Adrian Belew - Человек с Открытым Сердцем!

М я не услышал прямого цитирования Битлз:-).Про Орбисона кстати ,тоже не только автор отмечает.

Некоторые ссылки по Белью

http://members.aol.com/markjx/belew.htm - в каком-то роде фанклуб Эда

http://www.egroups.com/group/AdrianBelew - eGroup Adrian Belew's tribe

Если зарегистрироваться - можно найти много чего полезного, много фото и общения

Также высылается Newsletter [новостная рассылка] на ящик если подписаться..

Самое яркое впечатление - Tribute To Jimi Hendrix (live with Frank Zappa).
А так, я сторонник других гитарных направлений.

2afigegoznaet:

>Самое яркое впечатление - Tribute To Jimi Hendrix
>(live with Frank Zappa).
>А так, я сторонник других гитарных направлений.

Послушай его сольники.

Там гитиара - всего лишь один из инструментов. Очень оригинальный парень - Эд Белью!

Некоторые его сольники мне даже побольше Кримзо нравятся, если из 70-х брать например.

Adrian Belew Nominated for Grammy December 8, 2005
Adrian has been nominated for a Grammy in the Best Rock Instrumental Performance category for the song, "Beat Box Guitar" from Side One. This category includes solo, duo, group, or collaborative performances, without vocals. Includes Rock, Hard Rock and Metal. Singles or Tracks only. For more on the Grammys, please visit their site. Congratulations, Adrian!!!

Nominees in the Best Rock Instrumental category:
Beat Box Guitar - Adrian Belew - Track from: Side One [Sanctuary]
Birds Of Prey - Stewart Copeland - Track from: Orchestralli [Ponderosa]
69 Freedom Special - Les Paul & Friends - Track from: American Made World Played [Capitol Records]
Mercy - Joe Perry - Track from: Joe Perry [Columbia Records]
Lotus Feet - Steve Vai - Track from: Real Illusions: Reflections [Epic/Red Ink]
http://www.adrianbelew.net/#Adrian%20Belew%20Nominated%20for%20Grammy

Adrian's Side One on Gagliarchives' Top 100 Listeners Poll December 2, 2005
Join the GAGLIARCHIVES Saturday Night 12/03/05, 10pm Eastern Time, for program 929...PART 2 of the 3 part
Globalprogressive Rock Network's Top 100 CDs Of 2005! Numbers 65-33 will be Featured tonight. The program
begins Saturday at 10pm Eastern Time. Like 2004's Top 100, voter turn out was strong. There were over 1000 plus progressive rock related discs this year…some of which cover different sides of progressive rock and it's genres.


Adrian's Side One made it to #35.Adrian's Side One made it to #35.

http://www.adrianbelew.net/#Adrian%20Belew%20Nominated%20for%20Grammy

В настоящий момент Эдриан Белью участвует в записи нвоого альбома своего соратника по Crimso Тони Левина!

Подробности о новостях Тони - на его сайте - http://www.tonylevin.com/

К сожалению выпуск Sde Three передвинули на Февр. 2006г. Ничего неизвестно пока о продолжении трилогии (Side Four), но если она будет, выпуск возможен на лето 2006.

Эдриана обсуждают на сайте 43People.com Можно высказать своё мнение!

http://www.43people.com/profile/view/102234

Вот некоторые из имеющихся:

by Paola — 14 weeks ago
I was getting ready for an interview with Adrian Belew when it occurred to me that the very first albums I can remember in my childhood are Remain In Light (still one of my favourites), Discipline and Sheik Yerbouti. He laughed a lot about the coincidence. I really enjoyed our chat, he’s a very kind and nice person.

by pjlewis66 — 14 weeks ago
He is a guitar player extraordinaire! Check out Sheik Yerbouti by Frank Zappa or any King Crimson since Beat.

by whirligig — 3 weeks ago
My favorite musician. Met him this year, 2005, solo tour. He came outside after the show and was gracious, patient and diplomatic w/ a large crowd of enthusiastic fans.

I’m shy anyway, and I could barely talk, but he was very sweet and really appreciative when I spoke to him. People kept butting in front of me and when he saw that, he walked through them to get to me.

He spent at least half an hour making sure everyone got what they wanted from him. Very funny, immensely talented, kind and humble. Really appreciates his fans and grateful for what he’s got.

by egress — 1 day ago
Adrian Belew almost always makes himself available to meet the people who come to see him perform. I have seen King Crimson, the Bears and the new power trio, and I’m always pleased (and a little amazed) that he hangs around after shows to sign autographs, pose for photos and chat with his fans, no matter how obnoxious they become. I’ve shaken his hand a couple of times. These days I don’t hang around after the shows; I’m turned off by pushy fans. I’m not really into autographs or hanging out with celebrities, I just love the music. I will buy anything he releases, and I will see him perform any chance I get.

>Послушай его сольники.

Там гитиара - всего лишь один из инструментов. Очень оригинальный парень - Эд Белью!

Некоторые его сольники мне даже побольше Кримзо нравятся, если из 70-х брать например.

я тоже с этим согласен

If you had to focus on a single guitarist who's made the most significant contributions to the experimental guitar palette, it'd be tough to produce a better touchstone, creatively or historically, than Adrian Belew. Known for his inventive whammy stylings, noise-based lyricism, and general coloristic approach, Belew has enriched textural-guitar vocabulary and influenced a multitude of players, including Andy Summers, The Edge, Bill Frisell, Reeves Gabrels, and Vernon Reid.
Most impressive, though, is that Belew was there when major musical pathways in outside rock were being cut. He was the guy putting the whammy on new music (literally) while others merely wanked. Belew's résumé reads like a veritable Who's Who of new music: Frank Zappa, David Bowie, Talking Heads, Laurie Anderson, Paul Simon (on the Grammy-winning, South Africa-inflected Graceland), Nine Inch Nails, and of course, King Crimson. All of this top-notch work comes in addition to a series of top-notch solo albums, including Lone Rhino, Twang Bar King, and Mr. Music Head. We asked outside rock's quintessential journeyman to take us on that heady trip that put him at the center of outside music's inner circle.
Could you chronicle the guitar progression you've taken from Zappa to your current position with King Crimson? "Playing with Zappa was almost like being in college, where you're learning things in a more formatted structure. Frank was the first person to show me how to play in odd time signatures. His music was very demanding and very regimented. The main idea was to play it correctly and play it consistently. I was working with a lot of those concepts and that was good for me at that point in my life. I'd never had any discipline up till that point. I'd only been playing in bar bands. My stint with David Bowie was concurrent with the growth of my guitar system and available sounds that I had. I was very encouraged by people like David and Brian Eno to really go wild and try a lot of ideas, sounds, and concepts. I'd worked towards that for a long time. My whole approach to guitar was not one of learning to play it properly and learning scales and notes and practicing it was one of how can you make the guitar sound interesting? So here was David Bowie giving me carte blanche to do that. The same was really true in the next step, with King Crimson, but on top of that I had to learn to play like Robert Fripp in order to accommodate the interlocking Guitar Craft style of playing the he so favored in the '80s. The first thing we did together was we sat down and worked out [scats fast pattern] Da da Da da da Da da Da da da endlessly. Hours and hours of that, which turned into songs like "Discipline." That was all very new to me. It required a picking technique I was unaccustomed to. And it was another discipline very similar to what I went through with Frank Zappa. On top of that I was suddenly saddled with the idea that I was going to be the vocalist and the lyricist and part songwriter and guitar partner and frontman. And there were a lot of rhythmic things to absorb. I got a lot of encouragement and support from [drummer] Bill Bruford. He was a very willing compass. He loves to show you ideas."

In your initial introductions to Zappa, Bowie and Fripp, each wanted you in his band after hearing you play on stage. Were they all hearing the same thing? "That's hard for me to know, but probably not. I think I could summarize it this way: Frank told me he liked me for my unusual guitar techniques. But he liked me more because in his estimation I was a very good singer. He needed someone who could sing and play guitar, which he couldn't do himself. He liked that combination. Bowie wanted a guy who could play wild guitar. He turned me loose, saying: "I want you to be my solo guitarist. Make a lot of interesting sounds. Play the solos and add all that color." That was the same kind of thing with Talking Heads. By the time it reached the Crimson stage, Robert had sussed out that I was a songwriter, a singer, a possible frontman, and a stunt guitarist as Frank Zappa once called me [laughs]. Robert put the pieces together in a way that I had been waiting for all along. He wanted me to be a part of the whole band and not just an add-on. That was my first real opportunity to persue the things that all along I thought I would do."

That is, be frontman, pop stylist, and experimental guitarist? "Yes. It's the perfect band for that combination. Before I joined the band I had been a big fan of all the stuff they'd done in the '70s, and historically that band always had a combination of cutting-edge, avant-garde, instrumental sections broken up by very well-crafted songs like "I Talk To The Wind" and "Cadence And Cascade." There's a whole catalogue of those songs. And I thought that was always the most brilliant thing about King Crimson. The band had such musical chops and integrity but could use them in both areas and not be limited to just playing songs or muscular instrumental things. The band has continued in that fashion, which offers me a forum of the very best two things that I do. I bounce back and forth between those two areas."



How does a Belew/Fripp collaboration begin? "It usually starts quietly. I have a studio here in my house, and it's very private. I've converted the whole downstairs of the house, and there's living quarters there as well, and that's where Robert stays when we work together. At first, we might not even plug in. It's just the two of us with electric guitars sitting on chairs in a room. We'll go over ideas that each of us have. So there's conversation reference points, what type of sounds this would include. If they're instrumental compositions, they'll usually be guided by Robert, and in that case I'll become his soundboard and work out parts with him. Then he can take those ideas away and fine-tune the compositions. That's how we worked on "VROOOM" as well as "VROOOM VROOOM" and "THRAK". If it's a song it will be just the opposite: then it'll be in my lap. Robert may have a few chord changes and he'll continue to ask me, "Where does this go from here?" It starts with us together and then we go off privately to work on it by ourselves.
With "VROOOM" Robert would bring in different sections to work on. Sometimes Trey Gunn would help us as well. After I gave my input, Robert would take that away and work on it some more, but it's really his song, his composition."

In "VROOOM" you play two different unison figures, yet you're in different tunings. "Well, I don't know how it is to play in Robert's tuning, but that's a very fun song to play in standard tuning. It feels real good. There's a real nice logic to how you can finger that. It always causes me to grab the whammy bar."

Do you each talk a certain way you in musical colors and Robert in music terms?

"It's not so cut and dried. We each have our own musical vocabulary, and it's often reference points to things we know and do. It can be guitar sounds. Robert will say, "I want you to use your big clouds right here." Or if we're still in the talking stage, we'll say "This can have the same heavy sound that 'Red" has. We'll use our own work as reference points because that's the simplest way to do it."



The stage demeanor between you and Robert couldn't be more different. Does that contribute to the band's musical dynamic? "Yes, but I think that's just natural, it's the way we are as people. Robert is very reserved and focused, which is exactly who he is. My jumping around and having fun attitude is more who I am. I think both our presences are necessary for the band. But I think that's true of everybody. Each person brings his own weight to the band and his own levity. Robert offstage can often be very funny. I'm busy trying to have fun and be funny onstage. Who knows? Maybe offstage I'm not as funny as I think I am."



What's it like at a Paul Simon session versus a Nine Inch Nails session? "Paul's very particular and wants exactly what he wants. He's not really looking so much for your input. When you work with Trent Reznor it's almost the opposite. He says, "What would you do here?" and you offer about five suggestions and he picks from them. Most of my sessions are of the Trent Reznor nature. Most people call me expecting me to show up and do something wild. A lot of times I go away from those sessions and I've put so much stuff down on tape I have no idea what's going to end up on the record or not. And I get the record a couple of months later like everyone else in the world and there it is and I discover what I've played [laughs].

Do you have to be a quick study to survive with disciplined bandleaders like Zappa, Fripp, and Laurie Anderson?

"Oh yeah, I think you do. You have to be thinking fast and be ready to go. I learn by rote very quickly. I think King Crimson has helped me sharpen those skills as well by the way. This band works quickly both in the studio and in rehearsal. When we went to Japan to rehearse for this tour we learned three songs in two days very difficult songs. In fact, one of those songs we learned from a Guitar Magazine transcription "Three Of A Perfect Pair." We had to learn that song from your magazine."



How was the transcription? "It was very accurate and very good. I still have no idea how I played that solo you transcribed [laughs]. That was very helpful. [See our Aug/95 issue of which we are now infinitely proud ed.]

What setup are you using these days?

"I use a MIDI guitar system. It's all MIDI and all stereo, run by a MIDI Mitigator by Butler. If you like a sound you can call it a patch, give it a name, and even program in a song. So when I'm on stage, let's say I'm playing the song "Dinosaur," and it has five different guitar sounds, there they are in front of me, and they're named A, B, C, D, E. This allows me to shuffle through them at the proper time. It's just a way to quickly move from one thing to the next. Everything is built around several guitar synthesizers and several guitar processors. The main guitar processing units I use are two Korg A3's. They may be a little outdated now, but I've written so many nice things with them that I'm still enjoying them a lot. They give me all my basic distortions and delays, flanging, chorusing all those things.
"The two synthesizers I'm using are the Roland GR-50 and GR-1. They do different things. On the GR-50 you can assign two different sounds to each string, which are activated by the way you touch it. It's not easy to program but there's a lot of versatility with the internal sounds. The GR-1 is almost just the opposite. It's a very friendly instrument for making up your own sounds. So I need those combinations, because what I primarily do is design my own sounds. I don't like to use sampling; I'm more intrigued by achieving the sound and creating the sound rather than just replicating the sound. I also use a Fox Tone and a Frequency Analyzer, old devices from the '60s that are unique and that I've used on my records. I've had them MIDI'd and rackmounted so I can use them in my setup. On the overall system I have a Roland 330 delay, and it comes up on a pedal anytime I want it. So you can have any delay you're already using and then bring in the 330 on top of that. Then I have two older boxes called Roland RPS-10's. A lot of people ask me how I get that backwards guitar sound, and that's what does it. They were never advertised as being able to make backwards guitar sounds, but there's one little setting on it called "Inverse," which allows you to sample a little bit of the guitar and turn it around backwards as you're playing. You have to learn the technique of playing a little ahead of where you want to be. But after you've mastered that, it's really a lot of fun."

http://www.visi.com/~timsks/fripp/belew.html

Pat Metheny & Twang Bar King

acoustic belew

Дата интервью: 18 мая 1990 г.


--------------------------------------------------------------------------------
(c) 1988 by Anil Prasad.
This interview has been reproduced on Guitar Studio with the author's permission. Sole worldwide copyright in this article remains with Anil Prasad. It may not be reproduced or retransmitted without the express written consent of the author. The original English version of this article is available from Innerviews magazine located at www.innerviews.org. For more information, please contact Anil Prasad at aprasad@innerviews.org.

Aдриан Белью является авторитетом для огромного количества людей. Для Френка Заппы (Frank Zappa), Токинг Хэдз (Talking Heads) и Пола Саймона (Paul Simon) он - электрогитарист-виртуоз. Для Майка Олдфилда (Mike Oldfield) он - эмоциональный вокалист. Для Дэвида Боуи (David Bowie) - и то и другое.

Хотя за последние десять лет он играл со многими выдающимися артистами, наиболее хорошо он известен как человек, работавший с King Crimson восьмидесятых - легендарной авангардной прогрессивной группой. Звучание и пронизывающие скрипы группы известны из-за их уникальной способности сочетать благозвучие и в то же время полное его разрушение.

В настоящее время Белью работает в обзорном турне Дэвида Боуи "Sound and Vision". Однако в турне он выполняет роль намного более значимую, нежели роль просто приглашенного музыканта. Фактически он - музыкальный руководитель шоу. В прошлом эти два музыанта уже сотрудничали на альбомах Боуи "Stage" и "Lodger".

Пятый сольный альбом Белью "Young Lions" был совсем недавно издан на Warner Records. Он содержит две дуэтных композиции, записанных с Боуи - "GunMan" и "Pretty Pink Rose". Последняя вещь была представлена во время турне Боуи и даже засветилась в американских поп-чартах.

Вы и раньше работали с Боуи, но что привело Вас к этому новому сотрудничеству?

Все было очень просто. Он позвонил мне во время турне Mr. Music Head (сольный альбом Белью 1989 года) и мы поговорили насчет турне Sound and Vision, а также по поводу написания совместной музыки. Он также предложил идею использования моей группы, с которой я находился в турне - Рик Фокс (клавишные) и Майк Ходжс (ударные). Мы всегда были хорошими друзьями, и сейчас я считаю, что это был лучший тур, который когда-либо у меня был.

Что Вы можете рассказать о Prophet Omega, который читает текст к "I Am What I Am?"

Prophet Omega просто поразил мое воображение, и я не смог отказаться от этого. Он работает или работал радио-евангелистом и вещал из своей квартиры в Нэшвилле. Мне достались пленки с некоторыми записями его шоу, но не было возможности разыскать этого священника или определить возраст записей. Я думаю, им около 15-20 лет. Его голос показался мне таким внушительным и проникновенным, что я решил, что он должен жить в одной из моих песен. Поэтому я просидел день в студии, выковыривая наиболее понравившиеся мне фразы и вставляя их в музыку так, чтобы они могли создать чувство и ритм. Я указал его как соавтора, поэтому, если парочка громил вломится ко мне однажды, я смогу сказать: "Вот ваши денежки!"

Вас, наверное, уже замучали вопросами про King Crimson?

Да нет. Мне все еще нравится эта группа. Это просто удивительно... Когда играешь в такой группе, как эта, и потом проходят годы, все что у Вас остается - это хорошие воспоминания, хотя были и действительно неприятные моменты. Конечный результат - это то, что группа сейчас делает очень увлекательную музыку и это все, что на самом деле имеет значение.

Почему Вы решили переиграть композицию Кинг Кримсон "Heartbeat" на своем новом альбоме?

"Heartbeat" была единственная песня, которую я принес в группу полностью завершенной, как одну из своих песен. В большинстве случаев в Кинг Кримсон процесс написания происходит сообща. Я почувствовал, что группа взяла и сделала песню совершенно не так, как это бы сделал я. Я всегда думал, что было бы чудесно записать ее так, как она звучала в моем воображении.

Эта песня вышла на сингле группы и пользовалась успехом, однако так никогда и не стала хитом.

Мы всегда смеялись над подобными вещами. Мы называли это "Crimson Curse" (Кримсоновское проклятие). Все, что мы делали, даже если это была поп-песня, никогда бы не поставили на радиостанции, потому что у группы была репутация "запредельной".

Расскажите мне, пожалуйста, о своей кавер-версии композиции Трэвеллинг Уилбуриз (Traveling Wilbury's) "Not Alone Anymore".

Это было под рождество 1988 года. Именно тогда эта песня впервые вышла в свет, а я как раз был где-то на середине работы над своим проектом Mr. Music Head. Когда я впервые услышал эту песню, я долго не мог выкинуть ее из головы, и она заинтересовала меня. После трех дней постоянного прослушивания, я в конце концов решил записать ее, чтобы наконец выбросить ее из головы и сконцентрироваться на окончании своего Mr. Music Head. Я решил не включать ее в свой альбом потому, что совсем недавно умер Рой Орбисон, и она никаким образом не вписывалась в этот альбом.

Похоже, что на альбоме Young Lions Вы удалились от своей экспериментаторской сущности.

Да, у меня было слишком мало времени для записи альбома - всего 10 недель. Это действительно очень короткое время для написания и записи десяти песен - особенно если Вы все делаете самостоятельно! Я думал, мне удалось сохранить песни ровными, насколько это возможно, и сыграть как можно более похоже на целую группу с гитарой, басом, барабанами, клавишами и голосом. Все получалось очень простым, и у меня не было времени для того, чтобы увеличить время для экспериментов и сэмплирования.

Правда ли, что песня "Phone Call To The Moon" о жизни в дороге?

Да, точно, идея этого пришла мне в голову, когда я находился в тяжелом, изматывающем турне с The Bears (группа Белью конца 80-х). Мы сделали семь туров в Штатах по действительно глухим местам, и мне постоянно приходилось звонить домой из телефонных будок. Я обнаружил, что это действительно грустное существование, и это развилось в идею человека, заброшенного на Луну.

Вы упоминаете во многих своих песнях "толстые кадиллаки". Что они символизируют?

Мне нравится использовать подобные выражения. Они пролегают через все мое творчество. Я читал где-то, что Фрэнк Заппа любит использовать определенные фразы, термины и слова по много раз. Это очень похоже на меня, за исключением того, что у меня это носороги, слоны и кадиллаки!

Кто этот ребенок на обложке альбома?

Это я в возрасте пяти лет. Это фото было сделано, когда я шел в воскресную школу. Хотя я даже и не помню, что за животное у меня в руках. Некоторые говорят, что это похоже на утку или скунса. Одна из причин, по которым я поместил это фото на обложку альбома - потому, что именно в то время меня впервые заинтересовала музыка. Мои родители могли слышать, как я пою с записями. Вы бы не стали мне аплодировать!

Anil Prasad

Перевод Сергея Стрюкова
stu@guitar.ru

http://www.guitar.ru/interview/belew2/