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?
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.
Пост N: 1606
Зарегистрирован: 27.04.06
Откуда: Россия, Нижний Новгород
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1
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.
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.
Пост N: 1059
Зарегистрирован: 29.11.06
Откуда: Москва
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3
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)))
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.
Пост N: 332
Зарегистрирован: 10.02.08
Откуда: Москва
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1
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.
Пост N: 333
Зарегистрирован: 10.02.08
Откуда: Москва
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1
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.
Пост N: 421
Зарегистрирован: 03.02.07
Откуда: Россия, Самара
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2
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 :))
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.
Пост N: 422
Зарегистрирован: 03.02.07
Откуда: Россия, Самара
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2
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)
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