А разве любой парень надевший куртку и джинсы становится таким уж "брутальным". Можно и во фраке выглядеть весьма брутальным, грубым, неотесанным и вульгарным.
Re: Для тех, кто лЮбит поспорить... Автор:EumtyrДата: 03.01.09 13:40:48
Хоть Джо Кокер и исполнил ее в Вудстоке в каких-то паралитических корчах, его выход явился наиболее выдающимся из всего, что там было. Ах, эти развивающиеся на ветру бакенбарды, ах этот львиный рык до безобразия растянутого припева с бэк-вокалом, ах эти полусогнутые дрожащие ручки и по сцене волочащаяся ножка. Ах!
Хендрикс не в щет!
Re: Для тех, кто лЮбит поспорить... Автор:EumtyrДата: 03.01.09 09:02:59
Кроме Эбби Роуда и студии Олимпик Битлз писались только в еще одной независимой студии Трайдент (1968). Для полноты списка + студия Пате Маркони (1964) + устроенная студия на Сэвил Роу (1969).
Re: Olympic Sound Studios, 117 Church Road, Barnes, London Автор:EumtyrДата: 03.01.09 08:36:08
The British Music Experience – "a unique, permanent exhibition dedicated to the history of popular music in Britain" claims its website – is due to open at the O2 arena in spring 2009 on London's Greenwich peninsula, an area not exactly rich in music history compared to Olympic Studios. Of an equal standing to Abbey Road, Olympic is already a place of pilgrimage for many rock fans and deserves more than a blue plaque on the front. Maybe Hands will reconsider his decision and give the overseas acts who have often used Olympic the opportunity to take advantage of the weak pound and come and record in London again. FIVE OLYMPIC GOLDS
Small Faces
Lazy Sunday, 1967
Small Faces spent nearly a year working on 'Ogdens' Nut Gone Flake' at Pye and Trident as well as Olympic. 'Lazy Sunday' became their second biggest hit in April 1968 but the group broke up the following year.
The Rolling Stones
Sympathy for the Devil, 1968
The Rolling Stones were ensconced within the warm cocoon of Olympic Studios and recorded the dark 'Sympathy For The Devil' under 'Nouvelle Vague' director Jean-Luc Godard.
The Eagles
Best of My Love, 1974
The epitome of Californian soft rock, the Eagles recorded their eponymous debut album at Olympic in 1972 with Glyn Johns, who also produced the follow-up 'Desperado'. However, Johns produced only two tracks on their third album, 'On The Border'.
The Who
Who Are You, 1977
Who vocalist Roger Daltrey chinned producer Glyn Johns, a veteran of sessions for The Who's 'Next' and 'Who By Numbers', during the recording of the 'Who Are You' album issued the following year. Pete Townshend's brother-in-law Jon Astley took over and the group moved to Ramport and RAK studios.
Eric clapton
Wonderful Tonight, 1977
Having already penned 'Layla' about Pattie Boyd, Eric Clapton (left) was now living with the estranged wife of George Harrison. He wrote 'Wonderful Tonight' while waiting for her to get ready to go out. He did nine takes at Olympic before he was happy with the result.
SOMETHING BAD IN THE MIX – THE VANISHING STUDIOS
"The sad list of recording studios faced with closure in recent years is huge," said Jamie Lane of Britannia Row studios in London. "Whitfield Street, Olympic, Marc Angelo and Eden have been forced to close within the last year alone. This is largely due to financial impossibilities. An average record company will not pay more than £800-a-day recording fees. A large studio has to charge at least £1,500 a day. This means the bigger studios are forced to survive on recording film scores.
"Abbey Road, AIR and Angel are able to survive off these clients due to their top equipment and large recording space, but studios like Olympic, which charged as little as £800 for music recording, were accelerated to their end. The worry now is that the Government will stop film subsidies and film-makers will then turn to Prague and other cities for cheaper studios. This would be worrying for the future of even the biggest British studios."
But Olympic will not be taking its roster of former alumni with it – it is only a building. Jimi Hendrix, who recorded Are You Experienced in Barnes, is long gone. And the Spice Girls (two albums) and Led Zeppelin (their first album, plus later tracks) ought to be further gone than they appear to be. Ditto Roxy Music and Duran Duran.
The Rolling Stones made more use of Olympic than any other major act and they are, technically, still with us. All of the Stones' catalogue from Between the Buttons to parts of Exile on Main Street was recorded in Barnes between 1966 and 1971 (which means nearly all the really good stuff) and the Stones don't appear to be going anywhere very much. So we won't be losing any music when Olympic goes, only a small part of music's historical hinterland.
Nevertheless, there is something unquestionably sad about the news. There is more to a great studio than machinery. There is what "the studio" means to musicians; what it means to the very sound of music; and what a studio brings to the story of music, as a component in a narrative shaped as much by myth as it is by reality.
By Nick Coleman
Re: Olympic Sound Studios, 117 Church Road, Barnes, London Автор:EumtyrДата: 03.01.09 08:34:46
It is the studio where scores of artists have recorded hits, from the Rolling Stones, David Bowie and Queen to Madonna, Oasis, Goldfrapp and The Killers – so why is Olympic facing closure? Pierre Perrone reports
Olympic Studios in Barnes, West London, holds a special place in my heart. It's the first recording studio I visited in the late Seventies, only to find glam-rockers Slade – at a low career ebb – having a blazing row. It's where the Rolling Stones drifted into psychedelia in 1967 with their half-baked concept album Their Satanic Majesties Request, before going back to basics and staking their claim to the title of the greatest rock'n'roll band in the world with Beggars Banquet and Let it Bleed. It's where the Small Faces did much of Ogdens' Nut Gone Flake, their 1968 proto-Britpop No 1 album, the one with the round sleeve resembling a tin of tobacco.
It's also where Led Zeppelin recorded their debut in October 1968, prompting engineer and mixer Glyn Johns to call the album "a milestone. That was unbelievable, quite extraordinary. I think that's got to be one of the best rock'n'roll albums ever made, and I'm just grateful that I was there," he told John Tobler and Stuart Grundy in the Record Producers Radio 1 series. "I've never got off quite as much, and that record was made in nine days, which shows you. They'd rehearsed themselves very healthily before they got near the studio. I can't single out one track more than any other in my mind, but I remember that it was tremendously exciting to make that album.
"I'd never heard arrangements of that ilk before, nor had I ever heard a band play in that way before. It was just unbelievable, and when you're in a studio with something as creative as that, you can't help but feed off it. I think that's one of the best-sounding records I've ever done," said Johns whose association with guitarist Jimmy Page went back to their teens and took in many recordings involving Page as a session player.
The Rolling Stones, Small Faces and Led Zeppelin are only the tip of a mighty iceberg. The roll call of acts that have used Olympic Studios over the last 40 years also includes Procol Harum, the Jimi Hendrix Experience, Traffic, The Who, David Bowie, Barbra Streisand, The Eagles, Eric Clapton, Queen, 808 State, Morrissey, Björk, Oasis, the Spice Girls and Madonna. The Arctic Monkeys, Goldfrapp, the Kaiser Chiefs, Kasabian, The Killers and The Zutons have worked at Olympic Studios over the last couple of years. U2 were there in December, putting the finishing touches to No Line on the Horizon, their next album, which is due out in March.
Yet the word is that current owners EMI are likely to close Olympic in 2009 and concentrate all their efforts on the equally legendary Abbey Road, the historic home of Pink Floyd and, of course, The Beatles (who, by the way, ventured to Olympic for the recording of "All You Need Is Love" and "Baby You're a Rich Man" in 1967). EMI has entered into a consultation process with the 11 staff employed at Olympic and there seems little chance of a reprieve, even if a source at Guy Hands' company stated that "Olympic staff are highly professional and dedicated. We are sorry to be doing this. EMI remains committed to Abbey Road Studios and we are working through a long-term plan to develop that business."
In its heyday of the early Seventies, Olympic achieved a turnover of £4m, and was acquired by Richard Branson's Virgin company in 1987, subsequently becoming part of EMI's portfolio when the major acquired Virgin in 1992. Olympic stopped turning a profit a couple of years ago and, with the current downturn in the economy affecting the music industry in general, and EMI in particular, not to mention the increasing tendency for artists to record at home and use computers, London has too many studios chasing too few clients. "The fact is that the studios are not profitable, like many British studios," an EMI insider admitted. "You can't get as much business as you used to. And there's no sign of that situation improving."
First established in the late Fifties near Baker Street in central London, the original Olympic employed future Elton John producer Gus Dudgeon as a tea boy and was the place where the Yardbirds cut "For Your Love" and Millie Small recorded "My Boy Lollipop" in 1964. Two years later, Cliff Adams and Keith Grant bought Olympic from owner Angus McKenzie and moved to the current address at 117 Church Road in Barnes, south-west London. A former theatre built in 1906, the premises had already been converted into a film studio and, with a bit of acoustic tweaking by Grant and architectural work by Robertson Grant, easily adapted to become what was generally acknowledged as the best UK studio by its many clients.
Olympic kept its connections with the film and TV industries and the theatre and hosted sessions for the soundtracks to The Italian Job, The Rocky Horror Picture Show, Joe 90 and the original album version of the Tim Rice and Andrew Lloyd Webber musical Jesus Christ Superstar featuring Ian Gillan of Deep Purple. The news of Olympic's likely end has prompted Lloyd Webber to comment: "I have fond memories of my first-ever recording session there when I was just 21. The closure of Olympic is the end of an era in rock'n'roll. I wonder whether the music industry has changed for ever."
Traditionally, major labels such as EMI, Pye and Decca each had their dedicated studio but the pop explosion of the mid-Sixties, combined with the rise of the record producer and the development of the album as a format, created a demand for rooms with a vibe more in tune with the musicians' needs. Olympic was always a hipper place than Abbey Road, whose EMI employees rather resembled civil servants in their outlook and demeanour. Glyn Johns and his brother Andy in particular fitted in with the more dissolute lifestyles of the Stones while the state-of-the-art mixing desks built by Grant and Dick Swettenham were the envy of the competition.
Olympic still thrived in the age of residential studios like The Manor in Oxfordshire or Rockfield in Wales and when acts became tax-exiles and began recording in exotic locations such as Compass Point in Nassau, Air in Montserrat or Miraval in the South of France in the Eighties. Olympic Studios even survived the drastic redesign which followed their acquisition by Virgin but now they seem to have reached the end of the road.
Re: Olympic Sound Studios, 117 Church Road, Barnes, London Автор:EumtyrДата: 03.01.09 08:33:19
Не то чтобы все повеселели, а как то просветлели, словно путы какие скинули с затекших рук. Подходили поодиночке к Данилову, говорили шепотом: «Спасибо вам… Вам то можно было его оконфузить…» Шалопаи из блочных домов на электрогитарах заиграли композиции Маккартни и Леннона.
>ЭТО РЕБЯТИШКИ , автобус из фильма" Magical Mystery Tour"
ЭТА, РЕБЯТИШКА, фотография сделана после распада Битлз. На автобус совершенно не похоже. Вообще не автобус. Тем более на автобус из фильма.
2beatlorollingoman:
>... отчего не быть грустным группа уже распалась,
Фотографии с конверта "Let It Be" были сделаны в январе 1969. Называть их "постбитловскими" можно лишь с учетом выхода, но не записи альбома и фотосъемки Этьена Рассела.
2beatlorollingoman:
>МАКАР женился,уехал в деревню "барана" писать,
Альбом записывали зимой. Маккартни женился весной 1969. И прежде чем "писать "барана" он записал "Маккартни 1".
2beatlorollingoman:
>ХАРРи медитирует...
Непонятно, с какой кстати по этому поводу можно печалиться.
2beatlorollingoman:
>Куда бедному податься вот и забухаешь после этого!!!
Может тему переименовать "Опять нет повода не выпить"?.
Re: Кукольный спектакль «Осколки неба. Воспоминания о The Beatles». Автор:EumtyrДата: 03.12.07 07:48:55
The Beatles didn't realise what was happening at first and thought the security was to protect them from their fans. We never liked to tell The Beatles about death threats unless it became totally necessary, and Japan was one of the few places in the world where not one of us was able to read the newspapers for ourselves, so the major news stories on the potential dangers of our situation went unseen. One compensation for having to spend so many long hours in the hotel was that the boys had plenty of time to chat to local fan club members. It was one of these who actually told them about the assassination plot. It was said that over 30,000 security men looked after The Beatles during their stay in Tokyo. In full riot gear they over-protected John, Paul, George and Ringo from a couple of thousand dedicated fans who turned out to welcome the group at the airport very early on the morning of our arrival. Later, on balconies at the shows, security guys stood behind dozens of massive cameras with incredibly long zoom lenses to get close-ups of the crowd — the reality, of course, was that they were scanning everyone to try and spot a possible sniper in the audience, not to take pictures at all. Inside the octagonal auditorium of the Budokan, there were no less than 3,000 policemen, one for every four fans. Nobody was allowed to watch the show from the ground floor level in front of the stage. Instead the boys were surrounded by a sort of 'dry moat' and found themselves singing and playing to an audience seated on all sides well above them. They were used to 'theatre in the round' conditions, but not to the idea of being unable to see rows of fans directly in front of them. The reason for such extraordinarily heavy policing of the concerts was said to be the fear on the part of the authorities that some crazy students would try to kill one or more of the boys while they were on stage. For my part I felt they were also very determined that Beatlemania should not be allowed to break out, particularly within the sacred confines of the Budokan. These unfamiliar circumstances may have contributed to the comparatively poor performances. The truth is that the Japanese fans were amongst the most polite, happy and appreciative people The Beatles came across anywhere in the wide world during their touring years.
The Beatles and Japan TONY BARROW LOOKS AT THE UPS AND DOWNS OF THEIR RELATIONSHIP OVER THE YEARS WITH THE LAND OF THE RISING SUN
Doubts arose as early as January about whether or not the Japanese authorities would give the go-ahead for Paul McCartney to give his series of concerts in Tokyo this month. Although a series of seven dates had been set, between Saturday March 3 and Monday March 12, for shows at the Tokyo Bowl, uncertainty existed from the outset because of Paul's previous encounters with the local police in connection with 'soft' drugs. Japanese law enforcement folk take a dim view of the slightest involvement with illegal drugs and are not in the habit of bending their rules in deference to pop and rock superstars. In fact, they're noted for stiff¬ening the penalties and making an example of one or two celebrities simply to drive home the message to Japanese youngsters that they should say 'No!' to all types of non-prescribed drugs.
CONCERNED
During the period of indecision on the part of the Japanese authorities, Paul was deeply concerned that the outcome might rule out the Tokyo shows, which he has always regarded as a particularly important leg of his current global concert tour. Japan has always been one of the world's most important territories for a major recording artist. Quite apart from hefty sales figures notched up by hit records, Japanese fans have a reputation for long-term loyalty to their favourite stars. Paul was worried not only about the possibility that his concerts were going to be cancelled at the eleventh hour but that all the attendant media publicity would put off a number of his staunchest Japanese fans. In the Sixties, although The Beatles only went to Japan in the summer of 1966, everyone at NEMS made a special point of treating Japanese fans with a special respect. We set up interviews and photo sessions very willingly for their top music magazine and their newspaper showbusiness writers because we always knew the pictures would turn out well and be reproduced superbly in colour.
FEEDBACK
And the words? Well, we couldn't read those but, from the feedback we got from Far East fans via the London Fan Club headquarters we knew everybody was happy about what was being written about John, Paul, George and Ringo in the Orient. Unlike fans in other parts of the world, it seems that youngsters in Japan prefer to read nice things about their film and record idols. Over the years, while the popularity of The Beatles has risen and fallen amongst the rest of the world's record collectors, Japanese fans have always shown a voracious appetite for everything connected with The Fab Four, from reading matter to video recordings. Nobody has researched the matter con¬clusively, but it's said that more genuine and original items of Beatles memorabilia have found their way to Japan than to any other country, even America. It's certainly true that Japanese businessmen always seem to maintain a high profile at the big New York and London rock 'n' roll auctions, even if they're bidding down an intercontinental telephone line rather than attending a sale in person. Biographers have tended to skimp on their coverage of the 1966 visit of The Beatles to Japan. Most writers have concen¬trated on the drama of the Manila stopover which followed the four-day set of Tokyo dates. The fact is that Japan was less traumatic but just as memorable as the Philippines for a whole spectrum of reasons. The boys did five extremely well-received shows in Tokyo's Nippon Budokan but their per¬formances were far from being their best, either vocally or instrumentally. The succ¬ession of flaws went unobserved, or was forgiven, by the capacity crowds of fans who screamed, cried, clapped and waved colourful little handkerchieves from start to finish. But there was also a grim side to the group's stay in Tokyo. Several fanatics — mostly violently inclined students — threatened to kill The Beatles if the Four Mop Tops dared to appear in the hallowed Budokan, a hall which had previously been reserved for displays of martial arts and tournaments of physical skill. The would-be assassins said it was all wrong for a bunch of pop stars to play in such hallowed surroundings and, if the five shows went ahead. The Beatles would die on Japanese soil.
HARM
The Japanese security people were just as zealous in their determination that no harm should come to The Beatles. It wasn't really just a matter of preserving the lives of Messrs Lennon, McCartney, Harrison and Starr. Japanese honour was at stake and national dignity would have taken a dive if their famous visitors had been slain while on Japanese soil. So the security surrounding our touring party was more intense than I ever saw it anywhere in the world. Not only The Beatles but those of us in their circle of aides were virtual 'house prisoners' in the Presidential Suite of the Tokyo Hilton Hotel. Every alternate room on our floor was occupied by armed guards who stopped any of us leaving unless it was via the official police-escorted convoy to and from each gig. Armed policemen lined the route and marks¬men stood with rifles poised for action on bridges that spanned the urban motorways.