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ЛЕНТА МУЗЫКАЛЬНЫХ НОВОСТЕЙ - 1
Voldar: Здесь обсуждаются самые животрепещущие новости из мира музыки не относящиеся к нашим героям.
Voldar: Джо чуть не получил дубиной по башке... Eagles' Joe Walsh Files Restraining Order After Death Threats Life's been good to Joe Walsh, until recent problems with a neighbor forced the Eagles guitarist to file for a restraining order. According to Jam!, the famed musician, 62, obtained the legal order in Los Angeles County Superior Court recently after his 70-something neighbor Nassar Adhoot threatened to kill him. According to the filing, Walsh claims Adhout trespassed on his property early last month and attacked his personal assistant with a piece of wood. He then shouted, "You tell Joe Walsh I'm going to kill him. I'm going to shoot him." The court documents reportedly seek to keep Adhoot away from Walsh, his wife, his assistant, his maid and his gardener. In related news, the Eagles will embark on a North American summer tour with country acts the Dixie Chicks and Keith Urban. The next leg of their Long Road Out of Eden 2010 launches June 8 in Toronto. http://www.spinner.com/2010/06/01/eagles-joe-walsh-restraining-order-death-threats/
Goldenday: Voldar пишет: Джо чуть не получил дубиной по башке... Н-да... и чего им там ещё не хватает, в этой солнечной безмятежной Калифорнии? Живи себе, да жизни радуйся - ан нет, и там договориться по-человечески не могут.
Voldar: Юрий Шевчук удостоился чести называться русским "Springsteen" и попал на страницы Ролинг Стоунс после разговора с Путиным. "Russian Springsteen" Grills Prime Minister Putin Russian rock star Yuri Shevchuk had been warned not to "bring up any sensitive issues" at a meeting featuring his country's elite politicians and biggest cultural icons meant to promote a charity concert of The Little Prince. But "Russian Bruce Springsteen" Shevchuk (from the band DDT) ended up putting Prime Minister Vladimir Putin on the hot seat, questioning the leader about Russia's centuries-old class divide, the lack of freedom of the press, the plight of coal miners and allegations of deep-rooted police corruption at what turned into an impromptu debate on Saturday, the New York Times reports. "I've got some questions. In fact I've got a whole lot of questions," Shevchuk began before arguing that Russia needs more media outlets. "We're living in a class society that has remained the same over centuries. There are rich dukes with their privileges and then the common people who toil away," Shevchuk brazenly told Putin, adding later, "The protesting electorate is growing in number, and you know it. Are you honest when you say you want real liberalization and modernization for a real country, where public organizations are not suffocated and where people don't feel scared of a policeman on the street?" Two days later, the Times reports, more than 100 people were detained in Moscow and St. Petersburg at demonstrations protesting violations of Russia's freedom of assembly. Putin was reportedly surprised by Shevchuk's line of questioning but gamely participated in the back-and-forth. "Without democracy Russia has no future," Putin responded, saying he hoped the upcoming protests "will be organized in an acceptable way. People's right to express their disapproval of the government should be protected, but participants in such demonstrations should not disturb those who do not want to demonstrate." The debate continued on with both men raising their voices and speaking over one another before others at the table, perhaps inspired by Shevchuk's courageous questioning, began speaking up about the government's plans to build a giant, out-of-place skyscraper in St. Petersburg and a movement to save the Siberian tiger. At press time, both video and an English transcription of the meeting are available on the official Prime Minister of the Russian Federation website. "For some people, Putin is God. For some, he is the devil. For me, he is a high ranking official — and that's it," Shevchuk said in a radio interview after confronting Putin. "It was very pleasant for me to hear the premier say that Russia has no future without civil society and democracy." For nearly three decades, Shevchuk and DDT have been among Russia's most successful rock bands, and with 20 albums in their catalog, they showcase an enduring influence and fanbase unmatched by any other musical groups from the region, thanks in large part to Shevchuk's lyrics that intensely probe the lives of those living in Russia. http://www.rollingstone.com/music/news/;kw=[36885,162705]
AlexYar: Кстати, захватив буквально небольшой фрагмент какой-то новостной программы, я обратил внимание на поведение Шевчука в беседе с Путиным..... Мне лично не понравилось... ВВП, кстати, тоже вел себя соответствующе положению... Да ну на фик,... коллеги, у нас и Пугачева, и Макаревич уже давно завоевали себе славу национальных музыкальных идолов, однако они ни в какое сравнение не идут (при всем уважении к их творчеству, несомненно) с тем, как это поставлено в Англии, скажем... Да, блин, другая страна, другое восприятие совершенно... А когда пытаются что-то "слизать", ну... смешно... ей богу!
Goldenday: Я беседу Шевчука с Владимир Владимировычем не видел, но подозреваю, что ты прав. Внутреннее чувство свободы и независимости, на котором воспитано не одно западное поколение 20 века, к нам, уверен, придёт, но естественным путём и через года. К сожалению, перешагнуть этот срок невозможно. P.S. За что люблю позднего Цоя - в его песнях и сейчас чувствуется та самая свобода.
Voldar: Оззи Осборн решил завещать тело науке Бывший лидер Black Sabbath Оззи Осборн решил завещать свое тело науке, сообщает ContactMusic. По словам музыканта, после его смерти специалистам должно быть интересно изучить феномен долголетия Осборна. 61-летний экс-вокалист Black Sabbath заявил, что считает настоящим чудом тот факт, что он все еще жив. "По всей видимости, я - настоящее медицинское чудо! Я пьянствовал в течение сорока лет и ничего со мной не случилось. Я напивался, вырубался, а затем снова приходил в себя. Я считаю, что я должен завещать свое тело лондонскому Музею естествознания",- цитирует Осборна интернет-издание. Оззи Обсорн в течение многих лет страдал от алкогольной и наркотической зависимостей. Справиться с недугами музыканту помогала супруга Шэрон, которая в конце 1980-х стала менеджером Black Sabbath. В настоящее время Осборн старается вести здоровый образ жизни.
ТНЮ: Оззи вегетарианец к тому же. И дочь его Келли.
AlexYar: А старина ОЗЗИ, тем не менее, продолжает активную творческую жизнь! 15 июня состоялся релиз очередного и 10-го по счету его сольного альбома "Scream". Более того, "великий и ужасный" вновь собирается в турне, в рамках которого значится и злотоглавая.... 13 сентября он выступит во дворце спорта "Мегаспорт" на Ходынском поле.
Voldar: Земляки поздравили Тома Джонса с юбилеем кавером "Delilah" Жители Уэльса разных возрастов и профессий записали песню-посвящение сэру Тому Джонсу, который 7 июня, в понедельник, отмечает 70-летний юбилей. Как пишет The Daily Telegraph, в качестве подарка валлийцы преподнесли певцу кавер-версию его хита "Delilah". В записи новой версии старой песни сэра Тома приняли участие валлийские школьники, мясники, пожарные, спасатели, автослесари, работники завода по производству сыра и многие другие поклонники творчества певца. Премьера "Delilah" состоится в рамках праздничного эфира на BBC One Wales. Оригинальная версия песни "Delilah" была записана в 1968 году. Релиз композиции состоялся в феврале того же года. Песня стала хитом и возглавила несколько европейских чартов. На родине, в Великобритании, "Delilah" досталось второе место. В американском хит-параде песня Тома Джонса дебютировала на 15-й строчке. Том Джонс родился в Уэльсе 7 июня 1940 года. Карьеру музыканта Джонс начал в начале 1960-х годов. В настоящее время сэр Том продолжает записывать пластинки и ведет активную гастрольную деятельность. В конце июля 2010 года Джонс планирует выпустить новый альбом под названием "Praise and Blame".
Voldar: Спустя 37 лет Mungo Jerry собираются ,причем в оригинальном составе. Mungo Jerry, Arthur Brown Confirmed For Guilfest Mungo Jerry are back with their original line-up, playing live for the first time in 37 years. We just hope mainman Ray Dorset’s spectacular sideburns are still intact these days… The British folk/rockers are to play on the Good Time Guide Stage at Guilfest (in Guildford, Surrey, natch) on Saturday, July 17. Doubtless they’ll be playing their biggest hit, 1970s’s In The Summertime, which is allegedly the biggest summer hit of all time in the UK! Talking of one-hit wonders, The Crazy World Of Arthur Brown (renowned for the 1968 mega-hit Fire!) will also be on the aforementioned stage on the same day. Oh, and before we get deluged with angry comments, we know both Mungo Jerry and Arthur Brown have a lot more going for them than one song! http://www.classicrockmagazine.com/news/mungo-jerry-arthur-brown-confirmed-for-guilfest/
AlexYar: Voldar пишет: Спустя 37 лет Mungo Jerry собираются ,причем в оригинальном составе Нечто под названием Mungo Jerry так или иначе уже давно выступает на различных сборных концертах в Европе (и даже в России) ... Не знаю конечно на счет оригинальности всего состава - не интересовался за ненадобностью, откровенно говоря, но вот вокалист с его явно запоминающейся внешностью точно тот...
Goldenday: Хорошо, что собрались, только не понял: они же уже в 2007-м выпустили отличный альбом Naked - From The Heart. По большому счёту Рэй Дорсет и один стоит всей группы: и песни все сочиняет и на сцене очень уверенно держится - смотреть приятно.
Шубидуба: Обожаю Mighty Man, Have a Whiff On Me, Oh Maggie, Shadow Of The Trees и другие песенки
Voldar: Очень интересное интервью с Денни Лейном. The Gibson Interview -- Denny Laine (Part One) When one thinks about wellsprings of British music in the early 1960s, thoughts generally run to the rivers Thames and Mersey. But the heart of the Black Country, Birmingham, was a hotbed for music as well, with artists such as The Spencer Davis Group, Dave Mason, The Move, Black Sabbath, Cozy Powell, Roy Wood and the non-stringed half of Led Zeppelin emerging from the factory city over the course of the decade. At the center of it all was a guitarist and singer named Denny Laine. Born in Tyseley, a largely industrial district on the south side of Birmingham, in 1944, Laine played his way up through the local ranks, emerging eventually in the locally famous Denny & The Diplomats (with Bev Bevan, later of The Move and Electric Light Orchestra). Laine would go on to play on much grander stages with two of rock’s landmark bands, The Moody Blues and Paul McCartney’s post-Beatles supergroup, Wings. Laine is still active in music, living in Las Vegas and working on a musical to be produced at the University of Nevada, Las Vegas. Gibson.com was fortunate enough to catch up with Denny recently to discuss those early years in Birmingham and the formation of The Moody Blues. What was Birmingham like back in ’50s? Were Brummie kids as fired up about skiffle and rock ’n’ roll as in other cities, like London and Liverpool? Oh, yeah. Well, the thing about Birmingham, because it was a factory town, it was a little bit like Detroit. There was a lot of music. Well, you know, after the war everybody was kind of into doing something to make money, as well. There was a lot of music about. A lot of it was chart stuff or stuff that we heard on Radio Luxembourg, which was the American Forces network in Germany. And so, we picked up a lot of music from that. We were more into copying bands rather than playing originals. We weren’t like the London scene, which was much more traditional jazz and blues-based. We were more, sort-of, R&B/pop type of fans. It was a good scene. There were a lot of bands around. And when I was in school, it seemed like everyone was in a band. What led you to pick up a guitar, as opposed to drums or something else? Well, my brother had a ukulele, actually. But I was always a big fan of gypsy music – Django Reinhardt and Stephane Grappelli. And my sisters were into music. They had a wide range of people they liked; but I wasn’t so much into the pop stuff. I was a lot more into the jazz or blues stuff. So I wanted a guitar and then I got an old one, cheap one, and then eventually my old man got a better one for me. I joined a band in school. I was actually asked to join a band and then I didn’t know how to tune it at first. I just did my own tuning. There was this jazz guitarist’s brother I was in school with who showed me how to tune it. I liked Buddy Holly. I liked Eddie Cochran. I liked all the people that played and sang, you know? I mean, even Elvis was always with a guitar, so I got into it that way, really. Now was this band The Diplomats or was that a little bit later? No, that was a little bit later. That band was – there were a couple of bands. There was a band called The Hep Cats. And… oh, I forget… The Dominators… That’s a good one! (Laughs) And whoever the singer was, I ended up being the singer, you know? I was the singer in The Dominators and the singer in The Hep Cats. But I was really more the frontman who wasn’t always in a band for that long. I would always, kind of, move around and get invited to join other bands. I was probably in about two or three bands at the same time, really. That was what the scene was like in Birmingham. It wasn’t a professional thing. When I left school, I had just started this band called The Diplomats. And I would go to a job as a trading buyer for musical instruments in a big store. But after a year of that, I decided to go professional, because it was getting in the way of my school and then it was getting in the way of my work, staying up late and going to gigs and getting home late… stuff like that, even though they were within about a 50-mile radius of Birmingham. I figured if you didn’t go professional you weren’t going to make it. And I was at school doing all sorts of jobs. I was doing newspaper rounds. I worked with my brother-in-law as a milkman (laughs) for a little bit just to get extra money. But I was always into music; and I was doing a paper round when Buddy Holly died and that kind of shook me up a little bit. And I just felt like I wanted to be a professional musician at that time, so I gave it all up and did that. It was a bit of a struggle, but we had gotten pretty big in the area. And the drummer I had went on to join ELO, so he did pretty good. The others, they all worked for a living. I wanted to move to London and they didn’t. That was a situation there. So, two of the guys who started The Moody Blues, Mike (Pinder) and Ray (Thomas), came up to me and wanted me to go to Germany with them. They had just come back from Germany and had seen The Beatles out there and lots of bands doing quite well. And I think they got their visas revoked for some reason. And they came back to England, but they wanted to go back out there with another band. So I joined them, but we didn’t go back to Hamburg; we went to London instead. Actually, we got a good band following and after about a year in Birmingham, we got discovered and then we went down to London. Now that version of The Moody Blues is very different than the “Nights in White Satin” band. What was that original lineup like? Well, you know, it’s funny. I did a documentary last year and I actually found out by watching that documentary – The Moody Blues Story – something I didn’t know. The reason they went off in a different direction (after I left) was because they were going out and doing the same set as when I was in the band and they weren’t going down well. Because we had our own thing. The band that I was in was more of a blues-based band, because I didn’t want to play all the pop stuff. I was kind of sick of that. So we had this following as a blues band, really. We had a club there that we played every week and people like Manfred Mann would come there or the Jeff Beck Group or people like that. A lot of the blues bands from London used to come up to the various Midlands blues clubs and that’s how I met a few of them. I even met The Beatles when I was in The Diplomats, but that’s another story. I’ll bet that’s another story… (Laughs) I first met them when I was in The Diplomats; and when I joined The Moody Blues and went to London, we got friendly with them. Most of the bands from out of town went to London because that’s where you made it. And so, that’s how we all met. We met in the clubs there and got friendly. The band was doing a lot of R&B stuff, as well. I wasn’t meant to be the lead singer. Ray Thomas was going to be the lead singer, but I was the one more suited to doing blues in a way. So it turned out like a blues band with harmonies, if you can imagine that. A little bit more of a gospel-style thing. We started getting all these records from America sent to us. We had a friend who was an English DJ, who went out and brought a whole lot of records back and a lot of those records became part of our repertoire. “Go Now” was one of them. I was going to ask you. Where did “Go Now” come from? How did you guys decide to do that one? Well, that’s how it came. It came in one of these suitcases full of records from America. This guy, James Hamilton, his name was; he was a friend of B. Mitchel Reed, who was a DJ, and he would send this stuff across. So I picked that one out especially because Mike Pinder was a piano player. (chuckles) We’d always get the gig where the piano would be out of tune and we’d get the slow handclap because they were waiting to tune the piano… (laughs) Anyway, we did “Go Now” because it was a song with a piano in it. That’s one of the reasons we did it. We did a lot of stuff. We did a lot of Robert Parker and a lot of obscure, good songs. And some of them made it on the album, the first Moodies album. But again, when I left they were doing that same set and they weren’t going down, so they decided to go away and write their new material. And then, they were asked by Decca to do a stereo album to kind of show what classical music and rock music sounded like in stereo. So they amalgamated with this guy, the Peter Knight Orchestra, and he liked their new material and he put his classical stuff to their music, which became Days of Future Passed. So they got really lucky with that new album, because it was the first stereo record of its kind. All the DJs were playing it, so away it went. Why did you leave the group? There were a lot of reasons for things like that. I sort of got tired of it and wanted to go into the studio again and make another album, because we weren’t doing too well after that first album. It started to trickle, but it didn’t do really well. And all they wanted to do was go to Germany and go to Europe and France – because we were quite big in France – and just work. And I said, “We’ve got to go in the studio. We owe them an album.” Otherwise we were gonna lose this three-album deal. So I said, “Well, OK. I’m not going to do all of that. I’m going to go off and do some new recording.” I was still friendly with them; I didn’t fall out with them. And I went off and started doing my own thing and then they were forced to go into the studio to do Days of Future Passed. But I just left because I wanted to do other things and basically record more. And go on the road to keep the name out there – because we were going downhill fast. In Part Two of the Gibson Interview, Denny Laine discusses the Wings years, including the formation of the band and the recording of the classic Band on the Run. Look for it on Gibson.com next week! http://www.gibson.com/en-us/Lifestyle/Features/denny-laine-0701/
Voldar: Певца Мика Джаггера окрестили "Ангелом смерти": на ЧМ-2010 он губит сборные одну за другой Известный рок-музыкант Мик Джаггер, пребывающий в настоящее время на чемпионате в ЮАР, удостоился от футбольных болельщиков прозвища "Ангел смерти". Все дело в том, что лидеру Rolling Stones катастрофически не везет на этом чемпионате мира: как только он болел за одну из национальных сборных и посещал матчи с их участием - она непременно проигрывала. 26 июня Джаггер решил поболеть за сборную США в матче 1/8 финала против Ганы. Он смеялся, хлопал в ладоши и позировал на камеру со своей белозубой улыбкой. Но "звездно-полосатым" было не до веселья – они уступили африканцам в дополнительное время (1:2). Через день Мик уже поддерживал англичан – команду со своей родины. На этот раз он спрятал глаза под темными стеклами очков, с шеи свисал английский шарф, а в руках музыкант держал телефон с камерой, который суеверные болельщики позже окрестили прибором "похитителя душ". В этом матче его соотечественники потерпели унизительное поражение от немцев (1:4). Наконец, в пятницу Джаггер решил поболеть за бразильцев в матче с Голландией (рок-музыкант имеет сына от бразильской модели Лусианы Хименес). К тому времени слава "Ангела смерти" уже закрепилась за ним довольно прочно, и бразильские фаны были серьезно этим напуганы. На арене в Порт Элизабет Мик сидел, подняв колени, и глядел в пустоту, в то время как его сын разочарованно наблюдал за игрой, в которой его соотечественники упустили победу над голландцами (1:2). Шутки шутками, но после окончания матча в адрес музыканта полетели выкрики: "Никогда больше не появляйся на матчах Бразилии". Фаны потянулись в Twitter, обвиняя его в сглазе, а несколько южноамериканских изданий на следующий день вышли с заголовками: "Кто станет следующей жертвой Джаггера?". На четвертьфинальном матче Аргентина - Германия в Кейптауне Джаггер присутствовал в компании актера Леонардо Ди Каприо. Ранее в одном из интервью он опрометчиво заявил, что восхищается игрой подопечных Диего Марадоны и, по его мнению, ничто не остановит Аргентину на пути к финалу. Однако бундестим, отправившая в отпуск его любимую сборную Англии, унизила и южноамериканцев. Пока неизвестно, на какой из оставшихся матчей собирается 66-летний Джаггер. Еще интереснее будет знать, кого он решит поддержать. http://www.newsru.com/sport/05jul2010/angel.html
Goldenday: Voldar пишет: Известный рок-музыкант Мик Джаггер удостоился от футбольных болельщиков прозвища "Ангел смерти" Хорошо, бразильцы ещё не припомнили ему песенку "На сатанинской службе её величества"... Бедный парень
Voldar: Apple Records Catalogue Remastered and Reissued on CD and Digital Download Badfinger, Billy Preston, Mary Hopkin, James Taylor, and More Classics Set for Release on October 26th HOLLYWOOD, Calif., July 6 /PRNewswire/ -- Launched by The Beatles in 1968, as the new outlet for their own recordings as well as the music of an eclectic roster of artists - James Taylor, Badfinger, Billy Preston, Mary Hopkin, Doris Troy, and Jackie Lomax among them - who were all personally brought to the label by The Beatles (individually and/or collectively), Apple Records made popular music history from the very moment it opened its doors. Four decades later, Apple Corps Ltd. and EMI Music raise the curtain on remastered CD and digital download releases of 15 key albums from the Apple Records catalog. All 15 titles will be released on October 26, 2010. Most of the physical CDs will include bonus material. Together, the 15 albums represent the first ever Apple Records releases to be available via digital download. In the revolutionary spirit of 1968, The Beatles' explosive musical output (characterized by their double-LP White Album) was only exceeded by their fascination with what they saw and heard going on around them. Five years into The Beatles' reign, Apple Records afforded them the unique opportunity to sign new (and established) artists who appealed to each of them. In turn, the introduction of an artist on The Beatles' record label was an imprimatur taken very seriously by fans across the universe. Apple Records' utopian artist-orientated mission immediately set it apart, as the first operation of its kind in the major-label sphere. Diversity was celebrated, and artists were encouraged to record and release their music in a friendly creative environment. Apple developed a distinctive graphic aesthetic, from its legendary 'apple-core' logo to its advertising and merchandising, in the process setting a subtle new benchmark for the industry to follow. From 1968 to 1973, Apple Records bedazzled the world with a rainbow spectrum of releases - and fans were unusually well-informed about individual involvements of The Beatles with nearly every project. 1968's self-titled debut album by Boston-based singer-songwriter James Taylor, for example, features Paul McCartney and George Harrison on "Carolina In My Mind." Paul was instrumental in bringing the Welsh chanteuse Mary Hopkin to Apple, and produced her debut single, "Those Were The Days." Badfinger, also from Wales, was still known as The Iveys when they recorded "Come And Get It," written and produced by Paul (for The Magic Christian movie soundtrack). The Beatles had been fans of Billy Preston ever since seeing him in Little Richard's band in Hamburg in 1962. George went on to produce and play on Preston's Apple debut, That's the Way God Planned It. Harrison was one of the producers and played (along with Ringo Starr) on Doris Troy's self-titled Apple album. And George also produced and played (with Paul and Ringo) on Jackie Lomax's debut album, Is This What You Want? featuring the Harrison composition, "Sour Milk Sea." John was much taken with the music of The Modern Jazz Quartet, who released the only two jazz albums in the Apple catalogue. Ringo was intrigued by the music of contemporary British classical composer John Tavener, and his Apple album, The Whale has become one of the most sought-after Apple collectibles of all time. Each of the 15 albums in this bumper batch of Apple Records releases has been digitally remastered at EMI's Abbey Road Studios in London by the same dedicated team of engineers behind The Beatles' recent remastered catalogue releases of 2009. The Apple Records albums reissued in the campaign are: JAMES TAYLOR (1968) by James Taylor James' debut album was recorded in London in 1968 and remains the hidden gem in his extensive catalogue. A distinctive English sensibility informs this beautiful early work, notable for its original versions of James' signature tunes "Something In The Way She Moves" and "Carolina In My Mind." MAGIC CHRISTIAN MUSIC (1970) by Badfinger Magic Christian Music rejoices in sweet, colourful pop and prefigures the songwriting powerhouse that Badfinger would become. Featuring the worldwide smash hit "Come And Get It," written and produced by Paul McCartney, alongside two other songs created for the 1969 Peter Sellers / Ringo Starr movie The Magic Christian, based on the satirical novel by Terry Southern. NO DICE (1970) by Badfinger The first album with guitarist Joey Molland, No Dice is a watershed collection of power pop that bridges the band's commercial instincts with the classic, no-frills rock that became their trademark. Includes the Top 10 single, "No Matter What," and the original version of the Ivor Novello and Grammy Award winning "Without You," made famous by Harry Nilsson, and later Mariah Carey. STRAIGHT UP (1972) by Badfinger Long considered to be the group's finest album, Straight Up is a glorious collection of strong melodies, insightful lyrics and deep emotion. Produced in part by George Harrison and containing the U.S. hit, "Baby Blue," plus the worldwide smash "Day After Day" - featuring George and the group's Pete Ham joining forces on the superb synchronized slide guitar solo. ASS (1974) by Badfinger Joey Molland assumes half the songwriting on this, the group's heaviest and most serious album. Ass is solid gold Badfinger, partly recorded at the then state-of-the-art Apple Studios at 3 Savile Row, London, and contains the group's valedictory "Apple Of My Eye," written by Pete Ham. POST CARD (1969) by Mary Hopkin Mary Hopkin's debut is a treasury of popular song. Produced by Paul McCartney and featuring especially-written numbers from Donovan, Harry Nilsson and, in rare songwriting mode, George Martin; plus classics from the Gershwins and Irving Berlin. Mary's pure, folk-inspired vocals make for a beguiling, dreamy album. Also includes her global smash hit "Those Were The Days." EARTH SONG, OCEAN SONG (1971) by Mary Hopkin Issued in 1971, this is Mary Hopkin's coming-of-age collection, packed with socially-conscious, lyrically-aware anthems from the cream of the era's folk protagonists: Ralph McTell, Gallagher & Lyle, Tom Paxton and Cat Stevens. Mary defines her art on this album, coordinated by legendary producer and Mary's husband-to-be at the time, Tony Visconti. THAT'S THE WAY GOD PLANNED IT (1969) by Billy Preston Billy's Apple debut, on which he expanded his palette of gospel and R&B to embrace rock themes, features guest players Eric Clapton, Ginger Baker and Keith Richards. Produced by George Harrison, after Billy was invited to The Beatles' Get Back sessions, That's The Way... is a cross-over masterwork that includes Billy's breakthrough chart hit, for which this album is named. ENCOURAGING WORDS (1970) by Billy Preston Encouraging Words is steeped in exemplary playing and songwriting... and pure soul. Produced by George Harrison and packed with originals and inspired covers, including "My Sweet Lord" and "All Things (Must) Pass" - donated by George before he released them himself - and the little-heard Harrison-Preston gospel hymn "Sing One For The Lord." This is Billy on the launch pad just before he rocketed to U.S. No. 2 success with "Outta Space" for A&M Records. DORIS TROY (1970) by Doris Troy The self-titled Apple album from the legendary Doris Troy, nicknamed 'Mama Soul' by her British fans, is an exciting union of R&B, gospel and rock. It showcases four little-known songs Doris co-wrote with George Harrison, two of which also credit Stephen Stills and Ringo Starr. Other guests include Billy Preston, Peter Frampton and Eric Clapton. IS THIS WHAT YOU WANT? (1968) by Jackie Lomax Yes! This is a cracking album of powerful late-Sixties rock and blue-eyed soul by Liverpool vocalist Jackie Lomax. Among the many highlights is George Harrison's White Album-era song "Sour Milk Sea," given to Jackie and featuring guest players including George, Paul McCartney, Ringo Starr, Keith Richards and Eric Clapton. UNDER THE JASMIN TREE (1968) & SPACE (1969) by the Modern Jazz Quartet (a 2-on-1 CD) Two albums of high-class improvisational bebop recorded by Atlantic Records legends the MJQ while on secondment to Apple. With their unique line-up of piano, vibes, bass and drums, the Quartet brought old-style tuxedo excellence and cool organic jazz to the Apple catalogue. THE WHALE (1970) & CELTIC REQUIEM (1971) by John Tavener (a 2-on-1 CD) Sir John Tavener was knighted by The Queen in 2000 for his services to music, and he remains one of Britain's most popular classical composers. Apple's recordings of 'The Whale,' his avant-garde oratorio, and 'Celtic Requiem,' written for soprano, orchestra and children's choir, were his first ever full-length releases. He was championed by John & Yoko, and befriended by Ringo Starr. www.applerecords.com
Voldar: Вот такая копилочка свалится на концерте на голову и кранты.
Goldenday: Неплохо было бы нашпинять этот дирижабль цианидом и направить куда надо
Voldar: Участники Pink Floyd выступили вместе впервые за пять лет Роджер Уотерс и Дэвид Гилмор впервые за пять лет дали совместный концерт, сообщает интернет-издание Undercover. Выступление состоялось в рамках организованной фондом HOPING (Hope and Optimism for Palestinians in the Next Generation) благотворительной акции 10 июля недалеко от Оксфорда. Уотерс и Гилмор сыграли несколько песен из каталога Pink Floyd, в том числе "Wish You Were Here", "Comfortably Numb" и "Another Brick In The Wall Part 2". Общие сборы от концерта составили 350 тысяч фунтов стерлингов. Напомним, что Роджер Уотерс, один из основателей Pink Floyd, покинул коллектив в 1985 году. Под управлением Дэвида Гилмора группа продолжала записывать альбомы и концертировать до середины 90-х, после чего официально распалась. В июле 2005 года Гилмор и Уотерс выступили вместе а рамках благотворительного мероприятия Live 8. Тогда к ним присоединились еще два участника Pink Floyd - клавишник Ричард Райт (скончавшийся в 2008 году) и ударник Ник Мейсон. Однако позже Уотерс заявлял, что Гилмор не заинтересован в дальнейшей совместной работе. http://www.lenta.ru/news/2010/07/12/floyd/
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