Отправлено: 11.09.07 09:44. Заголовок: Интересные статьи, книги, журналы и новости о музыке

Добавляйте сюда интересные статьи и заметки о музыке.

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All Access

Интересно, у нас такой журнал купить можно?

 Отправлено: 27.05.16 09:53. Заголовок: Вот именно поэтому я..

Дубль...

 Отправлено: 11.09.07 12:54. Заголовок: Re:

Хороший красивый журнал, только вот сохранить, гад, не даёт, всё флеш-анимашки, блин :(...

 Отправлено: 11.09.07 13:02. Заголовок: Re:

Я тоже не разобралась. Вот текст интервью из этого журнала:
Yamaha "All Access" - Summer 2007, Number 14

Скрытый текст

The Genius of JEFF LYNNE Pg. 19 40 Years of Strange Magic Had Jeff Lynne been merely a great bandleader, singer/songwriter, multi-instrumentalist, or producer, his place in the pop pantheon would be secure. But Lynne has excelled in all those areas, crafting four decades of great rock music distinguished by irrepressible hooks, manic energy, and glorious production. Lynne grew up in Birmingham, England, where he made a splash as guitarist/vocalist and producer/songwriter for the Idle Race in the late '60s. In 1970, he joined the great British cult band Move (sic), where he co-produced, wrote songs, sang, played guitar and keyboards. The same year, he co-founded the Electric Light Orchestra with move bandleader Roy Wood. When Wood left to form a new group, Lynne assumed control of E.L.O., writing, producing, and singing hit after hit throughout the decide. Even today, it's hard not to be bowled over by the impact and innovation of "Evil Woman," "Mr. Blue Sky" or "Strange Magic," a song whose title perfectly summarizes the Lynne mystique. As E.L.O. wound down in the '80s, Lynne was contacted by George Harrison to work with him on his album Cloud Nine. "We became great friends, and I had the greatest of times doing that album", says Lynne. "It was while we were making the album that George suggested we should form a group. And to this day, George and me are the founding members of the Traveling Wilburys. A group I'm very proud to be in." In 1990, Lynne unveiled his only solo album, Armchair Theatre, which was critically acclaimed. A few years later he worked with the three surviving Beatles on their Anthology compilations, transforming raw John Lennon demos into completed Beatles tracks. Pg. 20 ALL ACCESS: You've always seemed to strive for the grandest possible sounds, even on your earliest records. What drew you to orchestras, choirs, and massive overdubs? JEFF LYNNE: I used to think that more is more. I just loved to overdub. I thought that I could deliver the song better with a whole racket going on. AA: Why? JL: It's just the way I evolved as a songwriter, I suppose. I started out playing live every night in the Idle Race, and I loved that -- a four-piece rock band with two guitars, bass, and drugs. We were really tight. When we started recording, I always wanted to add a few more instruments to my songs. Playing with that small line-up (even though we sounded good), made me want to get a bigger sound. AA: The Idle Race records almost sound like a blueprint for something you hoped to create someday. JL: That's absolutely right. Frankly, I didn't have the experience yet. I didn't quite know how to do what I wanted to do. When I did the second Idle Race album with Liberty Records, they said, "You need a producer," and I said, "No, I'm the producer." The believed me for some reason, even though I was only about 21 and had never produced anything. AA: How did you pull it off? JL: I'd purchased the B & O tape recorded that lets you bounce tracks from let to right and right to left adding a new instrument as you go. So I learned in the front room of my parents' house in Birmingham by making demos of my songs for the first Idle Race album just bouncing tracks back and forth and waiting for the buses outside to go past so the rumble wouldn't get on the tape. Once you bounced the parts down, that was it -- the only way to change the mix was to start from scratch. That's how I learned how parts work together. But even though I didn't understand about compression I was getting it anyway by overloading the tape. I knew how to create the harmonies I wanted by practicing on the B & O recorder. AA: How do you view the relationship between production and songwriting? JL: Writing and producing for me are kind of the same process. When I write a song, I'm already thinking about what sounds should be on it. Whether it should be a piano, an orchestra, whatever. Other ideas come as I'm laying down the tracks. I'll think, "Wow, a tuba would sound great here, or a xylophone." AA: Some of the production techniques you used with E.L.O. were unbelievably difficult with analog tape and no mixer automation. Now they're relatively easy, thanks to digital. JL: Yes, and it isn't entirely a good thing. You can do things with digital that you couldn't have done in a million years with analog. The problem is, digital doesn't yet sound as good, though it will one day. But I'm not complaining. The facilities of a digital recording system are amazing, and I could never go back to tape. Like everyone else, I've gotten used to CD sound, and even to mp3 sound. Besides, sometimes you don't care too much about the sound quality -- if you love the tune. AA: Which instruments do you tend to write on? JL: I tend to use piano for writing ballad-type songs with big fat chords, like "Telephone Line" and "I Can't Get It Out Of My Head" Pg. 21 ___________________________________ Writing and producing to me are kind of the same process. When I write a song, I'm already thinking about what sounds should be on it. ___________________________________ Pg. 23 Head." I've got a nice nine-foot Yamaha concert grand that I've written many, many songs on. It's mellowed quite nicely over the years. I also like to write on guitar, usually for more for up-tempo songs like "Rockaria," "Showdown," and "Ma-Ma-Ma Belle." Sometimes I write on a Yamaha keyboard. I wrote a lot of E.L.O.'s Discovery album on a CS80, which was one of those magic Yamaha keyboards. The only problem was that it weighed something like 500 pounds! It had some great sounds, absolutely fantastic for its time. Another Yamaha keyboard that played a role along the way was the DX7. It was the first one small enough to take on your holidays with you. AA: You've worked with a number of your idols. Was it difficult to step into the producer's role? JL: Well, you've got to take charge and get it sounding how you want, or there's no point in your being there. Sometimes you do have to say, "I don't think that quite works," or "You'd better do that bit again." But it really is a thrill getting to work with your heroes. The record I did with Roy Orbison, "You Got It," is one of my favorites. I was so thrilled that I got to write it with him, record it, sing background vocals, mix it, and have it be a great big hit. It couldn't have been any better. Roy's voice was still great -- a beautiful, soft, velvety sound that could suddenly soar like a bird. It was the same kind of thrill working with Del Shannon and Brian Wilson, people with outstanding voices. Tom Petty's Full Moon Fever is another one of my favorites that I co-wrote and produced. Working with the Beatles on Anthology was the most amazing experience ever, a lot harder, because there were three of them and only one of me. [Laughs.] AA: What was your role on Anthology? JL: To make records out of those two cassette tapes of John's, "Free As A Bird" and "Real Love", was the hardest job I've ever done, and one of the most fun. It had probably been more than 20 years since Paul, George, and Ringo were in the studio together. I sat there listening to their brilliant banter for hours. It was really funny. And then we had to get to work, and that was a little harder. AA: How come? JL: I was given a mono cassette with John singing "Free As A Bird" with a piano. There was tons of hiss, and the piano was loud. This was 1995 and we weren't using a computer yet. It was impossible to play along to the cassette because it was a wild performance, so we wound up recording the track based on the average tempo, and then I flew John's voice and piano into it. After that, we added George and Paul singing harmonies. Doing Anthology led to me producing eight songs on Paul McCartney's album Flaming Pie. AA: It wasn't the first time your career shadowed that of the Beatles. JL: It's hardly a shadow -- it's more like a splat! [Laughs.] I love the Beatles dearly, totally, and absolutely. When I was doing my first album with the Idle Race, the engineer phoned and said, "Do you want to go down to Abbey Road? (actually I think it was called EMI in those days) The Beatles are in recording." I said, "Wha?!!!" We shot down there, got past the bloke at the door, and there they were, recording two different sessions for the White Album. I met John and George in the Studio Two control room. Through the window, you could see George martin hurling himself around as he conducted the string track to "Glass Onion." I said to myself, "Listen to that snare drum sound!" It was all beyond my wildest dreams. Then we walked down the corridor, and there was Paul playing bass on "Why Don't We Do It In The Road?" Ringo was giving him a note on the piano. It was shocking to see the Beatles in the actual recording studio. It was like catching an unbelievable event in nature. I couldn't believe my luck. AA: So do you still feel a desire to make everything sound massive these days? JL: I think I got over it. I used to have to make everything enormous to make it feel like a proper record. i always used to imagine that all the records I loved were enormous as well. It was only years later that i could listen to the old singles I loved and realize that there was almost nothing on them! The huge sound I imagined didn't exist. I've learned so much since then. Thank goodness. There are still millions of songs waiting to be done. It's just a matter of writing them. [END OF INTERVIEW] Nearly 20 years after the creation of the band, and over a decade since the music was last available to fans, the music of The Traveling Wilburys was reissued on June 12, 2007. the previously released albums Traveling Wilburys Volume 1 and Traveling Wilburys Volume 3 feature inarguably some of music's greatest singer-songwriters -- George Harrison, Jeff Lynne, Roy Orbison, Tom Petty and Bob Dylan -- as the iconic band The Traveling Wilburys. Both CDs are combined on this 2-CD/1-DVD release and feature bonus tracks of rare and newly mixed, unreleased music. The all-region DVD contains historic footage documenting the first chord to the final mix, and their five video clips. Digipack also includes a 16-page booklet.

 Отправлено: 11.09.07 16:45. Заголовок: Re:

Обалденные фотки! По-моему, Джефф в отличной форме! Красивый журнал! Интересно, как его купить?

 Отправлено: 12.09.07 09:23. Заголовок: Re:

Стройный, как кипарис))) Дай бог каждому в 60 то лет...

 Отправлено: 12.09.07 13:10. Заголовок: Re:

Что-то стройный чересчур какой-то! Поди, диета какая заморская. Или фотошопом растянули так!

 Отправлено: 12.09.07 21:49. Заголовок: Re:

А ведь и правда! Друзья! Около 40 лет назад начала появляться Волшебная Магия творчества Джеффа Линна!!!

 Отправлено: 12.09.07 09:25. Заголовок: Re:

Поёт и сочиняет только, кипарис, мало!

 Отправлено: 12.09.07 09:49. Заголовок: Re:

Может и немало, только делиться не хочет! :)

 Отправлено: 12.09.07 13:25. Заголовок: Re:

Всем! Всем! Я всё-таки выдрал фото со страниц, всё равно лучше, чем снимать с монитора, если надо, куда лучше выложить? Разрешение неплохое, общий вес картинок 3 Мб.

 Отправлено: 12.09.07 14:11. Заголовок: Re:

Сергей, может, в ifolder зальешь?

 Отправлено: 12.09.07 14:16. Заголовок: Re:

А поделись умением... на будущее :)

 Отправлено: 12.09.07 14:29. Заголовок: Re:

Хорошо, попробую на ifolder... А выдрать очень просто: интернет эксплорер откладывает всё, что он показывает, в особые скрытые папки, я просто через Total Commander, в котором была включена опция показывать системные и скрытые файлы, полез по адресу: Documents And Settings/$User$/Local Settings/Temporary Internet Files/Content.IE5/, там куча папок с букво-цифровыми названиями, вот среди этого хлама (в них сотни файлов) находим нужные нам изображения. Вот и вся премудрость.
P.S. $User$ - это имя пользователя, у кого какое :)...

 Отправлено: 12.09.07 15:09. Заголовок: Re:

Про кэш-то я не подумала :))) Залезла в кэш своей Оперы, выбрала - эскизы страниц - и вот они все фотки на блюдечке!

 Отправлено: 12.09.07 17:01. Заголовок: Re:

Блин, пол вечера воюю с ifolder'ом. Задолбал он меня: заливаю файл, он его до 99% заливает, потом показывает: ошибка сервера. Что за файлообменники, уже нервов не хватает!
P.S. Залил, наконец... Кому надо, качайте: http://ifolder.ru/3324364
Я в Фотошопе склеил половинки страниц, файлы в повышенном разрешении (там в журнале можно менять было).

 Отправлено: 13.09.07 16:07. Заголовок: Re:

Спасибо, Сергей! Разница в качестве фоток, как, скажем, между экранной копией фильма и DVD. :))

 Отправлено: 13.09.07 17:27. Заголовок: Re:

Уж чем можем :) ...

 Отправлено: 13.09.07 19:31. Заголовок: Re:

Супер, Серега, спасибо тебе))

 Отправлено: 16.09.07 21:52. Заголовок: Re:

Попробовал сегодня поспрашивать на Горбушке про этот журнал, получил отрицательный результат, а надежда была :((

 Отправлено: 17.09.07 12:01. Заголовок: Re:

Я тоже обошла местные Союзы и Супердиски... Нигде нет. Модет москвичам заглянуть в фирменный магазин Ямахи? Или в магазин музыкальных инструментов?

 Отправлено: 17.09.07 12:04. Заголовок: Re:

Надо попробовать...

 Отправлено: 17.09.07 12:09. Заголовок: Re:

Мне экземпляр не забудье купить! А то вечно все про меня забывают в вопросах покупки редкостей или получения автографов :)

 Отправлено: 22.12.06 12:36. Заголовок: Интересные статьи, журналы и книги о музыке

Добавляйте сюда интересные статьи и заметки о музыке.

Начну. Сканы статьи здесь: здесь

Марина, флаг в руки. Жду перевод :)

 Отправлено: 22.12.06 16:31. Заголовок: Re:

кроме журнала Q еще и EQ?

 Отправлено: 22.12.06 17:58. Заголовок: Re:

Чтобы знать IQ.

 Отправлено: 22.12.06 20:51. Заголовок: Re:

Ох, еще и из RS (сами догадайтесь что за журнал) тебя статья ждет. :) и из журнала Face The Music 25 выпуск.
Дим, а я еще нашла у себя ноты ко всему OOTB. :) Скан надо?

 Отправлено: 22.12.06 20:55. Заголовок: Re:

Ой, у меня же еще столько статей на ангельском... Мариш, готовься морально.

 Отправлено: 22.12.06 21:31. Заголовок: Re:

ДА!!! (только не всё, нужно: 1.Jungle 2.Believe Me Now 3.Steppin' Out 4.Standin' In The Rain 5.Big Wheels 6.Summer And Lightning

 Отправлено: 25.12.06 13:06. Заголовок: Статья Миши Кузищева из MusicBox

Кому интересно, может с ней ознакомиться здесь:
http://rockarchives.ru/articles/elo.html

 Отправлено: 25.12.06 14:36. Заголовок: Re:

Жалко в электронном виде нет фотографий с этой статьи - много и все добротные.
Когда я впервые взял в руки журнал (точнее, три его номера с этим материалом), он еще только-только появился в продаже - не думал, что мне предстоит вживую познакомиться с людьми, создавшими эту статью.

 Отправлено: 25.12.06 20:40. Заголовок: Re:

Готовлюсь...)) Да ты выкладывай все, а у меня как появляется время - буду постепенно переводить.

 Отправлено: 26.12.06 03:42. Заголовок: Re:

По поводу замечательного Михаила Кузищева;его можно слушать каждую пятницу на радиостанции "Эхо Москвы" после 12 ночи.Ребята,подгребайте к радиоэфиру!!!

 Отправлено: 26.12.06 10:50. Заголовок: Re:

Если б у меня еще дома радио было...

 Отправлено: 26.12.06 13:28. Заголовок: Re:

Он сам говорит, что не каждую :)

 Отправлено: 28.01.08 01:44. Заголовок: История Джеффа Линна..

История Джеффа Линна,
1 октября 2006

послушать запись на сайте Радио России

Здравствуйте! Сквайр Трелони, доктор Ливси и прочие джентльмены неоднократно просили меня, чтобы я подробно от начала до конца описал всю историю Джеффа Линна и Оркестра Электрического Света, ничего не утаивая, кроме его местоположения, да и то только потому, что сам Джефф еще жив и находится в прекрасной форме, но свирепеет, когда его тревожат по пустякам. Уступая их просьбам, я вновь сажусь за клавиатуру своего верного Powerbook'а G4 и мысленно переношусь в тот далекий 66-й год. ......
http://www.aquarium.ru/misc/aerostat/aerostat72.html

 Отправлено: 28.01.08 12:19. Заголовок: Прекрасная статья. О..

Прекрасная статья. Особенно концовка.

 Отправлено: 28.01.08 14:30. Заголовок: Точно! Отличная стат..

Точно! Отличная статья.

 Отправлено: 18.02.08 16:04. Заголовок: Страница из cедьмого..

Страница из cедьмого (63-го) февральского номера Classic Rock. Называется "50 лучших переизданий 2007 года". Есть на что посмотреть, особенно в центре.

 Отправлено: 18.02.08 16:29. Заголовок: Надо полистать журна..

Надо полистать журнальчик во "Всесоюзном" . Там гляжу - и о "Wishbone Ash" что -то есть.

 Отправлено: 18.02.08 17:23. Заголовок: Спасибо, Дим)))..

Спасибо, Дим)))

 Отправлено: 18.02.08 21:03. Заголовок: великолепная статья,..

великолепная статья, восхитительная! Цитата в конце - просто чудесна.
единственно - "до банальности простые мелодии" - уверена, что 'оценочного' БГ ничего в виду не имел, но разве это так?

 Отправлено: 19.02.08 11:51. Заголовок: "Мерило всего

"Мерило всего". Звучит загадочно

 Отправлено: 19.02.08 12:10. Заголовок: Главное- очень прави..

Главное- очень правильно!

 Отправлено: 23.02.08 20:20. Заголовок: О да! Тут и про Вилб..

О да! Тут и про Вилбурис и про Флойдов упомянули - интересно, вот бы весь почитать. Только у нас его поискать конечно придётся

 Отправлено: 06.04.08 09:17. Заголовок: http://skawave.ru/ar..

http://skawave.ru/article_info.php?tPath=1&articles_id=350 - очередная статья, пестрящая ошибками, да еще с душераздирающей концовкой: "...Ситуация мало изменилась, даже когда к ELO Part II присоединился прославленный фронтмен Джефф Линн. Записанный вместе с ним альбом 2001 года "Zoom...." Эта Виктория Прокопович сама не понимает, что пишет. Хоть бы диск в руках подержала
И вот страницу с этой полуправдой посетило более 5 миллионов человек.

 Отправлено: 06.04.08 13:42. Заголовок: Dmitry пишет: ..

Dmitry пишет:

цитата:

"...когда к ELO Part II присоединился прославленный фронтмен Джефф Линн. Записанный вместе с ним альбом 2001 года "Zoom...."

Бред какой то, откуда они информацию берут.

 Отправлено: 06.04.08 14:30. Заголовок: Один тормоз написал,..

Один тормоз написал, а остальные списывают. Сначала с него, потом друг с друга. А проверить достоверность или желания, или ума не хватает.

 Отправлено: 06.04.08 20:45. Заголовок: Вот хорошая статья, ..

Вот хорошая статья, правда она не моя, я ее позаимствовал для своего сайта, но честно указал первоисточник
http://www.igorek44.narod.ru/page1.htm#перейти1

 Отправлено: 06.04.08 21:59. Заголовок: Игорь, я читал ее ра..

Игорь, я читал ее раньше, наверное, как и многие здесь, но ты придал этой статье свежее дыхание: такая мажорная цветовая подкладка! Прямо глаз радует!

 Отправлено: 14.04.08 16:11. Заголовок: Неплохая статья о хи..

Неплохая статья о хиппи:

 Отправлено: 14.04.08 16:19. Заголовок: Дим,Это какого года ..

Дим,Это какого года выпуск Ровесника?

 Отправлено: 14.04.08 17:00. Заголовок: №9 за 2007 год. ..

№9 за 2007 год. Практически - Казантип

 Отправлено: 14.04.08 19:25. Заголовок: Дим,это инструкция к..

Дим,это инструкция к предстоящей встрече?

 Отправлено: 14.04.08 21:34. Заголовок: Ну если Валера со св..

Ну если Валера со своими ребятами подъедут, то вроде того :)

 Отправлено: 18.04.08 18:49. Заголовок: JEFF LYNNE - Q AWARD..

JEFF LYNNE - Q AWARDS !!! http://ru.youtube.com/watch?v=RlFzAT24MOc

Наш Джефф,ещё и мистер Q.Вручение 30th October 2006, награды "Q Icon Award" от журнала Q

 Отправлено: 21.04.08 23:31. Заголовок: Интервью с Дэйв Эдму..

Интервью с Дэйв Эдмундсом. Забавные вещи чувак вспоминает

 Отправлено: 21.04.08 23:45. Заголовок: Хендрикс-джентльмен,..

Хендрикс-джентльмен,Ринго-большой шутник,а Бонзо-хулиган.

 Отправлено: 22.04.08 08:22. Заголовок: Мне больше всего пон..

Мне больше всего понравилось про Муна и Уилсона.

 Отправлено: 23.04.08 10:37. Заголовок: Новое интервью Линна..

Новое интервью Линна в мартовско-апрельском номере Mean Magazine. Специально для этого издания.
Сайт самого журнала - http://meanmag.net/blog/?page_id=94
А вот здесь скан самой статьи.

 Отправлено: 23.04.08 11:44. Заголовок: Очень оригинальное ф..

Очень оригинальное фото в этой статье.

 Отправлено: 23.04.08 11:52. Заголовок: Ага - похоже на "..

Ага - похоже на "Метро Голден Майер представляет..."

 Отправлено: 23.04.08 12:01. Заголовок: Ага, только Джефф..

Действительно, только Джефф вместо льва.
И лучше смотрится. :))

 Отправлено: 23.04.08 12:59. Заголовок: И не рычит :)..

И не рычит :)

 Отправлено: 23.04.08 19:19. Заголовок: Наташа, спасибо за с..

Наташа, спасибо за статью.

 Отправлено: 23.04.08 20:03. Заголовок: Спасибо,Наташа.В кон..

Спасибо,Наташа.В конце ,если я правильно понял,его спросили:Есть слух,что вы надеваете свои солнцезащитные очки к обеду.На что он рассмеялся и сказал,что обычно он их надевает когда ложиться спать.

 Отправлено: 23.04.08 20:09. Заголовок: А с утра, видимо, пр..

А с утра, видимо, просто забывает снять... Какие то глупости вечно спрашивают...

 Отправлено: 23.04.08 20:12. Заголовок: А серьёзно - почему..

А серьёзно - почему Джефф никогда не снимает затемнённые очки ?

 Отправлено: 23.04.08 20:20. Заголовок: Мы поднимали как то ..

Мы поднимали как то эту тему, Марин - кто то гоорил, про имидж, кто то вообще договорился до глазной грыжи... Думаю, кроме него самого этого никто не знает)))

 Отправлено: 23.04.08 20:32. Заголовок: Олесь,перед этим по ..

Олесь,перед этим по моему его спросили насчет наркотиков и его творчества.

 Отправлено: 23.04.08 21:04. Заголовок: Наташа переводила об..

Наташа переводила об очках (Олеся помнит) Мать Джеффа как-то сказала ему, что он неважно выглядит на концертах (это было в середине-конце 70-х), он одел темные очки и спросил у неё "так лучше?"она сказала, что да. Он стал носить их.

 Отправлено: 23.04.08 21:23. Заголовок: Интересная версия пр..

Интересная версия про маму.В этой же статье про папу,как тот на трубе дудел и Джеффу так понравилось,что он стал использовать элементы симфонической музыки.Очень послушный сын оказывается.

 Отправлено: 23.04.08 21:28. Заголовок: А о чём статья? Я в ..

А о чём статья? Я в английском не силён! У Джеффа есть прогнозы на будущее? В смысле на скорое будущее?

 Отправлено: 23.04.08 22:48. Заголовок: Там единственный воп..

Там единственный вопрос про настоящее:Работаете ли вы в домашней студии?Да, я достал все проффесиональные штучки.Все полученные материалы перегоняются на аналоговый диск-старый,толстый,английский аналоговый диск.

 Отправлено: 24.04.08 06:18. Заголовок: Не совсем. Он сказал..

Не совсем. Он сказал - не только к обеденному столу, но и в кровати. Кстати, по его словам большое влияние на развитие его склонностей к звуковым экспериментам оказало слушание эха в канализационном колодце :))

 Отправлено: 24.04.08 10:48. Заголовок: Олеся пишет: А с ут..

Олеся пишет:

цитата:

А с утра, видимо, просто забывает снять

10 баллов!

 Отправлено: 24.04.08 11:03. Заголовок: Voldar пишет: Очень..

Voldar пишет:

цитата:

Очень послушный сын оказывается.

Между прочим, да. Вернее даже не послушный, а по-настоящему любящий и ценящий своих родителей. Редкость в наши дни.
А насчет версии про маму. Это было в интервью журналу Q:

последний абзац.

 Отправлено: 24.04.08 11:09. Заголовок: Вообще это счастье ..

Вообще это счастье - когда сын поистине ценит своих родителей.... Хотела бы я, чтобы мой вырос таким))) И ведь вырастет....

 Отправлено: 24.04.08 14:52. Заголовок: Полный английский те..

Полный английский текст этой статьи

The year: 2025. approximately 55 light-years away from the planet they call Earth In a spaceship powered by sun-light and space-marijuana, volunteer teenagers are inter-rupted from their make-out sessions by their captain. ELO legend Jeff Lynne. "We need more bleedin' star power'" he bellows, stopping the ship in its tracks, and resets its navigation system for foreign coordinates. "Where ate you taking us'" the crew sings in unison Distant chimes. flexatones and ambient string swells seep into the room as if coming from the skipper's very mind itself.

Captain Lynne. a magnificent silhouette of a British gentleman with exceptionally curly locks, slowly turns to his rapt audience. One hand on the Record button, an acoustic guitar m the other, he croons: "All hands on deck' Zip up your trousers and prepare for hyperspeed I" Backing vocals crescendo in and out of phase with a brilliant flash of light, and then—ZOOM! in a split second, the good ship Electric Light Orchestra thrusts forward with such unantici-pated magnitude that its entire crew is sent hurtling into the future. The go-go dancers and stony beardoes become mothers and fathers, but worst of all . the space-drugs fly off the table and into the electric-yellow shag carpeting Millennia earlier, or possibly later, I was listening to "Mission <A World Record)" from ElO's 1976 release A New World Record when I noticed a peculiar fleck of glitter through my telescope, it turned out to be the following Q&A. which I don't totally recall actually hap-pening [Ed. note: Oh. it happened].

JEFF LYNNE: You sound like you're in a giant echo chamber I'm in a large concrete box. I've been listening to The Idle Race's catalogue. I was excited to learn that not only did you contribute most of the songs, but you also got your first production credit on the second record. From so early in your career, what drove you to the other side of the glass? When I first started to listen to music, when I was 13 or something. I was listening to Del Shannon and stuff like that. You've got to know that in those days, you'd only see rock n' roll on the telly once a week. I used to wonder. How the hell did they get it all together? Who made the sounds, and why did it sound like it did? I got a little tape recorder m my parents' rooms in Birmingham and started teaching myself as I went along. All I ever wanted to do was make records, basically. I was never totally fond of playing live—I wanted to get in the studio all the time, because of the fun I had in there. Making weird noises, using strange rooms, hearing what kinds of sounds you could get off the same instrument by mixing it 10 differ-ent ways. I might put a mic up me pant leg it's just the most creative place. I'm the happiest I can be when I'm in the studio in the middle of a project
You've said that your father helped turn you on to the grandeur of classical music. He loved it. so I had to listen to it 'cause it was always on—on his record player, and on the radio. There was only one radio in the house. But the reason he was good at music was he had a built-in musical instinct. He took me for a walk one day and said. "Look at that pipe over there." It was a great big sewer pipe, just waiting to be put in the ground. A big long metal pipe. Probably about three foot diameter. He said. "Listen to this" And he went. "Baa ba baa baa ,.* and of course, it made a big. long chord—it was fantastic. So I tried it. and went.
"WHAM Г He showed me how to do a major, a minor, the different types of chords. I didn't know what they were, either. Wow. it was the most drastic, quick explana-tion of what harmony was. its so simple, it's a standard pipe. Here was giant reverb, in the street Besides the sewer pipe, what was your first instru-ment? Me father bought me a guitar for two pounds.
Out of the Blue has often been regarded as the seminal Electric Light Orchestra record, including the hit songs "Turn to Stone" and "Mr. Blue Sky." The record was also unique in that it was accompanied by the infamous tour where the band played inside a giant facsimile of the ELOspaceship. There must have been a wide array of obstacles, traveling from town to town with a large flying saucer. Yeah. It was so hard to set the thing up. We did that show every other day, because the truck—I think it was like 11 trucks or something, semis—could only get to another gig m. like, two days it was much more difficult to play in the flying saucer, but obviously, visually spectacular.
The late '70s saw ELO take a well-received turn when releasing an unabashed disco record. Discovery... I can tell you it was called Disco? Very! I love the force of disco. I love the freedom it gave me to make different rhythms aero ss it. I enjoyed that really steady driving beat. Just steady as a rock. I've always liked that simplicity in the bass drum.
Despite the polished, danceable glamour, it featured one of ELO's more roots-rock tunes, "Don't Bring Me Down," which almost feels like the antithesis of disco. "Don't Bring me Down" is a loop of a drum track. It's just two bars from another song; the loop would have been. I don't know, seven, eight feet long. So we were all in the studio with analogue tape wrapped around mk stands and pencils until you could finish looping, record it onto the multi-track, for like four minutes. It was like a drum machine before its time, basically.

Do you work from a home studio?
Yeah. I've got the whole Pro Tools thing. Everything gets routed to analogue disc—old. fat. English analogue disc That's really where we make the basic tonal adjustments.

How do you feel about the contemporary models of pop mixing, including songs being locked to a vir-tual grid, digital time-stretching and auto-tuning?
It's kind of marvelous, really. It defies all the laws of phys-ics l was ever told about recording. It's amazing: all these algorithms that have been invented to change the way sound works. I think the technology is wonderful, and I'm not averse to pitching the odd note here and there, if the take is great There's only one note that's a bit off? Shimmy it up a little bit. 'Cause the performance is more important. I think, than the pitch. But luckily I've always been able to sing a tune pretty well.

How have drugs affected your music-making over the years?
I couldn't get high until the early '80s. Speaking of the early '80s, one of my favorite ELO records is Time. It seems to tonally and lyrically personify the themes of science fiction that had lingered in and out of earlier recordings. I've always been kind of into sci-fi. Not like monsters and all that, but time travel, technology, it's a reflec-tion of that interest I love science. I'm just a layman. Don't know much. But what I do learn. I really enjoy.

Finally, it has been rumored that you wear your iconic sunglasses to dinner...
Not only do I wear me sunglasses to the dinner table. I wear them to bed as well [Laughs)

 Отправлено: 24.04.08 17:02. Заголовок: Игорь, может еще и п..

Игорь, может еще и перевод подкинешь? Хоть немного по наиболее сложным оборотам...

 Отправлено: 24.04.08 17:11. Заголовок: Ребята,а здесь http:..

Ребята,а здесь http://www.ftmusic.com/mailing_list/index.html у нас кто нибудь есть?

 Отправлено: 24.04.08 17:16. Заголовок: Не понял, кого ты им..

Не понял, кого ты имел в виду?

 Отправлено: 24.04.08 17:27. Заголовок: Кто нибудь у нас хот..

Кто нибудь у нас хотя бы дайджест оттуда получает?

 Отправлено: 24.04.08 21:03. Заголовок: Re:

Друзья, у кого-нибудь остался текст статьи в All access. А то у меня статья сохранилась, а текст не читается. Или подскажите, где на форуме найти. Буду очень благодарен :)

 Отправлено: 24.04.08 21:38. Заголовок: The Genius of JEFF L..

The Genius of JEFF LYNNE

Pg. 19

40 Years of Strange Magic

Had Jeff Lynne been merely a great bandleader, singer/songwriter, multi-instrumentalist, or producer, his place in the pop pantheon would be secure. But Lynne has excelled in all those areas, crafting four decades of great rock music distinguished by irrepressible hooks, manic energy, and glorious production.

Lynne grew up in Birmingham, England, where he made a splash as guitarist/vocalist and producer/songwriter for the Idle Race in the late '60s. In 1970, he joined the great British cult band Move (sic), where he co-produced, wrote songs, sang, played guitar and keyboards. The same year, he co-founded the Electric Light Orchestra with move bandleader Roy Wood. When Wood left to form a new group, Lynne assumed control of E.L.O., writing, producing, and singing hit after hit throughout the decide. Even today, it's hard not to be bowled over by the impact and innovation of "Evil Woman," "Mr. Blue Sky" or
"Strange Magic," a song whose title perfectly summarizes the Lynne mystique.

As E.L.O. wound down in the '80s, Lynne was contacted by George Harrison to work with him on his album Cloud Nine. "We became great friends, and I had the greatest of times doing that album", says Lynne. "It was while we were making the album that George suggested we should form a group. And to this day, George and me are the founding members of the Traveling Wilburys. A group I'm very proud to be in."

In 1990, Lynne unveiled his only solo album, Armchair Theatre, which was critically acclaimed. A few years later he worked with the three surviving Beatles on their Anthology compilations, transforming raw John Lennon demos into completed Beatles tracks.

Pg. 20

ALL ACCESS: You've always seemed to strive for the grandest possible sounds, even on your earliest records. What drew you to orchestras, choirs, and massive overdubs?

JEFF LYNNE: I used to think that more is more. I just loved to overdub. I thought that I could deliver the song better with a whole racket going on.

AA: Why?

JL: It's just the way I evolved as a songwriter, I suppose. I started out playing live every night in the Idle Race, and I loved that -- a four-piece rock band with two guitars, bass, and drugs. We were really tight. When we started recording, I always wanted to add a few
more instruments to my songs. Playing with that small line-up (even though we sounded good), made me want to get a bigger sound.

AA: The Idle Race records almost sound like a blueprint for something you hoped to create someday.

JL: That's absolutely right. Frankly, I didn't have the experience yet. I didn't quite know how to do what I wanted to do. When I did the second Idle Race album with Liberty Records, they said, "You need a producer," and I said, "No, I'm the producer." The believed me for some reason, even though I was only about 21 and had never produced anything.

AA: How did you pull it off?

JL: I'd purchased the B & O tape recorded that lets you bounce tracks from let to right and right to left adding a new instrument as you go. So I learned in the front room of my parents' house in Birmingham by making demos of my songs for the first Idle Race album just bouncing tracks back and forth and waiting for the buses outside to go past so the rumble wouldn't get on the tape. Once you bounced the parts down, that was it -- the only way to change the mix was to start from scratch. That's how I learned how parts work together. But even though I didn't understand about compression I was getting it anyway by overloading the tape. I knew how to create the harmonies I wanted by practicing on the B & O recorder.

AA: How do you view the relationship between production and songwriting?

JL: Writing and producing for me are kind of the same process. When I write a song, I'm already thinking about what sounds should be on it. Whether it should be a piano, an orchestra, whatever. Other ideas come as I'm laying down the tracks. I'll think, "Wow, a tuba would sound great here, or a xylophone."

AA: Some of the production techniques you used with E.L.O. were unbelievably difficult with analog tape and no mixer automation. Now they're relatively easy, thanks to digital.

JL: Yes, and it isn't entirely a good thing. You can do things with digital that you couldn't have done in a million years with analog. The problem is, digital doesn't yet sound as good, though it will one day. But I'm not complaining. The facilities of a digital recording
system are amazing, and I could never go back to tape. Like everyone else, I've gotten used to CD sound, and even to mp3 sound. Besides, sometimes you don't care too much about the sound quality -- if you love the tune.

AA: Which instruments do you tend to write on?

JL: I tend to use piano for writing ballad-type songs with big fat chords, like "Telephone Line" and "I Can't Get It Out Of My Head"

Pg. 21

___________________________________

Writing and producing to me are kind of the same process. When I write a song, I'm already thinking about what sounds should be on it.
___________________________________

Pg. 23

Head." I've got a nice nine-foot Yamaha concert grand that I've written many, many songs on. It's mellowed quite nicely over the years. I also like to write on guitar, usually for more for up-tempo songs like "Rockaria," "Showdown," and "Ma-Ma-Ma Belle." Sometimes I write on a Yamaha keyboard. I wrote a lot of E.L.O.'s Discovery album on a CS80, which was one of those magic Yamaha keyboards. The only problem was that it weighed something like 500 pounds! It had some great sounds, absolutely fantastic for its time. Another Yamaha keyboard that played a role along the way was the DX7. It was the first one small enough to take on your holidays with you.

AA: You've worked with a number of your idols. Was it difficult to step into the producer's role?

JL: Well, you've got to take charge and get it sounding how you want, or there's no point in your being there. Sometimes you do have to say, "I don't think that quite works," or "You'd better do that bit again." But it really is a thrill getting to work with your heroes.
The record I did with Roy Orbison, "You Got It," is one of my favorites. I was so thrilled that I got to write it with him, record it, sing background vocals, mix it, and have it be a great big hit. It couldn't have been any better. Roy's voice was still great -- a beautiful, soft, velvety sound that could suddenly soar like a bird. It was the same kind of thrill working with Del Shannon and Brian Wilson, people with outstanding voices. Tom Petty's Full Moon Fever is another one of my favorites that I co-wrote and produced. Working with the Beatles on Anthology was the most amazing experience ever, a lot harder, because there were three of them and only one of me. [Laughs.]

AA: What was your role on Anthology?

JL: To make records out of those two cassette tapes of John's, "Free As A Bird" and "Real Love", was the hardest job I've ever done, and one of the most fun. It had probably been more than 20 years since Paul, George, and Ringo were in the studio together. I sat there
listening to their brilliant banter for hours. It was really funny. And then we had to get to work, and that was a little harder.

AA: How come?

JL: I was given a mono cassette with John singing "Free As A Bird" with a piano. There was tons of hiss, and the piano was loud. This was 1995 and we weren't using a computer yet. It was impossible to play along to the cassette because it was a wild performance, so we
wound up recording the track based on the average tempo, and then I flew John's voice and piano into it. After that, we added George and Paul singing harmonies. Doing Anthology led to me producing eight songs on Paul McCartney's album Flaming Pie.

AA: It wasn't the first time your career shadowed that of the Beatles.

JL: It's hardly a shadow -- it's more like a splat! [Laughs.] I love the Beatles dearly, totally, and absolutely. When I was doing my first album with the Idle Race, the engineer phoned and said, "Do you want to go down to Abbey Road? (actually I think it was called EMI in those days) The Beatles are in recording." I said, "Wha?!!!" We shot down there, got past the bloke at the door, and there they were, recording two different sessions for the White Album. I met John and George in the Studio Two control room. Through the window, you could see George martin hurling himself around as he conducted the string track to "Glass Onion." I said to myself, "Listen to that snare drum sound!" It was all beyond my wildest dreams. Then we walked down the corridor, and there was Paul playing bass on "Why Don't We Do It In The Road?" Ringo was giving him a note on the piano. It was shocking to see the Beatles in the actual recording studio. It was like catching an unbelievable event in nature. I couldn't believe my luck.

AA: So do you still feel a desire to make everything sound massive these days?

JL: I think I got over it. I used to have to make everything enormous to make it feel like a proper record. i always used to imagine that all the records I loved were enormous as well. It was only years later that i could listen to the old singles I loved and realize that there was almost nothing on them! The huge sound I imagined didn't exist. I've learned so much since then. Thank goodness. There are still millions of songs waiting to be done. It's just a matter of writing them.

[END OF INTERVIEW]


Nearly 20 years after the creation of the band, and over a decade since the music was last available to fans, the music of The Traveling Wilburys was reissued on June 12, 2007. the previously released albums Traveling Wilburys Volume 1 and Traveling Wilburys Volume 3 feature inarguably some of music's greatest singer-songwriters -- George Harrison, Jeff Lynne, Roy Orbison, Tom Petty and Bob Dylan -- as the iconic band The Traveling Wilburys. Both CDs are combined on this 2-CD/1-DVD release and feature bonus tracks of rare and newly mixed, unreleased music. The all-region DVD contains historic footage documenting the first chord to the final mix, and their five video clips. Digipack also includes a 16-page booklet.

 Отправлено: 24.04.08 23:51. Заголовок: Насколько я знаю - н..

Насколько я знаю - нет.

 Отправлено: 25.04.08 13:56. Заголовок: Я подписана и получа..

Я подписана и получаю каждый день письма. Оттуда и сообщение про интервью журналу Mean Magazine. Mary-ann тоже подписана. Получает дайждест. И еще кто-то.

 Отправлено: 25.04.08 18:37. Заголовок: Олеся, огромное спас..

Олеся, огромное спасибо. На досуге почитаю повнимательнее.

 Отправлено: 29.04.08 18:58. Заголовок: http://beatles-onlin..