t just trying to reproduce the original sound. I was also trying to improve on the overall sound. The guitar sound, the piano sound, the drum sound—trying to improve all the bits that make up the whole. That’s what I aimed for. What was the best part of returning to these songs for a second spin? What did you learn from them? I learned that even though I’d done quite a few albums up to then, I still needed to learn as much as I needed to learn. No song is ever the same as another, when you’re recording them. You can’t beat recording. As far as I’m concerned, it’s as much fun as you can ever have. http://mixonline.com/recording/artists_engineers_producers/jeff_lynne//index.html

Voldar: Интересная статья о авторских правах. Legacy acts reboot classics to regain royalties With the record industry continuing its gradual decline, and digital downloads and commercial licensing proving ever more crucial, a number of legacy acts are heading back into the studio. But cutting a new album may be the furthest thing from their minds. While most legacy acts control their own publishing rights as songwriters, rights to the master recordings of their biggest hits are often controlled by the record labels, which limits a band's ability to freely license out its music, and forces them to split the proceeds with a label to which they may no longer even been signed. Yet there's usually nothing to stop them from simply recording their songs again, note-for-note, and exploiting those recordings to the fullest extent they desire. Appropriately, a number of marquee artists have taken the initiative by painstakingly re-recording their biggest hits, and in some cases, complete platinum albums, in an effort to control 100% of the revenue made from digital downloads and licensing from advertising, TV and film placement. Performers include Def Leppard, Foreigner, Styx, Squeeze, Cheap Trick, Electric Light Orchestra, Tori Amos, Randy Newman and Twisted Sister, and the list continues to grow each year. "It has to do with the inherent corporate structure of the music business," says Jay Jay French, founding member, guitarist and now, manager of Twisted Sister. "It's the only business where you create, you pay back, and you still don't own. This is why most musicians, by the way, will not cry over the destruction of the record industry." Twisted Sister not only re-recorded their iconic 1980s rock anthems ("We're Not Gonna Take It" and "We Wanna Rock"), they completely re-created their platinum album, "Stay Hungry," releasing it recently with additional material as "Still Hungry." Originally attached to Warner Music's Atlantic Records, the band recently signed deals with smaller labels Razor & Tie and Eagle Rock, both of which worked out a partnership that French says "respected the heritage of the band, and gave us the flexibility to record those songs and maintain control for the licenses of them." Twisted Sister directly licensed its music for "The Betty White Show," the Broadway play and film version of "Rock of Ages" and in ad promos for Amigo Tequila and Extended Stay Hotels. By offering the re-record licensing rights for less than Warner Music would charge for the 1980s originals, French says they are able to lock up 90% of the deals. How lucrative can these deals be? Licensing fees for advertising alone can range from $100,000 per song to several million dollars, which Led Zeppelin received from Cadillac in 2003 for the use of "Rock n Roll" in a TV ad campaign. It's no longer considered to be a sell-out for bands to place pop classics in advertising, films and TV -- not with half of the licensing revenue ending up in artists' pockets. Now the creators are looking to get more of a return. "From a licensing standpoint, we have seen the greatest exploitation of our music this year," says French. "Every year I keep thinking it can't get any bigger and it does. Why not make 100% of the money?" Although classic rock still holds the crown, alternative and indie music placements are growing rapidly. Re-recordings of hit songs are nothing new. Little Richard, the Everly Brothers and several other rock pioneers often re-cut their greatest hits in the early 1960s when they signed with new record companies; and TV marketer K TEL Presents made millions releasing compilations filled with re-recorded hits. The practice caused labels to incorporate a re-record restriction for five years in record contracts. Def Leppard re-cut some its classic songs for a different reason: they were unhappy with the split Universal offered them to license their recordings to iTunes and other digital download platforms. "We're master forgers now," singer Joe Elliott told The Virginia Pilot in August. "We're not trying to be greedy. We just want a fair cut of what we think is right." Electric Light Orchestra founder and leader Jeff Lynne recently re-recorded "Mr. Blue Sky: The Very Best of Electric Light Orchestra," releasing it through Frontiers Records for an entirely different reason: he never liked the way the original versions sounded. "Some of them just weren't recorded too well back then, and my production wasn't as good as I thought it was," says Lynne, who owns the name of the band and all the rights to both the old and new versions. "I was totally faithful to the old songs. I didn't change the songs or the arrangements. I did them exactly the same because what was wrong was the way I had produced them back then." Since Lynne controls the usage of all ELO songs, it is likely he will only want his newly solo-recorded versions available for license. "Sony Music has the older version of the ELO hits out and they can pick those ones as much as they can pick mine." Tom Rowland, senior VP film & television music for Universal Music Enterprises, assures the trend to re-record has not been an issue for giants like Universal, Sony or Warners. "It's not a big problem," he says. "It has gotten more press than it deserves. First of all, guitarist X is dead and the drummer is dead and they are not really the tracks. If I am going to land a Cream song or a Traffic song in a film set in the '70s, they are not going to use a recording of that song done in 2012 or 2013, because it is not authentic." He adds, "Music supervisors want authenticity. They want the real thing. Unless it is a different spin on the track, like a new remix or a completely different version, why mess with perfection?" http://www.variety.com/article/VR1118061925?refCatId=1009

Voldar: Джефф таки появился снова на втором просмотре фильма о себе любимом и даже ответил на вопросы. Mr. Blue Sky: The Story of Jeff Lynne and ELO Grammy Museum, Los Angeles KLOS’s always-lovely DJ Cynthia Fox hosted this memorable event at the Grammy Museum as KLOS and American Express presented Mr. Blue Sky: The Story of Jeff Lynne and ELO. This new documentary finally sheds a little light on the man behind the curtain – Jeff Lynne! More than a powerful songwriter and musician (The Move, ELO, Traveling Wilburys), Jeff Lynne’s role as an engineer, producer, and collaborator has sealed his fate as one of the most influential men in music history. The movie takes a peek into what’s behind this legendary genius, and explores Lynne’s successes through his own words, along with a parade of distinguished friends and fellow musicians including Paul McCartney, Ringo Starr, Tom Petty, Joe Walsh, Olivia and Dhani Harrison, Barbara Orbison (Roy’s widow), and even Monty Python alum Eric Idle! The movie is a must-see for any music fan! After the screening, Cynthia Fox moderated a very interesting Q&A with Lynne, whose sincere and quite charming!! The night ended with a series of great questions from the audience, which was filled with Jeff Lynne fans and lots of KLOS winners, as well as a most notable attendee – drummer Stewart Copeland of The Police, who even raised his hand and asked his friend a question! http://www.955klos.com//Article.asp?id=2575125

AlexYar: Главное, что он в очередной раз обнадежил, что его творческий процесс продолжается, а значит новому сольному альбому таки быть!!!!

Voldar: Ну это канешна,в очередной раз заявил,что уже 9 новых песен у него есть.

Goldenday: Voldar пишет: уже 9 новых песен у него есть. Ещё недавно было восемь. Парень не сидит сложа руки

Voldar: Не,в последнее время не сидит,уже насиделся,практически Джефф Муромец.

Sergey`M: А точнее: Джефф Муромец-Лосанжелесский! (или Бирмингемский). Раз уж песни новые появились в таком количестве, значит альбому быть!

Voldar: Эрик Идл в своём блоге написал... Liner Notes My friend Jeff Lynne has asked me to write some liner notes for his CD. In a cavalier moment when he was worried about writing them I airily offered to do the job. “Oh would you? You’ll be able to do it easily” he said “Because I can’t.” “But Jeff” I said “you have done everything else. All the writing, all the recording. All the singing. All the selling.” “But I haven’t a clue what to do, or how to write liner notes” he said. “Nothing to it I said.” But I lied. My only previous experience was writing liner notes for the second Wilbury’s album, and I think I just copied what Michael Palin had done for the first. Clearly the thing to do was to find somebody funny and copy them, so my first move was to co-opt Billy Connolly into joining us for dinner. “Liner notes” he said, “they still have liner notes? I thought they went out with the Titanic.” “That’s Liner, Billy” I said. The story so far. In a fit of egotistical madness Eric Idle has agreed to write the liner notes for Jeff Lynne’s album, but so far he has no idea what to do. He is assembling for dinner with Jeff and Billy at an expensive West Hollywood watering hole, called The Expensive West Hollywood Watering Hole. He has sat with Billy for half an hour and made a bad joke about Shark Infested Waiters at the Peninsular. They are waiting for Jeff. He appears. “How are the Liner Notes going?” he asks. “Nothing to it” I lie. But it’s a dilemma. I have Billy Connolly to help me, but he isn’t much help, he just keeps collapsing into a pile of giggles and staring wistfully at the waitress. The waitress is really worth a stare, but she has no place on these liners notes. I ask Billy what he wants to eat. He says “I want nothing bouncy or jiggly.” “Seems to me” I say “the waitress falls into that category.” Billy stares morosely into the distance. I know that look to mean he’s thinking. “For the serious collector” he says “the vinyl CD.” “Oh yes and you can download it” I say. The idea slips into the sand and drains away. “I like that” says Jeff. “How about we say originally it was a Virgin record? It had no hole in the middle.” “That’s not funny” said Jeff. “Alright” I say “we’ll improvise. Its 1932….” I begin. “I had just woken up and was feeling wretched” continues Billy. “I was lying in the street next to a donkey. Nice ass I said.” “’Listen to this mate’, said the donkey putting on a Jeff Lynne album and a small sleeveless Fair Isle knitted pullover…” “Adding a small moustache he set off to invade Poland….” “Because he couldn’t spell Czechoslovakia.” This too sank into the sand. There was a moment of silence as Billy stared at the long legs of the waitress. “They’re all strumpets!” he said suddenly and very loudly in his Scottish pastor voice. “Whoors, harlots and strumpets the lot of them!” “First of all they’re not strumpets,” I said, “One or two of them may be on the sluttish side, but I never met a slut I didn’t like.” “Put that down” says Jeff, “that’s good.” “For the liner notes?” I say in disbelief. “Maybe” he says. I know Armchair Theater very well. It’s a lovely album isn’t it? I mean either you know it or you’re about to, and either way you’ll love it, but nowhere is there anything in it about sluts. Even I don’t think that’ll fly. We abandon our pathetic attempts to be funny and drift on to other subjects and an enormous amount of food is eaten. “Are you still doing my liner notes?” says Jeff, as he reaches for the check. “Oh yes,” I lie. http://www.ericidle.com/blog/?p=255

Voldar: Джефф попал со своей песней в гуманитарный диск ,выпущенный в качестве подмоги от последствий урагана Сенди. Hurricane Sandy Relief While the effects of Hurricane Sandy devastated much of the eastern United States, many of the small coastal communities in New Jersey and New York, were hit especially hard. To help these small largely lower income communities get back on their feet, such as Red Hook Brooklyn and the Far Rockaways, a host of amazing artists have contributed to Songs After Sandy: Friends of Red Hook For Hurricane Sandy Relief, Volume 1. “Songs After Sandy: Friends of Red Hook For Sandy Relief” is being sponsored by the Not For Profit Green Ground Zero, which was founded for exactly this purpose, to help communities rebuild after disasters. In this case it is particularly poignant as they also advocate for green restoration which creates a more sustainable environment while hitting the root of the problem of global warming. All proceeds from this campaign will go to Restore Red Hook, Red Hook Initiative, Occupy Sandy, specifically the “Wedding Register” they maintain where they detail items needed in specific communities and Green Ground Zero. PledgeMusic will be the only place you can pre-order this album (and look out for subsequent editions!). In addition to the album, many of the artists here will offer up exclusive signed items and experiences so keep an eye out. TRACKLIST – Adam Arcuragi – “Cobra Tie” Joseph Arthur – “Come on Caroline” Brendan Benson – “What I’m Looking For” Live version Eric Burdon – “ Tishomingo Blues” Kaiser Cartel – “Long Way From Home” Toby Lightman – “Life Is a Riddle” Jeff Lynne – ““Save Me Now” (Brand New Electric Version)” unreleased track about global warming Joan Osborne – “Where We Start” Kenny Wayne Shepherd featuring Buddy Flett – “Third House on the Left” Ringo Starr – “Wings”, recorded Live in Atlanta with the 2012 All Starr Band Bow Thayer & Perfect Trainwreck – “The Tide” These United States – “Damned & Redeemed” Joe Walsh “”Rocky Mountain Way” – Live from Troubadour with Ringo Starr on drums Bonus content: Bob Weir and Jesse Malin– Video, live performance of “Brown-Eyed Women” http://www.pledgemusic.com/projects/songsaftersandy?utm_campaign=project5755&utm_medium=medium&utm_source=pledgemusic

SLQ: http://www.hungercity.org/details.php?id=21211 Выложили фильм о Джеффе в хорошем качестве Mr Blue Sky - The Story of Jeff Lynne and ELO-BBC HD Broadcast-AVCHD

Voldar: Спасибо,Лена,похоже на этот ресурс попадают самые свежие рипы.

Goldenday: Лена, чудесно! Большое мерси за новость! Voldar пишет: Jeff Lynne – ““Save Me Now” (Brand New Electric Version)” unreleased track about global warming Интересно, что бы это значило?

AlexYar: Goldenday пишет: Интересно, что бы это значило? Я понимаю это так: то, что мы знаем это акустическая версия... Видимо Джэфф записал данную вещь на электрогитаре, а может и другие инструменты добавил в аранжировку.... Интересно как это будет звучать!? Теряюсь в догадках и предположениях, но ясно одно - будет очередной шедевр от маэстро, ну и сюрприз всем нам, соответственно!

Goldenday: Нашёл, что говорит сам Джефф о ней: JEFF LYNNE: “This is a brand new electric version of ‘Save Me Now’, a song I wrote 22 years ago about this very subject–global warming and the need to listen and be kind to our planet. I wanted to contribute to “Songs After Sandy” because I feel terrible about what happened, and my heart goes out to all of the people still stuck in it and trying to work through it.” http://songsaftersandy.com/ Посмотрел фотографии. Вообще то, что случилось в Нью Джерси - ужасает. http://www.theatlantic.com/infocus/2012/11/hurricane-sandy-the-aftermath/100397/

Voldar: Николя готовит всем эломанам офигенный новогодний подарок.1 января он намерен опубликовать одну новую песню Джеффа. An exclusive previously unreleased track of Jeff Lynne on this website on 1st January. Stay tuned !!! Честно говоря,луче бы он его под ёлочку положил 31,а то как обычно услышим только второго.

Voldar: Если никто ничего не пишет,это не значит,что новостей о Джеффе нет.Их как раз довольно много,так как Джефф развил прямо таки невиданную для него PR- компанию.Посмотрите только сколько журналов поместили статьи о нём.

Goldenday: Первая обложка вообще роскошная!

Goldenday: Сегодня в конце рабочего дня включил погромче 'Long Wave' через колонки и слушаю. Где-то вначале 'At Last' меня девушка (наш режиссёр) спрашивает: ELO играет? Узнаю голос Линна." Я быстро объясняю что к чему, слушаю ответ, и думаю: ни фига себе, во преемственность поколений! Девчонка другого поколения, но реально наш человек

Voldar: Димыч,тебе остаётся только позавидовать.Я у себя в конторе и включал погромче и потише и на общем сервере разместил альбом в мр3 - ноль эмоций....

Goldenday: Да слушай: у нас тоже, в помещении помимо меня 5 человек. Включаю потихоньку - слушают некоторые, причём без претензий, иногда (редко) даже что-то спрашивают, с интересом. А так большинство постоянно работает в наушниках - они вообще как роботы (кстати, я и сам иногда такой - врубаю "уши" и ничего не слышу кроме своей любимой музыки). p.s. Был тут казус недавно: включил Юру Хипа и слушаю в наушниках. Потом мне коллега по цеху машет рукой и, когда я снимаю наушники, спрашивает, что я собираюсь слушать дальше (типа не очень). Оказывается, у меня звук на колонках был не отключён Играли они, к счастью, не громко, так что сильно краснеть не пришлось

ТНЮ: Goldenday пишет: (наш режиссёр) спрашивает а ты уже в кино работаешь?

Goldenday: Близко. На студии "Мельница".

ТНЮ: Наверное, интересно там.

Goldenday: Интересно, но это отдельная тема

allamina: А я работаю в одиночестве, поэтому у меня есть пространство для манёвра: что хочу, то и слушаю Но в то же время, моё помещение-это проходной двор какой-то! Столько стёба вечно и попыток на поговорить Я, конечно, понимаю, что люди разные и музыка у всех разная, никому не навязываю свои пристрастия (хотя, все знают про Roxette и говорят: о! Роксет слушаешь?! довольные, что узнали... хотя, играет Марк Нопфлер, к примеру.. или Джефф... Roxette я переслушала в своё время и последние лет 8 альбомами не включаю..) Короче, беда. Возможно это моё окружение... хорошо если что-нить еще продвинутое современное чартовое.. а то мне говорят, вот послушай Северского, вот это я понимаю музыка. Печаль. я хмурюсь А еще.. мужчины хоть как-то, с женщинами сложнее... да вообще никак, я сама по себе. Вспомнилось ощущение в стокгольмском Глобене, где летом концерт Тома проходил: захожу в туалет а там ПУСТО!!!! (извините за такую подробность). Как так? женский туалет пустой.. он же всегда забит!!! Моя не понимать... захожу в зал оглядываюсь: сплошное мужичьё. женские лики проявляются, но практически безучастно (пришли мож за компанию...) У меня ступор. Двумя днями ранее в Хорсенсе я ничего не замечала такого, была в предвкушениях и счастьях! То-то Том наш угол ошарашено разглядывал (нас там было уйма фанаток))))) С Леной и остальными там присутствующими по прошествии решили, что слушаем "мужскую музыку" и ходить на такие концерты надо чаще.... Так к чему это всё... вот думаю, с кем бы поговорить то?????? ну и пишу вот не знаю к чему

Voldar: Алла,сильный спич,мне очень понравился,можно даже почаще.

ТНЮ: Да-да! Мне тоже понравился.

Goldenday: allamina пишет: вот думаю, с кем бы поговорить то?? Ну вот тут всегда тебя выслушают и поймут, даже если на первый взгляд не будет никакой реакции

Goldenday: Декабрьский номер немецкого журнала Good Times содержит интервью Джеффа, в котором тот сообщает, что планирует записать новый альбом ELO, потому что эти буквы много значат в его жизни. ПОТРЯСНАЯ НОВОСТЬ! "The December/January edition of the German magazine Good Times (issue 06/2012) contains an interview of Jeff Lynne. He revealed that he would like to do a new ELO album because these letters mean a lot in his whole life" http://elodiscovery.com/downloads/jeff-lynne-good-times-dec-jan-2012.jpg

Voldar: Ну что же,похоже Джефф решил по серьёзному взяться за востановление бренда ЭЛО,тогда было бы здорово пригласить Ричарда.

ТНЮ: Voldar пишет: было бы здорово пригласить Ричарда. я всеми руками "за"! А ещё струнников)

SLQ: [ut]https://www.youtube.com/watch?v=gixeRZBxLco[/ut] https://www.youtube.com/watch?v=gixeRZBxLco Runaway w Jeff Lynne and Mike Campbell join Jonathan Wilson Фрагмент вчерашнего благотворительного концерта . Такой вот сюрпрайз.

SLQ: https://www.youtube.com/watch?v=lvV5eK0mWsY Вот нашлось побольше и качественнее

Voldar: Лена,ну даже не знаю,как благодарить,просто здорово.Определённо конец света отменяется,так как ,пожалуй мы и правда имеем шанс увидеть Джеффа со своим туром,кажись желание поиграть в живую к нему возвращается,потому что он прочувствовал как это клёво завести зал.

Goldenday: Блиннннннн!!!!!!!!!!!!!!!!!!!!!! Как нежданно!!! Лена, громаднейшее спасибо за наисвежайшую, приятнейшую новость в мирке, прошедшем конец света!!! Джефф не хило включил свою электрическую лампочку, чтобы все прозрели и поняли, что тьма отменяется p.s. какие счастливчики на том концерте!

ТНЮ: Goldenday пишет: какие счастливчики на том концерте! я представила, как было бы круто оказаться на их месте

AlexYar: И заметьте опять в "Трубадуре", прям мекка там какая-то для Джэффа!!!! Как говорится "редко, но метко"!!! Вот инфа об этом мероприятии: тыц

SLQ: AlexYar пишет: И заметьте опять в "Трубадуре", прям мекка там какая-то для Джэффа!!!! Да и для Heartbreakers клуб не чужой. :)

SLQ:

allamina: даааааааааа...... Как всегда любит показывать Джефф бородачи прекрасны Майк так вообще светится

Goldenday: Джефф ведь уже лет 12 не исполнял на сцене "Roll Over Beethoven". Ух!!!

allamina: а барабанщик вообще ни разу!!!! Майку пришлось проводить ликбез входе, так сказать... Подготовился только Майк, получается Ковааарный.. то-то он лыбу давит И гитарное соло в бридже запутались немного кто куда

Voldar: allamina пишет: Подготовился только Майк, Алл,а вот не думаю,что этот рояль в кустах был,уж больно отвязно как то получилось,такое не подготовишь.Там и Бенмонт в Ранавее,очень здорово отыграл,хотя думаю наверно сроду не сцена не исполнял,а про Бетховена,Джефф Майку просто шепнул,они вдвоем начали,а остальные подхватили.

allamina: Ранувэй такая композиция... её знает почти каждый музыкант. Мы как-то этим летом выехали на природу с гитарами всё такое и тут один из товарищей давай её бренчать и радостно петь и неплохо при этом... С роллом бетховена такое не пройдёт , думаю. Это я про кусты Тут видно, что импровизация, все знают Ранавэй...а про Джеффа знал Майк, пригласил и надеялся (я это имела ввиду).... Всё равно коварный он тип Джефф пришел то пришел и неожиданно для себя словил кайф: так восторженно махал руками, что пришлось играть и бетховена Блиин, как здорово там оказавшимся... Пришли поди люди на очередной сэйшн и оторвались. Хорошо быть лос-анжелисцом

SLQ: Voldar пишет: ам и Бенмонт в Ранавее,очень здорово отыграл,хотя думаю наверно сроду не сцена не исполнял Мне кажется, что Майк и Бенмонт музыканты уже такого уровня, что что угодно сыграют с пол-ноты. :) Ну Майк, я думаю, мог знать, что Джефф будет, возможно, что даже репетиция была, но максимум перед концертом 1-2 прогона.

Voldar: SLQ пишет: Мне кажется, что Майк и Бенмонт музыканты уже такого уровня, что что угодно сыграют с пол-ноты. :) Да это даже не обсуждается.Вот было бы здорово ,если к этому джему,добавили варенья Том и Джим.

SLQ: http://www.youtube.com/watch?v=hwLf9_t4Un4 Вот еще одна версия выступления Джеффа, с близкого расстояния

allamina: http://www.youtube.com/watch?v=DJL6sZC47d0&feature=endscreen&NR=1 туда же

allamina: http://www.youtube.com/watch?NR=1&v=QtW6LukIz7Y&feature=endscreen http://www.youtube.com/watch?v=sAwQeb5fZFo еще.. снимали многие

SLQ: Да, надо будет скачать себе все видео с этого концерта, потом толком все посмотреть, а то в предпраздничной суете урывками только получается.

allamina: Даааа.... там Майк таааак душевно пел (я как почитатель прям прям заценила Всегда интересовало, почему перед Майком на концертах нет микрофона, хотяб подъууукал Тому иногда.. риторический и не в эту тему вопрос ) http://www.youtube.com/watch?v=aN03C2PJwOk



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