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Goldenday: Ìàòåðèàëû, íîâîñòè è ôàêòû î Äæîðäæå Õàððèñîíå
Voldar: Interview: 'Dream Weaver' Gary Wright on George Harrison, Ringo Starr and his new album 'Connected' Gary Wright has been the "Dream Weaver," but now he's getting "Connected." That's the title of his first new pop album in 23 years that's just been released. And this summer he'll be connecting also in a different way -- he'll be out again on the road with Ringo Starr and the All-Starr Band starting June 24. So how long did it take to put the new album together? "It was done over a couple of years," with engineer Rob Calhoun, Wright told us over the phone. "Some of the songs I'd written previously to having started, some during the process. It was a combination of things." He says he tries to vary his method of writing songs. "Half the songs were written on an acoustic guitar. I'd take it to my studio and put up an electronic groove underneath." But he also says he's used other ways, making use of studio technology, too. "I don't like to stick to the same form every time." He also said he didn't want it to sound overproduced. "I've always had this desire to experiment. I decided to make this album in the same spirit as the 'Dream Weaver' album. Everything played on the album had a really powerful role. I wanted to keep it simple, but I wanted to use some electronic drums, too." Will Kennedy from the Yellowjackets is featured on drums on the album, giving it a "modern feeling." Ringo Starr plays on the title tune, also the album's first single. "After doing 'Peace Dream' (for Ringo's CD 'Y Not'), which I co-wrote, I asked Ringo to do drumming (on the track). He did it at his studio." Joe Walsh also appears on the song. "I love Joe's playing. He's such a great guitar player." Early in his career, Wright worked as a child actor and actually appeared on "The Ed Sullivan Show" in 1955 with Florence Henderson doing songs from "Be Kind To Your Mother," in which they both appeared. "It was a little intimidating" for a young boy, he says. He also saw the Beatles at Carnegie Hall in 1964. "I remember it well. A friend of my sister's got the ticket. I wasn't sure until (about them) until 'I Want To Hold Your Hand.'" He called the show "very exciting" and remembers laughing about it with George Harrison. Gary Wright Gary Wright (Photo by Rob Shanahan) Wright became a close friend of Harrison's after he was asked to play on the "All Things Must Pass" sessions. "I was brought into those sessions through a friend of mine, Klaus Voormann. I played on 'Isn't it a Pity.' Then Geroge invited me to play more. That's when we became friends." Wright also played on most of the tracks of "Living in the Material World." "I prefer 'Living in the Material World' to 'All Things Must Pass,'" he says, "because it didn't have the big production." The deluxe digital version of "Connected," available through Wright's website features two tracks with Harrison connections. The first track, "To Discover Yourself," was co-written by Wright and Harrison in 1971 and recorded by Wright on the day of George's death in 2001. "He was over at my apartment. I wrote most of the lyrics. He did the music. i put it in the back of my mind. The actual day that George passed, I was in the studio (and) I decided to memorialize that day by recording the song. That was the version that I've just put out." The second song, "Never Give Up," was recorded in 1989 and features Harrison on guitar. "Over the years, he had played on a lot of my music," he explains. Wright later performed with Harrison on "The Dick Cavett Show." Or maybe it was the other way around, as Dick Cavett introduced Wright and his group "and friend." (See video below.) "That was kind of George's way to be very unassuming. He had his head down and you really didn't know who it was," Wright says. Wright talks equally kindly about Ringo Starr, with whom he'll be touring this summer as part of the All-Starr Band and singing "Love Is Alive" and "Dream Weaver." "Ringo's just a great guy," he says. And the All-Starr Band is really a band. "He treats it like a band. He's very endearing. It's not like Madonna or someone forcing things down your throat. (There's a lot of) creative latitude. It comes forth in the music. And he's a master of dialogue with the audience." After the All-Starr Band tour wraps up, he plans to tour with his own band. "I was already out in April and we'll be out again in September and October." Wright says the Beatles were beyond talented. "I think in the early days up until 'Abbey Road,' everyone would focus on Lennon and McCartney. (But) they were (all) great singers (and) you had four incredible musicians."
Voldar: George Harrison's Widow Hits Back at Rodney Bewes George Harrison's widow Olivia has slammed British actor Rodney Bewes for protesting about a security fence her late husband erected after he was attacked in his home. Harrison, who passed away in 2001, had surrounded his property with the wire fencing as a precaution after an intruder broke in and stabbed him in 1999. Olivia Harrison had applied for planning permission to replace the razor wire fence around her lavish Oxfordshire, England estate, but came up against complaints from neighbors, including Bewes, who branded the security measure "inappropriate". The Likely Lads star claimed his pet cat was injured by the wire. Despite the opposition, Olivia was granted permission to re-build the eight foot fence to keep up security at the estate last year - but now she's revealed that because of Bewes' protests, she has taken it down. She tells Britain's Sunday Telegraph, "You may remember there was a terrifying incident at my home... There was an attempted murder. That was why the security was there. I felt very vulnerable." "If this man had come and talked to me I would have explained that. Why didn't he make contact with me instead of talking to the newspapers? Now, thanks to him, everyone knows I have no protection, so where does that leave me?" http://www.aceshowbiz.com/news/view/w0004560.html
Voldar: The Daily Throwdown: The Concert for Bangladesh This week, on the occasion of the 25th anniversary of Live Aid, we’re doing away with the competitive nature of the Throwdown and reliving some legendary performances done for charitable causes over the years. Today, we remember The Concert for Bangladesh, organized in 1971 by George Harrison and Ravi Shankar on behalf of cyclone victims in war-torn Bangladesh. Some of the biggest names in rock showed up to support the former Beatle’s cause, including Bob Dylan, Ringo Starr, Eric Clapton, Billy Preston and Leon Russell. If you are interested in donating to flood relief for Nashville and surrounding areas, please visit the Gibson Foundation page. All proceeds will go directly to charity. Peace. George Harrison and Eric Clapton, “While My Guitar Gently Weeps” George Harrison, “Here Comes the Sun” George Harrison My Sweet Lord
Voldar: Eric Idle on Spamalot & his friendship with Beatles star George Harrison Ex-Python Eric Idle tells Catherine Jones about his hit show Spamalot and friendship with the Fabs’ quiet one "THE Liverpool Empire! I know it well,” exclaims Eric Idle from his place, recumbent on a sofa opposite me. Really? I exclaim. “Err, not that well,” he concedes with a smile. “I have played there, the Pythons played there in about ‘74.” 1974. Just about the time Eric, one of the youngest members of the Monty Python team, was knocking around with close friend George Harrison, who was himself a huge Python fan. There was only a month in age between the pair, but the 67-year-old satirist says there was more to it than that. “We were also close in our groups. I was sort of the odd one out in our group too; there were two blocks (of writers) and then me,” he explains, referring to George’s lone songwriting role alongside the partnership of Lennon and McCartney. “We definitely gelled, and he was fabulous.” The former Beatle appeared in an episode of Eric’s Rutland Weekend Television TV show, sending himself up by insisting on singing a song about wanting to be a pirate. Later he took a mock news reporter’s role in the Fab Four-inspired Rutles’ film, All You Need is Cash. “And he paid for the Life of Brian, the whole shebang,” adds Eric, who stayed with Harrison’s widow Olivia on this latest visit to the UK from his home in LA. “He was a great man, well loved. We miss him.” George Harrison would no doubt have loved Spamalot, the all-singing, all-dancing homage to Monty Python’s Holy Grail which arrives at the Empire next month. “I watched it in Manchester and it was fabulous,” says the former Python, who was born in South Shields but whose early childhood was spent in Wallasey where he went to St George’s school. “I haven’t seen it in English for a year. I saw it last in Madrid. “This is a whole new production so it was really exciting – the costumes and sets, nothing was familiar. But it’s a really good company. “They go off like a rocket and they’re very funny, and cute, and there’s only a few of them so they do the whole show – it’s a bit like a Python show, they’re running around changing. “It’s much more in the spirit of Python than a huge West End musical where you have 12 singers and dancers. I was really impressed.” Eric, who has lived in the United States since the 1990s, plays God in a part which is pre-recorded. And although he says he admires actors, he maintains he has no desire to act himself any more. “I don’t like acting,” he reveals. “I never really liked it. Films are awful and boring, but I’ve always liked making things up and creating and so now I just work on what I want to do. “At school (the Royal School in Wolverhampton where he was sent as a boarder after Wallasey) we had a puppet theatre which we used to write for, and puppetry means funny voices. “Then Cambridge University was cabaret, doing funny things and skits and comedy, and then Python was an extension of that. “And Python was an extraordinarily good acting school. You’d go out filming and you’d play six or seven people a day, and masking yourself and becoming somebody different is actually rather a fun thing to do. “I liked doing that and I think we all got quite good at acting by the end of it. And then it was hard to act without really weird characters.” Writing, he says, is what he really likes, and despite penning Spamalot with musical collaborator John de Prez, he prefers to work alone. “Who wants to talk in the mornings? It’s awful!” he exclaims. “What, wait until John Cleese has made 17 cups of coffee, read the Daily Telegraph twice, made a few phone calls, put his feet up then say now what shall we write? I’m home by then, I’m gone. “I’m an early bird and I very much believe in the subconscious and what comes first, and I think you have a golden moment. “I have about half-an-hour, 40 minutes, where everything is very clear and obvious and after then it all goes a bit muddy. “So I like that early time; that and putting things away for about four months and then coming back is one of the best things you can do in writing, because it’s so clear, you go “duh!”, you know.” Spamalot was a number of years in gestation, with Eric first getting the idea to adapt the supremely silly Arthurian-style quest – featuring the never-say-die Black Knight, hilariously abusive Frenchmen and a killer rabbit – after getting involved in a Holy Grail DVD game. The remaining Pythons gave the project the thumbs up, but it took a year to sort out the legal details. The show finally opened in late 2004 in Chicago before moving to Broadway. And the rest is history – albeit Python-skewed. Eric recalls: “I knew it was funny from opening night. From its preview night even. I mean, they were in hysterics from the off. And that’s when I thought, ‘oh we did a good job of adapting this’. “The thing is, it isn’t just for fans. What always pleases me is seeing the people who don’t like Python or have never seen Python or who don’t care about Python. “It’s a jolly good show to go and see, it’s fun and you don’t have to know anything or bring anything in to explain it.” http://www.liverpoolecho.co.uk/liverpool-entertainment/the-beatles/the-beatles-news/2010/07/23/eric-idle-talks-about-spamalot-and-his-friendship-with-beatles-legend-george-harrison-100252-26913145/3/
Voldar: Origin of Song: Bittersweet Tales of “Isn’t It a Pity” From its humble beginning (“Isn’t it a pity? / Now, isn’t it a shame?”), to its bitter end (“What a pity, what a pity”), “Isn’t It a Pity”, by notorious spiritual seeker and light-bringer George Harrison, offers no hope or relief from bleak truths its narrator comes to speak. The song’s dark matter came to my attention recently when I heard a new version of it by Bettye LaVette, who’s added her voice to the distinguished chorus that’s chosen to interpret the song. Which set me wondering: How is it that a dour little lament—offering no respite from life’s shadow side—became one of Harrison’s most reinterpreted and beloved rock classics? It was 40 years ago this summer that Harrison took to the studio with Phil Spector to cut his solo debut masterwork, All Things Must Pass, on which two versions of “Isn’t It a Pity” appear. As if fans of the quiet one had any doubt, Harrison and his number one triple album proved he was no third wheel or little brother in the Lennon and McCartney hit-making partnership; rather, he was a self-sufficient songman, capable of executing his own luscious melodies with depth-filled themes to spare. Harrison had been saving up his Beatles rejects from at least 1966, from which it is supposed “Isn’t it a Pity” dates back. According to Richie Unterberger who scrutinized the band’s demos in his book, The Unreleased Beatles, “Isn’t It a Pity” shows up in the logbooks for the first time during the January 1969 Apple Studios dates for Let It Be (also known as the Get Back sessions). Unterberger writes, “[Harrison] also reveals that ‘Isn’t it a Pity’ was about three years old at this point, but had been cursorily rejected by John Lennon.” Lennon famously mocked Harrison again upon the release of All Things Must Pass in 1970, but public response to Harrison’s work told the tale in the end. As the last Beatle to weigh in as a solo act, Harrison’s album, as well as its devotional first single “My Sweet Lord”, was more successful than any other Beatles solo effort to date. Standing at number one in the US for weeks in 1970, All Things Must Pass marked an auspicious beginning for solo Harrison, while all these decades later, the Beatles reject “Isn’t It a Pity” emerged as the most cultish/covered song from it. As it happens there’s a George and Ira Gerswhin standard about love at long last with the same title: “Fishing for salmon, losing at backgammon… my nights were sour spent with Schopenhauer,” is how that one goes, but Harrison’s “Pity” offers more pith than playfulness, which suits the kind of singers who’ve interpreted it just fine. “Isn’t It a Pity” has been rendered by names with a similar heaviness of heart as Harrison’s, artists as extreme as Eric Clapton and his ax, Nina Simone and her sharp tongue, and Harrison’s fifth Beatle buddy, Billy Preston; it also sopped up the more mild and depressive styles of Galaxie 500 and Elliott Smith. I believe it’s somewhere between the lines in those top-notch versions (there are others), where the seeker’s question rather than any answers to it surface as the song’s genius. The quiet compliance, in accordance with what is, instead of what if, what isn’t, and what could be, is the element that inspires its beautiful sadness. No “sun, sun, sun here we come,” no “I say, it’s all right” or Hare Krishnas on offer here: It’s pure catharsis, a free-flowing, unrelenting emotional cleansing where “Isn’t It a Pity” strikes the chords of pain. “I just liked it,” claims pain-bringing song specialist LaVette, whose version appears on her latest collection of songs, Interpretations: The British Rock Songbook. Among her album’s 13 tracks, including rock standards by Traffic, the Who, the Moody Blues, Paul McCartney, and Ringo Starr, “Isn’t It a Pity” is the sleeping giant that awakens—then tears—the roof off the project. “When I slowed it down, it seemed to bring out the parts of it I liked—which is the story,” she says. “I think it’s quite different from the original.” Explaining to the arranger that she wanted the story out front, “I told the bass player I wanted him to be the heartbeat and be the only thing that played consistently. I wanted the bass to sound like the only thing keeping us alive. And I told the guitarist I wanted him to be the pain—and to get a moaning lick for me every once in awhile. I wanted it very sparse like that. Other than that, I wanted it to sound like we’re all dying.” As in, hopeless. Back in 1972, Nina Simone was among the first to hear the life and death urgency of Harrison’s missive when she cut “Isn’t It a Pity” on her quasi-live document, Emergency Ward. Consisting of just four songs, side one pairs “My Sweet Lord” as a medley with the power-poem “Today Is a Killer” by the Last Poets, while side two features “Poppies” (concerned with heroin abuse) and a piano version of “Isn’t It a Pity.” Performed in her “High Priestess of Soul Protest” era, Simone connects the dots between Harrison’s phrases, leaving no room for doubt about what she perceives to be the pity and shame of it all. “Mankind has been so programmed, they don’t care ‘bout nothing that has to do with care, c-a-r-e,” she elaborates. “Forgetting to give back,” states Harrison, while Simone’s improvisation counters with, “Because we’re moving so fast…We do it everyday just to reach some financial goals.” And so forth. There were versions in between, though none worth really mentioning till Dean Wareham and Damon and Naomi recorded it—back when they were still the trio Galaxie 500. They took it slow alright, which was their way. That Harrison’s song resonated for emotional indie-rock pioneers like them and Elliott Smith should come as no surprise now, though by the time Smith got hold of it, the song seems positively tragic (though perhaps that’s only in light of the way in which he ended his life). “What a pity, what a pity, what a pity” goes the original, at points echoing the refrain of “Hey Jude”—or might we conclude it’s the other way around, given the 1966 provenance of Harrison’s song? As sung at the Tribute to George concert in 2002, that connection is only all the more stunning as delivered by Harrison’s son, Dhani (you can’t miss their likeness in the clip). With Harrison’s friends Eric Clapton, Billy Preston, Jeff Lynne, and the others lined up that night, you might call this performance of the song the ultimate oxymoron: A supergroup version of a one man’s humble lamentation—though surely it served to please Harrison’s beloved Krishna and all the Hindu love gods who favored him, as well as the good man himself. And the heavenly choir has yet to abate (apparently there is a Facebook page dedicated entirely to “Isn’t It a Pity”). Not even nine years since Harrison’s been gone—and yet, “because of all their tears / Their eyes can’t hope to see / The beauty that surrounds them.” Seems us stupid humans will be singing this one until it no longer needs to be sung. “Isn’t it a pity?” http://www.crawdaddy.com/index.php/2010/07/22/origin-of-song-bittersweet-tales-of-isn-t-it-a-pity/
Voldar: Interview: Gary Wright to premiere song co-written with George Harrison at Fest for Beatles Fans Gary Wright was a close friend of George Harrison. The two played on each other's records. Harrison also made an appearance as a member of Wright's band on "The Dick Cavett Show." Now, Wright will give the world premiere of a song co-written by himself and Harrison at the Chicago Fest for Beatles Fans Aug. 13-15. The song, from 1971, is called "To Discover Yourself," and is available as a bonus track on his new album, "Connected," when purchased through his website, www.thedreamweaver.com. How did Harrison become to help write the song? "We had written several songs over the course of the years that we had worked together," Wright told us by phone. "I was living in London at the time and he came over to my apartment. I played him this idea that I had for a song. He had his guitar with him and he helped me finish writing it." He recorded the song the day of George's death as a memorial of the day. "I've never performed it (live). The first time I'll be performing it will be at the Fest for Beatles Fans in Chicago." Wright says in addition to performing this song, he'll be singing his hit "Dream Weaver" and also playing along on "Back Off Boogaloo" and "It Don't Come Easy." Mark Lapidos of the Fest told us Wright will be performing Saturday and Sunday nights at the event. Wright says the track will be available for sale in an Om pendant that is also a USB drive will be first available at the Fest and then through his website. "You pull it apart and it's a USB drive that you put in your port in your computer and my new album, "Connected," comes up, including the bonus track, and also a video I did with George where he sang backing vocals with me on one of my earlier albums. The track was called 'Don't Try to Own Me.' And there's photos of George and I together. There's video footage of me talking about the making of my album 'Connected' and working with Ringo and George and the genesis of the idea for 'Dream Weaver.' And it's got the original demo of 'Dream Weaver' on acoustic guitar, and some other early demos that I had done through that time period." Wright has been busy this summer touring with Ringo Starr and the All Starr Band. When asked how the tour was going, he said, "Fantastic. It's been sold out with great audiences. It's really been a huge success. The combination of the music is really good this year. It just really works well." Wright says the show at the Greek Theater in Los Angeles, where the tour ends, could have some surprises. "I'm sure at the Greek in L.A. there'll be some people that'll be there," he says. Talk about tour surprises brings up the subject of Paul McCartney's surprise appearance at Radio City Music Hall on Ringo's 70th birthday. Ringo did not know about it in advance. How was it kept from him? "Well, it was kept from everybody, actually," says Wright. "I found out at soundcheck the day of the show. I knew there were going to be people coming up onstage for 'With a Little Help from My Friends.' I didn't know exactly who. "And then after we finished 'A Little Help,' a couple of the musicians stayed onstage -- Rick Derringer, Edgar (Winter) and our drummer, Gregg Bisonnette in the wings.Then Joe Walsh goes onstage, and I thought, 'Wow!, that's coming up.' I knew Paul was coming up (at that point), but Ringo didn't know. He just thought (Joe Walsh) was going to sing him 'Happy Birthday' or something. And then when Paul walked onstage, Ringo's jaw dropped. And then when they went into 'Birthday,' he just sprinted right up to his drum set and started to play along. "And the crowd went absolutely berserk," he says. "Never seen anything like that. It was history, you know. Unbelievable. It sounded great. Paul sang great. And it was really beautiful. After they finished, they went up to each other and hugged. And there were tears. It was a beautiful moment." Wright says he didn't know McCartney was sitting in the audience until afterwards. "When he came off the stage, he gave me a big hug and told me how much he enjoyed it. Then, we were riding up in the elevator together and he said, 'That's the first time I'd ever seen Ringo perform with an All-Starr Band.' He'd never seen it before. He said he's really good live. He was really very charming and it was nice hanging with him." Wright says the birthday surprise was filmed. "I know Brent Carpenter, who does all our video stuff, was there and he shot it all." He doesn't know if there will be a DVD from the tour, but he says, "We've recorded most of the stuff, every performance." http://www.examiner.com/x-2082-Beatles-Examiner~y2010m7d31-Interview-Gary-Wright-to-premiere-song-cowritten-with-George-Harrison-at-Fest-for-Beatles-Fans
Voldar: Âûõîäèò äîâîëüíî èíòåðåñíîå èçäàíèå. I can know the way to heaven: Harrison + Shankar On October 19, there will be a release of a limited-edition deluxe box set titled "RAVI SHANKAR GEORGE HARRISON COLLABORATIONS," not coincidentally released on the sitar master's 90th birthday. "Collaborations" is a 3 CD and 1 DVD uniquely numbered limited edition box set. All compositions were composed by Ravi Shankar and produced by George Harrison over a period of 20 years. From the press release: The DVD is a rare concert performance of Ravi Shankar’s Music Festival From India recorded at London’s Royal Albert Hall in 1974. The albums include the acclaimed Chants Of India (1997), The Ravi Shankar Music Festival From India (studio version 1976) and Shankar Family & Friends (1974). The 56-page book includes a foreword by Philip Glass, a history of George and Ravi “in their own words” and rare photographs from both family archives. The personal and musical friendship between Ravi Shankar and George Harrison has been known and well documented for decades now. It was a friendship that was powerful enough to make an impact on the large, musical life of the late nineteen sixties and it reverberates, as clearly, even today – from the Foreword by Philip Glass. In 1973 George Harrison signed Ravi Shankar to his Dark Horse Records label. The first joint recording project between George Harrison and Ravi Shankar, Shankar Family & Friends brought together renown Indian classical musicians such as Ustad Alla Rakha, Lakshmi Shankar, and Shivkumar Sharma alongside Western jazz and rock musicians including George, Ringo Starr, Tom Scott, Klaus Voormann, Jim Keltner and Billy Preston. One half of the album comprises instrumentals and songs, while the second half is a thematic ballet to a yet un-staged performance. Ravi Shankar’s Music Festival From India (live from the Royal Albert Hall) was the first artistic event organized and sponsored by George Harrison’s Material World Charitable Foundation; bringing together a 17-piece Indian classical ensemble as well as a solo sitar performance by Ravi Shankar accompanied on tabla by Alla Rakha. In 1997 George Harrison and Ravi Shankar again collaborated on an album. This time Ravi created music for ancient Sanskrit chants with the challenge of maintaining the authenticity of the ancient verses. Released in 1997, Chants Of India are timeless, Vedic verses chanted for the well being of man and mankind http://www.sltrib.com/sltrib/blogs/burger/50106417-53/shankar-ravi-george-harrison.html.csp
Voldar: Clapton, Harrison on the Bus For a seven-night, 13-show tour of England in December 1969, Delaney and Bonnie Bramlett added to their band the guitarists Eric Clapton and George Harrison. Earlier that year, when Delaney & Bonnie & Friends opened for his group Blind Faith, Mr. Clapton had taken to sitting in with them. So when the Bramletts' own tour began, Mr. Clapton, looking to join a working band, signed on. Harrison, still a Beatle then, did too. They traveled by bus with the rest of the group. The Los Angeles-based Delaney & Bonnie & Friends weren't well known in Britain. But concertgoers would soon find out they were hearing one of rock's best bands. Its core—Carl Radle on bass, Jim Gordon on drums, Bobby Whitlock on keyboards and vocals, Bobby Keys on sax, Jim Price on trumpet—would go on to perform together on Harrison's "All Things Must Pass" and on Mr. Clapton's eponymous album, which was produced by Delaney Bramlett. Both of these solo debuts were released in 1970. Mr. Clapton then recruited them, minus the horns, to form Derek & the Dominos and record the masterwork "Layla and Assorted Other Love Songs." Other Friends went on to significant careers, most notably guitarist Dave Mason and vocalist Rita Coolidge. Mr. Keys has been the Rolling Stones' saxophonist of choice for most of the past 40 years. Delaney & Bonnie & Friends married rock and R&B, Mr. Keys said in a recent phone interview. "We were doing that Southern gospel, rock 'n' roll thing that until that time you heard very little of. It was one of the best times of my life." "There was magic in the music," Ms. Coolidge said by phone. "It was unlike anything I'd ever heard." Delaney & Bonnie & Friends are celebrated in the new four-CD "On Tour with Eric Clapton—Deluxe Edition" (Rhino), which, with three complete shows and parts of two others, just about quadruples the number of songs released four decades ago. The gritty, fluid group is a treat as Radle and Mr. Gordon show that the heart of any great band is in its rhythm section. And then there's Ms. Bramlett, whose quivering vocals are laced with sensual bravado even when she's joined by her then-husband and Ms. Coolidge and Mr. Whitlock in honeyed four-part harmonies. Her three renditions of Bessie Griffin's steamy blues "That's What My Man Is For" are the boxed set's most riveting performances. Delaney Bramlett put it all together. Born in Mississippi, he was featured in the house band of the '60s TV variety show "Shindig!" which also included Leon Russell and, on occasion, Mr. Keys. He met Bonnie Lynn O'Farrell when they were both booked to perform at a bowling alley. After they married, they became linchpins in the music scene in North Hollywood and the San Fernando Valley. "A lot of great acts played there," Mr. Mason recalled when we spoke by phone, "but Delaney & Bonnie, they blew me away the first time I heard them. There sure as hell wasn't anything in England like they were doing." Much of the band's material reflected a passion for Southern soul, particularly out of the Memphis-based Stax label, which released Delaney & Bonnie's debut album. Among the previously unreleased performances are compositions by Stax's songwriting teams William Bell and Booker T. Jones, Steve Cropper and Bettye Crutcher, and Isaac Hayes and David Porter. On "Just Plain Beautiful," Messrs. Keys and Price channel the Memphis Horns. And on the William Bell standard "Everybody Loves a Winner," Delaney Bramlett delivers his most affecting vocal performance. Another new highlight: A fetching rendition of the Booker T & the MGs instrumental "Pigmy," featuring Mr. Whitlock on organ. For fans of Mr. Clapton's singing, there are multiple versions of "I Don't Know Why," a previously unreleased tune he wrote with the Bramletts. As Ms. Bramlett says in the boxed set's ample liner notes, the British tour was "the beginning and end" of Delaney & Bonnie as a musical act and a couple. It's said that Delaney Bramlett had an ornery nature that drugs and drink did not improve. When the tour concluded, some of the Friends joined Joe Cocker and Mr. Russell on the Mad Dogs & Englishman tour, and Delaney & Bonnie recorded their next studio album with a new group that included Duane Allman, the Memphis Horns and guests King Curtis and Little Richard. The Bramletts "were never quite received by the public, at least as reflected by sales," Mr. Keys noted. Delaney and Bonnie Bramlett cut their last album together in 1972, the year they divorced. Delaney Bramlett died in 2008. Now the boxed set celebrates their exceptional work on that December 1969 tour. "The bar was set real high," Ms. Coolidge told me. "Carl Radle, Jim Gordon, Bobby Keys, Eric Clapton, Bobby Whitlock, Dave Mason, all these fabulous people....You just want to live up to all that brilliance." http://online.wsj.com/article/SB10001424052748704388504575419592999686372.html
SLQ: Íå ñîâñåì íîâîñòü, íî îäíàêî ðåøèëà çàïîñòèòü ñþäà Ïîïàëàñü ìíå ðåäêàÿ ôîòîãðàôèÿ Äæîðäæà è Äæîíà. Íà äàííûé ìîìåíò ýòî ïîñëåäíèé (èç îïóáëèêîâàííûõ)ñíèìîê Äæîíà è Äæîðäæà âìåñòå .
Voldar: Çàìå÷àòåëüíàÿ ôîòêà.Ïðÿìî âîçâðàùåíèå áëóäíîãî Äæîíà.
Øóáèäóáà: Ïîõîæå ãîä íà 74-75-é.
SLQ: Øóáèäóáà ïèøåò: Ïîõîæå ãîä íà 74-75-é. Ýòî êîíåö 74. Êîãäà ó Äæîðäæà áûë òóð ïî ÑØÀ, íó à ó Äæîíà ïîòåðÿíûé Âèêåíä.
Voldar: Äæîðäæ îïÿòü âûøåë â òèðàæ,áëàãîäàðÿ æóðíàëó TIME,êîòîðûé ñîñòàâèë ðåéòèíã ñàìûõ èçâåñòíûõ ëþáîâíûõ òðåóãîëüíèêîâ 20-ãî âåêà. Æóðíàë Time ñîñòàâèë Top 10 âûìûøëåííûõ è ðåàëüíûõ "ëþáîâíûõ òðåóãîëüíèêîâ" XX âåêà. Äåâÿòîå ìåñòî çàíÿë "òðåóãîëüíèê" Äæîðäæà Õàððèñîíà, Ýðèêà Êëýïòîíà è Ïàòòè Áîéä. Ðîêîâîé æåíùèíîé äëÿ êóëüòîâûõ ìóçûêàíòîâ XX âåêà - Äæîðäæà Õàððèñîíà è Ýðèêà Êëýïòîíà - ñòàëà ìîäåëü è ôîòîãðàô Ïàòòè Áîéä. Ñ÷èòàåòñÿ, ÷òî îíà âäîõíîâèëà Õàððèñîíà íà íàïèñàíèå ïåñåí Something, For You Blue, Ýðèê Êëýïòîí ïîñâÿòèë åé ïåñíè Layla, Wonderful Tonight è Bell Bottom Blues. Ïàòòè áûëà æåíîé îáîèõ, î ÷åì âïîñëåäñòâèè íàïèñàëà êíèãó "Ïðåêðàñíîå ñåãîäíÿ - Äæîðäæ Õàððèñîí, Ýðèê Êëýïòîí è ÿ". Ïîëíûé ñïèñîê: 1. Prince Charles, Princess Diana and Camilla Parker Bowles 2. Jules et Jim (et Catherine) 3. Rick Blaine, Ilsa Lund and Victor Lazlo 4. Ingrid Bergman, Roberto Rossellini and Petter Lindstrom 5. Rhett Butler, Scarlett O'Hara and Ashley Wilkes 6. Elizabeth Taylor, Eddie Fisher and Richard Burton 7. Woody Allen, Mia Farrow and Soon-Yi Previn 8. Butch Cassidy, the Sundance Kid and Etta Place 9. George Harrison, Eric Clapton and Pattie Boyd 10. Joey Ramone, Linda Ramone and Johnny Ramone http://www.beatles.ru/news/news.asp?news_id=6267 http://www.time.com/time/specials/packages/completelist/0,29569,2021828,00.html
ïîëíàÿ âåðñèÿ ñòðàíèöû