"Kisses on the Bottom" - альбом Пола Маккартни 2012

to k32
Ну если не врубаешься, то помолчал хотя бы. Молод еще. Тема не для тебя.

Классный альбом получился, мне понравилось. Вчера два раза прослушал, позитивно! Неплохое разнообразие в каталог Маккартни!

2k32:

>Так и пытаются закрыть нам глаза на то, что старик
>записал чушь)

ага..и тяжелая артиллерия в лице Корвина подтянулась )



2VASILY:

>Молод еще. Тема не для тебя.

ты кто такой,чтобы решать для кого та или иная тема?смотрящий местный?

2Corvin:


>Почитал отзывы. Приятно удивлен, что критика
>"Kisses on the Bottom" до масштабов критики "Chaos
>and Creation" не дотягивает. Хороший тренд.

Возможно он просто вызывает меньше эмоций. Хорошо это или плохо - непонятно.

Лично мне просто больно слушать надтреснутый старческий голос.

k32 & mishana:

Отдыхайте, ребята. Слушайте то что вам по душе.
Зачем многократно трындеть о том что альбом полная чушь?
Или вы получаете удовольствие лишний раз обкакивая кого-то?
Не расстраивайтесь и не поганьте настроение другим.

2koderr:

>
>Лично мне просто больно слушать надтреснутый
>старческий голос.



Да бросьте голос не старческий,просто какой то неуверенный.Но альбом интересен в любом случае,как для коллекционеров,так и для прослушивания.
А по разговорам друзей,соседей и прочих жителей мегаполиса Маккартни и так слушает весьма узкий круг населения.

2Walrus:

>k32 & mishana:
>Отдыхайте, ребята. Слушайте то что вам по душе.

я сам решу,что мне делать-отдыхать или работать



2Walrus:

>Или вы получаете удовольствие лишний раз обкакивая кого-то?

или ты так это понимаешь?



2Walrus:

>Не расстраивайтесь и не поганьте настроение другим.
расстроился похоже ты...альбом послушай и настроение к тебе вернется

2Mind_Game

>Я могла бы, например, написать "Все, кто обсирают новый альбом Макки, полнейшие идиоты и уроды", а потом заявить, что это просто субъективное мнение моё такое ;)

Не, для такого вывода одного только субъективизма недостаточно. Идиотия - это медицинский диагноз. Ну а для называния уродом нужны видимые признаки, кои Вам не доступны.

Прослушал наконец то целиком альбом.
От комментариев воздержусь.Александр.
Но последняя песня
14 - Only Our Hearts. шедевр.

Старик попытался натянуть на себя эти песни, как одежду с чужого плеча. Причём на полном серьёзе, да ещё как он любит - с разбегу да с наскоку. Но сжиться с репертуаром совершенно не получилось. Вышло всё не аутентично, абсолютно не вызывает сопереживания, как те же песни в оригинале.
Чтобы достойно записать такую пластинку нужно не один год быть, как говориться, "в теме", а не делать забеги на джазовую территорию когда в голову взбредёт.
А Это... это даже не пародия. В общем, не по Сеньке шапка.

Еще один натянутый альбом Снова в СССР.
Он был записан в студии за два дня с сессионными музыкантами.
Мнения о нем наверняка разные.

2Double Fantasy:
>2Бри:
>>Рекомендация для прослушивания альбома: садимся
>>в кресло у окошка, за окном желательно чтобы
>было
>>темно, горели огни и падал снег, открываем бутылочку
>>вина, наливаем в бокал, включаем альбом и наслаждаемся...жизнью.
>И со вкусом поцелуя на губах...
Одному тоже good.

2k32:

>Старик попытался натянуть на себя эти песни,
>как одежду с чужого плеча. Причём на полном серьёзе,
>да ещё как он любит - с разбегу да с наскоку.
>Но сжиться с репертуаром совершенно не получилось.

А музыкальные критики Guardian считают, что это триумф.
http://www.guardian.co.uk/music/musicblog/2012/jan/30/paul-mccartney-jamie-cullum

Paul McCartney's Kisses on the Bottom: Jamie Cullum's review

Paul McCartney's new album, Kisses on the Bottom, which you can listen to here, sees him turning his hand to jazz-age standards. And the result, writes Jamie Cullum, is a triumph

The Beatles always had a soft spot for the era of songwriting that came before they invented the modern rock band. It's nice of them really, considering that by the 70s the genre they helped define had made dinosaurs of the likes of Frank Sinatra (who later sang the Beatles' Something and Yesterday). Among the many things that made them unique, the ghosts of Cole Porter, Fats Waller and Harold Arlen helped give the Beatles the tools to experiment with the kind of structure and melody that gave birth to some of their greatest songs.

The cheekily titled Kisses on the Bottom is Paul McCartney's tribute to the songs he heard his father play at the piano when he was a boy. These tunes were never dismissed by McCartney as "music his parents listened to" as many of his generation subsequently would when Beatlemania took hold. It is a circle he has been hoping to complete for many years.

It's hard to imagine what there is to add to the canon of great American songbook albums – between the legacy of the great crooners and the more recent world-dominating sound of Michael Bublé or Rod Stewart's efforts, where is Sir Paul's going to fit? The answer is in this record's simplicity. Only someone with so little left to prove could offer up an album that never tries to out-play, out-sing or out-croon anyone. He shows immense respect for the art form as he swaps his role from songwriter to interpreter.

It is immediately apparent from the opening song, I'm Gonna Sit Right Down and Write Myself a Letter, that while no broad risks are being taken, there are some are subtle and effective changes. The gentle comping of Diana Krall's piano, the swish of Karriem Riggins' drums and the lushness of Jonny Mandel's strings may be familiar and comfortable, but Paul's voice sounds different. He makes little attempt to croon or adopt that manly braggadocio often associated with this music. Instead his voice focuses on tone, intonation and timing – all delivered with a whisper that, while gentle, fills the sound with its richness.

It is a move that takes you by surprise when you realise McCartney is exploring an area of his voice that we, and possibly he, had never even heard before. He is singing in a higher register than we expect of him; but this gamble serves to deliver an approach to this music that is achingly honest. He may still be playing a part but it's more Chet Baker than Sinatra; more Billie Holiday than Bublé.

The supporting cast of Krall and band, producer Tommy LiPuma and legendary recording engineer Al Schmitt provide an unwaveringly tasteful landscape for McCartney to sing over. While it all may be too smooth for some, I found myself applauding their resistance to the more robust sound of a big band and tight, high-octane arrangements. It takes away any whiff of this resembling a Vegas review show. The simplicity of the piano trio with guitar and a few dashes of strings gives the set an informality that only adds to its charm. If anything, McCartney has taken his lead from Krall's own take on the standards – classy, spare, musical and modest.

The repertoire itself is often pleasantly surprising. There are some familiar faces, but most selections have an air of the forgotten gem about them. More I Cannot Wish You, taken from the Guys and Dolls musical, is notable for not being included in the movie version, and thus rarely heard outside the theatre. It's a stunningly direct song about parenthood and guardianship that echoes the clarity of Hey Jude. Bye Bye Blackbird is taken at such a slow tempo you wonder how it might be sustained over the song's duration. McCartney resists the temptation to fill in the gaps and lays blissfully back on the beat like a Lester Young saxophone solo. Even the slightly twee selections have their place in this puzzle. When he sings My Very Good Friend the Milkman and Inchworm we are reminded this is the man who gave us When I'm Sixty Four, Maxwell's Silver Hammer and Honey Pie.

McCartney's two original selections stand nose to nose with the other songs without a trace of inauthenticity. My Valentine, featuring Eric Clapton, is a sombre love song from a forgotten Broadway show while the shamelessly romantic Only Our Hearts, featuring Stevie Wonder's harmonica, had me checking the credits to make sure it wasn't Gershwin.

McCartney has said part of the joy of making his first two solo albums was that he could relinquish the pressure of being a Beatle and just enjoy making music. That sounds like what he is doing here. Though some may be disappointed by the sheer tastefulness of the whole affair, this album sounds like a holiday, a smile, a love letter. Paul McCartney has allowed himself to luxuriate in the glory of songs by some of the other greatest songwriters of all time, played and recorded by some of the best in the business. It's not only a luxury he is allowed, it is one we should be grateful for.

http://www.guardian.co.uk/music/musicblog/2012/jan/30/paul-mccartney-jamie-cullum

Paul McCartney - Sunday Times Culture - 29/01/12

Новый альбом всегда радость. И маленькая жемчужина есть в каждом!

2Corvin:

>Jamie Cullum's review
Он уже авторитет в этой области? Ну надо же! Закончил школу парень!

альбом уже в продаже? как бы...

http://www.amazon.com/Kisses-Bottom-Paul-McCartney/dp/B006OAB3ME

2VeeJayMan:

>Он уже авторитет в этой области? Ну надо же!
>Закончил школу парень!

Jamie Cullum (born 20 August 1979) is an English jazz singer-songwriter, and multi-instrumentalist. Though he is a primarily a vocalist, he also accompanies himself on instruments including piano, guitar and drums. Cullum was born in Romford, East London. He was brought up in Hullavington, Wiltshire, and educated at the independent fee-paying Grittleton House School and the sixth form at Sheldon School. He then went on to study English Literature, and minored in Film Studies, at Reading University where he graduated with First Class Honours. His mother, Yvonne, is a secretary of Anglo-Burmese origin, whose family settled in Wales after Burma's independence; his father, John Cullum, worked in finance. His paternal grandfather was a British Army officer, while his paternal grandmother was a Jewish refugee from Prussia who sang in Berlin nightclubs. Cullum married British model Sophie Dahl at a country hotel in the New Forest National Park in England on 9 January 2010. Cullum released his first album, Jamie Cullum Trio—Heard it All, in 1999, of which 500 copies were made. Due to their rarity, original copies have sold for as much as £600 on eBay. The success of Heard It All Before resulted in Cullum being invited to appear on Geoff Gascoyne's album Songs of the Summer. After graduating from Reading University, Cullum released a best-selling album, Pointless Nostalgic, which stirred interest from Michael Parkinson[2] and Melvyn Bragg. Just after Cullum made his first television appearance, on Parkinson in April 2003, he signed a £1m contract[3] for three albums with Universal, who beat Sony in a bidding war. Cullum's third album, Twentysomething, released in October 2003, went platinum and became the #1 selling studio album by a jazz artist in the United Kingdom. Cullum ended 2003 as the UK's biggest selling jazz artist of all time.[3] Although primarily a jazz musician, he performs in a wide range of styles and is generally regarded as a "crossover" artist with his musical roots firmly based in jazz. Cullum draws his inspiration from many different musicians and listens to an eclectic mix of music from Miles Davis[4] to Tom Waits and many more. Cullum has belonged to several bands, ranging from banging drums in a hip hop group to playing guitar in rock bands such as Raw Sausage and The Mystery Machine, in his teenage youth. Cullum names his elder brother, Ben Cullum, as his biggest musical influence, and the two continue to collaborate extensively. Cullum is well known not only for his abilities on the piano, but also for his unique entertainment style and charisma. One of the many things that features in Jamie's concerts is the "stompbox" (not to be confused with an effect pedal for guitars), made from a small wooden block. The stompbox is used to amplify a musician's tapping foot. Jamie found this in Australia and uses it to enhance upbeat and fast-paced songs such as Seven Nation Army originally by the White Stripes and "Gold Digger", originally by Kanye West. He is also often found using a looping machine. This plays a heavy part in Cullum's versions of Seven Nation Army and Teardrop by Massive Attack. Cullum is also often found beatboxing at most gigs. As well as the White Stripes and Kanye West, Cullum has performed work by Massive Attack, Rihanna, Pussycat Dolls, Radiohead, Gnarls Barkley, Elton John, Justin Timberlake, John Legend, Joy Division, Lady Gaga and many others. He has also performed with Kylie Minogue, Sugababes, Will.i.am and Burt Bacharach. Cullum rarely works to a set list and on average his gigs last just over two hours. The gigs are largely improvised, rooted in jazz but not solely consisting of jazz music. Cullum has played at many large music festivals, including Glastonbury Festival (in 2004 & 2009), Coachella 2005, 2006 South by Southwest, North Sea Jazz Festival, the Hollywood Bowl (performing with the Count Basie Orchestra) and the 2006 Playboy Jazz Festival. On the April 29th 2006 Cullum played his biggest ever crowd on Queensday in The Netherlands.

http://www.guardian.co.uk/music/jamie-cullum

Ну и что? Жаль Эми померла, она бы тоже могла ревьюшку набросать.