12-12-12 Hurricane Sandy charity concert

to fcliverpool :
He Ain't Heavy... - мурашки по коже. На все времена мощнейшая вешь..И перепев на уровне.Смотрел на ютубе раз 5 подряд.Зря Вы так о ней

2sid:

>to fcliverpool :
>He Ain't Heavy... - мурашки по коже. На все времена
>мощнейшая вешь..И перепев на уровне.Смотрел на
>ютубе раз 5 подряд.Зря Вы так о ней

Не моё, извините) Но я это как раз к тому и говорил, что у каждого свой вкус. Защищал новую вещь Пола с Нирваной.
А я Cut Me Some Slack слушал 5 раз подряд))

Пошли вчера с другом в местный кинотеатр.... на концерт. Интересное новшество - а самое интересное, что билеты были бесплатными. Маккартни, конечно же поставили в самый конец, чтобы никто не уходил раньше времени, поэтому пришлось смотреть все или почти все. Благо, можно было спокойно выходить и заходить после лекгой выпивки и закуски в баре через дорогу. Изображение на экране было идеалным, в полном HD, как же они (мы) все постарели. Звук был из рук вон, моно и не концертном уровне громкости. Очень большое разочарование. Хотя для зала пойдет. Маккартни с бывшей Нирваной: очень интересно было наблюдать за ними. Пол молодец, как всегда предлагает свои услуги по объединению разбитых семей. Хотелось, конечно, больше старых Битловских песен, однако все пошло по накатанному и закончилось невероятным фейерверком, соответсвенно в стиле Джеймс Бонда. На Blackbird с голосом было что-то у него не то, не попадал в ноты. Упорно не поет песни, где Леннон был основным вкладчиком. Но сам вид Маккартни на сцене, конечно завораживает. The Who были просто великолепны. Отдали дань своему павшему товарищу в очень трогательном выступлении, переходящим со сцены на экран, где пел и дурачился, в своей детской непосредственности незабвенный Keith Moon. Эрик тоже очень хорошо выступил, особенно с аккустической гитарой. А Crossroаds, вообще по-моему, было одно из самых лучших живых исполнений. Rolling Stones - как будто и не было 50 лет. Мик отметил самое большое в истории скопление британских музыкантов на одной сцене, а потом шутя добавил: "если в Лондоне что-то случится, вам тогда придется помогать". Понравился Martin cо Stipe, еще те, старые друзья. Когда послышались вступительный риффы со Стены, сердце защемило. Waters молодец, седой, но такой же неумолимый борец за справедливость. Спрингстин был первым - забылся быстро, но он и Бон Джови - оба из New Jersey, так, что все было органично и в тему. Интересно, теперь все концерты можно будет бесплатно в кинотеатре смотреть?

Отчёт из сегодняшней The Sun.

Спасибо за интересный отчет, andykon!

Обстоятельный отчет редактора журнала "Beatlefan" Билла Кинга:

------------------------------

12.12.12: The Concert That Wouldn't End

By the time Paul McCartney took the stage at the marathon 12.12.12 benefit concert for Hurricane Sandy relief, it was 12.13.12.

At five hours and 50 minutes, watching the whole thing was something of an endurance test, though it was worth it since concerts like this only seem to come around a couple of times a decade. (Thankfully, I should say, since they're usually precipitated by some sad event.)

This one had a pretty varied 40-minute set by McCartney, with five rockers and two ballads. I know some folks found it a bit lacking in the unforgettable sing-along classic quotient, but I was actually glad he skipped the overdone "Hey Jude" that he so often does at these all-star things. And the number he did with the members of Nirvana, while not a great song, was an exciting, generation-spanning performance.

I also was relieved that McCartney's infamously time-worn voice wasn't the shakiest on display at Madison Square Garden (that dubious honor belonging to a rather strangled-sounding Roger Daltrey).

Highlights of the evening, besides Macca's set, included Bruce Springsteen's heartfelt half-hour opening sequence, the middle portion of The Who's somewhat meandering set, Billy Joel singing the exact songs the New York crowd wanted to hear, Michael Stipe joining Chris Martin (with a shout out to my hometown of Athens!) and an impressive solo turn by Alicia Keys, the sole female headliner. I could have done without Kanye West and his leather skirt, though.

But the low point of the evening, not counting Adam Sandler's and Jon Bon Jovi's haircuts, definitely was the dragging, unfunny "Drunk Uncle" sketch by Seth Meyers and Bobby Moynihan of "Saturday Night Live." Brian Williams mistakenly referring to Pete Townshend as Keith Moon in one of his phone-bank segments came a close second.

All in all, it was a well-produced show that needed trimming back by at least an hour, even if it was largely a dream bill of aging classic rockers that may well never be repeated.

"This has to be the largest collection of old British musicians ever at Madison Square Garden," Mick Jagger joked at one point. However, the best line went to Coldplay's Martin, who noted he was the youngest performer on the bill (actually, that was Keys) and cheekily suggested audience members should figure their donation for the evening by calculating the average age of the concert's performers. "I think you'll raise billions," he said.

Of course, the solid gold lineup was deliberate, as one of the concert's producers noted backstage: It was aimed squarely at baby boomers, who have the most money to donate. Still, you've got to wonder why they think boomers wouldn't have been spurred to open their wallets by a couple of more women on the bill.

Taking a closer look at the evening's performances, I thought Springsteen provided a suitable serving of gravitas with the likes of "Land of Hope and Dreams," "Wrecking Ball" and "My City in Ruins." And, considering they're fellow Jersey boys, the duet with Bon Jovi on "Born to Run" was predictable but acceptable (though I thought the Boss returning the favor on "Who Says You Can't Go Home" during Bon Jovi's set was a bit of overkill in a show that was destined to run way too long).

The Roger Waters segment of Pink Floyd tunes provided another of the evening's superstar team-ups when Eddie Vedder joined him to sing "Comfortably Numb." Overall, though, Waters' presentation of music from "The Wall" and "The Dark Side of the Moon" came off a bit lacking in the sort of emotion that fuels shows like this. And David Gilmour's guitar definitely was missed. Plus, as my son noted, without the full light show those numbers aren't as satisfying.

Bon Jovi's “It’s My Life,” “Wanted: Dead or Alive” and “Livin’ on a Prayer” leading up to his second duet with Springsteen weren't bad (again, except for the hair) and certainly were on point with the audience at Madison Square Garden.

Eric Clapton's set was surprisingly low-key, as he did a couple of more obscure songs in “Nobody Knows You When You’re Down and Out” and “Got to Get Better in a Little While” before trotting out the familiar “Crossroads."

The Rolling Stones' brief two-song segment consisted of shambolic (even by Stones standards) performances of "You Got Me Rockin'" (one of the most uninspired choices of the entire show) and "Jumping Jack Flash." I understand they had a concert in New Jersey set for the next night and don't like back-to-back shows, but their presentation frankly came off a bit perfunctory — and deservedly drew a couple of barbed references by actor Steve Buscemi in the between-sets segment that followed. He joked that the producers made room for him by cutting the Stones short: "I said, 'If they play more than two songs, I'm out of here.'"

New York City native Keys, alone at the piano, impressed me greatly with her impassioned renditions of “Brand New Me” (a post-breakup ballad that some critics thought an odd choice but which I thought was in keeping with the rather defiant mood of the evening) and “No One,” which was turned into a love song for the Big Apple (and featured this century's twist on my generation's penchant for holding up cigarette lighters at concerts — now replaced by glowing cellphones).

When it comes to The Who, perhaps I was expecting too much as I remember their absolutely killer set at the similar 9/11 concert on the same stage, but their six-song segment was a bit of a mixed bag. The "kids" started out alright with "Who Are You," but then presented "Bell Boy," complete with the late Keith Moon singing the lead vocal on the video screen while Daltry had his back to the audience. I realize they're prepping a "Quadrophenia" tour and Moon is a beloved figure, but the mini-tribute to him seemed out of place at this show. Things got back on track with "Pinball Wizard"/"See Me, Feel Me" and "Baba O'Reilly" (with Townshend altering the lyrics to "a Sandy wasteland" at one point), but "Love, Reign O'er Me" dragged a bit, and winding up with "Tea & Theatre," an acoustic number unknown to most in both the arena and the worldwide viewing audience, was definitely anti-climactic.

Like I said earlier, Daltrey's voice wasn't in the best shape, either, and his efforts at his trademark lariat-style mic swinging were a trifle underwhelming, but he did provide one of the evening's more tweet-worthy moments with his geezerdom-defying glistening bared chest.

Kanye West went the medley route, cramming in abbreviated versions of nearly a dozen of his hits, only one of which ("Jesus Walks") I recognized. I'm just not into hip-hop. If I'd been in the arena, that would have been the opportunity to take Townshend's advice and "have a fucking beer!"

Long Island native Billy Joel might not look the part of the cocksure rock 'n' roller any more, but musically he was his usual reliable self, running through a set of tunes that resonated with the audience, starting with his post-Sandy rewrite of “Miami 2017 (Seen the Lights Go Out on Broadway)" and continuing through "Moving Out (Anthony's Song)" and a snippet of "Have Yourself a Merry Little Christmas" leading into the obligatory "New York State of Mind." The latter wasn't as emotional a performance as at the 9/11 concert, but still satisfied. Then came a toe-tapping "River of Dreams" and a pair of Joel classics in "You May Be Right" and "Only the Good Die Young."

Joel also served as a pugnacious voice for the folks in the region slammed by Sandy when he said, “We’re going to get through all this. This is New York and New Jersey and Long Island, and we’re just too mean to lay down and die.”

Chris Martin had another nice quip when he came on past midnight representing the younger branch of British rock, saying, "I know you really wanted One Direction, but it's way past their bedtime. That's why you get one-quarter of Coldplay." Which was enough to satisfy, as Martin did a nice acoustic guitar version of "Viva La Vida" and a solo piano take of "Us Against the World" before providing one of the evening's few real surprises by bringing Stipe "out of retirement" to join him on a version of R.E.M.'s "Losing My Religion."

Ringo might not appreciate Martin saying he had to get off the stage quickly to make way for "The Beatles," but when McCartney and his touring band finally took the stage at 12:35 a.m., Beatles is what we got, at least initially, as Paul, dressed casually in a white shirt and light blue jeans, established his rocker bona fides right away by opening with a rousing "Helter Skelter."

Then came "Let Me Roll It," which provides Macca a chance to play some lead on his colorful-splashed Gibson (though I wish he had played more), and "Nineteen Hundred and Eighty-Five" on the grand piano. While I always enjoy the two Wings tunes, I can see my son's point that they perhaps weren't the best choices for this setting. As he put it, "'Let Me Roll It' is too slow and '1985' changes tempo too much to develop any kind of groove with those abrupt 'oooh oooh ohh' interludes. They are decent songs, but just didn't work for the setting."

Probably neither did Macca's recent "My Valentine," which works better in the jazz setting in which it originally was recorded, but it did at least provide an opportunity to bring Diana Krall out on piano, thus doubling the number of big-name women participating in the concert. (It would have been great to have Clapton playing the guitar solo he performed on the record, but by the time Paul took the stage Eric, whose set had been hours earlier, was probably at home in bed watching the show on the tube.) The next tune, "Blackbird," is also a ballad, but it's such a beloved one that it was a pretty safe choice, even if, as my daughter ruefully noted, it does showcase the limitations of Sir Paul's 70-year-old voice. One hiccup: The earnest if clunky intros to the two ballads, in which Paul tried a bit too hard to connect the circumstances in which they were written to Sandy. Awkward, but his heart was in the right place.

Then it was time for the teaming of Macca with Dave Grohl, Krist Novoselic and Pat Smear of Nirvana for "Cut Me Some Slack," a tune they all recently recorded for the soundtrack of a film Grohl is making about the Sound City studios. I thought the song had a nice "Helter Skelter"-ish groove, even if it didn't have much of a melody. It definitely fit in well in such a show, and I got a kick out of Macca playing slide on a cool-looking cigar box-style 4-string guitar with resonator.

McCartney then was rejoined by his band for a choice Beatles selection, "I've Got a Feeling," followed by a real crowd-pleaser in the bombastic "Live and Let Die," which had such intense flashpots and fireworks at the end that Macca said it left him blinded. I got the impression he may have been only half-joking. All in all, a solid Macca set worth staying up late to catch.

That wasn't the end, although the concert finale wasn't the expected all-star jam. Instead, Macca was joined onstage by many of the heroes of the aftermath of Sandy while Keys took over the piano to belt out her "Empire State of Mind." It was a suitable New York-centric selection, but the sight of her singing while Macca, wearing a firefighter's hat, swayed and posed for pictures onstage with the various first-responders made for a slightly odd wrap-up to the marathon show.

And so the concert that wouldn't end finally did. Of course, it wasn't nearly as long as Live Aid; it simply felt that way at times. But it was definitely for a good cause and boasted enough memorable musical moments to be considered an overall success.

Let's just hope it's a few years before we have to do this again, and, when we do, these aging superstars are still around to heed the call.

http://billking.livejournal.com/55937.html

А что у Пола за гитара, укулеле что ли?

2Павил

https://www.beatles.ru/postman/forum_messages.asp...172&cfrom=1&showtype=0&cpage=3#1871490

Всех перечислили кроме Эрика Клэптона. Не такая важная фигура?

2Beatles.ru:

>Пол Маккартни заменит Курта Кобейна на позиции
>фронтмена и вокалиста группы Nirvana во время
>благотворительного концерта в пользу пострадавших
>от урагана "Сэнди". Это будет первое совместное
>выступление басиста Nirvana Криса Новоселича и
>барабанщика Дэйва Грола после смерти Кобейна.
>Маккартни рассказал, что Грол позвонил ему и позвал
>"немного поджемовать с друзьями". Во время джема
>выяснилось, что музыканты, с которыми Грол предложил
>поиграть бывшему битлу - Новоселич и cессионный
>гитарист Nirvana Пэт Смир (Pat Smear)

Посмотрел, как Пол выступил с типа Nirvana, и чуть со стула со смеху не свалился.
Позабавили ребятишки чес-слово, обхохотался.

Просто представил такую ситуацию: - Пол поёт в не своей группе, не свою песню, в типа Nirvana.
Первые два куплета запомнил, а последний забыл.
Как-то выкручиваться нужно.
Во время проигрыша обращается к Пэту Смиру - Третий куплет помнишь? Подскажи начало.
Пэт - Нет не помню.
Пол обращается к Крису Новоселич - Третий куплет подскажи?
Крис - Нет не помню.
Тогда Пол поворачивается к Дэйву Гролу.
- Дэйв, помнишь третий куплет?
Дэйв усиленно молотя колотушки - А какой песни?

Создаётся впечатление, что Дэйв после распада Nirvana в 1994 году, вообще не брал в руки барабанные палочки, а 18 лет бренчал на гитарке. А тут вдруг подфартило, да ещё сыграть с Полом в одной группе, вот он бедолага и дорвался до колотушек да так, что его явно понесло в разнос. Кстати его физиономию операторы постоянно крупным планом фиксировали. Фотогеничный товарищ оказался. Пол на его фоне выглядел мурашом. Дэйв после выступления аж обсиялся от удовлетворения которое получил.

А вообще, выступление Пола понравилось.
Выглядел бодрячком.