Het Grote Beatles topic - Deel 50

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Op zondag 29 augustus 2010 20:40 schreef Aisumasen het volgende:
Een lijst die ik overigens niet serieus kan nemen, aangezien "I'll Get You" er niet in staat, maar "Drive My Car" wel, en nog hoog ook. Die Abbey Road-medley op een willekeurige plaats is ook wat vreemd. Maar waar hebben we het over, zo'n lijst komt zo'n beetje elke 6 maanden uit.

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Op zondag 29 augustus 2010 20:44 schreef Aisumasen het volgende:
Precies, discussievoer zullen we het maar noemen . Heb sowieso niet veel met de meeste van de rode/blauwe-albums songs.

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Op donderdag 26 augustus 2010 17:46 schreef nomar83 het volgende:
Wie kunnen de 'hondentoon' horen tussen A Day in the Life en the innergroove van Sgt. Pepper? Ik hoor en lees dat velen het niet horen, terwijl ik toch echt een enorme piep in m'n oren er van krijg.

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Op zondag 29 augustus 2010 20:52 schreef Aisumasen het volgende:

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Altijd gehoord. Vond dat einde van "Sgt. Pepper" toen ik nog heel jong was vreselijk eng .

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Op zondag 29 augustus 2010 20:54 schreef blckbb het volgende:

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Vroeger ging dat (ivm platenspelers zonder automatische terugloop) ook net zolang door totdat je de naald eraf haalde. Dan kan je 2 uur lang naar ''Never could be any other way'' ( ) luisteren

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Op zondag 29 augustus 2010 20:54 schreef Arn0 het volgende:

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Mwah, dat vind ik een beetje ver gaan, een lijst niet serieus nemen om zoiets.. Sowieso ben ik het uiteraard ook niet met de lijst eens, maar ik vind het wel tof dat Rolling Stone zich hieraan waagt. En het is niet een pagina in hun reguliere uitgave maar een speciaal uitgegeven blad dat naar het schijnt best leuk is, dus ik ga hem wel proberen te vinden voor een goede prijs.

En als ik zelf zo'n lijst zou maken, zou ik het nog niet eens met mezelf eens geraken

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Op zondag 29 augustus 2010 21:02 schreef Arn0 het volgende:
Over Sgt. Pepper op vinyl gesproken: Ben toch maar overstag gegaan en heb mijn eerste Beatlesalbum op LP gekocht. Een eerste druk van Sgt. Pepper, uit 1967

_{Oké, geen Engelse druk maar goed}

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Op zondag 29 augustus 2010 21:05 schreef Arn0 het volgende:

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Mono of stereo? Indien mono: Met of zonder A Day In The Life op de tracklisting op de plaat zelf?

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Op dinsdag 24 augustus 2010 09:11 schreef blckbb het volgende:
Ik snap het niet, word die vinyl nou gratis bij dat blad weggegeven

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Op dinsdag 24 augustus 2010 09:11 schreef blckbb het volgende:
Ik snap het niet, word die vinyl nou gratis bij dat blad weggegeven

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Exclusive Macca Interview!

Paul McCartney has revealed how Beatles drummer Ringo Starr delivered him a letter in March 1970, co-signed by George Harrison and John Lennon, asking him to postpone the release of his solo debut album so it wouldn't clash with the scheduled emergence of climactic Beatle release, Let It Be.

Into an atmosphere of mounting mistrust between the still technically united Beatles, Ringo's missive dropped like an H-bomb.

"I told him top eff off," Macca reveals to MOJO's Tom Doyle, as he sketches out his state of mind at the fag end of The Beatles' reign, belaboured by anxiety attacks, heavy drinking and marijuana sessions. "He seems to be going strange," said Ringo at the time. "Everyone was completely treating me like dirt," says McCartney today.

In an exclusive interview, McCartney explains how he emerged from 1970's Beatle miasma to embark on a solo career - honoured with an extensive reissue campaign this autumn. "I took to the booze," says McCartney. "I was trying to recover in whatever way I could."

Taking us back in time to the spare room at his Cavendish Avenue flat, he revisits the pioneering lo-fi recordings of his debut solo record, McCartney, and the sequestered Scottish genesis of Ram, culminating in the hairy tale of Wings 1973 album Band On The Run, recorded in Lagos, Nigeria.

Flying across the jungle at the beginning of the latter adventure, the singer recalls a hot debate concerning the exact position of the landing strip. "One [pilot] looked to the other and said, 'Is that it down there?" I'm going, Oh my God, they must know."

Unsurprisingly, Macca sums up the nub of his post-Beatle career thus: "Hey, I survived."

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A Wolf In Sheep's Clothing

The reinvention of Paul McCartney - the most instinctively baroque of the Beatle composer/arrangers - into an avatar of lo-fi, DIY music production seems instant and baffling. Consider the decision of the rest of the Beatles - hotly contested by McCartney at the time and resented for years afterwards - to hand over the tapes of Let It Be to Phil Spector and it begins to make more sense.

The controversial Wall Of Sound producer had his familiarly maximalist way with the grab-bag of skeletal cast-offs, and McCartney would wait until 2003, and the release of the reverse-engineered Let It Be... Naked, for his humbler "vision" for the record to see the light of day. At the back end of 1969, moving into early 1970, it was as if the mortal offence was driving McCartney as far away from the accepted gold-standard of contemporary record production (as the Beatles themselves had helped define) as possible.

As, following the relatively harmonious recording of Abbey Road, Beatle relations resumed their bitter decline, McCartney's response was to hunker down in his Cavendish Avenue flat and make music with whatever fell to hand. There are evocative pictures - printed in the latest MOJO magazine - of the unkempt, hermit-like Beatle recording a drum draped in a curtain or tablecloth, as if determined not to disturb the neighbours, and it's these kinds of unrefined, non-bombastic, locally-sourced sounds that grace his eccentric 1970 debut, McCartney.

However, McCartney is not lo-fi in the way we tend to use the term today. Rather than merely earthy or unpolished, it is demonstrably unfinished. Irrespective of the beauty of Junk and the regularly revived Every Night, if you were tipped the wink that McCartney was deliberately rushed out by its author as a spoiler for Let It Be (eventually, McCartney beat the final Beatle album out by two weeks) you would not be shocked. Maybe I'm Amazed aside, which, apart from its rudimentary rhythm guitar guides and muffled drums, is almost as perfect as could be imagined, it is a record of fragments, demos and doodles, good as far as they suggest to the imaginative listener the great places they may have gone next.

Ram is different. Side one, especially, has much of the intimacy of McCartney, the impression of one man gluing something together before your very eyes. Sometimes - it's there in opener Too Many People's haunting, weird distance and tangled jangling outro - it makes you think of Beck, or more recent American bedroom psych.

There's an interest, taken further than the Beatles, in non-naturalistic textures and environments, typified by the close-mic'ed vocals of 3 Legs, or extreme-left-channel percussive oddness of Dear Boy. Underlining the continuing relevance of many of these techniques, Ram On's primitively reverbed ukulele and ghostly chorus of disembodied Maccas could easily have been recorded sometime last year. Probably in Portland, Oregon.

Ultimately, Ram is the sound of a man who's left a band, perhaps the whole idea of a band, behind. Thrown onto his own resources, he is not so much capturing a performance than showing the stages in the construction of a piece. The first po-mo rock record? Perhaps.

Even when the results are slicker or more instrumentally ambitious - as in the exquisite soft-rock fantasia of the string'n'horns-laden Uncle Albert/Admiral Halsey - the spirit of play is paramount. To the extent, perhaps, that Macca sometimes fails to take himself seriously enough, and that "I can smell your feet a mile away" line in Smile Away is surely too brutal a deconstruction of Beatle music's already myth-shrouded exaltation. There's nothing wrong with giving yourself time to realise that "yesterday" is a better lyric than "scrambled eggs..."

Admittedly, by the end of Ram, McCartney is already emerging from his cave. Monkberry Moon Delight is Macca waxing more muscular, with a gruff geezer vocal that predicts Tom Waits at his most ursine. Suddenly we can hear the move from Mull Of Kintyre (where these songs were written and demoed) to New York's A&R Studios, the scene of much of the recording. At the very end we have The Back Seat Of My Car - perhaps our most prescient glimpse of the super-polished Wings-to-be of Band On The Run.

For a bossy, pan-instrumental auteur like McCartney, whose instinct is to do everything himself or tell others exactly what to play (a trait that so charmed George Harrison, and Henry McCullough, among others) the one-man-band model will always have attractions, and it is one to which he has returned, on and off, ever since.

McCartney always saw the freedom inherent in the tape recorder, even when making spliffed-up sound collages upstairs at the Ashers' house on Wimpole Street in late 1965, and he has bequeathed this vision to rock and pop for all time. Ram helps remind us that we owe him more than we sometimes care to think.

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Op donderdag 2 september 2010 22:14 schreef Aisumasen het volgende:
[ afbeelding ]

Première van de eerste single hier te vinden: http://www.ucradiorocks.c(...)-new-single-old.html

Album komt eind deze maand uit. Met een beetje slim zoeken kun je op de site van MPL Music Publishing al de songs "Angel", "Denial", "Glisten" en "My Friend" vinden: http://www.mplcommunications.com/search.asp

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INTERVIEW: Guitarist Rusty Anderson brings a diverse musical menu to his work with Paul McCartney

As one of the guitarists in Paul McCartney’s band, Rusty Anderson is naturally associated with the music of the former Beatle. But Anderson’s own solo work, as exhibited on his most recent solo album, “Born On Earth,” is quite different and exhibits a wide range of influences.

Anderson says the new album, recorded in his home studio Oxide (Rusty, oxide, get it?), took a little over three months to complete.

“I’d go and work on it and go out on the road with Paul and come back and spend another month and go out on the road with Paul, sort of back and forth. I have a home studio, which is nice, so I have the luxury of working at home, which makes things a lot easier,” he says in a phone interview.

While his last album, “Undressing Underwater,” had guest players, including Paul McCartney on one track, “Hurt Myself,” he says with the new album he took a different approach. “I really wanted have more of a continuity, band-y kind of sound. So, basically most of the songs were produced with my drummer Petur Smith. We just had a good time going through different demos and funky recordings and trying to figure out what songs to put on there.”

Like the album, his musical tastes are diverse. “I love the early Alice Cooper band. They were really creative. I love Debussy and I love Gershwin. And I love Mick Ronson and the Spiders from Mars. I love that sort-of mid-period ‘70s, late ’60s Stones. Todd Rundgren. Old blues guys. So many things. I figure if you listen to my iPod or most people’s iPods, you’re not going to find one style of music. It’s gonna be rather diverse. No one listens to only heavy metal or only reggae or only singer-songwriter. But I think,” he says referring to the album, “I just let the natural glue set into it.”

Grunge also played a part in his career in one of his former bands, Ednaswap. “Yeah, Ednaswap was sort of in the grunge era, ‘90s thing. Yeah, I like Nirvana and Soundgarden and some of those bands. I’ve never been one to niche market myself, let’s put it that way.”

One of the songs on the new album is called “Julia Roberts.” Anderson says the two have never met and that the song came out of a dream. “I had a dream about her out of the blue. And I thought, ‘That’s odd. Why did I dream about her? I hadn’t thought of her in years, really.’ So I wrote the dream down and turned it into a song and realized that the way that that really fits into the concept of the record, which is about technology and the way that living right now in the 2000s has affected everybody’s lives so dramatically.”

“The technologies of today allow all these celebrities to permeate our brains,” he says. “We feel as if we know them. They permeate our brains and we don’t give it a second thought. I figure if these celebrities can stalk me, I can stalk them back through a song.”

One of the songs, “Funky Birthday Cake,” was written when Anderson was 13. “That song was written with a friend of mine,” he says. “And we started writing lyrics together. He’d write a line, I’d write a line. I just composed the music on the organ, actually. And we recorded and the whole thing was done in an hour and a half. And we would do that all the time. We would write silly songs and have fun. And that was part of what saved me and gave me something to do.”

Anderson credits the Beatles for getting him into music in the first place. “When I was five years old and my older sister was playing Beatles records, that’s what got me into playing music, period. That’s what started the whole thing. I got into Jimi Hendrix and Led Zeppelin and Cream and all that stuff, but they were were the starting point.”

He says he got together with McCartney through producer David Kahne, who produced McCartney’s “Driving Rain” album and with whom Anderson had worked previously.

“I called him up one day and we were talking and he’s saying, ‘I think I’m doing the new Paul McCartney record.’ I said, ‘Oh, that’s fantastic.’ And he said, ‘Yeah, and we need some guitar playing.’ And I said, ‘Well, you know, count me in. That sounds great.’ And so a couple of months later, I went down to the Henson Studio in Hollywood, which used to be A&M. I came in and started meeting guys with English accents. And then I met Paul and it was really amazing because I never really thought I’d meet a Beatle, much less play with one. And then within a few minutes, we were jamming and making music. It’s a great way to bond with somebody. And after maybe three or four days, I got used to being around him. And now, it’s been almost a decade and we’re still playing together.”

Anderson describes the band’s success as due to a combination of factors. “Everyone has a good feel as a musician, which is really important. And I think as people, there’s a chemistry to the personalities that works, a dynamic that we’re able to play as team players, but also know how to really interject our own personality without hopefully destroying the music, because I think that it’s really important.”

Anderson says he’s been able to get some of his song suggestions into the tour setlists. “I suggested ‘Getting Better’ and ‘Day Tripper’ and ‘Helter Skelter,’” he says.

He recalls the Hollywood Bowl shows on the Up and Coming Tour at the end of March as being special for him. “I’d seen a lot of concerts there growing up and it had a lot of mystique to me. So that was a really great way to be able to play there.”

He says he’s pretty certain the band will be performing again, though he doesn’t know when. “Sometimes we know in advance, sometimes we don’t. But I’m sure we’ll be doing more stuff.”

And is a new McCartney album coming? “I’ve been wondering the same thing,” he says, then marveling about McCartney’s musical talent, he says, “He has a lot of projects going at all times. Instrumental things, different style of music and studio album. It’s pretty diverse. That’s the thing that amazes me. Playing the show we play, it’s everything from ‘Ram On’ to ‘Helter Skelter.’”

He says whether he’ll be doing live shows to promote his solo record will depend on if there are any more McCartney shows. “Well, we did a show in Hollywood as a record release party sort of thing. That was in between tour dates with Paul. I’m waiting still to see the schedule,” he says. “The answer is I’d love to.”