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Voldar: , , . , , , . Jeff Lynne On Possible Touring: I Havent 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 hes 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 Pettys 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 rolls 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 todays technology that achieve a sound that finally matches Lynnes original vision. Long Wave, released simultaneously, found Lynne offering his interpretations of an albums 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 hes currently working on and the possibility of tour dates somewhere down the line. Youre in an interesting zone right now, because youre 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 weve 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, thats coming around again because it reverted to me, so I wanted it out there. Im 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. Its classic Jeff Lynne. Well, its a good one and at the time, I was really pleased with it. But you cant 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 Dont Say Goodbye. Oh really? Id never really put that together with that. Its always a compliment to say that Ive even been trying to copy him! [Laughs] But I wasnt really thinking of Roy on that particular song, Im 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? Im 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, theyre not that difficult. The songs are really quite simple. Thats all layers of sound. I know what they are just by listening to them. I dont 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 didnt 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 didnt have the experience then. You know, Id only been producing a few years on some of those records. And then of course the later ones, Id been producing like 40-odd years, so Ive 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 cant really be that specific. Really all of them have some kind of problem for me, when I listen to the old ones. Its usually that theres 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. Id 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. Thats what Ive tried to correct. I have as many tracks as I want now, so I can have like a hundred tracks and its okay and it doesnt wear anything out, because its all digital and it just stays like it is. So thats 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! Its 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 its got the nice big fat warm EQ on it. Im not just doing it in the box, theres 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 its not meant to be super duper hi-fi, its 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, youve been working on new material. What can you tell us about the new songs that youre working on? Well, Ive got about eight that are really finished. I never say theyre finished until I actually shove them out the door, because theres always something I want to do, you know? Oh yeah. [Laughs] You know what its like. I would say theyre just original songs, new songs of mine. Once youve written about 200 [songs] like I have, or 350, you start running out of things to write about, you know? You dont 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 theyll 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. Its what I love to do. Its 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 wasnt 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, Whats going on there, theres a big herd of clarinets over there, and you cant tell what theyre 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 Id 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. Im 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, Id love to do songs of this ilk and this standard and quality, just to see what I can do. And absolutely, then youre working to get it right and once you do get it right, its like, Wow, I got it right at last. Once I got started, I couldnt put it down, it was just stuff I really wanted to keep doing. I had all of the songs and then Id find a new one and Id be like, Oh sh, Ive 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 its four chords and its 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 producers 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. Its 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. Its 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 didnt have it in England, I know that. Because what Im 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 Weedons Play in a Day, and I didnt 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. Youd 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. Youd 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 dads house in Birmingham. Thats 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 doesnt make the sounds I want. Ive got my own studio now and Ive had it for a long, long time. But in some of these studios, all of the sounds seem to have been taken out and Id have to use the corridor outside of the studio to get the sort of sound that I wanted. And thats 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 wouldnt 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 wasnt unusual for the players who were involved in it. Well, thats true. Obviously, we didnt finish all of the songs we didnt 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 Harrisons 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 Id finished doing ELO and George asked me to come and produce him. It was like, Well, the worlds my oyster now. Id 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. Ive 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] Ive always disliked reverb. Its 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. Its usually dry, yeah. One of my real things is for a dry vocal. I just love it when they sing in your face. When theres 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 youd be working with? Oh no! Id 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 theres no ducking or diving with it, its just, there it is, its like the elephant in the room and youve got to dub the Beatles on around that! It wasnt the easiest one to do! The new material that youre working on when might that be released? Well, Im hoping that it will be an album before the end of the year. Id like it to be [out] in the fall, if I can do it. But well see. Have you had any more thoughts towards possibly doing some live shows, perhaps to support that? Theres always thoughts. I do think of it. That sort of thought lasts about two nano-seconds usually in my head and its gone again. [Laughs] But I havent given up the idea of doing it. I may well do a couple of shows somewhere, but I wouldnt promise anything! I think youre probably aware that youre the opposite of most folks. There are some artists who cant stand to be in the studio theyd rather be playing shows and yet youre the complete opposite! I love the studio so much . . . I dont know what to do if Im not in the studio! Its really odd! I want to write a great song. A really great one. I wish I could. Im trying now. Well see. One of these days. http://ultimateclassicrock.com/jeff-lynne-interview-2013/

Voldar: , , , , . ELO are back but not as you know them Electric Light Orchestra Live boasts many of the bands 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 bands 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 groups 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 ELOs 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 groups 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: : Beatles reunion! Sir Paul McCartney and Ringo Starr meet for dinner in Beverly Hills . ? , , .... 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: Armchair Theatre.

Voldar: . 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 were in a Monty Python sketch. Well, you could be in my group, actually. Oh, yes. I saw the video [for Mercy, Mercy, from Lynnes new Long Wave" album]. Itll 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 1991s solo Armchair Theater and 2001s ELO release Zoom. I know Im not supposed to start with this, but this is a real thrill for me, I confessed to Lynne at the outset of our conversation. Youve made some of the seminal records of my life, and not just with ELO. Ah, well thats good, he responded, jokingly. Its okay. I like it. Carry on. So while our chat was brief owing to Lynnes hectic promotional schedule, it was loose and fun. And, best of all, Lynne promised me a follow-up where hed share more about his time in the Wilburys and working on The Beatles and their various solo sessions. Jeff Slate: So Im of course curious about the story behind Long Wave, but Im 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 youve taken what you knew back when you made the original records and imbued the new recordings with 30 years worth of experience. So lets talk about the ELO record and why. Jeff Lynne: Okay, well youve almost answered your own question. I started out with Mr. Blue Sky because Id been listening to my songs on the radio or sometimes playing the records, you know, and I just felt like they didnt quite sound like I thought they did. You know, everything was a bit wooly and some things that I know were there you cant 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, Ive had that much more experience. So I had an idea of what to do with them. And what you said at first, about how theyre now clear but they still retain the feel of the old ones, thats what I wanted to try to do. I didnt 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 Id 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, Ive got a different idea for a harmony or Ive got a different idea for a melody line or Heres a guitar part I didnt 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 dont forget I played these songs on stage for years so I knew them inside out, and I didnt 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 didnt 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 thats 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 Im 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 dont 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 Ive been doing this ELO album and Long Wave for three years straight, six days a week. And its 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, its like youve 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 weve 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 Ive 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 Orbisons 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 theyre 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. Ive 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 wasnt 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 its Roy and all. Because it was daunting and I did kind of think I shouldnt be doing it because Im not Roy Orbison. But I just loved the song and I actually ended up liking my version, so Im very pleased with it now. JS: Its a little bit of Jeff and a little bit of Roy in there, isnt it? Certainly from a fans standpoint. Its a beautiful thing. JL: Aww, thats great. Thanks. JS: Well, lets talk a little bit about the lessons youve learned because Ive followed your career for a long time and, you know, people always talk about the Jeff Lynne sound as though theres 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, theyre different. So ELO had the natural trajectory of a successful band. You know, Ringo always says a band shouldnt 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 youre 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 youd fancy working with him on his new album. Um, yeah. You bet. So I went up to Georges house and we had a meeting and he wanted to make sure wed 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 Id only just met him like a few days before. And he said, Meet me in Hawaii and well go from there. So thats what happened. We went and we had a great time and it was fantastic and thats 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 didnt 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 Ive got [Mr. Blue Sky: The Story of Jeff Lynne and ELO]. She says that we both loved each others 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 youre driving in the car here in LA on Thanksgiving Day and you run into Tom Petty and you end up producing Full Moon Fever. AndCloud Nin was a big hit. So youre going from strength to strength. But again Full Moon Fever sounds similar, but very different too. Its not Tom doing George or you doing Tom doing George. Its a whole different sound. JL: Well, thats the funny thing. Me and Tom sat together and wrote all these songs; all but one I think. And wed never worked together before, so there wasnt an attempt to create a sound. We just sat in a room in Toms house and made up these tunes. And they just happened to be really good ones. And we made a fabulous sound in Mike Campbells garage, of all places. That was where we recorded it. So it was a strange session, but the garage sounded really good. Its just a garage with a concrete floor full of motorbikes and stuff, so whenever we recorded in there thered 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 Campbells 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 Georges studio was a real beautiful one obviously. Its very ornate and has a lovely room to work in. And then Mikes 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 couldnt get the sound you wanted? Because maybe this is true or maybe not, but I think I remember you being quoted as saying you dont 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, lets say, in Mike Campbells garage? JL: Not at all, really, because its the way you get things down. I mean, its not that I wont 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 Ill do it. So I wont avoid it just on principal. You know, Oh, I wont do that. But what I dont 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 its mainly that naturalness of the room I like to record that with a mic a little bit off whatever Im 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 weve only got time for about one more question but Ive got about 30, so Ill have to ask the obvious question about working with The Beatles. JL: Yeah, of course. Dont worry well catch up again soon. JS: Great. So by the time you worked with The Beatles youd done the Wilburys, some tracks on Ringos Time Takes Time album, and though you hadnt yet done Flaming Pie with Paul youd done a host of records with all these heroes of yours and you are asked to go to Pauls 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, its really just me and them three. Thats it. And Im 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 couldnt 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 dont think well 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! Well have to talk more about that next time. Okay, so youre working on a solo record of original material, and youre 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? Whats next for Jeff Lynne? JL: Hopefully, yes to all those questions. I havent got any plans to tour, you know Im just trying to figure out a way to do it. JS: Because I had tickets for the Zoom tour, so youd better honor those. JL: Ah well, sorry about that. But I have no plans again at the moment. But Im going over to England tomorrow to do some TV shows and some things. And then Ill be back here doing some promotion. And its going well. In England Long Wav is the BBC Album of the Week, which is a really good thing. JS: Fantastic. JL: Yeah! So Im really chuffed about that. JS: So well 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 thatll be ready for next year, I hope. And the thing about those other ELO songs Ive finished already is, Craig my manager always wants bonus tracks. No matter what Im doing or how many tracks I give him he always wants bonus tracks. So Ill 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 Ill ask you the rest of my questions. JL: Alright, well thanks Jeff. Id like that. Be good mate. http://www.examiner.com/article/a-conversation-with-producer-and-elo-frontman-jeff-lynne

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Voldar: , , , . 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 wasnt too happy with putting them together with the dead John. Ive 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 didnt appeal to me too much. In the same way that I think its okay to find an old record of Nat King Coles and bring it back to life and issue it, but to have him singing with his daughter is another thing. So I dont know, Im not fussy about it but it didnt appeal to me very much. I think I might have done it if they asked me, but they didnt. RCM: Did you enjoy Jeff Lynnes production of Free As A Bird and Real Love? GM: I thought what they did was terrific; it was very very good indeed. I dont 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/