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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.
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
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!
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
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