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ЛЕНТА НОВОСТЕЙ ДЖЕФФА ЛИННА - 4 (продолжение)

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

allamina: ну с этой "мандолиной" он и на концертах ТРиНВ дружит Но вот кроме майковой же песенки I don't wanna fight ничего не припоминаю, даже микрофона близко нет... мож он весь в музицирование своё погружается, типа чтоб не напрягал I'm a lover, lover, lover, как он задорно пел... с ютьюба что-то все эти ролики служба безопасности поудаляла... вот блин

Voldar: Меня тоже порадовало,что Майк оказывается и петь нормально могет,так что Тому вопрос - а чё он Майка зажимает.А здесь он ещё на мандолине наяривает. http://www.youtube.com/watch?v=LfYFNp2lMYk&list=PLtUS1jKkNWe_J3V0yVDvL8JYykFVv1kY-&index=23

Voldar: По этой ссылке можно весь концерт посмотреть и даже на фулскрине. http://www.youtube.com/watch?v=0WReyUZ09Mg&list=PLtUS1jKkNWe_J3V0yVDvL8JYykFVv1kY-

allamina: ооо, как славно.... щас опять вся в слюнях и соплях буду. Очень удался праздник и не только из-за Джеффа, он так настроение поднял

SLQ: Мне кажется, что Майк сам не рвется петь. Он пробовал в туре 99 года, но по видео видно, что ему не комфортно. Да и тут он не очень уютно чувствует себя как вокалист, по нему видно. С гитарой ему комфортнее.

Voldar: SLQ пишет: С гитарой ему комфортнее. Вот это точно.Нашелся обзорчик в Ролинг Стоунз о этом грандиозном событии. By Steve Appleford | RollingStone.com December 21, 2012 Jackson Browne called Jonathan Wilson "the jam king," and last night Browne was one of several major artists to join the Los Angeles folk-rocker at the Troubadour for a "goodwill jam-a-thon." Taking turns onstage were the Grateful Dead's Bob Weir, ELO's Jeff Lynne and fellow Heartbreakers Mike Campbell and Benmont Tench, together billed as the Merry Minstrel Musical Circus. "I always loved this room," Campbell said of the old club early in the four-hour show, calling the gathering of musicians "a lot of people playing together that always wanted to play together." A benefit concert for Little Kids Rock (which supplies music and instruments to U.S. schools) and the Tazzy Animal Rescue Fund, the room was packed wall-to-wall as Campbell stepped onto the small club stage. Bearded and wearing a fringe jacket, Campbell played a short set of thumping blues and rock with his band the Dirty Knobs. He led a sticky, bluesy take on J.J. Cale's "Humdinger" and Campbell's own "I Wanna Blow Up My Stereo," delivered like a Heartbreakers song with a Keith Moon beat. There was a fittingly jagged reading of John Lennon's "Working Class Hero," which flowed into the rich melody of the Beatles' "You've Got to Hide Your Love Away." Soon after Wilson - who is credited with helping revive the Laurel Canyon music scene - and his four-piece band ripped into some Crazy Horse-like brooding on his "Valley of the Silver Moon," a cosmic Seventies-style folk-rocker. Campbell joined them for a spectral version of George Harrison's "Isn't It a Pity," which echoed Pink Floyd's "Wish You Were Here" until the band kicked into a heavier beat. Campbell also played with the band on Cale's "Call Me the Breeze" (famously recorded by Lynyrd Skynyrd) and Lennon's "Well Well Well," as he and Wilson traded jagged, searing guitar lines. Weir stretched out for several minutes of improv with the band and also led the Dead's "West L.A. Fadeaway" and "Truckin'," with four guitars onstage in epic twang. Jeff Lynne came out for a two-song set of "something different," reaching back to some beloved early rock songs, including a spirited recreation of Del Shannon's 1961 hit "Runaway," with Tench on an authentic squealing organ solo. Browne called Lynne's appearance a "visitation," and the Electric Light Orchestra leader and producer followed up with Chuck Berry's "Roll Over Beethoven," an early hit for his ELO. Browne spoke warmly about his days at the club four decades earlier and began with a bittersweet "These Days," strumming acoustic guitar to Wilson's electric. Wilson called the early Browne composition "one of the best songs ever written." Later, Browne performed Warren Zevon's "Lawyers, Guns and Money" and what he called "a real Troubadour song" - "Take It Easy," a hit for the Eagles and an anthem from that band's earliest days playing the club, which erupted last night with overlapping guitars and charged vocals, helping take the night's jam session into the early morning hours.

Voldar: Ну и относительно возможного тура Джеффа народ на шоудауне уже настолько алчет этого ,что сам рисует афиши будущего тура,правда включать туда Мика,может человек плохо знакомый с действительностью.

Goldenday: *PRIVAT*

allamina: Merry Christmas to and from Jeff Lynne! Here's his Christmas present: http://www.youtube.com/watch?v=9R4Irn_YlcQ&feature=share

Goldenday: Ужас какой! Начал слушать - это настолько красиво, что не буду слушать, пока не выйдет нормальный альбом.

Voldar: Алла,ну спасибо,так спасибо,это не презент ,а чумовой настоящий подарок!НУ просто сил нет дождаться ,когда же это можно будет целиком послушать.Обязуюсь слушать каждый день непрерывно в течении месяца. С Димкой относительно оценок в новой прессе согласен.Очень важно,что там рецензии нашего известного джеффолюба Михаила Кузищева и если относительно МБС я не со всем с ним согласен,то его слова о ЛВ,что это музыка получилась практически вне времени и пространства - очень даже.

Sergey`M: Вот это да! Ждем с нетерпением новый альбом.

Шубидуба: Да, круто! Я скачал себе в mp3. Могу рассказать как. Открыть сайт http://www.vidtomp3.com/ В поле на странице скопировать ссылку http://www.youtube.com/watch?v=9R4Irn_YlcQ&feature=share Нажать download Потом ещё разок download Указать, куда сохранить mp3 из указанного видео. Слушать и кайфовать

Goldenday: ААААААА!!! Я не хочу сейчас слушать это!!! Ещё от первого альбома в себя не пришёл

ТНЮ: Goldenday пишет: Ещё от первого альбома в себя не пришёл везучие вы.... а я его ещё и не купила.....

Шубидуба: да слушай, Димка, и не мучайся Свой вклад в карман Линна ты уже сделал

Voldar: Это точно.Мучаться остаётся только,что не целиком,кстати клип можно скачать полностью ,если поставить к фаерфоксу плагин dvhelper.Ещё могу добавить,что подарку этому,мы обязаны человеку из Польши,поэтому подарочек получился воистину рождественский, он сделал ещё 3 микса на своём аккаунте,но на мой взгляд не совсем удачных.

Goldenday: К чёрту миксы! Альбом хочу!!!

Goldenday: Шубидуба пишет: вклад в карман Линна ты уже сделал И ещё сделаю

SLQ: Разок послушала, буду ждать альбом.

Voldar: Что то мне подсказывает,что в этот раз полная запись попадет в сеть раньше офрелиза.

Goldenday: Эх, не хотелось бы

Voldar: Димыч,это всё жадность,думаю скорее всего менеджмента Джеффа,уже сколько народа прошлось по хронометражу ЛВ,надо было сразу всё целиком печатать.

Goldenday: Да, наверное, ты прав.

AlexYar: Шикарно!!!! А с чего вы взяли, что они будут выпущены на новом альбоме? Может я пропустил какую-то инфу? Не, теоретически предположить конечно можно, что Джэфф издаст "Long Wave vol.2", но это пока довольно смелые фантазии... Думаю, что на "Long Wave" он просто выбирал лучшее из массы сделанных им каверов, хотя может ли быть у Джэффа "худшее" - даже и в страшном сне предположить нельзя и уж тем более в контексте услышанного сейчас!!!

Goldenday: Похоже, что из коммерческий соображений альбом действительно распилили на две части. И материал давно был готов для обоих частей. И на месте Джеффа я бы разбросал материал так, чтобы части были равноценными. Вообще если его издателям так хотелось больше денег - выпустили бы двойник, но сразу, без перерыва. И шансов меньше было бы, что материал второго альбома свистнут и выложат в сеть. Ну, подождём....

Voldar: Саш,если ты прочитал инфу в интервью,которое выложил Димка,то наверно обратил внимание,как Джефф расписывал,что перед записью слушал каждую песню тридцать три года,а потом ещё давал прослушивать готовые записи всяким полам маккартни,то я думаю ,сомнения отпадают,что Down the Lane and Far Away,это готовая мастер копия,причем уже с названием,но вот кому то захотелось распилить её на две части,только япоши в своём релизе отгрызли Джоди.

allamina: всяким

AlexYar: Voldar пишет: кому то захотелось распилить её на две части Ясно. Ну, дай Бог, как говорится, если это действительно так! Мы то только рады будем, как ни крути!

Voldar: Rock And Rules - Jeff Lynne Super producer and Electric Light Orchestra founder Jeff Lynne knows the score. Heed these words... DREAMS CAN COME TRUE Joining my first band The Night Riders in 1966 when I was eighteen was just the most wonderful day of my life: the day I didn’t have to go to work anymore. That was the most marvellous feeling. The next day I wasn’t gonna have to get on the bus, go on upstairs, sit in all this thick horrible smoke on the way to town to go into work - I never had to do that again. And I’ve never done it since, which is marvellous. I can’t say what a great experience it’s been not going into work. STAND OUT FROM THE CROWD The Night Riders changed their name to The Idle Race, and we recorded an album called ‘The Birthday Party’ - it was kind of wacky, very much George Formby-ish; not mainstream by any stretch, but very odd and quirky, and that was what I liked doing then, just to be different. I always wanted to be different, that’s what it was; I didn’t want to ever just be a three-guitar group doing what everyone else did, and I certainly haven’t probably ever done that. LEARN YOUR CRAFT Even though ELO were playing twenty-thousand seaters in America, I got fed up with it, because I wanted to be in the studio. I wanted to be writing new tracks. My song writing was coming on much better by now, I was getting more into it, and I got more knowledgeable as I got on - the more songs you write the better they get, because you get more knowledge of what not to do basically. REMEMBER THE HOOKS My dad said to me one day: ‘The trouble with your tunes is they have no tune.’ I said, ‘Bastard! You rat! I’ll show you a tune!’ And so I wrote this album called ‘Eldorado’, which was a very orchestral piece, like a big thirty-piece string section and a choir and everything, and I did all these pseudo-classical type of things in between the tracks. A lot of people really liked it, and it was the first gold album I ever had - half-a-million copies - so that was a really good incentive. And then I realised that my dad was probably right, that the more melodic I could be the better it was for me. HAVE FUN WITH IT You’ve got to have a sense of humour otherwise there’s no point to anything really. You’ve got to laugh at all the mistakes and things, because it is comical: making stuff up and recording it, then putting it out for people to listen to - and people actually buy it, which is fantastic! Who would have thought that! Not when I was going to work on the bus I wouldn’t have thought. But it just shows you that if you keep trying really hard that things will happen for you. FOLLOW YOUR HEART The reason why I never got into the touring part and got into trouble doing that stuff - I didn’t do drugs or any of that; I was always a drinker, so we got into some trouble - was that that’s not what I was there for; I was there to learn how to make records and that’s all I cared about. Even when I was on tour and on stage singing, I could be thinking about another song I’m working on. Which just shows you my heart wasn’t in live performance, that it was in the studio, and it always has been. That’s why I became a producer. Interview: Simon Harper http://www.clashmusic.com/features/rock-and-rules-jeff-lynne

Voldar: Как всегда 30 декабря эломаны во всём мире(нет,не идут в баню,чего ходить то ,там в Питере и так наших полно) ,а дружно поднимают шкалик для нашего любимого.Наше долготерпение в какой то мере было вознаграждено в прошедшем году,а в следующем открываются просто радужные перспективы,так что... С днём рождения Джефф!

ТНЮ: Присоединяюсь! Не мешало бы позвонить и лично поздравить, но мешает ряд обстоятельств.....

SLQ: С Днем рождения, Джефф!

Goldenday: Этот человек излучает мощный свет. Неважно какой: электрический или что-то другое. В 13 году исполнится 30 лет с тех пор, как всё слушаю, слушаю его и не устаю. Что бы там ни было дальше, я счастлив, что родился в одной эпохе с этим гением. С праздником, мой герой!

AlexYar: Присоединяюсь к поздравлениям юбиляра - 65 это конешна серьезно, но, что бы там ни говорили, не могу я применять эти великовозрастные даты к нашим кумирам и в первую очередь к Джэффу! Для меня он всегда вечно молодой, наполненный неиссякаемой энергией творчества!!! Мы верим в это, Джэфф, HAPPY BIRTHDAY!!!!!!!!!!!!!!!

Storiesofold: Всех с новым годом и Рождеством ну и конечно прошедшим ДР Джеффа!!! Что там насчет новой песни, которую обещали первого числа????

Voldar: Ну такой подлянки от Коли честно говоря не ожидал... An exclusive previously unreleased track of Jeff Lynne was available for the first 50 people that contacted me. Sorry for the others. Please, don't ask me for an exception and for details about the track (title, year...). I won't answer to these messages. Thank you.

Goldenday: Николя зачем-то утопил свою репутацию. Немного новогоднее настроение подпортил, ну да фиг с ним: песня всё равно объявится.

Storiesofold: и что теперь делать? где эту песню искать? должна же она утечь,я ему утром первого написал, неужели я не попал в эти первые 50 человек? Как хоть песня то называется? Кстати, ссылка на ютубе с промкой Лонг Вэйва уже закрыта, кто успел скачать, не могли бы выложить?

Шубидуба: Я тоже написал ему, но, похоже, сделал он так чисто для поднятия рейтинга сайта. Песня наверняка есть, но получили её наверно только свои. Вот ссылка на промку:

Storiesofold: спасибо большое))))

Storiesofold: а мне прислали ссылку на новую песню Линна, только это не новая песня ,а инструментал Saturday Night At The Duck Pond

Voldar: Джеффу определенно понравилось наяривать вживую,что бы он там ни говорил насчет гастролей во всех интервью. [ut] http://www.youtube.com/watch?v=HbzyycuoNjA&feature=player_embedded[/ut]

Goldenday: Во парень даёт - начал 2013 год с того, что блюз повадился играть. Господи, что же будет на его следующем альбоме?

Goldenday: Ну вот! Похоже что, выпустив пару вшивых заметок (а иначе и не скажешь) о новых творениях Джеффа, в офисе журнала, видимо, решили, что на фоне остальных изданий палочку-то перегнули и теперь стараются реабилитироваться. Пожалуй даже, переплюнули 'In Rock'. Статья наконец-то объективная, да и фактов немало интересных. Второе объёмное интервью Джеффа на русском языке! Можно снова трепетать

Voldar: Очень,очень познавательное интервью,с интересными подробностями о прошлой гастрольной жизни.

Sergey`M: С большим интересом прочитал. Любопытнейшая статья. Спасибо! Как много мы ещё не знаем про Джеффа.

Goldenday: Sergey`M пишет: Как много мы ещё не знаем про Джеффа. Да, шалунишка ещё тот

Storiesofold: спасибо, очень интересное интервью. Люди, кто нибудь заткните некоего Дениса в Контакте, он задолбал какать на Линна, пишет фигню какую то

allamina: прикупила сей журнал тоже. Красота!!!! Люблю безочкового Джеффа

Voldar: Практически в профильном для Джеффа журнале,тоже вышло интервью,скачать можно у Николя.Обращает внимание на себя последний абзац,где спрашивают насчет планов по турам.

Voldar: Димка опять вышел в тираж,так как его сканы с декабрьского журнала In Rock опубликовали французы и испанцы.7 февраля Джефф с Камелией и Эриком Идлом решили культурно развлечься (не всё же по ресторанам) и посетили концерт австралийского гитариста с французской фамилией - Томми Эмануэля.

allamina: Они следят за нашим сайтом? Дима звезда? А у Джеффа шейный платочек зачетный

Goldenday: Платочек и правда - новшество. Камелия - молодец: по-прежнему колдует над прикидом своего ненаглядного.

ТНЮ: Что-то я привычных панам и шапочек не замечаю. Перемена имиджа?

SLQ: Платок очень в стиле Тома Петти. У него подобный шарфик есть. Даже рисунок чем-то похож. Собственно шарфики это по томушкиной части. У него их много и разных.

Voldar: Хорошо,что скромненький,но не синий...А то недавно на гремми Элтон был одет достаточно подчеркнуто.

Voldar: Экзаминер опять поднимает тему о группах,которые так до сих пор и не попали в зал славы. Top ten bands never nominated for Rock Hall of Fame It's always fun to debate the merits of which bands/artists belong in the Rock and Roll Hall of Fame. Below I've compiled my Top Ten list of bands which have never been nominated but have been eligible for at least ten years. (Otherwise, I would have included The Cars--eligible for nine years). KISS and Deep Purple fans, keep in mind that your band has been nominated before. And remember, an artist isn't eligible for the Hall until 25 years after their first album is released. This list strictly adheres to those who've never even been listed among the eligible nominees. 1. Hall and Oates -- (Years eligible: 15) In my opinon, THE biggest snub, bar none. I put Hall & Oates in the category of The Everly Brothers, Simon & Garfunkel, The Righteous Brothers and Sam & Dave. These are all duos that are in the Hall of Fame. Great songwriters, R&B influencers from "Sara Smile" to "Rich Girl" to "You Make My Dreams Come True". Check out Daryl Hall's tv show "Live From Daryl's House" and see for yourself how many of today's artists are influenced by his songs. 2. The Moody Blues -- (Years eligible: 23) Influence? Innovative? Longevity? Check all three categories for the Moody Blues. One of the most essential British bands from the 60's and they are still recording and touring today. 3. Yes -- (Years eligible: 18) See above description of The Moody Blues. In fact, from a pure musicianship standpoint some might argue that this is the greatest band ever. Spawned future supergroup band "Asia". 4. ELO -- (Years eligible: 16) Has any other band in history blended rock with the sounds of a symphony orchestra any better than Electric Light Orchestra? The skill that frontman/producer Jeff Lynne used in crafting out radio friendly hits like "Evil Woman", "Mr. Blue Sky", "Hold On Tight" and "Don't Bring Me Down" (pre-digital era) is still unmatched by anything out there today. 5. Cheap Trick -- (Years eligible: 10) Shouldnt a band that has played in virtually every club and arena in the world get a nomination? 60's pop meets heavy metal and punk. These road warriors haven't stopped moving since the mid-70's and they continue to churn out new records. Classic Rock radio stations still never tire from playing "I Want You To Want Me", "Surrender", "Dream Police" and more. Inventive for the 12 string bass, zany double-neck guitars. Drummers want to sound like Bun E. Carlos and singers can only hope to come close to the dynamic range of Robin Zander. 6. Chicago -- (Years eligible: 18) Great horn section. Wonderful vocals. Early years had blistering guitar parts. Tons of radio hits. This one is hard to figure out. 7. Doobie Brothers (Years eligible: 16). A lot of band members through the years but Tom Johnston's distinctive vocals have persevered through the years. "Long Train Running", "China Grove", "Black Water", " "Listen to the Music", etc. Add in the Michael McDonald years and well, you'd be a "fool to believe" they aren't deserving of a nomination. Still touring today. 8. Journey -- (Years eligible: 12) No offense to the Bon Jovi fans out there but I cannot understand how they got nominated before Journey. This band is probably lumped into the "corporate rock" term so often used in the 70s' with the likes of Styx, REO Speedwagon, Boston, Foreigner and others but I think there is a distinct separation with Journey-- not to mention the band's longevity and continued success even with a new lead singer. Still touring today. 9. Boston -- (Years eligible: 11) Only a handful of albums, but they are all fantastic. The debut album alone is worthy of Rock Hall induction. Tom Scholz's creation of the Rockman developed an electric guitar sound never heard before. Brad Delp's soaring vocals were stellar on every track. These guys wrote rock anthems. 10. Judas Priest (Years eligible: 13) This is a close one between JP and Iron Maiden. Both are deserving but I would go with Judas Priest first. Where is the love for these British Metal heads? Certainly they weren't the first metal band but Rob Halford's vocals took this music beyond what Ozzy Osbourne could do in Black Sabbath. Almost always cited as a huge influence from current metal bands. Not to mention, Priest had a way of making Metal, FM friendly with its catchy hooks in "Breaking The Law", "Living After Midnight" and "You've Got Another Thing Coming." http://www.examiner.com/list/top-ten-bands-never-nominated-for-rock-hall-of-fame

Goldenday: Нелепость, конечно. Как минимум, половине этой десятки давно пора быть в Зале.

Voldar: Опять новость с экзаминера,на этот раз огромное интервью. A conversation with producer and ELO frontman Jeff Lynne “Hello?” “Hello?” “Hi, is this Jeff?” “Is this Jeff?” “This is Jeff. Heya.” “This is Jeff, too. All of a sudden we’re in a Monty Python sketch.” “Well, you could be in my group, actually.” “Oh, yes. I saw the video [for “Mercy, Mercy”, from Lynne’s new “Long Wave" album]. It’ll be the Jeff Group!” So began my brief but memorable chat with Jeff Lynne, former member of ELO and the Traveling Wilburys and producer to George Harrison, Tom Petty, Paul McCarney, Ringo Starr and, of course, The Beatles. Lynne was promoting two new albums, his first since 1991’s solo “Armchair Theater” and 2001’s ELO release “Zoom”. “I know I’m not supposed to start with this, but this is a real thrill for me,” I confessed to Lynne at the outset of our conversation. “You’ve made some of the seminal records of my life, and not just with ELO.” “Ah, well that’s good,” he responded, jokingly. “It’s okay. I like it. Carry on.” So while our chat was brief owing to Lynne’s hectic promotional schedule, it was loose and fun. And, best of all, Lynne promised me a follow-up where he’d share more about his time in the Wilburys and working on The Beatles’ and their various solo sessions. Jeff Slate: So I’m of course curious about the story behind Long Wave, but I’m intrigued by your revisiting the ELO material too. When I listen to those new ELO recording they just sound fantastic. They still retain that magic that they had when I first heard them as a kid, but your voice sounds phenomenal and is really well recorded, so it sounds maybe better than the old days, and it does seem like from a producers standpoint that you’ve taken what you knew back when you made the original records and imbued the new recordings with 30 years worth of experience. So let’s talk about the ELO record and why. Jeff Lynne: Okay, well you’ve almost answered your own question. I started out with “Mr. Blue Sky” because I’d been listening to my songs on the radio or sometimes playing the records, you know, and I just felt like they didn’t quite sound like I thought they did. You know, everything was a bit wooly and some things that I know were there you can’t hear or are very indistinct. So even though I still like them there were enough things about them that I thought something should be done about it. So like you said, after all those years of producing, for the last 30 years, I’ve had that much more experience. So I had an idea of what to do with them. And what you said at first, about how they’re now clear but they still retain the feel of the old ones, that’s what I wanted to try to do. I didn’t want to alter anything about them, because I liked the tunes the way they were and everything. You know, some people would be tempted to mess with them. But I wanted to be faithful to them but just make them sound better so I can be more pleased or proud of them when I hear them, instead of going, “Ooo, ouch!” You know, like “I wish that was a bit better. I wish I’d left that bit out”. But that is exactly why and there it is, so you almost said exactly what I would have said. JS: But when you got in there, as a producer, and having learned all those lessons, did you find it was enough to get cleaner, clearer sounds? Or did you want to mess about with them? Because as both a songwriter and a producer you had to have gotten in there and thought, “I’ve got a different idea for a harmony” or “I’ve got a different idea for a melody line” or “Here’s a guitar part I didn’t think of in 1974”. So how do you both free yourself and constrain yourself as a producer and a performer? JL: Well, what I did was just exactly what I did the first time around. Because don’t forget I played these songs on stage for years so I knew them inside out, and I didn’t really want to change anything. Because even though you do change things a little bit performing them over the years – phrasing and such doing them live – I noticed I had done that, just getting lazy or sloppy. So in going back I noticed that in listening to the original recordings my timing was a little different, but I wanted to get it just right, just the same, but sounding better and more punchy and a bit more clarity. JS: So did you literally A/B them? Did you literally go back and try to recreate them note for note? Because you did and you didn’t try to capture the exact same tonal qualities. They are similar and yet it does take away that wooliness, so it is a different experience listening to these recordings, which opened up things considerably from a sonic standpoint. The palette of sounds is much larger but the parts are virtually identical. So did you study them or did you just know them that well? JL: Well, I just knew them inside out and backwards because that’s all I ever did for years was play those songs in ELO. JS: Okay, well the song choices to me or any ELO fan are fairly obvious, but as the songwriter revisiting that catalog did you choose them because you felt if you were going to hear them on the radio or in a movie or in a commercial you wanted to hear these versions so I’m going to go for the big hits, or were these simply the songs that were nearest and dearest? JL: Well all these songs are dear to me, of course, because you go so deeply into them when you write them and they become like your little pals and you don’t want to seem them trodden on or anything. But actually I did enough for two volumes, so this is just the volume of songs I chose to use this time around. So I’ve been doing this ELO album and Long Wave for three years straight, six days a week. And it’s been great and I cherish each one because each album had its own amazing and unusual thing going on but this was really just rebuilding old tunes. JS: Well, that gets us easily into Long Wave. I guess the one that shocked me – you know, “She” is such a perfect opener, it’s like you’ve turned on the radio in 1959 or something, so that one really puts you in the mood, but yet still gives you that clarity and feel we’ve been talking about – but then there you are a few songs in doing Roy Orbison. So was that a song you loved or a nod to Roy as a performer, or really was it a message to an old friend? Because I’ve spoken to Tom Petty about Roy, and when we did he just lit up. So I guess I wondered when I heard it if it was as much for yourself as for the listener? I suppose it always is, right? JL: Of course. You do it for yourself in the first place, because you do it because you really feel a need to do it. But I always loved Roy Orbison’s stuff. It was unbelievable. And Roy actually told me – because I used to get him to play little bits of his tunes for me when we were just hanging about with guitars in between writing songs for the Wilburys or whatever – and he once told me “Running Scared” was his favorite one that he ever did. JS: Mine too. JL: Yeah, mine too! But what about all the others as well? So I said to him, “And mine. But what about all the others?” Because they’re all marvelous. So I did it as a tribute to Roy, really. He was such a sweet man. Very, very kind and funny. He was great. So I did it. And when I finished the backing track I went into the vocal room and I was really scared of even approaching it. You know, I was going “Oh my God. I’ve got to sing this now”. So I crossed my fingers and had a go at it. And I was dreading hearing it back, but when I listened to it it was actually quite good and I wasn’t totally blown away by how bad it was but in fact it was really good. And I thought “I can get this if I keep trying”. So I did about 10 or 12 takes, just trying to get it smoother, because you know it’s Roy and all. Because it was daunting and I did kind of think I shouldn’t be doing it because I’m not Roy Orbison. But I just loved the song and I actually ended up liking my version, so I’m very pleased with it now. JS: It’s a little bit of Jeff and a little bit of Roy in there, isn’t it? Certainly from a fan’s standpoint. It’s a beautiful thing. JL: Aww, that’s great. Thanks. JS: Well, let’s talk a little bit about the lessons you’ve learned because I’ve followed your career for a long time and, you know, people always talk about the “Jeff Lynne sound” as though there’s something universal about it in every record and yet from my standpoint, as a musician/producer/songwriter too, I hear something very different every time. JL: Definitely. JS: For instance, Armchair Theater is nothing like Highway Companion. And Zoom is nothing like the earlier ELO records. Although they retain that sort of fundamental “Jeff-ness”, they’re different. So ELO had the natural trajectory of a successful band. You know, Ringo always says a band shouldn’t last more than eight years. So while maybe you guys stretched that out a little bit it was basically that trajectory and every record built on the last. But then you get to the end and you’re looking around for something to do and you hooked up with George. I mean that album – the finished product, Cloud Nine – was a huge leap forward for you as a producer. It sounded very different, to me. JL: Well, that was the greatest opportunity of my life, really. The greatest opportunity I could have wished for. Because for a while after ELO ended I just stayed at home, practicing in my home studio. I was learning how to really use the equipment; really know the studio. I was learning how to engineer and all and I actually got pretty good. I got the hang of the [mixing] desk and everything and I by the time I was ready, as luck would have it, I was having dinner with Dave Edmonds one night and he said, “Oh, George asked me to ask you if you’d fancy working with him on his new album.” “Um, yeah. You bet.” So I went up to George’s house and we had a meeting and he wanted to make sure we’d be good pals if we were going to work together. So he said, “You fancy going with me to Australia to the Grad Prix?” I said, “Ha! Yeah, okay.” I mean I’d only just met him like a few days before. And he said, “Meet me in Hawaii and we’ll go from there”. So that’s what happened. We went and we had a great time and it was fantastic and that’s where we wrote “When We Was Fab”, in Australia. So that was the start of ten wonderful years of making records with George. JS: Did you ever ask him why he reached out to you through Dave Edmonds like that? JL: Well, he didn’t know how to get hold of me and he knew Dave. JS: Well, but I mean why he chose to work with you? JL: Well yes I think I do, because in fact Olivia tells me in my little documentary that I’ve got [Mr. Blue Sky: The Story of Jeff Lynne and ELO]. She says that we both loved each other’s songs. I think that was the initial reason why he wanted to work with me because he liked the sound I made and he liked my style of songwriting. JS: Okay, so then you’re driving in the car here in LA on Thanksgiving Day and you run into Tom Petty and you end up producing Full Moon Fever. And“Cloud Nin” was a big hit. So you’re going from strength to strength. But again Full Moon Fever sounds similar, but very different too. It’s not Tom doing George or you doing Tom doing George. It’s a whole different sound. JL: Well, that’s the funny thing. Me and Tom sat together and wrote all these songs; all but one I think. And we’d never worked together before, so there wasn’t an attempt to create a sound. We just sat in a room in Tom’s house and made up these tunes. And they just happened to be really good ones. And we made a fabulous sound in Mike Campbell’s garage, of all places. That was where we recorded it. So it was a strange session, but the garage sounded really good. It’s just a garage with a concrete floor full of motorbikes and stuff, so whenever we recorded in there there’d be motorbikes everywhere. But it was a great but strange little atmosphere to record in so how could they sound the same? JS: Well, that begs the question. I assume Friar Park is a full, proper studio whereas Mike Campbell’s garage would certainly not be as elaborate or fancy. What sort of mics and board and so forth did you use? Because you are getting a great sounds in both environments. JL: Proper mics. All the proper mics and proper gear, except George’s studio was a real beautiful one obviously. It’s very ornate and has a lovely room to work in. And then Mike’s control room was just a spare bedroom in the house next to the garage. So it was a bit odd. But then of course we mixed in full blown studios. But to record them all we did them all in there. JS: And did you ever run up against a problem where you couldn’t get the sound you wanted? Because maybe this is true or maybe not, but I think I remember you being quoted as saying you don’t like to use EQ, you like to get the sound that you want on tape and then work from that. Did you ever find that to be difficult, let’s say, in Mike Campbell’s garage? JL: Not at all, really, because it’s the way you get things down. I mean, it’s not that I won’t use EQ, I will if I have to if something sounds much better by just nudging things up a little bit here or there in a few frequencies. Then of course I’ll do it. So I won’t avoid it just on principal. You know, “Oh, I won’t do that”. But what I don’t like to use is reverb willy nilly all over everything. I just do not like that. And I never have. So I only use it as an effect, or really as a joke maybe on the end of something. You know, to make a big bang. Claaaang. So it’s mainly that naturalness of the room I like to record that with a mic a little bit off whatever I’m recording so, you know, you get a little bit of the room sound and the air moving. JS: Do you combine close and distant mics, then? JL: Yes. Like for lead guitar I like to combine a close mic right on the speaker and a distant mic probably eight feet away or so. JS: I know we’ve only got time for about one more question but I’ve got about 30, so I’ll have to ask the obvious question about working with The Beatles. JL: Yeah, of course. Don’t worry we’ll catch up again soon. JS: Great. So by the time you worked with The Beatles you’d done the Wilburys, some tracks on Ringo’s “Time Takes Time” album, and though you hadn’t yet done “Flaming Pie” with Paul you’d done a host of records with all these heroes of yours and you are asked to go to Paul’s studio to work on these songs. Technical problems aside, put the people reading this in the room. I mean many Beatles fans have heard you talk about this, but convey something that we might not expect that you observed or got from that experience. JL: I suppose the experience of walking in the room with George and then being with the three of them in the same room for the first time in years and years, that was an indescribable experience in and of itself. Then sitting down with the three Beatles, it’s really just me and them three. That’s it. And I’m just sitting there listening to all this wonderful chat, you know, about the old days and stuff. That was so marvelous to hear these stories from their mouths, the real thing, you know? Not the edited version, but the real great stuff. So that was one of the most amazing things, to get involved and be in this little club with The Beatles. It was just superb. JS: Did they make you feel like one of them? Or did you feel like an observer? Because who couldn’t help feeling that way? JL: Oh no, they were totally cool with me. You know, I was in there. I was part of the team, you know? And I was actually the leader of the team, believe it or not. So there you go. JS: How about that? So will we ever hear “Grow Old With Me” or “All For Love” or “Help Me To Help Myself”? JL: I don’t think we’ll ever hear the extra one. There was one other song that we listened to and I think we may have played on it once – or they may have played once through it – but it was never done or finished or anything like that. JS: Too bad! We’ll have to talk more about that next time. Okay, so you’re working on a solo record of original material, and you’re obviously promoting Long Wav” and the ELO set. Are you going to go out on the road and do some shows? Are you at least coming to New York City? Will we get to see the documentary in wider release? What’s next for Jeff Lynne? JL: Hopefully, yes to all those questions. I haven’t got any plans to tour, you know I’m just trying to figure out a way to do it. JS: Because I had tickets for the Zoom tour, so you’d better honor those. JL: Ah well, sorry about that. But I have no plans again at the moment. But I’m going over to England tomorrow to do some TV shows and some things. And then I’ll be back here doing some promotion. And it’s going well. In England Long Wav” is the BBC Album of the Week, which is a really good thing. JS: Fantastic. JL: Yeah! So I’m really chuffed about that. JS: So we’ll maybe see another volume of the ELO along with a solo album of new Jeff Lynne material sometime soon? JL: Well, I have got 8 songs of new material towards the new album. And, you know, I probably need another three and so that’ll be ready for next year, I hope. And the thing about those other ELO songs I’ve finished already is, Craig my manager always wants bonus tracks. No matter what I’m doing or how many tracks I give him he always wants bonus tracks. So I’ll probably run out of those ELO tracks before I can make another album out of them! JS: Well Jeff, it was a pleasure. I really appreciate it. And hopefully when you get to New York we can catch up and I’ll ask you the rest of my questions. JL: Alright, well thanks Jeff. I’d like that. Be good mate. http://www.examiner.com/article/a-conversation-with-producer-and-elo-frontman-jeff-lynne

Goldenday: Какое пространное интервью! Жаль, нет хорошего перевода. Джефф на подъёме, это очевидно, и это очень радует.

Voldar: Жизнь продолжается.... 2013 TO BRING THREE MORE RELEASES FROM JEFF... ON APRIL 23 IN THE U.S., FRONTIERS RECORDS WILL RELEASE ‘ELECTRIC LIGHT ORCHESTRA LIVE’ AND TWO REISSUES: ELO’S ‘ZOOM’ AND THE LYNNE SOLO ALBUM ‘ARMCHAIR THEATRE’ Just as the third quarter of 2012 brought three exciting works from JEFF LYNNE--his second solo album Long Wave, the freshly recorded Mr. Blue Sky–The Very Best Of Electric Light Orchestra and the illuminating documentary “Mr. Blue Sky: The Story of Jeff Lynne and ELO”--2013 will be marked by more treats from the creative force of ELO and one of rock’s most iconic figures. On April 23 in the U.S. (and April 19 in Europe), Frontiers Records will release three albums: ELECTRIC LIGHT ORCHESTRA LIVE and two reissues, ELO’s ZOOM (remastered and including a brand new track) and his debut solo album ARMCHAIR THEATRE (also remastered, with two new brand new tracks). It’s all part of the 40th anniversary of ELO, who’ve sold 50 million-plus records worldwide. These releases will all feature new packaging and the LIVE CD will come in a special ecobook edition. ELECTRIC LIGHT ORCHESTRA LIVE hasn’t been issued as an album until now. Taken from a 2001 performance for a PBS television special in Los Angeles at CBS Television City, the music was released as a DVD that year. The new hits-packed CD offers fans four tracks that weren’t on the DVD ("Secret Messages", "Sweet Talkin' Woman", "Twilight", and "Confusion") as well as two new, unreleased studio tracks, “Out of Luck” (recorded in 2010) and “Cold Feet” (recorded in 1992). Although the singularly accomplished British singer, songwriter, guitarist and producer has always preferred the creative experience of the recording studio, he is a compelling performer who's always figured out ways to bring his distinctive widescreen musical universe to life onstage when he needed to. ELO’s ZOOM--unavailable for over 10 years--has been remastered and features a brand new track, "One Day" (recorded in 2004) as an added bonus, along with a live version of “Turn To Stone” from 2001's ZOOM special on PBS. At the time of its original release in 2001, LYNNE hadn’t issued an ELO album since 1986’s Balance of Power. He called upon notable friends for a little help, enlisting contributions from longtime ELO member Richard Tandy as well as good friends George Harrison and Ringo Starr. The result is an album rich in that distinct ELO sound--classic LYNNE melodies and songwriting, foot-stomping rock anthems and sweet, sexy strings. LYNNE’s first solo album, 1990’s ARMCHAIR THEATRE, is a melting pot of different styles and influences featuring unexpected collaborations with LYNNE’s heroes and close friends, including Tom Petty, Richard Tandy and George Harrison. This reissue, unavailable for the last decade, includes two previously unreleased bonus tracks, “Borderline” and “Forecast” (both recorded in 1989). Interestingly, the album also features a few notable covers--“Don’t Let Go,” “Stormy Weather” and “September Song”--that demonstrated LYNNE’s flair for covers two decades before the release of 2012’s acclaimed Long Wave. Suitably, the core of the album is LYNNE himself, though he also left room for the contributions of a few friends and fellow travelers. Harrison contributed guitars and vocals on a number of tracks. Petty co-wrote “Blown Away,” a gorgeously romantic ballad. Longtime ELO band member Richard Tandy also contributed on keyboards and other instruments. ARMCHAIR THEATRE captures the musical genius of JEFF LYNNE when--perhaps more than ever before--the world was his stage. Outside of the success of ELO, LYNNE has led a remarkable career producing and collaborating with many of the greatest musical artists of all time. They include a number of LYNNE's all-time heroes like Roy Orbison, Del Shannon, George Harrison, Paul McCartney, Ringo Starr, and remarkably, even the Beatles themselves, as well as contemporaries like Tom Petty and Joe Walsh, whose new album Analog Man LYNNE recently produced some tracks for. Together with Harrison, Orbison, Petty and Bob Dylan, LYNNE was, of course, a member of the Grammy award-winning Traveling Wilburys--a super group like no other. “I’ve been in love with music since I was probably just five years old,” says LYNNE. I was mad for music then--and I still am today.” ELECTRIC LIGHT ORCHESTRA LIVE Track listings: ELECTRIC LIGHT ORCHESTRA LIVE Evil Woman Showdown Secret Messages Livin' Thing Sweet Talkin' Woman Mr. Blue Sky Can't Get It Out Of My Head Twilight Confusion Don't Bring Me Down Roll Over Beethoven Out of Luck (Bonus) Cold Feet (Bonus) ZOOM Alright Moment in Paradise State of Mind Just for Love Stranger on a Quiet Street In My Own Time Easy Money It Really Doesn't Matter Ordinary Dream A Long Time Gone Melting in the Sun All She Wanted Lonesome Lullaby One Day (Bonus) Turn to Stone (Live From CBS Television City) (Bonus) ARMCHAIR THEATRE Every Little Thing Don't Let Go Lift Me Up Nobody Home September Song Now You're Gone Don't Say Goodbye What Would It Take Stormy Weather Blown Away Save Me Now Borderline (Bonus) Forecast (Bonus) http://elo.biz/news/130471 http://www.frontiers.it/news/10627/

Goldenday: Voldar пишет: Жизнь продолжается.... И весьма недурно!!!! Secret Messages в концертном варианте, да ещё 4 новых студийных записи . Жаль только, Long Black Road не вошла на Zoom, да 2 сингла 90-х годов остались без ремастеринга.

AlexYar: Нереализованные ранее бонусы это конечно ж бальзам!!!! Наконец-то мы услышим практически исчерпывающий список, анонсированный еще в 2011 году!!! Концертник тоже порадовал, и ведь наверняка где-то отснятое видео всех этих не вошедших на DVD треков лежит в загашнике!!! Единственное, не очень понятно почему Turn To Stone (Live - PBS Television City) попала бонусом на ZOOM, а не на ELECTRIC LIGHT ORCHESTRA - LIVE, где ей, собственно и место...

Goldenday: AlexYar пишет: Единственное, не очень понятно почему Turn To Stone (Live - PBS Television City) попала бонусом на ZOOM, а не на ELECTRIC LIGHT ORCHESTRA - LIVE, где ей, собственно и место... Саш, мы с Владом решили, что это чисто коммерческий ход, чтобы альбомы были взаимосвязаны и народ покупал оба. Вообще, с точки зрения материала, конечно же, странный расклад, наподобие того, как в последний Вери Бест японского происхождения засунули концертную версию Twilight, которая, похоже, теперь всё же обретёт законное место на концертном сборнике. Меня лично уже начинает напрягать другое: ситуация с песнями-осколками, которые доступны только на старых или юбилейных изданиях: "Hello My Old Friend", "Matter Of Fact", "I'm Gone", "Sirens", "Every Little Thing"(remix), "Long Black Road", "Helpless", "Love Changes All", "Tears In Your Life", "Xanadu"(new), "Drum Dreams", "Grieg's Piano Concerto In A Minor", "Point Of No Return"... Практически, чтобы услышать большинство этих песен в оригинале, нужно вставлять в дисковод отдельный сборник. А ведь некоторые треки запросто можно было объединить с переизданиями на радость всем поклонникам.

AlexYar: ситуация с песнями-осколками Да, Дим, ты прав! Эта тенденция на лицо, как говорится.... Ну да ладно, ведь главное, чтобы ОНО было в конце концов!!!!

Goldenday: Конечно, Саш! Ну а с этими песнями... ну соберу потом себе из них, включая 2 новых студийных бонуса с концертника, полноценный обновлённый альбом (а может, уже и два).

Voldar: AlexYar пишет: Ну да ладно, ведь главное, чтобы ОНО было в конце концов!!!! Вот это очень правильно в том смысле,что Джефф не заполз обратно в раковину(или в ванну),а движуха продолжается ,так может и нового альбома дождёмся.

Шубидуба: Обложку сольника по-моему сделали более светлой и красивой.

Goldenday: Шубидуба пишет: Обложку сольника по-моему сделали более светлой и красивой. Ты тоже заметил? Я думал, мне показалось. Небо такое лазурное-лазурное и горы в дымке. Прямо чувствуется: ранний вечер (либо раннее утро); зной потерял (или ещё не приобрёл) свою силу, потому что солнце садится (либо восходит) - это видно по вытянутым теням; задувает ветерок, но не слишком сильный: шевелюра Джеффа трепещет, однако волн нет; вокруг безмолвие, прерываемое лишь криками чаек, журчанием воды и шелестом ветра. Одним словом - иддилия. А вот обложка оригинального Zoom мне больше нравится: новая какой-то выхолощенной кажется. Старая рифлёная тарелка на тёмном небе как-то постильнее смотрится этого светлячка.

Шубидуба: Димка - художник!

Goldenday: Ну, так вышло

Voldar: Я бы ещё заметил,что судя по стёклам очков,Джеффу весь мир теперь представляется в синем цвете.

Voldar: Как сообщают испанцы,япоши как всегда выторговали себе бонусы. ELECTRIC LIGHT ORCHESTRA - LIVE (2001 - Live - PBS Television City - Los Angeles + 2 bonus) Japanese bonus track: Telephone Line (Live from Bungalow Palace) ELECTRIC LIGHT ORCHESTRA - ZOOM (2001 - Remastered version + 2 bonus) Japanese bonus track: Lucky Motel JEFF LYNNE - ARMCHAIR THEATRE (1990 - Remastered version + 2 bonus) Japanese bonus track: Strange Magic (Live from Bungalow Palace)

AlexYar: Voldar пишет: Lucky Motel Хм, что за "зверь"!? Даже база данных Портера о наличии такового умалчивает....

Шубидуба: Значит будем брать японцев. Снова бабосы.

Goldenday: Шубидуба пишет: Значит будем брать японцев. Снова бабосы. Точно!

Voldar: В январском номере американского журнала Sound + Vision (Vol. 78 - N° 1) большое интервью с Джеффом,а также комментарии Тома и Джо,скачать можно у Николя.

SLQ: Нашла а сайте одного из фотографов: http://www.robshanahan.com/jeff-lynne/ Jeff Lynne Jeff Lynne is an English singer-songwriter, arranger, and composer who is best known as the leader of Electric Light Orchestra. He is also a co-founder and member of the Traveling Wilburys that included George Harrison, Bob Dylan, Roy Orbison, and Tom Petty. Lynne has produced recordings for artists such as The Beatles, Brian Wilson, Roy Orbison, Dave Edmunds, Del Shannon and Tom Petty. He has co-written songs with Tom Petty and George Harrison. Harrison’s album, Cloud Nine, was co-produced by Jeff Lynne and George Harrison. Some of his well-known hits include "Livin' Thing", "Do Ya", "Xanadu", "Mr. Blue Sky", "I Won't Back Down", and "Free Fallin'". Lynne’s father bought his first guitar and he still plays that guitar today. In 1963 he formed a group called "The Rockin' Hellcats", which changed their name to "The Handicaps" and finally to "The Andicaps". The group used Spanish guitars and cheap electrical instruments. In the mid-sixties he bought studio recording equipment which allowed multi-tracking between left and right channels. Lynne said it taught him how to be a producer. Lynne, along with Roy Wood, formed the highly successful Electric Light Orchestra (ELO) which created modern rock and pop songs with classical overtones. By the mid-1970’s ELO become one of the biggest-selling acts in music and has sold over 50 million records worldwide. ELO holds the record for having the most Billboard Hot 100 Top 40 hits of any group without ever having a number one

Goldenday: Крутой фотограф. Судя по биографии, в числе первых среди коллег по цеху.

AlexYar: 21 марта маэстро вновь попал в объектив Беверли-Хильских папарацци, поговорив с ними про Битлз, Роя Орбисона и Дэла Шеннона

Voldar: Всё таки это иногда это очень удобно иметь подругу с правами... Привет,друзья,я тут изучал положительное влияние музыки Джеффа на послеоперационный период(апендикс отчекрыжили).Надо сказать,что здорово помогает OOTB и четвертая часть из Стар колекшн.

Goldenday: Voldar пишет: я тут изучал положительное влияние музыки Джеффа на послеоперационный период То-то, я смотрю, ты куда-то исчез. Володь, поправляйся!

Voldar: Там же у Николя,ролик на One Day. http://www.youtube.com/watch?feature=player_embedded&v=JMb0oXps71w

AlexYar: Voldar пишет: Там же у Николя,ролик на One Day. Кто-нить успел его посмотреть? Поделитесь чаво там такого было?

Goldenday: Подарок всем из Польши: Пётр пишет: У нас есть "One Day" в удлиненной версии. Немного похоже на песни из 80-х. Слушайте вот ссылка: http://vimeo.com/62859570

ТНЮ: У меня нашелся собрат по несчастью :-) Только в послеоперационный период музыку мне приходится слушать из того, что в телефон закачано, на планшете не пашет ни музыка, ни видео. Хорошо хоть, что интернет пока работает! Ничего, вернусь домой, наслушаюсь досыта. Володя, желаю нам скорейшего заживления "животных" ран!

Voldar: О как ,дохтора напали на бедных эломанов.Нина,поправляйся быстрее,да пребудет с тобой хорошая музыка.

ТНЮ: Спасибо! У докторов, по всей видимости, весеннее обострение.... скальпелей. Мне операцию под музыку делали, помню, пели "Bad Boys Blue".

Goldenday: Не хочу спамить в любимой теме, но не могу удержаться. Наслаждайтесь!

Voldar: Димыч,добавил бодрости..

AlexYar: Jeff Lynne "Save Me Now" (Brand New Electric Version) took it from http://www.elodiscovery.com

Goldenday: Класс! С этой аранжировкой песня стала звучать ещё более по-линновски.

Voldar: Друзья хватит спать,весна на дворе,про Джеффа новостей море.Довольно много изданий откликнулось на переиздание альбомов,причем с разным комментарием,например классик рок всё хочет уломать Джеффа погастролировать,но он по прежнему отказывается. Jeff Lynne On Possible Touring: ‘I Haven’t Given Up the Idea of Doing It’ Jeff Lynne has contributed a wealth of important influence to the world of recording over the decades that he’s been engaged in making music. If the albums crafted with Electric Light Orchestra had been his sole contribution as an artist, it still would have been an impressive legacy to leave behind. But as things were wrapping up with ELO, Lynne began to produce albums for other artists, working on tracks for Dave Edmunds — including the Top 40 hit ‘Slipping Away,’ which he wrote and produced. Famously, he helped to put George Harrison back on the charts with ‘Cloud Nine,’ a comeback release for the former Beatle which would pay multiple dividends not only for Harrison, but also for Lynne himself. The ‘Cloud Nine’ sessions would spawn additional work for Lynne and a new band — the star-studded Traveling Wilburys, which found Harrison and Lynne making music with Tom Petty (Lynne was also producing Petty’s ‘Full Moon Fever’), Bob Dylan and Roy Orbison (for whom he would produce ‘Mystery Girl,’ another comeback album). It was a collective of some of rock and roll’s greatest heroes making music with their own personal heroes, and the sessions were colorful not only because of the music that was created, but also the stories and memories that accumulated in the process. He continues to write and produce both for himself and others, producing the highly regarded 2012 album ‘Analog Man’ for Joe Walsh — his first solo album in 20 years. Lynne also found time to focus on his ELO years in 2012 with ‘Mr. Blue Sky.’ The album is made up of a hand-selected batch of ELO tracks, newly re-recorded with today’s technology that achieve a sound that finally matches Lynne’s original vision. ‘Long Wave,’ released simultaneously, found Lynne offering his interpretations of an album’s worth of material sourced from some of his greatest influences, including Orbison, Rodgers and Hammerstein, the Everly Brothers and Chuck Berry. Lynne continues to take stock of his career with a pair of new releases that landed in stores this week (April 16), including a reissue of his 1990 solo album ‘Armchair Theatre’ and ‘Electric Light Orchestra Live,’ a live release sourced from a 2001 performance in Los Angeles for PBS. We recently had a few minutes to speak with Lynne about those releases, plus, some new material that he’s currently working on and the possibility of tour dates somewhere down the line. You’re in an interesting zone right now, because you’re recording new music but at the same time, taking a bit of time to consider your legacy of work with the series of releases that we’ve seen in the past year. What triggered the idea to revisit this stuff? All of the ELO stuff? Yes, and also the reissue of your solo album ‘Armchair Theatre.’ Well, that’s coming around again because it reverted to me, so I wanted it out there. I’m really proud of that album, actually. I think it seems to have gotten better over time. I would agree. Listening to the remaster of the album and hearing ‘Every Little Thing,’ that song sticks out to me as one that if it had been released in a different time period, I think it might have been a larger hit than it was. It’s classic Jeff Lynne. Well, it’s a good one and at the time, I was really pleased with it. But you can’t always dictate what will happen. The other thing that really sticks out to me now as I listen to ‘Armchair Theatre’ is that I really hear a lot of Orbison influence vocally in your vocal on ‘Don’t Say Goodbye.’ Oh really? I’d never really put that together with that. It’s always a compliment to say that I’ve even been trying to copy him! [Laughs] But I wasn’t really thinking of Roy on that particular song, I’m just glad it sounds like I was. You were pushing recording technology to its limits with the albums you were making with ELO. What was your process in that time? Did you keep logs of the guitars, specific instrumentation and gear that you were using on each song? I’m curious what sort of map you had to work off of when you decided to re-record some of those songs. Well, to be honest, they’re not that difficult. The songs are really quite simple. That’s all layers of sound. I know what they are just by listening to them. I don’t need to map them or put a list of things that happened. I can tell what happened just by hearing it, you know? Sometimes it went well and sometimes it didn’t sound quite so good. So that was the idea [behind] redoing them. [It] was not even to copy what was there, but just to make the things sound better and sit better with me. Because as the years have gone by, every time that I hear them on the radio, I think, ‘Oh, I wish that sounded better’ — and certain things still sound not bad, but a lot of them I probably could have done better, but I didn’t have the experience then. You know, I’d only been producing a few years on some of those records. And then of course the later ones, I’d been producing like 40-odd years, so I’ve got a lot more experience and a lot more know-how and a lot more wisdom of what not to do than I did then. With these re-recordings, can you point to a couple of specifics as far as things you feel like you were able to better capture on the second go-around? I can’t really be that specific. Really all of them have some kind of problem for me, when I listen to the old ones. It’s usually that there’s not a punch in them and I can tell you exactly why that is. Because as you say, I was stretching the limits a little bit with 24-track analog recording in those days, mainly because I was using too many tracks and bouncing down, because I wanted [more tracks], “Oh, I need another five tracks — give me another five.” That very problem [resulted in] the tapes actually wearing out because of overuse. I’d be running that tape over those heads for hours and hours and hours and I knew that it would have some effect and that the oxide would come off a little bit and it would lose some of its top and some of its punch, which it did. That’s what I’ve tried to correct. I have as many tracks as I want now, so I can have like a hundred tracks and it’s okay and it doesn’t wear anything out, because it’s all digital and it just stays like it is. So that’s really the difference. For a guy like you that grew up working on the analog side of things, are there pros and cons when you look at digital vs. analog as far as the way that you like to work? No, I love it ever so much! It’s exactly what I wish I could have had from the start, is the digital stuff. But the thing is that I still use my analog equipment. You know, my outboard gear is analog and all of my desk is analog and it’s got the nice big fat warm EQ on it. I’m not just doing it in the box, there’s a big painstaking effort to get it to still sound as thick and old-fashioned, as I call it, the kind of sound that I like. Like an old-fashioned record, sort of like a rock and roll record. So it’s not meant to be super duper hi-fi, it’s just meant to have more punch, so that you can hear all of the bits better on this new version. I certainly look at an artist and producer like you and feel like you must have been salivating a little bit, as you watched the technology start to develop. Absolutely, yeah. Things that used to take a week, you can do in 20 seconds now! After doing an album of standards with the ‘Long Wave’ album, you’ve been working on new material. What can you tell us about the new songs that you’re working on? Well, I’ve got about eight that are really finished. I never say they’re finished until I actually shove them out the door, because there’s always something I want to do, you know? Oh yeah. [Laughs] You know what it’s like. I would say they’re just original songs, new songs of mine. Once you’ve written about 200 [songs] like I have, or 350, you start running out of things to write about, you know? You don’t run out, but you need an inspiration of some kind. And you can sit there just banging your head on the wall and hope that they’ll come that way, [with] the lyrics, for instance, or you can just put it aside and then wait for it to hit you for an inspiration. You do see some artists that get blocked up and lose their ability to write. What keeps you moving in that sense? Does your production work with other artists help with inspiring new points of inspiration? Producing is the most fun thing that I can ever do. It’s what I love to do. It’s like if I was asked whatever I would want to do ever, it would be sitting down with somebody and making a record. So production is the fun thing and I prefer producing something that really stretches me musically, like [the] ‘Long Wave’ [album]. The songs on there, I had to work my balls off to learn those and perform them, because I wasn’t used to those kind of songs, but I just really wanted to have a go. Because the songs are really complex. Some of them are really simple chords, but the arrangements on them made them really difficult to learn. Because you have to listen to all of the shimmering stuff and, “What’s going on there, there’s a big herd of clarinets over there,” and you can’t tell what they’re playing. So it was hard just to get it so that I could get exactly the right music, which I did. I finally learned all of the songs. Singing them was obviously a tricky thing, because I’d never attempted songs like that before. I loved doing them. I had so much fun. I was really not expecting it to come out as good as it did. I’m really pleased that people liked it. Those are songs which have been with you for so long, but sometimes the prospect of tackling your influences like that can be so daunting. Absolutely. I was afraid of them. It took me about three years to actually have a go at one of them. The first one I did was ‘She,’ and I just thought, ‘I’d love to do songs of this ilk and this standard and quality,’ just to see what I can do. And absolutely, then you’re working to get it right and once you do get it right, it’s like, “Wow, I got it right at last.” Once I got started, I couldn’t put it down, it was just stuff I really wanted to keep doing. I had all of the songs and then I’d find a new one and I’d be like, “Oh sh–, I’ve got to do that one!” Obviously, I got a few surplus ones too. I had a chance to talk with Joe Walsh last year about working with you on the ‘Analog Man’ album and it would seem like working on a project like that would give you a chance to exercise some of your artistic muscles, such as the prog bits that you put into the mid-section of that title track. Oh yeah, those are nice chords, yeah. Just very simple chords. I think it’s four chords and it’s just the bass that moves and that was inspired by the old songs I was working on, the movements of the bass, not playing the root notes of the chord, but moving through those things. That was kind of inspired by those old songs, the way that someone like Richard Rodgers would keep it really simple and just move it up gradually, ascending bass lines and descending bass lines. Listening to albums as a kid, were you able to hear things from the producer’s side that you wanted to try to replicate on your own terms? Oh absolutely, yeah. I think the first song sound-wise that grabbed me, I was about 13 when ‘Only the Lonely’ came out. It was just amazing, the purity of it and the fantastic arrangement of it. The way the sounds were going away from you, and some would be closer up and some would be further away. That whole thing of two drummers and double bass, six string bass, lead guitar, the backing vocals and the orchestra, [which was] probably a 12 piece. What a fantastic thing to record all at once. And then Roy is standing at the back behind the coat rack, because his voice is so loud. It’s just amazing when you think about it. Because I knew Roy pretty well and he used to tell me about the old sessions, which I used to love listening to that. It was just a treat. It’s pretty astounding too, when you start to figure out the limited number of tracks that they had to work with, too. Well, they only had three tracks. They had a special kind of machine that only a few people had. We didn’t have it in England, I know that. Because what I’m talking about, is before I even knew how to play or how to understand music, it was just a gut feeling that I had for that [music] from Roy Orbison and actually, Del Shannon. Those were the earliest influences [for me] in rock and roll. Where did you start to gain the important understanding as far as how to play and write songs? My dad bought me a guitar from his friend and I learned from a book called ‘Burt Weedon’s Play in a Day,’ and I didn’t actually learn to play in a day, but [after] a few months, I could play most of the chords. So it was just a gradual process, really. So then I started to listen to records again and [wonder], “How do they do that?” I was a professional by then in a group called the Nightriders, and I got myself a B&O 2000 DeLuxe tape recorder, and you could do sound on sound. You’d go from left to the right and add an instrument right to left and just keep bouncing from track to track until you get all of the things that you want. You’d put the harmonies on the vocal, drums, you know, with a chair or something. I learned to make some fantastic demos like that, and I learned so much in the middle front room of my mom and dad’s house in Birmingham. That’s how I learned to make records, where to put the mic — where does it sound good and all of the little things like that. I brought it all together, so I became a singer, songwriter and a guitar player. Jim Horn told me a memorable story about working on the Traveling Wilburys albums, recalling the time that he sat on a toilet to play his soprano sax out into the hallway, with a microphone recording him at the end of the hall. What were some of the other unusual ways that you captured some of the sounds on those albums? Well the funny thing is, I always find that the studio doesn’t make the sounds I want. I’ve got my own studio now and I’ve had it for a long, long time. But in some of these studios, all of the sounds seem to have been taken out and I’d have to use the corridor outside of the studio to get the sort of sound that I wanted. And that’s why Jim Horn was sitting on the lavatory blowing his horn with a microphone down at the other end of the room, on the other end of the corridor. Because it got a better sound than I could get inside the studio, you know? If I used an electronic reverb, I could have gotten a similar sound, but it wouldn’t have been organic and really pure and authentic. Authentic lavatory sounds! [Laughs]. That first record was completed in a week and a half, which seems pretty incredible for the time period, but it certainly wasn’t unusual for the players who were involved in it. Well, that’s true. Obviously, we didn’t finish all of the songs — we didn’t finish laying the finishing touches to them. It took another month or so to do that. But the actual record, yeah, it was written in 10 days. 10 songs in 10 days, with the rhythm track laid down with Jim Keltner. You had quite an interesting period, between working on Harrison’s ‘Cloud Nine’ album, ‘Full Moon Fever’ for Petty, the Wilburys album and the Orbison album. The creativity that sparked during the Harrison sessions certainly spread in a lot of different directions for you. Well, I think it was waiting to happen anyway, once I’d finished doing ELO and George asked me to come and produce him. It was like, “Well, the world’s my oyster now. I’d love to do production for other people and especially, great people.” I was very lucky that I did work with George and people heard that, and they all loved it and they all asked me to do something with them. It really was a great time. Your production style is very interesting to analyze though, because as much as you like to build things up, it also seems like you like to work very organically when it comes to capturing the source material. I’ve heard Tom Petty talk about how he lost any desire to have echo on his vocals from working with you on the ‘Full Moon Fever’ album. [Laughs] I’ve always disliked reverb. It’s not so much echo — I do use slap a lot, like a 15 ips tape slap. I use it sometimes on vocals, but very rarely. It’s usually dry, yeah. One of my real things is for a dry vocal. I just love it when they sing in your face. When there’s reverb on it, you sort of lose that connection. I do, anyway. I lose that intimacy and I think, ‘Oh, reverb, reverb,’ and that puts me off immediately. Ultimately, you came full circle and found yourself working on Beatles recordings. Can you talk about the experience of working with those tracks? Did you have a specific approach in mind prior to hearing the song elements that you’d be working with? Oh no! I’d had the song [which would be released as ‘Free as a Bird’] for a month or so trying to figure out what the hell to do with it! How would I ever get that to work? Because it was a mono cassette and the voice was on the same track as the piano. So there’s no ducking or diving with it, it’s just, there it is, it’s like the elephant in the room and you’ve got to dub the Beatles on around that! It wasn’t the easiest one to do! The new material that you’re working on — when might that be released? Well, I’m hoping that it will be an album before the end of the year. I’d like it to be [out] in the fall, if I can do it. But we’ll see. Have you had any more thoughts towards possibly doing some live shows, perhaps to support that? There’s always thoughts. I do think of it. That sort of thought lasts about two nano-seconds usually in my head and it’s gone again. [Laughs] But I haven’t given up the idea of doing it. I may well do a couple of shows somewhere, but I wouldn’t promise anything! I think you’re probably aware that you’re the opposite of most folks. There are some artists who can’t stand to be in the studio — they’d rather be playing shows — and yet you’re the complete opposite! I love the studio so much . . . I don’t know what to do if I’m not in the studio! It’s really odd! I want to write a great song. A really great one. I wish I could. I’m trying now. We’ll see. One of these days. http://ultimateclassicrock.com/jeff-lynne-interview-2013/

Voldar: На родине героя однако по прежнему сокрушаются,что одна из лучших брамбитовских комманд,так и не играет в прежнем составе,что странно,ну должны же люди быть в теме и понимать невозможность этого. ELO are back but not as you know them Electric Light Orchestra Live boasts many of the band’s hallmark hits recorded live during filming of a US TV special in Los Angeles. Birmingham pop supergroup ELO release their first new album in 12 years today – but fans will find familiar faces few and far between. Electric Light Orchestra Live boasts many of the band’s hallmark hits recorded live during filming of a US TV special in Los Angeles. But only frontman Jeff Lynne and keyboards player Richard Tandy remain from the group’s heyday, during which they sold more than 50 million albums, played stadia around the world, and notched up 27 hits in the UK and US. The rest of the band comprises session pals of Lynne, who has chosen to release the album to celebrate ELO’s 40th anniversary. The 65-year-old guitarist and singer from Shard End now lives in Beverly Hills, where he has carved out a reputation as a top producer, memorably working on Beatles reunion sessions before the death of close friend George Harrison. And the ELO live album, which was recorded for a 2001 television show and DVD but has never been released as an album before, is one of six band and solo CDs he has released in the past six months. Rock critic David Wild, a friend of the reclusive rocker, says: “Back in 2001 Jeff had just returned to the studio to create a new ELO album titled Zoom, which brought the classic Electric Light Orchestra sound back to vivid life. “To support its release our rather reluctant road warrior agreed to return to live performance and put together a line-up of musicians which included Richard Tandy that, thanks to breakthroughs in live production and sound in the intervening years, sounded better than ever. “After the TV special a further live tour was announced but ultimately cancelled. Instead Jeff returned, no doubt happily, to the comfort of the recording studio.” Although fans will welcome the release of previously unheard ELO material, they are likely to be divided on its merits. Many hanker for a full reunion tour by the surviving members of the group’s classic line-up. Drummer Bev Bevan still lives in the Midlands and is currently on tour with his own band as part of a ‘Made In Brum’ package also featuring his lifelong friend, funnyman and Sunday Mercury columnist Jasper Carrott. Cello player Hugh McDowell still plays sessions, and is involved in dance, film and theatre projects. He has also been instrumental in the development of music composing computer software. Violinist Mik Kaminski has his own band, Blue Violin, and was most recently heard playing on tracks by acoustic duo Fay & Latta. Keyboardsman Louis Clark has just revived his Hooked On Classics brand. Cellist Melvyn Gale has become a music teacher after running a CD and vinyl record manufacturing company for 18 years. Bassist Kelly Groucutt sadly died in February 2009 following a sudden heart attack. http://www.birminghammail.co.uk/whats-on/music/birmingham-group-elo-back-not-2978702

Voldar: Ну и с роскошным заголовком вышла дейли мейл : Beatles reunion! Sir Paul McCartney and Ringo Starr meet for dinner in Beverly Hills А парни просто решили поужинать вместе в ЛА.Причём тут Джефф? Ну он там тоже был вместе с Уолшем,так что если Джефф за Джоржа,а Джо за Джона .... It is something that would put fans of The Beatles in dreamland. So no doubt people could not believe their eyes when Sir Paul McCartney and Ringo Starr had an impromptu reunion in Los Angeles on Saturday night. The jolly duo seemed in rude health as they went to the trendy Mr Chow Restaurant for dinner in posh Beverly Hills. Kisses On The Bottom favourite Sir Paul, who comes from a family of Evertonians, looked cool in a blue suit and white shirt, though he lost a few stryle points for following the current tieless trend. The 70-year-old was joined for tea by his wife Nancy, who dressed down in a cream jacket, white shirt and a denim skirt. However Sir Paul looked like a dapper gentleman compared to young-at-heart Ringo, 72, who bore a passing resemblance to George Michael in a black suit jacket, jeans and trainers. The Thomas The Tank Engine Starr was also joined by his other half Barbara Bach, and the 65-year-old actress looked in fine figure in a burgundy blazer, black blouse and denims. There was even the basis for a super group at the chic restaurant, as fellow rocker Joe Walsh, who has played guitar for the Eagles since 1975, was also there along with ELO star Jeff Lynne. However they may have been tempted to find a new drummer, for as John Lennon memorably said, 'he's not even the best drummer in The Beatles.' The Liverpool band, who initially formed in 1957 under the name The Quarrymen, are the most commercially successful and critically acclaimed act in the rock music era and have sold more than a billion albums. http://www.dailymail.co.uk/tvshowbiz/article-2312505/The-Beatles-reunite-Sir-Paul-McCartney-Ringo-Starr-meet-dinner-Hollywood.html

Voldar: Ну и в сеть выложили новую версию бордерлайн с переизданного Armchair Theatre.

Voldar: Вышло также большое интервью с Джеффом в экзаминере. А conversation with producer and ELO frontman Jeff Lynne Hello?” “Hello?” “Hi, is this Jeff?” “Is this Jeff?” “This is Jeff. Heya.” “This is Jeff, too. All of a sudden we’re in a Monty Python sketch.” “Well, you could be in my group, actually.” “Oh, yes. I saw the video [for “Mercy, Mercy”, from Lynne’s new “Long Wave" album]. It’ll be the Jeff Group!” So began my brief but memorable chat with Jeff Lynne, former member of ELO and the Traveling Wilburys and producer to George Harrison, Tom Petty, Paul McCarney, Ringo Starr and, of course, The Beatles. Lynne was promoting two new albums, his first since 1991’s solo “Armchair Theater” and 2001’s ELO release “Zoom”. “I know I’m not supposed to start with this, but this is a real thrill for me,” I confessed to Lynne at the outset of our conversation. “You’ve made some of the seminal records of my life, and not just with ELO.” “Ah, well that’s good,” he responded, jokingly. “It’s okay. I like it. Carry on.” So while our chat was brief owing to Lynne’s hectic promotional schedule, it was loose and fun. And, best of all, Lynne promised me a follow-up where he’d share more about his time in the Wilburys and working on The Beatles’ and their various solo sessions. Jeff Slate: So I’m of course curious about the story behind Long Wave, but I’m intrigued by your revisiting the ELO material too. When I listen to those new ELO recording they just sound fantastic. They still retain that magic that they had when I first heard them as a kid, but your voice sounds phenomenal and is really well recorded, so it sounds maybe better than the old days, and it does seem like from a producers standpoint that you’ve taken what you knew back when you made the original records and imbued the new recordings with 30 years worth of experience. So let’s talk about the ELO record and why. Jeff Lynne: Okay, well you’ve almost answered your own question. I started out with “Mr. Blue Sky” because I’d been listening to my songs on the radio or sometimes playing the records, you know, and I just felt like they didn’t quite sound like I thought they did. You know, everything was a bit wooly and some things that I know were there you can’t hear or are very indistinct. So even though I still like them there were enough things about them that I thought something should be done about it. So like you said, after all those years of producing, for the last 30 years, I’ve had that much more experience. So I had an idea of what to do with them. And what you said at first, about how they’re now clear but they still retain the feel of the old ones, that’s what I wanted to try to do. I didn’t want to alter anything about them, because I liked the tunes the way they were and everything. You know, some people would be tempted to mess with them. But I wanted to be faithful to them but just make them sound better so I can be more pleased or proud of them when I hear them, instead of going, “Ooo, ouch!” You know, like “I wish that was a bit better. I wish I’d left that bit out”. But that is exactly why and there it is, so you almost said exactly what I would have said. JS: But when you got in there, as a producer, and having learned all those lessons, did you find it was enough to get cleaner, clearer sounds? Or did you want to mess about with them? Because as both a songwriter and a producer you had to have gotten in there and thought, “I’ve got a different idea for a harmony” or “I’ve got a different idea for a melody line” or “Here’s a guitar part I didn’t think of in 1974”. So how do you both free yourself and constrain yourself as a producer and a performer? JL: Well, what I did was just exactly what I did the first time around. Because don’t forget I played these songs on stage for years so I knew them inside out, and I didn’t really want to change anything. Because even though you do change things a little bit performing them over the years – phrasing and such doing them live – I noticed I had done that, just getting lazy or sloppy. So in going back I noticed that in listening to the original recordings my timing was a little different, but I wanted to get it just right, just the same, but sounding better and more punchy and a bit more clarity. JS: So did you literally A/B them? Did you literally go back and try to recreate them note for note? Because you did and you didn’t try to capture the exact same tonal qualities. They are similar and yet it does take away that wooliness, so it is a different experience listening to these recordings, which opened up things considerably from a sonic standpoint. The palette of sounds is much larger but the parts are virtually identical. So did you study them or did you just know them that well? JL: Well, I just knew them inside out and backwards because that’s all I ever did for years was play those songs in ELO. JS: Okay, well the song choices to me or any ELO fan are fairly obvious, but as the songwriter revisiting that catalog did you choose them because you felt if you were going to hear them on the radio or in a movie or in a commercial you wanted to hear these versions so I’m going to go for the big hits, or were these simply the songs that were nearest and dearest? JL: Well all these songs are dear to me, of course, because you go so deeply into them when you write them and they become like your little pals and you don’t want to seem them trodden on or anything. But actually I did enough for two volumes, so this is just the volume of songs I chose to use this time around. So I’ve been doing this ELO album and Long Wave for three years straight, six days a week. And it’s been great and I cherish each one because each album had its own amazing and unusual thing going on but this was really just rebuilding old tunes. JS: Well, that gets us easily into Long Wave. I guess the one that shocked me – you know, “She” is such a perfect opener, it’s like you’ve turned on the radio in 1959 or something, so that one really puts you in the mood, but yet still gives you that clarity and feel we’ve been talking about – but then there you are a few songs in doing Roy Orbison. So was that a song you loved or a nod to Roy as a performer, or really was it a message to an old friend? Because I’ve spoken to Tom Petty about Roy, and when we did he just lit up. So I guess I wondered when I heard it if it was as much for yourself as for the listener? I suppose it always is, right? JL: Of course. You do it for yourself in the first place, because you do it because you really feel a need to do it. But I always loved Roy Orbison’s stuff. It was unbelievable. And Roy actually told me – because I used to get him to play little bits of his tunes for me when we were just hanging about with guitars in between writing songs for the Wilburys or whatever – and he once told me “Running Scared” was his favorite one that he ever did. JS: Mine too. JL: Yeah, mine too! But what about all the others as well? So I said to him, “And mine. But what about all the others?” Because they’re all marvelous. So I did it as a tribute to Roy, really. He was such a sweet man. Very, very kind and funny. He was great. So I did it. And when I finished the backing track I went into the vocal room and I was really scared of even approaching it. You know, I was going “Oh my God. I’ve got to sing this now”. So I crossed my fingers and had a go at it. And I was dreading hearing it back, but when I listened to it it was actually quite good and I wasn’t totally blown away by how bad it was but in fact it was really good. And I thought “I can get this if I keep trying”. So I did about 10 or 12 takes, just trying to get it smoother, because you know it’s Roy and all. Because it was daunting and I did kind of think I shouldn’t be doing it because I’m not Roy Orbison. But I just loved the song and I actually ended up liking my version, so I’m very pleased with it now. JS: It’s a little bit of Jeff and a little bit of Roy in there, isn’t it? Certainly from a fan’s standpoint. It’s a beautiful thing. JL: Aww, that’s great. Thanks. JS: Well, let’s talk a little bit about the lessons you’ve learned because I’ve followed your career for a long time and, you know, people always talk about the “Jeff Lynne sound” as though there’s something universal about it in every record and yet from my standpoint, as a musician/producer/songwriter too, I hear something very different every time. JL: Definitely. JS: For instance, Armchair Theater is nothing like Highway Companion. And Zoom is nothing like the earlier ELO records. Although they retain that sort of fundamental “Jeff-ness”, they’re different. So ELO had the natural trajectory of a successful band. You know, Ringo always says a band shouldn’t last more than eight years. So while maybe you guys stretched that out a little bit it was basically that trajectory and every record built on the last. But then you get to the end and you’re looking around for something to do and you hooked up with George. I mean that album – the finished product, Cloud Nine – was a huge leap forward for you as a producer. It sounded very different, to me. JL: Well, that was the greatest opportunity of my life, really. The greatest opportunity I could have wished for. Because for a while after ELO ended I just stayed at home, practicing in my home studio. I was learning how to really use the equipment; really know the studio. I was learning how to engineer and all and I actually got pretty good. I got the hang of the [mixing] desk and everything and I by the time I was ready, as luck would have it, I was having dinner with Dave Edmonds one night and he said, “Oh, George asked me to ask you if you’d fancy working with him on his new album.” “Um, yeah. You bet.” So I went up to George’s house and we had a meeting and he wanted to make sure we’d be good pals if we were going to work together. So he said, “You fancy going with me to Australia to the Grad Prix?” I said, “Ha! Yeah, okay.” I mean I’d only just met him like a few days before. And he said, “Meet me in Hawaii and we’ll go from there”. So that’s what happened. We went and we had a great time and it was fantastic and that’s where we wrote “When We Was Fab”, in Australia. So that was the start of ten wonderful years of making records with George. JS: Did you ever ask him why he reached out to you through Dave Edmonds like that? JL: Well, he didn’t know how to get hold of me and he knew Dave. JS: Well, but I mean why he chose to work with you? JL: Well yes I think I do, because in fact Olivia tells me in my little documentary that I’ve got [Mr. Blue Sky: The Story of Jeff Lynne and ELO]. She says that we both loved each other’s songs. I think that was the initial reason why he wanted to work with me because he liked the sound I made and he liked my style of songwriting. JS: Okay, so then you’re driving in the car here in LA on Thanksgiving Day and you run into Tom Petty and you end up producing Full Moon Fever. And“Cloud Nin” was a big hit. So you’re going from strength to strength. But again Full Moon Fever sounds similar, but very different too. It’s not Tom doing George or you doing Tom doing George. It’s a whole different sound. JL: Well, that’s the funny thing. Me and Tom sat together and wrote all these songs; all but one I think. And we’d never worked together before, so there wasn’t an attempt to create a sound. We just sat in a room in Tom’s house and made up these tunes. And they just happened to be really good ones. And we made a fabulous sound in Mike Campbell’s garage, of all places. That was where we recorded it. So it was a strange session, but the garage sounded really good. It’s just a garage with a concrete floor full of motorbikes and stuff, so whenever we recorded in there there’d be motorbikes everywhere. But it was a great but strange little atmosphere to record in so how could they sound the same? JS: Well, that begs the question. I assume Friar Park is a full, proper studio whereas Mike Campbell’s garage would certainly not be as elaborate or fancy. What sort of mics and board and so forth did you use? Because you are getting a great sounds in both environments. JL: Proper mics. All the proper mics and proper gear, except George’s studio was a real beautiful one obviously. It’s very ornate and has a lovely room to work in. And then Mike’s control room was just a spare bedroom in the house next to the garage. So it was a bit odd. But then of course we mixed in full blown studios. But to record them all we did them all in there. JS: And did you ever run up against a problem where you couldn’t get the sound you wanted? Because maybe this is true or maybe not, but I think I remember you being quoted as saying you don’t like to use EQ, you like to get the sound that you want on tape and then work from that. Did you ever find that to be difficult, let’s say, in Mike Campbell’s garage? JL: Not at all, really, because it’s the way you get things down. I mean, it’s not that I won’t use EQ, I will if I have to if something sounds much better by just nudging things up a little bit here or there in a few frequencies. Then of course I’ll do it. So I won’t avoid it just on principal. You know, “Oh, I won’t do that”. But what I don’t like to use is reverb willy nilly all over everything. I just do not like that. And I never have. So I only use it as an effect, or really as a joke maybe on the end of something. You know, to make a big bang. Claaaang. So it’s mainly that naturalness of the room I like to record that with a mic a little bit off whatever I’m recording so, you know, you get a little bit of the room sound and the air moving. JS: Do you combine close and distant mics, then? JL: Yes. Like for lead guitar I like to combine a close mic right on the speaker and a distant mic probably eight feet away or so. JS: I know we’ve only got time for about one more question but I’ve got about 30, so I’ll have to ask the obvious question about working with The Beatles. JL: Yeah, of course. Don’t worry we’ll catch up again soon. JS: Great. So by the time you worked with The Beatles you’d done the Wilburys, some tracks on Ringo’s “Time Takes Time” album, and though you hadn’t yet done “Flaming Pie” with Paul you’d done a host of records with all these heroes of yours and you are asked to go to Paul’s studio to work on these songs. Technical problems aside, put the people reading this in the room. I mean many Beatles fans have heard you talk about this, but convey something that we might not expect that you observed or got from that experience. JL: I suppose the experience of walking in the room with George and then being with the three of them in the same room for the first time in years and years, that was an indescribable experience in and of itself. Then sitting down with the three Beatles, it’s really just me and them three. That’s it. And I’m just sitting there listening to all this wonderful chat, you know, about the old days and stuff. That was so marvelous to hear these stories from their mouths, the real thing, you know? Not the edited version, but the real great stuff. So that was one of the most amazing things, to get involved and be in this little club with The Beatles. It was just superb. JS: Did they make you feel like one of them? Or did you feel like an observer? Because who couldn’t help feeling that way? JL: Oh no, they were totally cool with me. You know, I was in there. I was part of the team, you know? And I was actually the leader of the team, believe it or not. So there you go. JS: How about that? So will we ever hear “Grow Old With Me” or “All For Love” or “Help Me To Help Myself”? JL: I don’t think we’ll ever hear the extra one. There was one other song that we listened to and I think we may have played on it once – or they may have played once through it – but it was never done or finished or anything like that. JS: Too bad! We’ll have to talk more about that next time. Okay, so you’re working on a solo record of original material, and you’re obviously promoting Long Wav” and the ELO set. Are you going to go out on the road and do some shows? Are you at least coming to New York City? Will we get to see the documentary in wider release? What’s next for Jeff Lynne? JL: Hopefully, yes to all those questions. I haven’t got any plans to tour, you know I’m just trying to figure out a way to do it. JS: Because I had tickets for the Zoom tour, so you’d better honor those. JL: Ah well, sorry about that. But I have no plans again at the moment. But I’m going over to England tomorrow to do some TV shows and some things. And then I’ll be back here doing some promotion. And it’s going well. In England Long Wav” is the BBC Album of the Week, which is a really good thing. JS: Fantastic. JL: Yeah! So I’m really chuffed about that. JS: So we’ll maybe see another volume of the ELO along with a solo album of new Jeff Lynne material sometime soon? JL: Well, I have got 8 songs of new material towards the new album. And, you know, I probably need another three and so that’ll be ready for next year, I hope. And the thing about those other ELO songs I’ve finished already is, Craig my manager always wants bonus tracks. No matter what I’m doing or how many tracks I give him he always wants bonus tracks. So I’ll probably run out of those ELO tracks before I can make another album out of them! JS: Well Jeff, it was a pleasure. I really appreciate it. And hopefully when you get to New York we can catch up and I’ll ask you the rest of my questions. JL: Alright, well thanks Jeff. I’d like that. Be good mate. http://www.examiner.com/article/a-conversation-with-producer-and-elo-frontman-jeff-lynne

ТНЮ: Старая знакомая компания, опять тусуются вместе

Voldar: Сер,нет не Пол,а Джорж Мартин,ну очень уважил Джеффа в своём интервью. Sir George Martin: The ‘Fifth Beatle’ Looks Back RCM: When Paul, George and Ringo recorded the two new Beatles songs, Free As A Bird and Real Love, did they ask you to be involved? GM: I kind of told them I wasn’t too happy with putting them together with the dead John. I’ve got nothing wrong with dead John but the idea of having dead John with live Paul and Ringo and George to form a group, it didn’t appeal to me too much. In the same way that I think it’s okay to find an old record of Nat King Cole’s and bring it back to life and issue it, but to have him singing with his daughter is another thing. So I don’t know, I’m not fussy about it but it didn’t appeal to me very much. I think I might have done it if they asked me, but they didn’t. RCM: Did you enjoy Jeff Lynne’s production of Free As A Bird and Real Love? GM: I thought what they did was terrific; it was very very good indeed. I don’t think I would have done it like that if I had produced it. http://www.rockcellarmagazine.com/2013/04/16/interview-beatles-producer-george-martin-looks-back/

Goldenday: Признание из уст пятого битла дорогого стоит. Справедливость торжествует.

Voldar: В интервью,которое нашел Николя с с одной детройтской радиостанцией,есть интересные подробности о новом сольнике Джеффа. Jeff Lynne Discusses His Next Solo Project After releasing three more archival titles last month, Jeff Lynne is back to work on his next solo album, which he hopes to release sooner rather than later. Lynne tells us that: "I'm actually putting out a new album, hopefully by the end of the year, of new material, brand new stuff I’ve been working on probably in the last year or so. And that's coming well. And I've got about probably seven songs towards that, seven or eight. Depending on how hard I work on finishing them, I could probably have at least a thousand new tunes if I finished them all off -- but I don't really want to do that at the moment." Lynne, who's recording all the instruments and vocals himself for the project, adds that the new material has definitely been impacted by the early rock and Great American Songbook covers he recorded for last year's "Long Wave" album: "After I made the album 'Long Wave,' I started seeing songs in a slightly different way whereby I'd learned all these wonderful chord progressions these fabulous songwriters used to use. I don't mean nicking the chord sequence; I mean just the standard of thought that goes into those chord changes and sequences. It made me think much harder when I wrote me new songs, like 'Don't just settle for that. Try something a little more far-out or a little bit stranger,' whatever the situation. Everything has its own situation. But definitely my approach to songwriting has changed since doing those old songs on 'Long Wave.' " During April Lynne re-released his first solo album 1990's "Armchair Theatre," as well as the last Electric Light Orchestra album, "Zoom," from 2001, and the previously unreleased "Electric Light Orchestra Live" from a 2001 PBS performance. http://www.wcsx.com/gmi/story.aspx?ID=1951332

Goldenday: Что Джефф подразумевает, говоря, что его подход к написанию песен изменился после второго сольника? Загадок всё больше

Voldar: Он похоже "новые" аккорды выучил,теперь держись ребята.

Goldenday: Voldar пишет: Он похоже "новые" аккорды выучил,теперь держись ребята. Нам другого и не остаётся.

Goldenday: На сайте Николя можно скачать огромное январское интервью с Джеффом (и Томом), где, в частности, журналист задал вопрос о песне "Битлз вечны". Ответ Джеффа неутешителен. "Finally, among ELO fans there remains great interest in the unreleased track, "Beatles Forever". Is there any chance it will ever be released?" "i doubt it will ever come out. It's a bit sycophantic (laughs). I wrote it as just a bit of fun. I had a song that i'd done, and I'd called it "Beatles forever" as a working title and started to think what it would be about. If could be about their great harmony and beat, so I built this song out of it, and it was quite good. But it's kind of a bit too reverential. It's like, "All right, we get it, you like The Beatles" (laughs)." "Наконец, среди любителей ELO остается большой интерес к неизданной песне "Beatles Forever". Есть ли шанс, что она когда-нибудь выйдет?" ДЛ: "Сомневаюсь, что она когда-либо выйдет. Слегка льстивая. (смеётся) Написал я её ради развлечения. Я делал песню, в качестве рабочего названия выбрал "Битлз вечны", и начал думать, о чём это может быть? Возможно, об их великих гармониях и ритме, поэтому я построил песню на них, и получилось довольно хорошо. Но всё же немного слишком благоговейно. Это как: "Хорошо, мы поняли, тебе нравятся Битлз." (смеётся). http://www.elodiscovery.com/all-over-the-world.html - GOLDMINE - JEFF LYNNE

Voldar: Это как: "Хорошо, мы поняли, тебе нравятся Битлз." (смеётся). Что то раньше его это не смущало.

Goldenday: Статус другой был. С тех пор, как с Джорджем "Девятое облако" сделал, видимо, самооценка, наконец, повысилась и почувствовал неловкость в слишком лестном признании.

Voldar: Легкий налет бронзы похоже появился,учитывая что даже Пол и Ринго очень даже расхваливали его в биопике,оссобенно мне Ринго понравился,который сказал,что Джефф такой чувак,что может использовать в аранжировке любой самый неожиданный звук и тут же начал стучать по коровьему колокольчику из МБС.

Goldenday: Ринго - вообще очень последовательный мОлодец. В конце 80-х он иронизировал, что ELO распустились, "потому что у них битловские риффы закончились". В 90-х, после шумных успехов Вилбурис и сольника Джорджа иронии закончились и он пригласил Джеффа в качестве продюсера. Теперь публично расхваливает Джеффа на все лады. Прогресс налицо.

Voldar: Кстати О Ринго,в музее Гремми открылась его выставка 12 июня,ну и знакомые всё лица... Ringo: Peace & Love The GRAMMY Museum, in cooperation with Ringo Starr, will debut a major new exhibition, Ringo: Peace & Love opening on June 12, 2013. This one-of-a-kind, limited-run exhibit will offer visitors an unprecedented in-depth look at all aspects of Starr's musical and creative life - as a musician, artist, actor, and as the man the world knows and loves simply as 'Ringo.' It will also aim to propel Starr's universal message of peace and love. Ringo: Peace & Love is both the first major exhibit ever dedicated to a drummer and the first to explore the extraordinary career of the 7-time GRAMMY Award® winner. The scope of exhibit spans Ringo's early life growing up in Liverpool, from Raving Texans turned Rory Storm, from The Beatles, to becoming a solo artist and then to the All Starrs with whom he is on tour now - this unique collection brings together diverse artifacts, rare and never before seen photographs, documents, personal letters and footage. Ringo: Peace & Love will be located on the second floor and will include: The drum kit Ringo played on Let It Be, Abbey Road, and The White Album The drum kit he played on The Ed Sullivan Show Ringo's Sgt Pepper Suit The red jacket worn during the filming of The Beatles' rooftop concert Personal letters, photographs and documents from the Starkey family and Ringo's days with The Beatles It will also be an interactive exhibit, where visitors can take a drum lesson with Ringo. http://www.grammymuseum.org/on-display/special-exhibits/ringo-peace-love

Goldenday: Это не Кёлтнер второй слева? И что пьёт Джефф?

Voldar: Да,Димка,у тебя глаз намётанный - это и правда Джим и остальные чуваки не промах,про Джеффа можно заметить только,что пьет он в одиночку... Dave Stewart, Jim Keltner, Gregg Bissonette, Stewart Copeland, Ringo Starr, JEFF LYNNE, Joe Walsh y Edgar Winter

Voldar: И ещё Фенам ФМ запустил в ротацию Джеффа.

Goldenday: Боже мой, я Стюарта никогда бы не узнал в таком прикиде.

allamina: Финам ФМ это бэст частенько слушаю онлайн здесь http://www.moskva.fm/stations/FM_99.6 Кстати, очень удобный и информативный портал: где-когда-чего играло, хит- парады по всем станциям вместе и раздельно, слова песен, отзывы... короче, рекомендую На финаме сейчас Том в первой десятке аж два раза, Джеффа не видно.. но играет, слышу бывает

SLQ: We're excited to tell you that Jeff Lynne will be honored with a star on the Hollywood Walk of Fame in 2014. Congratulations, Jeff! (Из facebook)

SLQ: New Jeff Lynne album feat. duet with Tom Petty Jeff Lynne, famous frontman of ELO and renowned producer, is set to release his first official solo album of original material in 23 years. This album is, "Start Over", and is due out on the 9th of September for UK, and 10th for the US. From his brilliant mind, and years of working with the most talented people in rock music history, Jeff has created something special here that longtime fans have been waiting for. It is a perfect blend of the classic ELO sound that he recreated for 2001's, "Zoom", and the Wilbury-esque sound he had for his 1990 solo effort, "Armchair Theatre" Featuring Joe Walsh on guitar, a blaring duet with Tom Petty, and a rather odd bonus track with Eric Idle, this is not an album to be missed. Start Over 1) Start Over 2) One Day 3) Take a Step 4) The Good Old Days 5) A Man of Many Names 6) Bright Lights, City Nights 7) You Know It 8) Echoes 9) Point of No Return 10) All The Time In The World 11) Final Perspective [with Tom Petty] 12) Pardon Me? (Bonus Track) [with Eric Idle] Big Trilby Records/Frontiers Records

allamina: Блиииин... щастье то какое

SLQ: Ну насчет альбома, как говорят вопррос открыт. Пока нет официальной инфы. Многие думают, что это фейк.

Goldenday: Новость, безусловно, интересная, роскошная и потрясающая (если даже частично правдива). И названия песен внушают большое чувство оптимизма! Есть только у меня одно сомнение: Джефф никогда не мешал свои сольные песни и песни ELO на альбомах, а 'Point of No Return' & 'One Day' уже вышли под вывеской ELO, так что...... остаётся лишь верить

Voldar: Ну вы,блин даёте.Стоит только на выхи отлучиться,а тут такие новости.Ну правильно,как Димка написал остается только во всё это верить.

AlexYar: Goldenday пишет: (если даже частично правдива) Да, надо дождаться официальной объявы или, хотя бы объявы с такого уровня источников как сайт Николя... Но если все подтвердится в таком раскладе, то это будет просто потрясно!!!! Столько подарков от Джэффа за один неполный год - это фантастика!

Voldar: Одно пока можно сказать точно,Джеффа будут топтать ногами на сансете. Jeff Lynne, Motown trio to receive Hollywood Walk of Fame stars in 2014 Electric Light Orchestra's Jeff Lynne and the Motown songwriting trio of Holland Dozier Holland were among the recording artists announced June 20 who will be honored with stars on the Hollywood Walk of Fame in 2014. http://www.examiner.com/article/jeff-lynne-motown-trio-to-receive-hollywood-walk-of-fame-stars-2014 HOLLYWOOD CHAMBER OF COMMERCE ANNOUNCES NEW WALK OF FAME HONOREES FOR 2014 KICKING OFF MILESTONE CELEBRATION OF THE 2,500th WALK OF FAME STAR FOR JENNIFER LOPEZ HOLLYWOOD, CA. June 20, 2013 —For the first time in the history of the Hollywood Walk of Fame, the Walk of Fame Selection Committee made a live announcement prior to a milestone 2,500th star dedication ceremony for Jennifer Lopez. The Committee announced the new group of entertainment professionals skilled in the categories of Motion Pictures, Television, Radio, and Recording who have been chosen to receive the coveted Walk of Fame star. “The Walk of Fame Selection Committee is proud to announce the new Class of 2014,” stated David Green, Chairman of the Walk of Fame selection committee. “We have a great mix of celebrities and industry executives who have made Hollywood what it is today - one of the greatest entertainment destinations in the world. The new selections will bring great joy and fond memories for those millions who visit Hollywood each year!” Chairman Green along with Hollywood Chamber President & CEO Leron Gubler announced to the world on Thursday, June 20, 2013 the new selections at 11 a.m. in front of the W Hotel Hollywood. These individuals were chosen from among hundreds of nominations sent to the committee at a meeting held in June 14, 2013 and subsequently ratified by the Hollywood Chamber's Board of Directors. After the announcement, hundreds of Jennifer Lopez fans enjoyed watching this unprecedented ceremony as their favorite singer/actress was presented with the 2,500th star on the Walk of Fame. MOTION PICTURES: Orlando Bloom, Ray Dolby, Sally Field, Jack H. Harris, Jessica Lange, Matthew McConaughey, Liam Neeson, Paul Mazursky, and Tom Sherak TELEVISION: Dabney Coleman, Kaley Cuoco, Claire Danes, Giancarlo Esposito, Deidre Hall, Cheryl Hines, Don Mischer , Tavis Smiley and Phil Hartman (posthumous) RECORDING: Holland Dozier Holland, Jeff Lynne, Mana, Ray Parker Jr., Katy Perry, Rick Springfield and Tupac Amaru Shakur (posthumous) RADIO: Renan Almendarez Coello (El Cucuy) http://www.walkoffame.com/pages/press

allamina: Давно пора

Voldar: Будем надеяться ,что это только начало,будет Джефф и в зале славы.

allamina: ..да! и верить в альбомы, звёзды, залы... концерты

Sergey`M: Новость конечно замечательная, скорей всего это правда. Только я вот боюсь одного - что альбом выйти может в сентябре не этого года.

allamina: Сергей, мы и на это тоже надеемся Подождём! Ну недурно было бы соорудить супер-банд какой-нить ну или проектик на недельку.. постоянно фотаются вместе, что-то отмечают, кого-то поздравляют, открывают-закрывают... а мы тут "верим"

Voldar: Джефф вместе с Томом это уже супербенд,ну может ещё пола какого нибудь возьмут.

AlexYar: Sergey`M пишет: Только я вот боюсь одного - что альбом выйти может в сентябре не этого года. ты как "в воду глядел"... В недавно опубликованном на интернет портале GOLDMINE интервью Джэффа есть следующее по этому поводу: GM: Are you working on a new album of original songs? JL: Yes, I’ve got eight new ones so far. I’d like to get them out next year. I played all the instruments on it. I love it. You can’t keep me off them instruments (laughs.)

Voldar: Да,Саш,я тоже эту неутешительную фразу прочитал,там кстати очень большое интервью,причем что то мне подсказывает,возможно это решение не Джеффа ,а его нынешнего лейбла,типа на этот год Вас уважаемый Джеффри достаточно.Надо думать,что следующем году нас ждет сольник и под вопросом вторая часть волн.

Sergey`M: Супер банд и супер альбом. Да они это могут сделать легко, с их талантами!

Sergey`M: Новые песни есть, и это уже хорошо. К восьми может ещё прибавятся.

chimike: все подтвердилось http://www.elo.biz/news/160043

Voldar: Status Quo on swimming with sharks, fighting with kitchen utensils and eating Jeff Lynne from ELO Veteran rockers Franic Rossi and Rick Parfitt set to mix things up the movie comedy caper Bula Quo t’s just your everyday story of Fijian crime lords, the human organ trade and… Status Quo. Bula Quo – bula being Fijian for ‘hello’ – hits selected cinemas this week and it marks both a turning point for Brit rock legends Status Quo and indeed movie history – this big screen feature being just about the last thing you could possibly imagine Rick Parfitt, 64, and Francis Rossi, 64, starring in. Indeed, it is an ambitious project that cost guitarist Rick more than he bargained for. We caught up with the pair to talk sharks, cannibalism and wigs… The film opens with a back story of how Fiji was once a centre of cannibalism, where the locals believed that the powers of their victims were passed on to them through ingestion of the flesh. Who would you eat and why? Rick: Jeff Lynne from ELO. Why what has he done to you? Rick: Well, he’s just so bleedin’ talented, he can play everything and anything. Yeah, I’d eat him. I’d have to watch out for that beard though. http://www.mirror.co.uk/lifestyle/going-out/film/status-quo-bula-quo-stars-2015361

ТНЮ: Да-да, не подавитесь бородой!

Goldenday: Приколисты! А ролик-то весёлый. С удовольствием посмотрел бы это кино. Вообще из уст Френсиса в адрес Джеффа давно комплименты слышны, а вот от Рика слышу впервые и это чертовски приятно.

Voldar: Николя конкретно на своём сайте возмущается по поводу вот такой афиши: Это предстоящие скоро концерты оркестры в Чили.

Sergey`M: Во наглости хватает! Наверное уже под фанеру Джеффа рты открывают самозванцы!

AlexYar: Да уж... Однако я не думаю, что охаиваемая и столь нелюбимая завсегдатаями форума Оркестра сама рисовала эти афиши... Маханули тут чисто чилийские устроители гастролей, дабы денег заколотить больше, что, собственно, происходит во многих странах, далеких от понимания авторского права и т.д. Мы тут тоже не исключение, к сожалению, однако в этом году, похоже, наши устроители усвоили некоторые уроки и по крайней мере на данный момент на сайте Крокуса красуется афиша, анонсирующая концерт Оркестры 4 ноября, именно как The Orchestra - http://www.crocus-hall.ru/events/the_orchestra. Но цены, ребята, "мама не горюй"!!!! Хотя, для Москвы это все в норме - так всегда было (превышение среднеевропейских цен на билеты в разы!!!!). ЗЫ: Кроме Москвы, Оркестранты отыграют в Питере, Челябинске и Уфе - http://www.theorchestra.net/gigs.html. Хоть они и плагиаторы в какой-то степени, но живьем играют нашу любимую музыку очень даже профессионально и как бы там ни было я все-таки подумываю в очередной раз посетить концерт - уж больно мне на Хаксли посмотреть в живую хочется, да и Бейтса сейчас в составе нет, опять же.....

ТНЮ: AlexYar пишет: уж больно мне на Хаксли посмотреть в живую хочется я в своё время на Келли и Мика ходила смотреть А теперь там кто главный солист?

Goldenday: Всё равно врут на московской афише. Шесть легендарных бывших участников ELO, а уж затем небольшими буковками - и ELO part 2. Где там эти ШЕСТЬ легендарных участников именно ELO, скажите на милость? По правде надо было писать всё наоборот: Шесть легендарных бывших членов ELO PART 2 и поменьше - ELO. И повторюсь: без тёплого, душевного голоса Линна свет этой Оркестры никогда не будет греть, как бы они ни старались.

Voldar: У нас и так на профильном форуме уже достаточно мнений по этой ситуации с произведениями Джеффа.Меня ,пожалуй как и Николя в данном вопросе уже больше волнует юридическая сторона,так как сами понимаете после выхода MBS,Джефф имеет свежий копирайт на самые популярные песни ЭЛО,то есть если эта команда ремесленников споет хоть одну песню из альбома,похоже Джефф вполне сможет взять их за вымя.

SLQ:

ТНЮ: Увидела ногу вместо руки у Джеффа.

allamina: Совсем исхудал с большой сумкой P.S. Да-да, Джо активен на фб))

Goldenday: Хорошее фото! К тому же вполне подходит для песни Lift Me Up.

chimike: http://www.baeblemusic.com/musicblog/10-10-2013/Soundtrack-Studies-Electric-Light-Orchestra-Sells-Movies.html

Voldar: Мне кажется использовать музыку Джеффа в саудтреках не так уж и любят,полная коллекция есть на сайте у Николя,включая рекламу.Я вот в прошлый понедельник попал на разрекламированный фестиваль "Эстафета света" и какой то Круг света в Царицыно,где как понял хотели народ как то поразить свето эфектами под музыку.По поводу эффектов,как бы помягче сказать,что то не очень получилось,ну во всяком случае для тех кто видел хотя бы концерт Жарра в 1997 на воробьёвых горах,а вот с музыкой полная беда.Ну казалось бы у вас в название уже есть свет,сложить два плюс два и взять музыку из Тайма,которая отлично ложится на спецэфекты народ порадовать,ан нет не доперли.Если есть желание глянуть,думаю легко сможете найти видео на тюбике,там иногда света от снимающих мобильников было больше чем от прожекторов и лазеров. Кстати,ну знаю даже как прокоментировать такой пост Джеффа на твиттере: "Hello. How are you? Have you been alright?" Издевается,что ли.

chimike: извини, Вов, думал, что это будет интересно

Voldar: Мишка,да не за что извиняться,у нас и так что то тишина,все новости в одну фразу из твитера умещаются,так что пиши.

Voldar: Джефф для разнообразия решил пообедать с Ричардом Доннером (Ну не все же с Джо квасить) ,вот интересно это что нибудь значит?

Goldenday: Скорее всего, ностальгировали по временам Cheer Down.

Goldenday: Всё-таки Статус Кво пробили молчание Джеффа и он выдал пару комплиментов в их адрес в документальном фильме о творчестве группы. См. три фрагмента: на 20.мин. 38 сек., 44 мин. 03 сек. и 64 мин. 49 сек. Джефф выразился, что "их рок-н-рольный концерт на стадионе Уэмбли был настоящим совершенством".

Voldar: Чего не сделаешь ради деток,даже Джефф проснулся и решил подтянуть для выступления друга Дика. CHILDREN IN NEED ROCKS Jeff Lynne and Richard Tandy performed "Livin' Thing" and "Mr. Blue Sky" during the charity concert "Children In Need Rocks". The event took place at the Hammersmith Eventim Apollo in London on 12 November. The show will broadcast on the BBC on 14 November. http://www.bbc.co.uk/events/ejfbj5

ТНЮ: И Ричард! Какие они молодцы!

ТНЮ: В моей группе в Одноклассниках, в которую я совсем редко заглядываю, один участник написал: ============ Доктор Лектор 02:38 общаемся с экс женой facebook carol candy tandy к сожалению у нее запущенная онкология ============ А сколько у него было жён?

allamina: Прекрасно! На сцене то ему нравится, прям в пляс готов пуститься.. Немного потерял навык- в микрофон не всегда попадает , но это от чрезмерного усердия. Обнадеживает картинка: Джефф на сцене и вполне так органично и красивоооо !!!! click here click here

Goldenday: Супер! И летающая тарелка за его спиной волшебно смотрится. Зал, оформление, атмосфера - всё, как в старые добрые времена, словно и не было прошедших лет.

AlexYar: Фантастиш!!!!!

Voldar: Мдя,глядя на это великолепие очень обидно,что Джефф ,таки всё стесняется сольно проехаться с туром. Самое прикольное ,что его выступление вообще заявлено не было,а в итоге он хедлайнером оказался.Друг Дик,звук,свет,тётя со скрипкой и мужик с трубой ,а ещё целый хор мальчиков и девочек ,как то резко нашлись,может его выступление готовилось как приятный сюрприз.

chimike: https://www.youtube.com/watch?feature=player_embedded&v=O3e4nURKlw4

allamina: Дааа, хор впечатлил , как они концовочку нетрадиционно для лайвов, аж до мурашешек А тётя со скрипкой так на Джеффа поглядыват ммм А вот на фб фотку выложили смешную.. в коментах пошутили: Mik Kaminski's really looking good these days.

Goldenday: allamina пишет: Mik Kaminski's really looking good these days. Он сейчас лучше, чем когда бы то ни было

Voldar: allamina пишет: А тётя со скрипкой так на Джеффа поглядыват ммм О,да.Есть у Джеффа такая слабость - на тетей со скрипками...На туре Зума,было аж целых три.

Goldenday: Voldar пишет: на тетей со скрипками...На туре Зума,было аж целых три. Похоже, он ко всем смычковым неравнодушен, поскольку на Зуме были виолончелистки

allamina: Goldenday пишет: ко всем смычковым .... и безсмычковым (там на Зуме Рози чего тока стоила- дуэтом с ней практически). Из этого делаем вывод: Джефф наш совсем неравнодушный (особенно к красивым дамам, к дамам со смычками и к посуде с напитками).... Настоящий мужчина (о боже)

ТНЮ: У Джеффа планируется выход нового альбома или то слухи?

Voldar: Ну почему слухи.Он уже не раз сам о нем заявлял.да и волны может станут наконец длинными.

Sergey`M: Девушка со скрипкой клевая!

Goldenday: Джефф тактически абсолютно правильно поступает, что регулярно заглядывает на сцену в преддверии нового альбома, обещанного в следующем году. Если уж в полноценный тур не хочет, так пусть хоть такие номера "выстреливает" всем фанам на радость. Уверен, что этот сюрприз - не последний перед альбомом.

allamina: Дима... какой регулярно Регулярно-это Том, а Джефф тока дразнит полторым разом, а ведь ему это так идёт, стоять бы ему там и стоять

ТНЮ: Представьте, если он сам - лично, собственной персоной! - приедет к нам концерты давать! Уверена, что публики на его концерте будет поболее, чем у "Оркестра". Уж мы-то с вами найдём возможность сходить на это событие. ..... мечты...... (The dreamer, the unwoken fool, In dreams.......)

Goldenday: ТНЮ пишет: публики на его концерте будет поболее, чем у "Оркестра" Это мягко сказано! Концертные залы снесли бы от счастья

Voldar: Goldenday пишет: Концертные залы снесли бы от счастья То есть предлагаешь Джеффу не скромничать и сразу требовать под концерты Дворцовую и Красную площади?

Voldar: Оказывается.Димка скорее прав,чем наоборот,некоторые чуваки просто мечтают выступать с ним вместе. Gary Barlow's itching for a Take That and the Traveling Wilburys collaboration He has been accused of pinching Mumford & Sons’ folk style for his No1-bound new solo single Let Me Go. But Gaz says his inspiration is Jeff Lynne’s veteran supergroup featuring Bob Dylan, 72, Tom Petty, 63, and the late George Harrison and Roy Orbison. Gary told me: “If I could combine Take That with another group it would be the Traveling Wilburys so I could play with Jeff. “I’ve copied his music for years. If you listen to Take That songs like Shine it’s all Jeff.” Part of Gary’s dream came true when he coaxed Lynne, 65, out of retirement for his Children In Need Rocks shindig last week. Gary, 42, said: “I had dinner with him last year and talked about performing but he hasn’t been on stage since the Concert For George Harrison 11 years ago. “But I said to him: ‘I’ve got a concert next year, what do you think?’ I slowly won him round.” Lynne’s influence is all over Gaz’s new album Since I Saw You Last. But it’s Elton John, 66, who collaborates on his next solo single Face To Face. He said: “I have performed with Elton a few times but we’ve never done a duet on record.” Gary will unveil new material at a New Year’s Eve concert at the Central Hall in Westminster. It will be on BBC1 and tickets go on sale Friday. Since I Saw You Last is out on Monday. http://www.dailystar.co.uk/showbiz/playlist/351670/Gary-Barlow-s-itching-for-a-Take-That-and-the-Traveling-Wilburys-collaboration-

allamina: Гари хороший. Помню, как он в Тэйк Зете мучился: он не умел толком танцевать, хоть и старался... все остальные в этом бойз-бенде отплясывали будь здоров а этот как медведь в лесу... Брал другим, писал песни и сам в основном их и пел. Робби Уильямс очень обижался и свалил в сольное плаванье, в чем преуспел (переплюнул Гарика). А Гари интеллигент. К 40 годам начал набирать висты, как раз созрел к своему стилю... Здорово, что Джеффа затащил на сцену. и здорово, про Вилбурисов-ценю) А вот он тут с Агнетой джентельментичает (хоть и не в тему про Джеффа)

ТНЮ: Где-то недавно видела сие видео Гэри с Агнетой. Память подводит....

Goldenday: Voldar пишет: То есть предлагаешь Джеффу не скромничать и сразу требовать под концерты Дворцовую и Красную площади7 Ты прямо мне душу отвёл

Voldar: Николя нашел всех участников коллектива с которым выступал на концерте Джефф.Секретом не было,что основная часть команды - это группа Барлоу Take That,а вот тетя со скрипкой и дядя с трубой оказались из оркестра ВВС. Chereene Allen Danny Marsden

Goldenday: Voldar пишет: тетя со скрипкой и дядя с трубой оказались из оркестра ВВС. Ещё два сессионных музыканта из 10СС затесались )

Goldenday: 19 декабря в России премьера "Афёра по-американски", где аж три песни Джеффа, одна из которых новая! По сэмплу - чистая классика Линна в традициях 90-х. Да и саундтрек сам неплох плюс хорошие актёры. В общем: надо слушать да смотреть! http://www.amazon.com/American-Hustle-Original-Picture-Soundtrack/dp/B00GXU5376?tag=533643275-20

ТНЮ: поделилась этой новостью в ВК и ОК, пусть народ порадуется.

Voldar: Надо сказать,что весь саудтрек очень даже приличный,наверно потому что действие фильма происходит в конце 70-х.

Sergey`M: Voldar пишет: Надо сказать,что весь саудтрек очень даже приличный Так саундтрек уже все получается слышали, осталось фильм посмотреть Хотя инструментальную композицию Джеффа я полностью не слышал, а она хороша как всегда!

Voldar: У нас сообщение можно сказать с пометкой срочно.Классик рок проводит опрос относительно кого бы принять в Зал славы.В первом раунде шоудауна участвуют ЭЛО и Дуби Бразерс.Можно голосовать один раз в день до 15 декабря.Мы пока проигрываем. http://ultimateclassicrock.com/doobie-brothers-vs-elo/ http://ultimateclassicrock.com/doobie-brothers-vs-elo/

ТНЮ: Раскидала ссылки по соц.сетям. Ждём урожая и не забываем голосовать per day. На Наташин сайт будьте добры продублировать, пожалуйста!

Goldenday: Спасибо, Нин! Пост Володи у Наташи продублировал.

ТНЮ: Мы сильно отстаём в голосовании! Меньше 42%!

ТНЮ: Так-так, время для голосования истекло, а результаты где посмотреть можно?

Goldenday: Надеюсь, завтра днём по московскому времени мы все будем в курсе.

Sergey`M: Что в полуфинале с Лед Зеппелин играем?

Voldar: Похоже на то.чего то с жеребьёвкой не очень повезло.

Goldenday: Продуем. Ну и ладно: Джефф скоро свою Звезду славы и так откроет. Не всё же сразу.

Voldar: Честно говоря в свете событий вокруг ЭЛО,лучше бы было Джеффа принять индивидуально.

Goldenday: Согласен. В идеале надо бы и ELO и Джеффа персонально.

Шубидуба: Ребята, вы слишком большое значение придаёте этому голосованию. Это ведь не в зал славы рок-н-ролла, а в зал славы самого журнала. Ну, нет там ELO, да и пофиг. Если уж там и LZ до сих пор нет ... Спят там, видимо, редакторы глубоким сном. Хотя, я уже дважды проголосовал. Но процент ELO за это время слегка уменьшился.

ТНЮ: Шубидуба пишет: вы слишком большое значение придаёте этому голосованию Влад, всё, что касается E.L.O. - для меня дело принципа Если нет возможности побывать на "живом" концерте Линна, то хотя бы можно поучаствовать во всяких опросах и голосованиях, дабы всеми способами показать, что он и его музыка не забыты и не вышли из моды. Пусть в итоге окажется у этих Дуби Броз. в несколько раз больше голосов, но у E.L.O. это будут не единицы, а десятки процентов, что покажет массовость голосов. Авторитет любимой группы надо и нужно поддерживать, товарищи однополчане

Goldenday: Что-то новенькое! У Николя появилась новость, что на оф странице Линна в Фейсбуке объявлено, что Джефф для фильма "Афера по-американски" исполнил и спродюсировал композицию Клода Дебюсси (ЗА КЛАССИКУ ВЗЯЛСЯ! ) Теперь о плохом: песня в саундтреке не доступна ((

Goldenday: Поклонники ELO, всем уже известно, что в России живёт очень-сверх-супер-удивительно-поразительно-предельно-исключительно-невероятно-чудовищно-смертельно-безмерно-необыкновенно-крайне-нечеловечески-баснословно-зверски-страшно и т.д.(наречиями русский язык не обделён!) терпеливый народ. Который молчит, лишь бы его не дёргали ( А вдруг, будет хуже?). Которому всё по барабану, что не в пределах его хаты, двора, гаража или, возможно, работы. Процесс стабилен много лет, это никакая не новость, но неужели иногда не хочется одержать хотя бы маленькую победу ради чего-то личного, частички того, что греет или когда-то грело вам сердце? Остался один процент разрыва в головании между ЭЛО и Дуби Бразерс. Вчера разрыв был значительно больше. До финала осталось 6 дней. Голосуйте ежедневно, если по-настоящему любите ЭЛО, даже в таком сонном журнале, как верно заметил Влад.

allamina: Дима, это сильно!!! Вперёд к финалу с Орлами

Goldenday: ТНЮ пишет: Мы сильно отстаём в голосовании! Меньше 42%! Вообще как-то странно: ещё утром, 12 часов назад, разрыв составлял меньше 2 процентов, а сейчас резко достиг 17 с лишним. Это при том, что последнюю неделю цифры кардинально не менялись. Кабы дело происходило не в России, я бы предположил, что братаны Дуби проплачены едриснёй.

ТНЮ: Подтасовки и вброс бюллетеней! (Между нами, девочками), я о такой группе раньше не слыхивала, а её поклонники ну та-а-ак шпарят с голосованием, что диву даюсь - где ж они все раньше были? Где-то прятались от меня. Ради интереса поискала, в Википедии есть страница без единой ссылки на альбомы. Вконтакте и Одноклассниках нет ни одной группы, посвящённой этому коллективу. А в Яндексе нашла только оф.сайт группы. Здесь дело не чисто, по-моему. А вот на Фэйсбуке там прям развёрнута Операция Ы по теме голосования https://www.facebook.com/thedoobiebrothers Help the Doobies get into the 100% fan-voted Ultimate Classic Rock Hall of Fame. We're currently up against ELO for Round One. Polls close on the 15th! :) Нашла там же и страницу, посвящённую нашим претендентам https://www.facebook.com/ElectricLightOrchestra Они тоже выставили ссылку о голосовании.

ТНЮ: Обновлю пост со ссылками, вдруг кто-то потерял: http://ultimateclassicrock.com/doobie-brothers-vs-elo/ http://ultimateclassicrock.com/doobie-brothers-vs-elo/

Voldar: Наши шансы резко увеличились,так как инфа попала на шоудаун и результат уже виден,мы практически догнали братьев. Ещё в сеть попала полная версия Stream Of Stars,послушать можно здесь - http://www.avclub.com/article/heres-a-brand-new-song-from-jeff-lynne-courtesy-of-106334

ТНЮ: Отличные новости

Goldenday: И на оф страничке Джеффа в Фейсбуке ссылка на инструментал появилась сутки назад, но главное: предложение послушать его. *EXCLUSIVE* for Jeff Lynne fans! The original motion picture soundtrack for American Hustle will premiere a brand new song by Jeff Lynne, "Stream of Stars." The digital release is Tuesday, December 10. But you can listen to it NOW!

Voldar: Поскольку сериал из жизни семидесятых,может Джефф именно поэтому сочинил что то очень похожее на The Ventures или Shadows,ну мне так показалось.

SLQ: Давно не заходила. :( Кинула сегодня инфу про голосование в группе про Тома, там много поклонников ELO

ТНЮ: Спасибо тебе большое! Надеюсь, дело двинется с мёртвой точки.

allamina: Нифига се... там уже 20 разрыв.. У меня разрыв мозга...Блин, я на работе голосую почти от всех сотрудников (есть "удаленный стол") и как так?????

allamina: Ха-ха, они там че-та путали!!! Теперь всё наооборот, Наши дааалеко впереди Конечно, скорей помогла публикация в фб в группе электриков, там тока "лайков" больше двух с половиной тыщ.. но мы тож старались А Братьев Дуби я слышала, классные у них есть композиции.. правда, я всегда думала, что это негры, достойный соперник (хотя, по идее вообще и не соперник )

Goldenday: allamina пишет: Ха-ха, они там че-та путали!!! Да они там вообще... такое ощущение, что периодически монетку бросают - кому очки добавить...

ТНЮ: А я ночью всё вэб-сёрфингом занималась на тему этого голосования. Надеюсь, что на сей раз мы будем впереди, а то как-то нечестно.

allamina: проиграли

ТНЮ: Это полная ..... чушь, ночью ещё голосовалка работала, и мы были впереди "Дубов" на несколько процентов. Чтоб организаторам и жуликам подавиться этим Зачем этот фарс вообще нужно было устраивать, сразу бы сказали, что их симпатии на стороне "Братьев дубов-колдунов" и не стоит всё это затевать, лидерство присуждается им. А то лишние телодвижения пришлось делать.

Sergey`M: Да, подобные голосования расстраивают, но у нас на сайте своё голосование, независимое, честное и не предвзятое. И пусть подавятся эти журналисты! Послушал ради этого случая The doobie brothers. Кое что мне по нраву. Не более.

ТНЮ: Sergey`M пишет: у нас на сайте своё голосование а можно поконкретней?

Sergey`M: А можно выстроить рейтинг любимых исполнителей в результате голосования. Например Top-100. Лучше в отдельной теме. Только нужно ли это кому нибудь? (Мне было бы интересно послушать группы на которых я не обращал внимания, ведь вкусы у людей на нашем форуме не дурные).

ТНЮ: Sergey`M пишет: Мне было бы интересно послушать группы на которых я не обращал внимания, ведь вкусы у людей на нашем форуме не дурные да, неплохо было бы. Я тёмная в этом деле.

Goldenday: Sergey`M пишет: Например Top-100. Лучше в отдельной теме. Только нужно ли это кому нибудь? Я согласен. Если будет интерес к теме, хоть сейчас начну вспоминать для Top-100, что слушал на протяжении ближайших 100 лет.

Voldar: Мдя,обидно канешна,что нас так жестко обломали,тем более странно,что накануне как то ничто не предвещало.Похоже там подрядили голоса подсчитывать наш центризбирком,а может г.Чурова лично. Насчет пристрастий,я пробовал в теме про музыку опрос устроить на 5 (пять) любимых альбомов,ну не все прямо скажем откликнулись.

ТНЮ: Voldar пишет: я пробовал в теме про музыку опрос устроить на 5 (пять) любимых альбомов помню, у меня сие задание вызвало трудность. Мне обычно из альбома несколько песен нравится или одна, поэтому не припоминаю любимых. Я бы поняла, если бы был опрос по любимым песням или исполнителям, а альбомами мне как-то не измерить.

Goldenday: ТНЮ пишет: Мне обычно из альбома несколько песен нравится или одна, поэтому не припоминаю любимых. Ну ещё сборники лучших вещей существуют

Sergey`M: Включая незаслуженно забытых исполнителей, не имевшие высоких позиций в хит парадах и недооценённые критиками альбомы и всё же любимые и доставляющие удовольствие. Можно попробовать.

allamina: Джо всё постит на фб компромат...

ТНЮ: Ну и футболочка, наверное с Хэллоуна не снимает

allamina: С Новым годом!

Voldar: Ну с Джо они явно нашли друг друга в плане выпить,закусить....

Goldenday: А кто эта леди на переднем плане слева? Больно уж на Сюзанну Хоффс из 'Bangles' смахивает...

Sergey`M: Ну и глаз у тебя Дим! Очень похожа, я даже не подумал бы. Ей не мешало бы с Джеффом поработать, а то забыли про неё! (Надеюсь голос не пропал у девочки.)

Goldenday: Sergey`M пишет: (Надеюсь голос не пропал у девочки.) По-моему, не пропал. Не так давно были новые песни у неё. Вокал всё тот же. А на фото действительно Сюзанна. Вот её страничка из фейсбука https://www.facebook.com/OfficialSusannaHoffs?rf=114673051882507 и это же фото выложено и там с комментарием самой Сюзанны: "Happy Everything FB Friends! I just finished 2 nights as a member of The Merry Minstrel Musical Circus at the Troubadour in Los Angeles! XOXOXO S". То есть Уолш и Линн облюбовали "Трубадур" и теперь тусуются в нём

Goldenday: Да, Майк Кэмпбелл знаком с Сюзанной. В сентябре даже песню написали совместно: https://www.youtube.com/watch?v=VKU0C9E9b58

SLQ: Goldenday пишет: Да, Майк Кэмпбелл знаком с Сюзанной. В сентябре даже песню написали совместно: https://www.youtube.com/watch?v=VKU0C9E9b58 Ну песню они написали еще в 1989 г. Девушки из Бэнглз были у ТР на подпевках тогда в одной из песен.( "Waiting for tonight" ) Susanna Hoffs' new single has all the elements of a feel-good ballad: the simple, comforting strums of an acoustic guitar, the steady beat of a tambourine and a delicate, sweet lament in the melody that ties it all together. Sure enough, the song stems from a different era. "'Raining' is a song I wrote with Mike Campbell (Tom Petty and the Heartbreakers) back in 1989," Hoffs tells Rolling Stone. "I rediscovered the song when I was sorting through a box of old demos and decided to update it with my writing partner, Andrew Brassell." Read more: http://www.rollingstone.com/music/news/song-premiere-susanna-hoffs-raining-20120619#ixzz2oLFbHSbI Follow us: @rollingstone on Twitter | RollingStone on Facebook

Goldenday: SLQ пишет: Девушки из Бэнглз были у ТР на подпевках тогда в одной из песен.( "Waiting for tonight" ) А-а, точно! Совсем вылетело из головы. Об этом же давно в буклете к 'Playback' читал. Выходит, что с той поры их музыкальные пути не пересекались. Жаль (

allamina: А Майк постит короткие видеоролики.. Джефф там Runaway поёт

Voldar: А так это со сходки про собак.

allamina: ага, Майк любит собак! По-моему неплохой повод собраться выпить-закусить, помочь собачкам, и попеть на радость зрителям ну и нам в некоторой степени

Шубидуба: Waiting for Tonight - супер-вещь! Одна из любимых у Тома. Давно не слушал, надо послушать.

chimike: Jeff performed on the second night of the 2nd Annual Merry Minstrel Music Circus benefit jam that took place the weekend before Christmas at the Troubadour in Los Angeles. Hosts Jonathan Wilson and Mike Campbell teamed up with Joe Walsh, Jackson Browne, Lucinda Williams, Benmont Tench, Susanna Hoffs, Dawes, and others to raise money for Los Angeles Public Schools and Tazzy Animal Rescue Fund. Following Joe Walsh's set, special guest Jeff Lynne took the stage for "Runaway" and "Roll Over Beethoven."

Voldar: Как обычно у всех эломанов перед НГ отдельный праздник.

Goldenday: Молодец дядька! Пусть судьба позволит ему ещё разок применить эти циферки на пиджаке, только уже в перевёрнутом виде!

ТНЮ: Наш любимый дядька Хотела бы ему лично пожелать всего того, что поможет ему творить, творить и творить, а именно: вдохновения, хорошего настроения, желания, умения, таланта, воодушевления и благодарных слушателей! Пусть продолжает в том же духе, как по накатанной выпускать чего-нибудь "вкусненькое".

ТНЮ: "because everyone knows that Mr. Jeff Lynne loves cheetos! a tribute to this awesome guy because I haven't drawn much for him lately D:" http://cytric-acid.deviantart.com/art/Cheeto-licious-208005973

allamina: А не грех чокнуться за здравие и нас радование! с Днём рождения, Джефф!

ТНЮ: JEFF LYNNE ANNOUNCED AS 2014 RECIPIENT OF STAR... ACCLAIMED E.L.O. FRONTMAN AND FOUNDER, SOLO ARTIST, TRAVELING WILBURY AND ACCLAIMED PRODUCER. British singer, songwriter, guitarist and producer JEFF LYNNE was recently announced as a 2014 recipient of a star on the prestigious HOLLYWOOD WALK OF FAME. The ELO frontman and founder, solo artist, Traveling Wilbury member and record producer (The Beatles, Paul McCartney, Tom Petty, Joe Walsh) was one of seven honorees in the 2014 recording category. Lynne will be inducted next year and will permanently be remembered on the Hollywood Walk of Fame alongside icons of film, television and radio. "I'm thrilled to be recognized by the Hollywood Chamber of Commerce and feel honored to be in the great company of some of my biggest heroes," says LYNNE of the honor. "Growing up in Birmingham, England, I never imagined my name on the Hollywood Walk of Fame--it really is fantastic." This year, ELO--who has sold over 50 million albums--is celebrating 40 years of music with the release of ELECTRIC LIGHT ORCHESTRA LIVE, ZOOM and the Jeff Lynne solo album ARMCHAIR THEATRE. In 2012, the Grammy Museum in Los Angeles held a special evening in his honor, with the debut of the film “Mr. Blue Sky: The Story of Jeff Lynne and ELO.” His life journey (which also aired on VH1 and Palladia) was told by the British artist himself and such distinguished collaborators and friends of his as Paul McCartney, Ringo Starr, Tom Petty, Joe Walsh, Olivia and Dhani Harrison, Barbara Orbison and Eric Idle, revealing that LYNNE is a true man of music for whom the recording studio is his greatest instrument. He plans to release an album of all-new material in 2014. Outside of the success of ELO, LYNNE has led a remarkable career producing and collaborating with many of the greatest musical artists of all time. They include a number of LYNNE's heroes like Roy Orbison, Del Shannon, George Harrison, Paul McCartney, Ringo Starr, and remarkably, even the Beatles themselves, as well as contemporaries like Tom Petty and Joe Walsh, whose new album Analog Man LYNNE recently produced some tracks for. Together with Harrison, Orbison, Petty and Bob Dylan, LYNNE was, of course, a member of the Grammy award-winning Traveling Wilburys--a super group like no other. “I’ve been in love with music since I was probably just five years old,” says LYNNE. "I was mad for music then--and I still am today.”

Voldar: Дадад ждемс может к тому времени нас еще чем нибудь порадуют.

Goldenday: Ребят, возникла одна идея. Суть заключается в том, что существует, как все знают, документалка про Джеффа. Без перевода. http://rutracker.org/forum/viewtopic.php?t=4331835 Я по своей личной инициативе договорился с переводчиком фильмов Вадимом Назаровым о переводе картины (переводчика знаю по многим хорошим переводам вестернов на закрытом сайте western.ru, участником которого давно являюсь). Вадим посмотрел кино, прикинул и согласился. Стоимость перевода - 2550 руб. Номер счёта он мне тоже назвал. На руки получу ссылку на готовый файл с голосом (единственное - останется прикрутить дорожку к самому DVD). Я готов оплатить перевод сам, но если кто из вас согласится поучаствовать, был бы очень признателен за финансовую поддержку. В идеале хорошо бы скинуться по 150-200р, если наберется необходимый кворум. Готовый результат позже разошлю всем желающим независимо от обстоятельств. Свои мысли прошу присылать в личку. Ответы желательно дать как можно скорее, в ближайшие дни, чтобы сориентироваться.

allamina: ух ты, Дима! я за. куда тока напиши поддержку перечислять чего за документалка?

allamina: ааа.. новая стори... (торможу) тем более "за"!

allamina: а спроси его про runnin down a dream ТР... я бы оплатила б тож

Goldenday: allamina пишет: runnin down a dream ТР Мысль отличная, мне в голову не пришла. Как только разберемся с этим материалом, если всё будет ок, сразу поговорю насчёт Тома.

Goldenday: allamina пишет: я за. куда тока напиши поддержку перечислять чего за документалка? Документалка не новая, конца 2012 года, я ж ссылку на торренты указал. номер счета в яндекс 41001772492821 но ты погоди перечислять. Давайте сначала определимся, сколько человек.

allamina: ок! я просто как можно быстрее отвечаю

Goldenday: Спасибо за скорострельность!

Voldar: О ,стоит отлучиться как жизнь забила ключом.Димыч я тоже готов присоединиться.

Goldenday: Большое спасибо, девчата и хлопцы! На данный момент готовы: allamina Goldenday Voldar Sergey`M и с соседнего форума сразу отозвались igorek German Ждём ещё пару дней и вперёд.

Sergey`M: Я за!

Voldar: Наконец совесть проснулась и у земляков Джеффа,наверно у шарэндских собственная гордость,что они решили уважить Джеффа только после Роя и Бивена,а может их заело что Джефф уже получит свою звезду в Голивуде.Как бы то ни было ,но похоже стараниями Джаспера Керрота Джефф получит свою звезду в Бирминегеме.Кстати о тяжелой жизни хобитов в этом шайре сами англичане сняли весьма занятный сериал - http://www.kinopoisk.ru/film/716587/ Сообщение с шоудауна: Official Press Release 23 January 2014 HOMETOWN HONOUR FOR JEFF LYNNE The lad from Shard End, Birmingham who gained global fame as the frontman and co-founder of ELO (Electric Light Orchestra), Jeff Lynne, is to be honoured with a star on Birmingham's Walk of Stars on Thursday 13th March 2014. The composer, music producer and Brummie rock hero will join fellow musicians Ozzy Osbourne, Tony Iommi and Roy Wood, in having a star etched with his name on Broad Street, in the heart of the city's convention and entertainment quarter. Last year he was awarded a star on Hollywood's Walk of Fame in recognition of a vast and illustrious career that has included a highly successful production and writing career, a solo career and the creative force behind the fifty million record-selling Electric Light Orchestra. After the undoubted success of ELO, between 1972 and 1986, Lynne wrote and produced 26 Top Forty hits in the United Kingdom, and 20 Top Forty hits in the United States. As a producer, Jeff Lynne has worked with some of the biggest names in music, including Roy Orbison, Del Shannon, George Harrison, Paul McCartney, Ringo Starr, and remarkably, even the Beatles themselves, as well as contemporaries like Tom Petty and Joe Walsh. Together with Harrison, Orbison, Petty and Bob Dylan, Lynne was, of course, a member of the Grammy award-winning Traveling Wilburys--a super group like no other. Last year Jeff Lynne released his first solo record in twenty years 'Long Wave' which went in at number 5 where it was quickly joined by the remastered 'Mr. Blue Sky' (debuting at 7) and 'All Over The World - The Best Of ELO' (debuting at 10) all in the same week! In 2014 Jeff Lynne is still working hard on his music and has written a new track for the Hollywood blockbuster, American Hustle, which was announced Winner in the best Motion Picture (Musical or Comedy) category at the Golden Globes on 12th January 2014. Lynne will be presented with a duplicate of the commemorative star by his good friend, comedian Jasper Carrott, himself a recipient of a star in 2007, at a private ceremony to be held at the city's new Library of Birmingham. Jasper Carrott, chair of the Walk of Stars said "Jeff's accomplishments in the field of music are almost too many to mention. As well as being responsible for some of the most classic pop songs of all time, he's also an outstanding producer and multi-instrumentalist whose passion for music has never waned. We're delighted that he's found time to come home to Birmingham and take his rightful place on the Walk of Stars". Jeff said: "I'm thrilled to be included on the Birmingham Walk of Stars! It's great to have my work recognised in my own hometown!"

Шубидуба: На всякий случай здесь продублирую. Я тоже участвую в теме про перевод. Димка, ты молодец!

Goldenday: Итого на второй день получается: allamina Goldenday Voldar Sergey`M Шубидуба igorek German Oleg Олеся Ждём ещё день и переводим )

SLQ: Musicians Dave Grohl (L) and Jeff Lynne perform onstage during "The Night That Changed America: A GRAMMY Salute To The Beatles" at the Los Angeles Convention Center on January 27, 2014 in Los Angeles, California.

Voldar: Богатая сходка вышла.Джефф и Дейв исполнили песню про собачку,а ещё Дхани пригласил Джеффа и Уолша на “Something.” Я бы ещё отметил совместное выступление Ленокс и Стюарта.Жалко,что Том наверно не смог поучаствовать из за записи нового альбома. Stars pay tribute to The Beatles LOS ANGELES — There’s an easy way to give pop music’s most performance-hardened stars a case of the butterflies: Ask them to perform in front of The Beatles. Many of today’s top artists gathered Monday night to honour The Beatles’ legacy, with Paul McCartney and Ringo Starr in attendance and late members John Lennon and George Harrison always in mind, at The Recording Academy’s taping of “The Night That Changed America: A Grammy Salute to The Beatles.” John Legend and Alicia Keys sang “Let It Be.” Katy Perry performed “Yesterday,” while her boyfriend, John Mayer, teamed with Keith Urban on “Don’t Let Me Down.” And Brad Paisley and Pharrell Williams took on the challenge of “Here Comes the Sun,” a song well known to millions of music fans. “We are honouring the most important band of all time, and trying to do justice to their song while two of them sit there,” Paisley said in an interview before his performance. “We know, going in, we’re not going to sing like them, and we’re going to try to do our own thing with it. But ... there’s reasons why people get blasted when they cover Beatles songs in any situation. But here we are, we’re all doing that tonight. So, I guess it’s an even playing field in that sense.” It was until McCartney and Starr took the stage, turning what had been a fairly sedate affair into an arm-in-arm singalong of hits “Hey, Jude,” “Sgt. Pepper” and “Yellow Submarine” that prompted movie stars and Grammy Award-winning musicians alike to sing along like giddy kids. The telecast will air Feb. 9 on CBS, 50 years after The Fab Four made their first appearance in front of an American TV audience on “The Ed Sullivan Show.” It was a historic moment with more than 73 million Americans tuning in, changing pop culture in profound ways. Even so, McCartney told the crowd he was hesitant to agree to commemorate it. “What can I say about this evening, it’s just amazing,” he said. “At first when I was asked to do the show, I was wondering if it was the right thing to do. Was it seemly to tribute yourself? But I saw a couple of American guys who said to me, ‘You don’t understand the impact of that appearance on the show on America.’ I didn’t realize that.” Grammy producer Ken Ehrlich said the tribute event was more than a decade in the making and was produced at the Los Angeles Convention Center with archival footage from the band’s “Ed Sullivan” era as well as their psychedelic and hirsute, hipster periods. Maroon 5 kicked off the show by re-creating the opening moments of the Feb. 9, 1964, appearance with “All My Loving,” then “Ticket to Ride.” Keys and Legend faced each other as they sat at matching black baby grand pianos. Mayer and Urban traded guitar licks, as did Gary Clark Jr. and Joe Walsh on “As My Guitar Gently Weeps.” Annie Lennox and Dave Stewart of The Eurythmics reunited to play “The Fool on the Hill.” Dave Grohl and Jeff Lynne hammered deep cut “Hey, Bulldog,” and Harrison’s son Dhani joined Lynne and Joe Walsh on his father’s classic “Something.” Stevie Wonder performed “We Can Work It Out” twice, asking for a retake after a slow start on his first attempt. “Fire me, sue me,” he joked with the crowd. Starr took the stage next and marveled at Wonder’s appearance: “I’ve got to tell you, what a thrill following Stevie Wonder.” The drummer performed three songs alone, including “Yellow Submarine” at the request of Grohl’s young daughter. McCartney took the stage next for five songs of his own before Starr returned for a finale that included a group singalong of “Hey, Jude.” It was the first time the two had performed together since 2010. “We were in a band. It’s called The Beatles,” Starr said near the end of the show. “And if we play, John and George are always with us. It’s always John, Paul, George and Ringo.” http://www.canada.com/entertainment/music/Stars+tribute+Beatles+with+photos/9440627/story.html

AlexYar: Еще фоты: тыц 9 февраля CBS покажет запись этого концерта! Надеюсь, что в будущем его еще и издадут на чем-нибудь для коллекции, тык скыть!

Шубидуба: Ещё куча фоток с Джеффом http://www.zimbio.com/photos/Jeff+Lynne/Performances+Night+Changed+America/XZBgU_tqZUm

Goldenday: Готовимся, возможно уже вечером в ютубе будет... http://www.usatoday.com/story/life/music/2014/02/07/ed-sullivan-retro-marquee-kicks-off-beatles-weekend/5276175/ The main event, The Beatles: The Night That Changed America - A Grammy Salute, on CBS airs on Sunday (8:00-10:30 p.m. ET/PT) will feature a heap of A-lister performances, including The Eurthymics, Alicia Keys, Dave Grohl, John Legend, Imagine Dragons, Pharrell Williams, Katy Perry, Jeff Lynne, Stevie Wonder, Joe Walsh, Brad Paisley, Gary Clark Jr., Maroon 5, John Mayer, Keith Urban and Ed Sheeran singing covers. Most notably, Paul and Ringo will revisit some of their hits, sit down for an interview with Letterman and CBS will show archived footage from the famous evening.

AlexYar: Похоже пока свои авторские права CBS блюдёт, но вот песнь "про собачку породы бульдог" все же есть пока! Смотрите пока и это не удалили - ТЫНЦ

Sergey`M: Я решил скачать через торрент. Оказалось есть в FullHD!!!. Добрый человек выложил. http://rutracker.org/forum/viewtopic.php?t=4666173 http://rutracker.org/forum/viewtopic.php?t=4666266 часть вторая тоже неплохо!

Goldenday: Спасибо, парни! Качаю!

Goldenday: Докатились

Voldar: Да чё то полная профанация,если не сказать больше - проституция; если так дальше пойдет, то как ни обидно, эти люди будут исполнять музыку Джеффа даже не в переходах, а в туалетах.

SLQ: Laura Mvula and Jeff Lynne receive honorary awards from Birmingham City University 5 Mar 2014 14:30 Singer-songwriter Laura graduated from BCU’s Birmingham Conservatoire with a degree in composition in 2008 Share on print Share on email View gallery " " " " " " " " " " Laura Mvula View gallery Musicians Laura Mvula and Jeff Lynne have taken to the stage to receive honorary awards from a Birmingham university. The pair donned caps and gowns to pick up the awards during Birmingham City University’s graduation ceremonies at the Symphony Hall. Singer-songwriter Laura graduated from BCU’s Birmingham Conservatoire with a degree in composition in 2008 and was named as one of the university’s alumni of the year. The rising star grew up in Selly Oak and Kings Heath and is soon to head across the Atlantic for a headline tour of America. Laura, who finished recording an orchestral version of her album Sing to the Moon at Abbey Road on Sunday, met her husband while studying in Birmingham and attended the ceremony with her family. The Brit Award nominee hoped to catch up with her former professor Joe Cutler - who she described as “the most kind, gracious and patient teacher” - during her visit to the city. “It’s amazing, isn’t it?” she said of her award. “It feels surreal because it’s only six years since my graduation, but so much has happened in a short space of time. “It’s the best feeling to be acknowledged at home, where it all started.”

AlexYar: Ураааааааааа! Еще одним почетным доктором на Земле больше стало!!!! Джэфф также поведал, что в настоящее время работает с Брайаном Адамсом. Интересно, что ж они там наваяют в итоге!

Goldenday: Крутяк!!

Voldar: Медные трубы похоже Джеффа не портят. Laura Mvula and Jeff Lynne receive honorary awards from Birmingham City University Birmingham-born musician and producer Jeff picked up an honorary doctorate at the ceremony and will next week receive his own star on Broad Street’s Walk of Fame. Jeff was a founder member of 50million record-selling Electric Light Orchestra and was a member of the Grammy award-winning Traveling Wilburys. Jeff, who now lives in America but grew up in Shard End, said: “Both honours are equally important to me, but I never dreamed I’d get a ‘clever’ honour like this. I went to a secondary modern and once I got my first guitar that was all I ever wanted to do. I’m thrilled to bits. “If I’m ever on a plane and they ask if there is a doctor on board, I will put my hand up.” http://www.birminghammail.co.uk/news/laura-mvula-jeff-lynne-receive-6775308

ТНЮ: Пожинает свои плоды на старости лет

AlexYar: Звезда нашла героя!!!! Ура, товарищи ЭЛО и ДЖЕФФО-маны!

SLQ: http://www.flickr.com/photos/jassansi/sets/72157642316622504/

Goldenday: Спасибо! Много интересных фотографий

Voldar: Возвращаясь к этому историческому событию ,хочется отметить статью местной прессы о встрече Джеффа и Роя.К сожалению несмотря на все и наши хотелки и тамошних эломанов, камбека настоящего ЭЛО пока не намечается. ELO legends Jeff Lynne and Roy Wood reunite for Jeff's big night Stars meet for first time in 20 years as music legend honoured on Birmingham's Broad Street Walk of Stars It's the photo the fans had been clamouring for - ELO legends Jeff Lynne and Roy Wood back together. The old pals were reunited for the first time in 20 years as Jeff received his star on Birmingham's Broad Street Walk of Stars. There was a handshake, an awkward hug, and then the memories flowed. "Genius is an over-used word, but Roy is a real genius," said Jeff afterwards. "It was Roy who came up with the idea of putting a cello on ELO's first single, 10538 Overture. Before that there weren't any strings. "And that was despite the fact that he couldn't really play the thing, and I can't read music. "But Roy has an amazing talent of being able to pick up any instrument, and to be able to play it straight away. "It was Roy who invited me to join The Move all those years ago, and from that came the Electric Light Orchestra. "It's been great catching up after all this time." Woody was just as excited about the reunion. "It's certainly been a long time," he said. "Last time we met up, I was still living in the West Midlands, and I've been out in the wilds of Derbyshire for 18 years or so now. But it was just like picking up a conversation from weeks ago. "Jeff's done some great things and I'm delighted that he's got a star on Broad Street along with mine. "It's been a good night meeting lots of old pals, including ELO's Richard Tandy, Bryan Adams and all the guys from the Brumbeat days." Roy also broke the news to his old pal that he's just become a grandad for the first time, after daughter Holly gave birth in the US, where she lives. Will they work together again? The jury's out. My reading of the situation is that the heart says yes, but the head says no. It's been 20 years, and they've carved out separate lives and careers. Certainly, a full-blown reunion of the surviving ELO members seems out of the question. There's been rather too much water under the bridge for that to happen. It's more likely that Jeff - if he can be lured out of the studio - would play a few gigs with a bunch of his friends, with a setlist including songs drawn from his ELO, Traveling Wilburys and solo catalogues. But might Jeff and Roy collaborate on a song or two, even by transatlantic telephone line? They've promised to keep in touch. Hold on tight to that dream. http://www.birminghammail.co.uk/whats-on/music-nightlife-news/elo-jeff-lynne-roy-wood-6832768

Goldenday: Voldar пишет: камбека настоящего ЭЛО пока не намечается. Ну да, но как бы там ни было, может пару треков всё-таки замутят вместе. Вроде отношения возродились и доказывать сейчас друг другу ничего не требуется.

Goldenday: Красавчики! ))

Goldenday: Джефф 14 сентября исполнит большую программу в Гайд-Парке, в Лондоне. Время покупать билеты! http://www.bbc.co.uk/events/ernv4f/acts/amnbj5

Voldar: Очень позитивно.похоже понравилось с прошлого раза.

Goldenday: Сегодня уже все билеты распроданы! Жесть.

ТНЮ: Неужели ты все скупил?

Goldenday: Даа, была б такая возможность - не упустил бы :), тем более, что часть билетов включала бокалы красного или белого вина с легкими блюдами на выбор. В антракте самое то.

ТНЮ: ого!

SLQ: На последнем концерте тура Ринго LA, Greek Theater for an amazing final night of the tour...... So many great faces to be seen

ТНЮ: Джефф переживает вторую молодость

SLQ:

chimike: http://www.bbc.co.uk/programmes/articles/127yPzlyGM15x6qH8C2cpkY/radio-2-live-in-hyde-park-blue-sky-snaps

chimike:

chimike: Кусочек с концерта https://www.youtube.com/watch?v=LMY5xe36cfE http://www.bbc.co.uk/programmes/p026pjp9

SLQ: На этом торренте лежит видео с концерта http://www.dimeadozen.org/index.php

AlexYar: Джэфф великолепен, что и говорить! Несколько "резануло", правда, под каким соусом все это подано организаторами: "Jeff Lynne's ELO"... Но, откровенно говоря, все это мелочи. Главное, что он наконец-то созрел зарядить такой лайв! Молодца!!!!

Шубидуба: А я как раз рад, что это подано, как Jeff Lynne's ELO. ELO все знают, а теперь большее количество людей будет знать, что Jeff Lynne - это то же самое, что и ELO.

AlexYar: Шубидуба пишет: А я как раз рад, что это подано, как Jeff Lynne's ELO. ELO все знают, а теперь большее количество людей будет знать, что Jeff Lynne - это то же самое, что и ELO. Дык и я только за то, чтобы для всех имя Джэффа всегда и прочно ассоциировалось с его великим детищем, хотя на самом деле Джэфф, вне всяких сомнений, гораздо больше чем просто ЭЛО (и, надеюсь, не только для поклонников и знатоков его творчества). "Резануло" меня немного другое, а именно то, что теперь "всяк аккомпаниатор" на сцене рядом с Джэффом в сознании обывателя это "новый ЭЛО", что конечно же не совсем так. Если честно, то зацепило это еще в бытность "Зума", не особо правда, но был "грех". В моем сознании Electric Light Orchestra это все-таки те, кто в свое время имел отношение к великому наследию под чутким руководством, руководящей и направляющей роли маэстро! Не думаю, что в том или ином виде следует сейчас что-то реанимировать, хотя, повторюсь опять же, чисто в рекламных целях потянет, а большего тут, понятно, никто и не преследовал: ни Джэфф, ни организаторы.

Voldar: Ну чё,слова есть.Родина дождалась своего героя,это море людей как будто без края очень впечатляет,может и не случайно монтажер так часто использовал вид на всю поляну с задней камеры.Относительно подачи,что это выступает именно ЭЛО Джеффа,мне кажется,что по другому и быть не могло,причем в данном случае Джефф выступил как арткиллер,то ли как в "Крестном отце " часть вторая ,где Майкл сидит в ложе и получает сообщения ,только Джефф сидел не в ложе ,а прямо со сцены вколачивал хиты в гроб всяких Бэйтсов и Кларков и иже с ними,то ли как том анекдоте про быков,ну знаете - "МЫ медленно спустимся с горы....." только медленно получилось уж очень медленно 12 лет. Но черт возьми,это ожидание того стоило,в результате,мы увидели абсолютно того самого Джеффа,которого и хотели бы увидеть в полном блеске и в отличной творческой форме и он ПЕЛ,причем даже про Бетховена,хотя в последнее время больше наверно по пьяни выкрикивал во всяких клубах эту песню. То что запомнилось по первым впечатлениям - как то совсем по новому,лично для меня прозвучала оверча,хотя вроде не совсем подходящий для концертов номер.Очень душевно у Джеффа получилась моя любимая "Can't get...." ,я бы сказал даже лучше,чем на аккустике в Бунгалоу.Молодец,что не забыл вилбуристых корешей,обидно только,что пацан слева от него ни разу не слайд гитарист,хотя остальное местами отыграл неплохо.Мне показалось,что длиноногая,белокурая скрипачка уже не смотрит на Джеффа с таким обожанием как это было год назад ,специально пересмотрел то видео с концерта для детей и на мой взгляд,то исполнение LT & MBS,было вообще лучшим в карьере Джеффа,прямо чистый отрыв. Ну и самое главное,это собственно готовое к продаже шоу,о чем вроде заикнулся перед началом концерта Крис Эванс.

Goldenday: Джеффа на TAKE THAT торкнуло ) Вот такой свежачок на сайте Николя: Jeff Lynne is one of the 4 producers of the new Take That album. Entitled "III", it will be released on 01 December. A new single "These Days" will be broadcast in the UK on 10 October before being released in November. The video is already available on Youtube. https://www.youtube.com/watch?v=MOz_fuQk-Wo#t=62 Судя по характеру сингла, альбом - стопроцентно танцевальный материал. Джефф решил вспомнить 80-е??



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