So, the theme of this post is Love. No particular reason, but it felt right, so I'll go with it.
First off, here is a link to a song called "Love'n"
http://www.youtube.com/watch?v=Gx9pWgN0g2c
The song is credited to The Beatles. It may very well be a fake, but no one knows for sure at the moment. It is also listed as an early version of "Getting Better". This could be the Rutles for all we know, but I figured I'd share it anyway.
So, love. Everyone should love. Miley Cyrus has publically stated (perhaps somewhat unintentionally?) that she supports gay relationships, via Twitter comments @ Perez Hilton. "jesus loves you AND your partner and wants you to know how much he cares!" This is came about after Hilton asked Miss California er posistion on gay marriage, to which she gave her "biblically" inspired negative response. It is interesting, because Miley is a Christian and very devouted to the Bible. I for one am glad that Miley is displaying to people a sense of openess and acceptance ('specially to fans who are either gay and perhaps forced into a corner of shame, or those who make them feel that shame.) If only this feeling of love could be embraced by our whole world.
Miley's twitter is found here:
http://twitter.com/mileycyrus
Following that, I must say Twitter is perhaps the coolest of all the internet crazes as far as following celebs is concerned. It only takes second to update, meaning even the busiest celeb can update often. There is no html coding or wierd things like that. Myspace and Facebook and Xanga (not that any celeb I know of ever did Xanga) took investments of time, and often become more like giant internet advertisements for celebs, which is kind of a waste since celebs can do the same with there own website.
At the same time, Twitter (and for that matter Facebook status) can become kind of creepy and stalkerish. Sometimes.
But, getting back to love, Paul McCartney got lots of love from indie fans at the Coachella festival. Also, McCartney showed love for The Fireman, his side project, which released a new album last November, by doing two Fireman songs live, the first time he ever did so. Paul performed "Sing The Changes" (the proper single, and one of my favorite new Fireman songs), and "Highway" (one of my least favorites.) Also, on the big screen behind Paul, footage from the Beatles Rock Band was shown. The game comes out September 9th, the same day as the remaster discography of the Beatles. Dhani Harrison (son of George Harrison) says the game will feature previously unheard material.
I don't even know what love has to do with this, but in a seperate interview, Dhani Harrison talked about working on a box set of unreleased George Harrison material. The idea of this set is nothing new, going all the way back to when Harrison was alive. Dhani wants to get the set out, and thinks the material he would release is better than the bootlegs fans have of George outtakes (and George outtakes are somewhat slim, and often instrumental versions or rough mixes of songs, stuff that is often boring and similar to commercial material). Dhani is cheesed off at EMI, which instead of putting out the set, or even finishing the remaster series, is putting out a lame greatest hits. So sad.
Oh, just for kicks, here are some more Twitters:
http://twitter.com/MirandaBuzz - Miranda Cosgrove
http://twitter.com/jennettemccurdy - Jennette McCurdy
http://twitter.com/selenagomez - Selena Gomez
http://twitter.com/ddlovato - Demi Lovato
Tuesday, April 21, 2009
Wednesday, April 15, 2009
News Of The Day
So, let's start off with some news bites.
Jennette McCurdy has written, or "twittered", if you will, that her debut album (still unfinished) may be hitting shelves June 30th.
Demi Lovato is going on tour, and David Archuleta will be the opening act. She also has done a song with Academy Is member William Beckett.
Paul McCartney has a few interesting bits. He may be doing some Fireman tracks live at the Coachella Festival (he has never done a Fireman song on stage before, and was originally going to do so last year on TV, but had to cancel in order to do his show in Israel.) Paul is also supposedly doing a new album, and has as many as 20 new songs already. Ringo is rumored to be involved. Paul may be considering a fall release date, to coincide with The Beatle Remasters. There are also rumors of a box-set of outtakes and such. Such rumors have persisted since the phrase "box-set" was coined, but with Paul's 40th anniversary as a solo artist approaching, it may finally be time (maybe.)
George Harrison has a new greatest hits package, which is cool for those who know little about him, but annoying to big fans who still await remasters of "Dark Horse" and "Extra Texture," not to mention a box-set of unreleased cuts.
"Hannah Montana The Movie" broke some records, and is estimated to make a bajillion dollars (okay, real numbers are much more modest than that.) I hope to see the film soon.
The Beatles remasters have conjured up rumors that the DVD accompanying the new discs will feature the acoustic "Love You To," an instrumental "Doctor Robert," and even a brand new, 10 minute remix of "Carnival Of Light." My bet is that take 20 of "Revolution 1" will also be included, seeing as EMI practically burst an artery when the song was leaked.
I am very excited about all these new projects and releases. I have long awaited Beatle remasters, and if the rumours of new songs being included are true, I all the more anxiously await September 9th (note 9/09/09 is the release date. Number 9, Number 9, Number 9...)
Jennette McCurdy's album also has me waiting. It will be the next new album to come out that I look forward too, and will be a great way to kick off the summer (and Jennette's 16th birthday is in late June, so it will be really cool for her to have her first disc out and all.)
I'm glad Demi is working on a new album, and can't wait to hear more about it. The only real items we know are that the guy from Academy Is... did a song with her, and that Demi likens her new direction more to "Behind Enemy Lines" than her previous work. (By the way, in film footage on the DVD, Demi is seen holding a 12 track CD of a rough "Don't Forget," meaning "Behind Enemy Lines" was at least considered to make the disc. I guess they originally cut it since it wasn't like the rest of the songs, but thought as a bonus track, that wouldn't matter.)
McCartney's stuff is always great, so I can't wait for more info on his projects. No one has reported any specifics on his new album, and I suspect Paul will keep the album under wraps until he has a release date. As for the box-set, Paul has been trying to do an outtakes album since "Hot Hits/Cold Cuts." The album was to be a double set featuring a disc of hits, and a disc of outtakes spanning from "Ram" up to "Back To The Egg". Paul decided just to release a hits disc, called "Wings Greatest." He worked on "Cold Cuts" up into the eighties, remixing and overdubbing, before giving up. Many songs from the proposed track list have since gotten out.
Jennette McCurdy has written, or "twittered", if you will, that her debut album (still unfinished) may be hitting shelves June 30th.
Demi Lovato is going on tour, and David Archuleta will be the opening act. She also has done a song with Academy Is member William Beckett.
Paul McCartney has a few interesting bits. He may be doing some Fireman tracks live at the Coachella Festival (he has never done a Fireman song on stage before, and was originally going to do so last year on TV, but had to cancel in order to do his show in Israel.) Paul is also supposedly doing a new album, and has as many as 20 new songs already. Ringo is rumored to be involved. Paul may be considering a fall release date, to coincide with The Beatle Remasters. There are also rumors of a box-set of outtakes and such. Such rumors have persisted since the phrase "box-set" was coined, but with Paul's 40th anniversary as a solo artist approaching, it may finally be time (maybe.)
George Harrison has a new greatest hits package, which is cool for those who know little about him, but annoying to big fans who still await remasters of "Dark Horse" and "Extra Texture," not to mention a box-set of unreleased cuts.
"Hannah Montana The Movie" broke some records, and is estimated to make a bajillion dollars (okay, real numbers are much more modest than that.) I hope to see the film soon.
The Beatles remasters have conjured up rumors that the DVD accompanying the new discs will feature the acoustic "Love You To," an instrumental "Doctor Robert," and even a brand new, 10 minute remix of "Carnival Of Light." My bet is that take 20 of "Revolution 1" will also be included, seeing as EMI practically burst an artery when the song was leaked.
I am very excited about all these new projects and releases. I have long awaited Beatle remasters, and if the rumours of new songs being included are true, I all the more anxiously await September 9th (note 9/09/09 is the release date. Number 9, Number 9, Number 9...)
Jennette McCurdy's album also has me waiting. It will be the next new album to come out that I look forward too, and will be a great way to kick off the summer (and Jennette's 16th birthday is in late June, so it will be really cool for her to have her first disc out and all.)
I'm glad Demi is working on a new album, and can't wait to hear more about it. The only real items we know are that the guy from Academy Is... did a song with her, and that Demi likens her new direction more to "Behind Enemy Lines" than her previous work. (By the way, in film footage on the DVD, Demi is seen holding a 12 track CD of a rough "Don't Forget," meaning "Behind Enemy Lines" was at least considered to make the disc. I guess they originally cut it since it wasn't like the rest of the songs, but thought as a bonus track, that wouldn't matter.)
McCartney's stuff is always great, so I can't wait for more info on his projects. No one has reported any specifics on his new album, and I suspect Paul will keep the album under wraps until he has a release date. As for the box-set, Paul has been trying to do an outtakes album since "Hot Hits/Cold Cuts." The album was to be a double set featuring a disc of hits, and a disc of outtakes spanning from "Ram" up to "Back To The Egg". Paul decided just to release a hits disc, called "Wings Greatest." He worked on "Cold Cuts" up into the eighties, remixing and overdubbing, before giving up. Many songs from the proposed track list have since gotten out.
- "A Love For You"- saw release in 2003 on the "In Laws" soundtrack. First done during "Ram"
- "Lunch Box/Odd Sox" - B-side of "Coming Up". Recorded during "Venus & Mars"
- "My Carnival" - b-side of "Spies Like Us" (also made into a "Party Mix.") Recorded during "Venus & Mars."
- "Hey Diddle" - released version from a home tape on "Wingspan." Studio version first done during "Ram," later worked on in 1974 Nashville, sort of early "Venus & Mars" sessions
- "Mama's Little Girl" - released on "Put It There" single. From "Red Rose Speedway" sessions
- "Same Time Next Year" - released on "Put It There" single. From "Back To The Egg" sessions, done for a film of the same name.
- "Wide Prairie" - a portion released on Linda's "Wide Prairie" album. Done after "Band On The Run" sessions
- "I Would Only Smile" - Denny Laine cut released on his album "Japanese Tears." Done during "Red Rose Speedway" sessions
- "Send Me The Heart" - Denny Laine and Paul duet released on his album "Japanese Tears." Done during 1974 Nashville sessions
- "Oriental Nightfish" - Linda McCartney song first released in a music video, later on "Wide Prairie." From "Band On The Run" sessions.
But, there are many songs still unreleased from this collection.
- "Tragedy" - a cover song from "Red Rose Speedway" sessions.
- "Night Out" - from "Red Rose Speedway" sessions
- "Tomorrow" - this song was released on "Wild Life", but during "Venus and Mars" sessions, Paul did an instrumental version
- "Proud Mum" - an instrumental from Nashville (plus a short reprise version)
- "Did We Meet Somewhere Before?" - from "Back To The Egg" sessions, and a small portion was played in the film "Rock & Roll High School" but otherwise unreleased
- "Best Friend" - a concert song from 1972, with studio overdubs (like the song "The Mess")
- "Robber's Ball" - an outtake from "McCartney II"
- "Cage" - a "Back To The Egg" song originally slated to be on that album, before cut in favor of the similar "Baby's Request"
- "Waterspout" - a pre-"London Town" home studio recording
These songs have been overdubbed and remixed and many have new lead vocals from Paul done in the eighties. But a new box-set would feature much more, and will hopefull cover Paul from his early years up to the present.
Thursday, April 9, 2009
Hannah Montana The Movie Soundtrack
Well, we are almost ready for my (belated) review of the "Hannah Montana The Movie" soundtrack.
But first, I want to talk about E!'s new documentary, cleverly titled "Miley Cyrus." It premiered yesterday, and covers Miley's life from her birth up through last week at the premiere of the "Hannah Montana" feature film. It is a breif overview of Miley's life, but it is not told only from her perspective. Parents Billy Ray and Tish, sisters Brandi and Noah, friends Mandy and Leslie, former cheerleading coach Chastity, and others get as much say as Miley as they weigh in on the star's life. There is nothing new said in this doc, but hearing Miley and her closest companions narrate this life while images and film clips illustrate proves much more fun than reading Miley's wikipedia page. Of course, in an hour, only so much can be said, and there are many subjects (like getting bullied) that are only hinted at, and Miley's book provides the best source to fill and and look more in depth at these topics.
But, that all aside, let's get to my album review.
After "Breakout," I think it was finally realized that the music of Miley and the music of Hannah are two seperate things. Hannah songs are written by Disney songwriters, and require a fairly generic pop vocalist. Miley sure sings them well, but her own material comes from her creativity, and is written to go with her vocal range, as she sounds her best when singing in a key or so lower than her blonde counterpart. So, the 7 Hannah songs on this disc were fairly unsurprising and, in context of all the Hannah songs, sort of bland. "Let's Do This" was one of the best. Hannah vocalizes the melody for this upbeat song. It's a fun number, very happy (like all Hannah songs) but it just works better. "You'll Always Find Your Way Back Home" is co-written by Taylor Swift, and is probably the deepest Hannah song there is. "Spotlight" is a jumpy one, with rock instruments, and cool changes. The rest are either not memorable enough, or even a bit disapointing (well, "Best Of Both Worlds 2009 Mix" is cool, a rockier update of the song, but not that different, although the few changes are welcome.)
There are 5 Miley songs on the album, but she only wrote one, and they are otherwise written by Disney writers, so they start to fall into more of a grey area. "Don't Walk Away" was leaked last summer as a "Breakout" outtake, and it is cool, but lacks a hook, and has annoying "crowd" shouts. "Hoedown Throwdown" has that cheap crowd too, but that is the only detriment of the song. It is otherwise a fun novelty number, Miley's first song to really own a dance floor. "Dream" is low key and forgettable. "The Climb" is a big hit, and understandably so. It is the type of pop-ballad that has been missing from Cyrus's eclectic discography. Her vocals are powerful, and she totally owns the song. (btw, there are three versions, the album cut, the piano intro, and the guitar intro. The last two are promo only numbers, and feature country instruments.)
"Butterfly Fly Away" is a beautiful, if not the most beautiful, duet between Miley and her father. It is a bit bittersweet, because Miley will have to "fly away" from her father, but at the same time, I can't imagine such a family oriented person ever really leaving. Still, the song is so sweet. But...
... The best version is NOT on "Hannah Montana The Movie" soundtrack. That version has only strings and guitars, and Miley is the only lead vocalist. Billy Ray does harmonies, but otherwise has no solo spot. On his album "Back To Tennessee" is a longer version. This one has drums, electric guitars, and Billy Ray taking the spotlight for a verse or two. It feels like a more finished version of the song, and I prefer it.
The rest of the album is good fare. Not my cup of tea, but good for a spin or two. Taylor Swift, Rascal Flatts, a solo Billy Ray song, all playing into the country theme.
Overall, I've learned to expect more from Miley, and aside from a few numbers, she falls a bit short. I'm sure her next solo affair will prove what she can really muster.
But first, I want to talk about E!'s new documentary, cleverly titled "Miley Cyrus." It premiered yesterday, and covers Miley's life from her birth up through last week at the premiere of the "Hannah Montana" feature film. It is a breif overview of Miley's life, but it is not told only from her perspective. Parents Billy Ray and Tish, sisters Brandi and Noah, friends Mandy and Leslie, former cheerleading coach Chastity, and others get as much say as Miley as they weigh in on the star's life. There is nothing new said in this doc, but hearing Miley and her closest companions narrate this life while images and film clips illustrate proves much more fun than reading Miley's wikipedia page. Of course, in an hour, only so much can be said, and there are many subjects (like getting bullied) that are only hinted at, and Miley's book provides the best source to fill and and look more in depth at these topics.
But, that all aside, let's get to my album review.
After "Breakout," I think it was finally realized that the music of Miley and the music of Hannah are two seperate things. Hannah songs are written by Disney songwriters, and require a fairly generic pop vocalist. Miley sure sings them well, but her own material comes from her creativity, and is written to go with her vocal range, as she sounds her best when singing in a key or so lower than her blonde counterpart. So, the 7 Hannah songs on this disc were fairly unsurprising and, in context of all the Hannah songs, sort of bland. "Let's Do This" was one of the best. Hannah vocalizes the melody for this upbeat song. It's a fun number, very happy (like all Hannah songs) but it just works better. "You'll Always Find Your Way Back Home" is co-written by Taylor Swift, and is probably the deepest Hannah song there is. "Spotlight" is a jumpy one, with rock instruments, and cool changes. The rest are either not memorable enough, or even a bit disapointing (well, "Best Of Both Worlds 2009 Mix" is cool, a rockier update of the song, but not that different, although the few changes are welcome.)
There are 5 Miley songs on the album, but she only wrote one, and they are otherwise written by Disney writers, so they start to fall into more of a grey area. "Don't Walk Away" was leaked last summer as a "Breakout" outtake, and it is cool, but lacks a hook, and has annoying "crowd" shouts. "Hoedown Throwdown" has that cheap crowd too, but that is the only detriment of the song. It is otherwise a fun novelty number, Miley's first song to really own a dance floor. "Dream" is low key and forgettable. "The Climb" is a big hit, and understandably so. It is the type of pop-ballad that has been missing from Cyrus's eclectic discography. Her vocals are powerful, and she totally owns the song. (btw, there are three versions, the album cut, the piano intro, and the guitar intro. The last two are promo only numbers, and feature country instruments.)
"Butterfly Fly Away" is a beautiful, if not the most beautiful, duet between Miley and her father. It is a bit bittersweet, because Miley will have to "fly away" from her father, but at the same time, I can't imagine such a family oriented person ever really leaving. Still, the song is so sweet. But...
... The best version is NOT on "Hannah Montana The Movie" soundtrack. That version has only strings and guitars, and Miley is the only lead vocalist. Billy Ray does harmonies, but otherwise has no solo spot. On his album "Back To Tennessee" is a longer version. This one has drums, electric guitars, and Billy Ray taking the spotlight for a verse or two. It feels like a more finished version of the song, and I prefer it.
The rest of the album is good fare. Not my cup of tea, but good for a spin or two. Taylor Swift, Rascal Flatts, a solo Billy Ray song, all playing into the country theme.
Overall, I've learned to expect more from Miley, and aside from a few numbers, she falls a bit short. I'm sure her next solo affair will prove what she can really muster.
Tuesday, April 7, 2009
Things I Like
So, some things that I like are happening.
First off, check this link:
http://www.contactmusic.com/news.nsf/article/cyrus%20records%20imagine_1099984
Not only has Miley apparently recorded "Imagine," John Lennon's classic song from his sixth LP (2nd not counting collabs with Yoko), but it is also supposedly a duet with Emily Osment.
Each of these things would be good enough on their own, but together? Well, my head would have exploded from the excitement (please please please tell me this track will be released), but chunks of head matter had already been strewn all over my computer, because the Beatles are finally, after 22 years of sitting on them, are giving us remastered albums.
Here is the news, compiled from articles from http://thebeatles.com/core/home/
"Each of the CDs is packaged with replicated original UK album art, including expanded booklets containing original and newly written liner notes and rare photos. For a limited period, each CD will also be embedded with a brief documentary film about the album. On the same date, two new Beatles boxed CD collections will also be released. The albums have been re-mastered by a dedicated team of engineers at EMI’s Abbey Road Studios in London over a four year period utilising state of the art recording technology alongside vintage studio equipment, carefully maintaining the authenticity and integrity of the original analogue recordings. The result of this painstaking process is the highest fidelity the catalogue has seen since its original release. The collection comprises all 12 Beatles albums in stereo, with track listings and artwork as originally released in the UK, and ‘Magical Mystery Tour,’ which became part of The Beatles’ core catalogue when the CDs were first released in 1987. In addition, the collections ‘Past Masters Vol. I and II’ are now combined as one title, for a total of 14 titles over 16 discs. This will mark the first time that the first four Beatles albums will be available in stereo in their entirety on compact disc. These 14 albums, along with a DVD collection of the documentaries, will also be available for purchase together in a stereo boxed set. Within each CD’s new packaging, booklets include detailed historical notes along with informative recording notes. With the exception of the ‘Past Masters’ set, newly produced mini-documentaries on the making of each album, directed by Bob Smeaton, are included as QuickTime files on each album. The documentaries contain archival footage, rare photographs and never-before-heard studio chat from The Beatles, offering a unique and very personal insight into the studio atmosphere. A second boxed set has been created with the collector in mind. ‘The Beatles in Mono’ gathers together, in one place, all of the Beatles recordings that were mixed for a mono release. It will contain 10 of the albums with their original mono mixes, plus two further discs of mono masters (covering similar ground to the stereo tracks on ‘Past Masters’). As an added bonus, the mono “Help!” and “Rubber Soul” discs also include the original 1965 stereo mixes, which have not been previously released on CD. These albums will be packaged in mini-vinyl CD replicas of the original sleeves with all original inserts and label designs retained. For the latest news and information, go to: The Beatles Official Website Additional information: The Stereo Albums (available individually and collected in a stereo boxed set) The stereo albums have been remastered by Guy Massey, Steve Rooke, Sam Okell with Paul Hicks and Sean Magee All CD packages contain original vinyl artwork and liner notes Extensive archival photos Additional historical notes by Kevin Howlett and Mike Heatley Additional recording notes by Allan Rouse and Kevin Howlett * = CD includes QuickTime mini-doc about the album Please Please Me* (CD debut in stereo) With The Beatles* (CD debut in stereo) A Hard Day’s Night* (CD debut in stereo) Beatles For Sale* (CD debut in stereo) Help!* Rubber Soul* Revolver* Sgt. Pepper’s Lonely Hearts Club Band* (also includes 1987 notes, updated, and new intro by Paul McCartney) Magical Mystery Tour* The Beatles* Yellow Submarine* (also includes original US liner notes) Abbey Road* Let It Be* Past Masters (contains new liner notes written by Kevin Howlett) ‘The Beatles in Mono’ (boxed set only) The mono albums have been remastered by Paul Hicks, Sean Magee with Guy Massey and Steve Rooke Presented together in box with an essay written by Kevin Howlett + = mono mix CD debut Please Please Me With The Beatles A Hard Day’s Night Beatles For Sale Help! (CD also includes original 1965 stereo mix)+ Rubber Soul (CD also include original 1965 stereo mix)+ Revolver+ Sgt. Pepper’s Lonely Hearts Club Band+ Magical Mystery Tour+ The Beatles+ Mono Masters Re-mastering the Beatles catalogue The re-mastering process commenced with an extensive period conducting tests before finally copying the analogue master tapes into the digital medium. When this was completed, the transfer was achieved using a Pro Tools workstation operating at 24 bit 192 kHz resolution via a Prism A-D converter. Transferring was a lengthy procedure done a track at a time. Although EMI tape does not suffer the oxide loss associated with some later analogue tapes, there was nevertheless a slight build up of dust, which was removed from the tape machine heads between each title. From the onset, considerable thought was given to what audio restorative processes were going to be allowed. It was agreed that electrical clicks, microphone vocal pops, excessive sibilance and bad edits should be improved where possible, so long as it didn’t impact on the original integrity of the songs. In addition, de-noising technology, which is often associated with re-mastering, was to be used, but subtly and sparingly. Eventually, less than five of the 525 minutes of Beatles music was subjected to this process. Finally, as is common with today’s music, overall limiting - to increase the volume level of the CD - has been used, but on the stereo versions only. However, it was unanimously agreed that because of the importance of The Beatles’ music, limiting would be used moderately, so as to retain the original dynamics of the recordings. When all of the albums had been transferred, each song was then listened to several times to locate any of the agreed imperfections. These were then addressed by Guy Massey, working with Audio Restoration engineer Simon Gibson. Mastering could now take place, once the earliest vinyl pressings, along with the existing CDs, were loaded into Pro Tools, thus allowing comparisons to be made with the original master tapes during the equalization process. When an album had been completed, it was auditioned the next day in studio three – a room familiar to the engineers, as all of the recent Beatles mixing projects had taken place in there – and any further alteration of EQ could be addressed back in the mastering room. Following the initial satisfaction of Guy and Steve, Allan Rouse and Mike Heatley then checked each new re-master in yet another location and offered any further suggestions. This continued until all 13 albums were completed to the team’s satisfaction. New Notes/Documentaries Team Kevin Howlett (Historical and Recording Notes) Kevin Howlett’s career as an award-winning radio producer spans three decades. His music programmes for the BBC have included many documentaries about The Beatles, including ‘The Beeb’s Lost Beatles Tapes.’ He received a Grammy nomination for his involvement with The Beatles’ album ‘Live At The BBC’ and, in 2003, produced the ‘Fly On The Wall’ bonus disc for ‘Let It Be… Naked.’ Mike Heatley (Historical Notes) Mike entered the music business via HMV Record Stores in 1970, transferring to EMI Records’ International Division three years later. He eventually headed up that division in the early Eighties before joining the company’s newly created Strategic Marketing Division in 1984. In 1988, he returned to International, where he undertook a number of catalogue marketing roles until he retired in December 2008. During his career he worked with many of EMI’s major artists, including Pink Floyd, Queen, Kate Bush and Iron Maiden. However, during the last 30 years he has formed a particularly strong relationship with Apple, and has been closely involved in the origination and promotion of the Beatles catalogue, besides solo releases from John, Paul, George and Ringo. Bob Smeaton (Director, Mini-Documentaries) Bob Smeaton was series director and writer on the Grammy award winning ‘Beatles Anthology’ TV series which aired in the UK and the USA in 1995. In 1998 he received his second Grammy for his ‘Jimi Hendrix: Band of Gypsys’ documentary. In 2004 he gained his first feature film credit, as director on the feature documentary ‘Festival Express.’ He subsequently went on to direct documentaries on many of the world’s biggest music acts including The Who, Pink Floyd, The Doors, Elton John, Nirvana and the Spice Girls. Julian Caiden (Editor, Mini-Documentaries) Julian has worked with Bob Smeaton on numerous music documentaries including ‘Jimi Hendrix: Band of Gypsys’ and the ‘Classic Albums’ series, featuring The Who, Pink Floyd, The Doors, Elton John and Nirvana among others. He has worked on documentary profiles from Richard Pryor to Dr. John to Sir Ian McKellen, Herbie Hancock and Damien Hirst and on live music shows including the New York Dolls and Club Tropicana. The Abbey Road Team Allan Rouse (Project Coordinator) Allan joined EMI straight from school in 1971 at their Manchester Square head office, working as an assistant engineer in the demo studio. During this time he frequently worked with Norman (Hurricane) Smith, The Beatles’ first recording engineer. In 1991, he had his first involvement with The Beatles, copying all of their master tapes (mono, stereo, 4-track and 8-track) to digital tape as a safety backup. This was followed by four years working with Sir George Martin as assistant and project coordinator on the TV documentary ‘The Making of Sgt. Pepper’s’ and the CDs ‘Live at the BBC’ and ‘The Anthology.’ In 1997, MGM/UA were preparing to reissue the film ‘Yellow Submarine’ and, with the permission of Apple, asked that all of The Beatles’ music be mixed for the film in 5.1 surround and stereo. Allan requested the services of Abbey Road’s senior engineer Peter Cobbin and assistant Guy Massey and, along with them, produced the new mixes. Two years later, he proposed an experimental stereo and surround mix of John Lennon’s song ‘Imagine’ engineered by Peter Cobbin. Following lengthy consultations with Yoko Ono, the album ‘Imagine’ was re-mixed in stereo and the Grammy award-winning film ‘Gimme Some Truth’ in surround and new stereo. This led to a further five of John’s albums being re-mastered with new stereo mixes and the DVD release of ‘Lennon Legend’ being re-mixed in 5.1 surround and new stereo. Further projects followed, including The Beatles ‘Anthology’, ‘The First US Visit’ and ‘Help’ DVD and the albums ‘Let It Be…Naked’ and ‘Love’ along with George Harrison’s ‘Concert for Bangladesh’ DVD and album. For a number of years now, Allan has worked exclusively on Beatles and related projects. Guy Massey (Recording Engineer) Guy joined Abbey Road in 1994, and five years later assisted on the surround remix for The Beatles film ‘Yellow Submarine.’ This led to The Beatles’ ‘Anthology’ DVD and later, along with Paul Hicks and Allan Rouse, they mixed and produced ‘Let It Be… Naked.’ In 2004 he left the studios to become freelance and has engineered The Divine Comedy: ‘Victory for the Comic Muse,’ Air Traffic: ‘Fractured Life,’ James Dean Bradfield: ‘The Great Western’ and Stephen Fretwell’s ‘Magpie,’ co-producing the last two. Since leaving, Guy is still a vital member of the team, and has been the senior engineer for the re-mastering project and was responsible for surround and new stereo mixes for the DVD release of ‘Help!’ Steve Rooke (Mastering Engineer) Steve joined Abbey Road in 1983 and is now the studio’s senior mastering engineer. He has been involved on all The Beatles’ projects since 1999. He has also been responsible for mastering releases by John Lennon, Paul McCartney, George Harrison and Ringo Starr. Paul Hicks (Recording Engineer) Paul started at Abbey Road in 1994, and his first involvement with The Beatles was assisting engineer Geoff Emerick on the Anthology albums. This was followed by ‘Yellow Submarine Songtrack,’ ‘Anthology’ DVD and ‘Let It Be… Naked.’ Like Guy Massey, he has also become a freelance engineer and since leaving the studios he has been responsible for the surround mixing of Paul McCartney’s DVD ‘The McCartney Years’ and The Beatles’ ‘Love.’ Paul has been in charge of the mono re-masters. Sean Magee (Mastering Engineer) Sean began working at Abbey Road in 1995 with a diploma in sound engineering. With a wealth of knowledge in analog and digital mastering, he has worked alongside Paul Hicks on the mono re-masters. Sam Okell (Recording Engineer) Sam’s first job as a member of the team was in 2006, assisting Paul Hicks on Paul McCartney’s DVD ‘The McCartney Years,’ and during that same year he was responsible for the re-mastering of George Harrison’s ‘Living In The Material World’ CD along with Steve Rooke. This led to him restoring the soundtrack to the Beatles film ‘Help!’ in surround and stereo, in addition to assisting Guy Massey with the song remixes. Sam has re-mastered ‘With The Beatles’ and ‘Let It Be.’ Simon Gibson (Audio Restoration Engineer) Simon joined Abbey Road in 1990. He has progressed from mastering mostly classical recordings to include a much wider range of music, including pop and rock, with his specialized role as an audio restoration engineer. Apart from the re-mastering project, his other work includes George Harrison’s ‘Living In The Material World,’ John Lennon’s ‘Lennon Legend,’ The Beatles’ ‘Love’ and the ‘Help!’ DVD soundtrack. "
Well, I could not put it better myself. I was hoping for two rare Beatles' releases, their "Christmas Album" (comprised of seven fan club tracks for each year 1963-1969), and "The Beatles At The Hollywood Bowl" (a live album mixed from two shows of the Beatles at the venue in 1964 and 1965.) Maybe soon.
Also, perhaps the worst packaging era of the old Beatles CDs was that the large book from "Let It Be" was not reproduced. I hope this is fixed.
I imagine the price will be steep. I'll have to save up (maybe I can get them all in one shot with the stereo Box-set.) I shant be going for the mono set. Too excessive, even for me.
Well, I'll push off that promised review of "Hannah Montana The Movie" soundtrack for now, as the idea of Miley and Emily singing from the book of John, and the Beatles being presented in the high fidelity they deserve, is just too much for me to take in at once.
And it is only Tuesday.
First off, check this link:
http://www.contactmusic.com/news.nsf/article/cyrus%20records%20imagine_1099984
Not only has Miley apparently recorded "Imagine," John Lennon's classic song from his sixth LP (2nd not counting collabs with Yoko), but it is also supposedly a duet with Emily Osment.
Each of these things would be good enough on their own, but together? Well, my head would have exploded from the excitement (please please please tell me this track will be released), but chunks of head matter had already been strewn all over my computer, because the Beatles are finally, after 22 years of sitting on them, are giving us remastered albums.
Here is the news, compiled from articles from http://thebeatles.com/core/home/
"Each of the CDs is packaged with replicated original UK album art, including expanded booklets containing original and newly written liner notes and rare photos. For a limited period, each CD will also be embedded with a brief documentary film about the album. On the same date, two new Beatles boxed CD collections will also be released. The albums have been re-mastered by a dedicated team of engineers at EMI’s Abbey Road Studios in London over a four year period utilising state of the art recording technology alongside vintage studio equipment, carefully maintaining the authenticity and integrity of the original analogue recordings. The result of this painstaking process is the highest fidelity the catalogue has seen since its original release. The collection comprises all 12 Beatles albums in stereo, with track listings and artwork as originally released in the UK, and ‘Magical Mystery Tour,’ which became part of The Beatles’ core catalogue when the CDs were first released in 1987. In addition, the collections ‘Past Masters Vol. I and II’ are now combined as one title, for a total of 14 titles over 16 discs. This will mark the first time that the first four Beatles albums will be available in stereo in their entirety on compact disc. These 14 albums, along with a DVD collection of the documentaries, will also be available for purchase together in a stereo boxed set. Within each CD’s new packaging, booklets include detailed historical notes along with informative recording notes. With the exception of the ‘Past Masters’ set, newly produced mini-documentaries on the making of each album, directed by Bob Smeaton, are included as QuickTime files on each album. The documentaries contain archival footage, rare photographs and never-before-heard studio chat from The Beatles, offering a unique and very personal insight into the studio atmosphere. A second boxed set has been created with the collector in mind. ‘The Beatles in Mono’ gathers together, in one place, all of the Beatles recordings that were mixed for a mono release. It will contain 10 of the albums with their original mono mixes, plus two further discs of mono masters (covering similar ground to the stereo tracks on ‘Past Masters’). As an added bonus, the mono “Help!” and “Rubber Soul” discs also include the original 1965 stereo mixes, which have not been previously released on CD. These albums will be packaged in mini-vinyl CD replicas of the original sleeves with all original inserts and label designs retained. For the latest news and information, go to: The Beatles Official Website Additional information: The Stereo Albums (available individually and collected in a stereo boxed set) The stereo albums have been remastered by Guy Massey, Steve Rooke, Sam Okell with Paul Hicks and Sean Magee All CD packages contain original vinyl artwork and liner notes Extensive archival photos Additional historical notes by Kevin Howlett and Mike Heatley Additional recording notes by Allan Rouse and Kevin Howlett * = CD includes QuickTime mini-doc about the album Please Please Me* (CD debut in stereo) With The Beatles* (CD debut in stereo) A Hard Day’s Night* (CD debut in stereo) Beatles For Sale* (CD debut in stereo) Help!* Rubber Soul* Revolver* Sgt. Pepper’s Lonely Hearts Club Band* (also includes 1987 notes, updated, and new intro by Paul McCartney) Magical Mystery Tour* The Beatles* Yellow Submarine* (also includes original US liner notes) Abbey Road* Let It Be* Past Masters (contains new liner notes written by Kevin Howlett) ‘The Beatles in Mono’ (boxed set only) The mono albums have been remastered by Paul Hicks, Sean Magee with Guy Massey and Steve Rooke Presented together in box with an essay written by Kevin Howlett + = mono mix CD debut Please Please Me With The Beatles A Hard Day’s Night Beatles For Sale Help! (CD also includes original 1965 stereo mix)+ Rubber Soul (CD also include original 1965 stereo mix)+ Revolver+ Sgt. Pepper’s Lonely Hearts Club Band+ Magical Mystery Tour+ The Beatles+ Mono Masters Re-mastering the Beatles catalogue The re-mastering process commenced with an extensive period conducting tests before finally copying the analogue master tapes into the digital medium. When this was completed, the transfer was achieved using a Pro Tools workstation operating at 24 bit 192 kHz resolution via a Prism A-D converter. Transferring was a lengthy procedure done a track at a time. Although EMI tape does not suffer the oxide loss associated with some later analogue tapes, there was nevertheless a slight build up of dust, which was removed from the tape machine heads between each title. From the onset, considerable thought was given to what audio restorative processes were going to be allowed. It was agreed that electrical clicks, microphone vocal pops, excessive sibilance and bad edits should be improved where possible, so long as it didn’t impact on the original integrity of the songs. In addition, de-noising technology, which is often associated with re-mastering, was to be used, but subtly and sparingly. Eventually, less than five of the 525 minutes of Beatles music was subjected to this process. Finally, as is common with today’s music, overall limiting - to increase the volume level of the CD - has been used, but on the stereo versions only. However, it was unanimously agreed that because of the importance of The Beatles’ music, limiting would be used moderately, so as to retain the original dynamics of the recordings. When all of the albums had been transferred, each song was then listened to several times to locate any of the agreed imperfections. These were then addressed by Guy Massey, working with Audio Restoration engineer Simon Gibson. Mastering could now take place, once the earliest vinyl pressings, along with the existing CDs, were loaded into Pro Tools, thus allowing comparisons to be made with the original master tapes during the equalization process. When an album had been completed, it was auditioned the next day in studio three – a room familiar to the engineers, as all of the recent Beatles mixing projects had taken place in there – and any further alteration of EQ could be addressed back in the mastering room. Following the initial satisfaction of Guy and Steve, Allan Rouse and Mike Heatley then checked each new re-master in yet another location and offered any further suggestions. This continued until all 13 albums were completed to the team’s satisfaction. New Notes/Documentaries Team Kevin Howlett (Historical and Recording Notes) Kevin Howlett’s career as an award-winning radio producer spans three decades. His music programmes for the BBC have included many documentaries about The Beatles, including ‘The Beeb’s Lost Beatles Tapes.’ He received a Grammy nomination for his involvement with The Beatles’ album ‘Live At The BBC’ and, in 2003, produced the ‘Fly On The Wall’ bonus disc for ‘Let It Be… Naked.’ Mike Heatley (Historical Notes) Mike entered the music business via HMV Record Stores in 1970, transferring to EMI Records’ International Division three years later. He eventually headed up that division in the early Eighties before joining the company’s newly created Strategic Marketing Division in 1984. In 1988, he returned to International, where he undertook a number of catalogue marketing roles until he retired in December 2008. During his career he worked with many of EMI’s major artists, including Pink Floyd, Queen, Kate Bush and Iron Maiden. However, during the last 30 years he has formed a particularly strong relationship with Apple, and has been closely involved in the origination and promotion of the Beatles catalogue, besides solo releases from John, Paul, George and Ringo. Bob Smeaton (Director, Mini-Documentaries) Bob Smeaton was series director and writer on the Grammy award winning ‘Beatles Anthology’ TV series which aired in the UK and the USA in 1995. In 1998 he received his second Grammy for his ‘Jimi Hendrix: Band of Gypsys’ documentary. In 2004 he gained his first feature film credit, as director on the feature documentary ‘Festival Express.’ He subsequently went on to direct documentaries on many of the world’s biggest music acts including The Who, Pink Floyd, The Doors, Elton John, Nirvana and the Spice Girls. Julian Caiden (Editor, Mini-Documentaries) Julian has worked with Bob Smeaton on numerous music documentaries including ‘Jimi Hendrix: Band of Gypsys’ and the ‘Classic Albums’ series, featuring The Who, Pink Floyd, The Doors, Elton John and Nirvana among others. He has worked on documentary profiles from Richard Pryor to Dr. John to Sir Ian McKellen, Herbie Hancock and Damien Hirst and on live music shows including the New York Dolls and Club Tropicana. The Abbey Road Team Allan Rouse (Project Coordinator) Allan joined EMI straight from school in 1971 at their Manchester Square head office, working as an assistant engineer in the demo studio. During this time he frequently worked with Norman (Hurricane) Smith, The Beatles’ first recording engineer. In 1991, he had his first involvement with The Beatles, copying all of their master tapes (mono, stereo, 4-track and 8-track) to digital tape as a safety backup. This was followed by four years working with Sir George Martin as assistant and project coordinator on the TV documentary ‘The Making of Sgt. Pepper’s’ and the CDs ‘Live at the BBC’ and ‘The Anthology.’ In 1997, MGM/UA were preparing to reissue the film ‘Yellow Submarine’ and, with the permission of Apple, asked that all of The Beatles’ music be mixed for the film in 5.1 surround and stereo. Allan requested the services of Abbey Road’s senior engineer Peter Cobbin and assistant Guy Massey and, along with them, produced the new mixes. Two years later, he proposed an experimental stereo and surround mix of John Lennon’s song ‘Imagine’ engineered by Peter Cobbin. Following lengthy consultations with Yoko Ono, the album ‘Imagine’ was re-mixed in stereo and the Grammy award-winning film ‘Gimme Some Truth’ in surround and new stereo. This led to a further five of John’s albums being re-mastered with new stereo mixes and the DVD release of ‘Lennon Legend’ being re-mixed in 5.1 surround and new stereo. Further projects followed, including The Beatles ‘Anthology’, ‘The First US Visit’ and ‘Help’ DVD and the albums ‘Let It Be…Naked’ and ‘Love’ along with George Harrison’s ‘Concert for Bangladesh’ DVD and album. For a number of years now, Allan has worked exclusively on Beatles and related projects. Guy Massey (Recording Engineer) Guy joined Abbey Road in 1994, and five years later assisted on the surround remix for The Beatles film ‘Yellow Submarine.’ This led to The Beatles’ ‘Anthology’ DVD and later, along with Paul Hicks and Allan Rouse, they mixed and produced ‘Let It Be… Naked.’ In 2004 he left the studios to become freelance and has engineered The Divine Comedy: ‘Victory for the Comic Muse,’ Air Traffic: ‘Fractured Life,’ James Dean Bradfield: ‘The Great Western’ and Stephen Fretwell’s ‘Magpie,’ co-producing the last two. Since leaving, Guy is still a vital member of the team, and has been the senior engineer for the re-mastering project and was responsible for surround and new stereo mixes for the DVD release of ‘Help!’ Steve Rooke (Mastering Engineer) Steve joined Abbey Road in 1983 and is now the studio’s senior mastering engineer. He has been involved on all The Beatles’ projects since 1999. He has also been responsible for mastering releases by John Lennon, Paul McCartney, George Harrison and Ringo Starr. Paul Hicks (Recording Engineer) Paul started at Abbey Road in 1994, and his first involvement with The Beatles was assisting engineer Geoff Emerick on the Anthology albums. This was followed by ‘Yellow Submarine Songtrack,’ ‘Anthology’ DVD and ‘Let It Be… Naked.’ Like Guy Massey, he has also become a freelance engineer and since leaving the studios he has been responsible for the surround mixing of Paul McCartney’s DVD ‘The McCartney Years’ and The Beatles’ ‘Love.’ Paul has been in charge of the mono re-masters. Sean Magee (Mastering Engineer) Sean began working at Abbey Road in 1995 with a diploma in sound engineering. With a wealth of knowledge in analog and digital mastering, he has worked alongside Paul Hicks on the mono re-masters. Sam Okell (Recording Engineer) Sam’s first job as a member of the team was in 2006, assisting Paul Hicks on Paul McCartney’s DVD ‘The McCartney Years,’ and during that same year he was responsible for the re-mastering of George Harrison’s ‘Living In The Material World’ CD along with Steve Rooke. This led to him restoring the soundtrack to the Beatles film ‘Help!’ in surround and stereo, in addition to assisting Guy Massey with the song remixes. Sam has re-mastered ‘With The Beatles’ and ‘Let It Be.’ Simon Gibson (Audio Restoration Engineer) Simon joined Abbey Road in 1990. He has progressed from mastering mostly classical recordings to include a much wider range of music, including pop and rock, with his specialized role as an audio restoration engineer. Apart from the re-mastering project, his other work includes George Harrison’s ‘Living In The Material World,’ John Lennon’s ‘Lennon Legend,’ The Beatles’ ‘Love’ and the ‘Help!’ DVD soundtrack. "
Well, I could not put it better myself. I was hoping for two rare Beatles' releases, their "Christmas Album" (comprised of seven fan club tracks for each year 1963-1969), and "The Beatles At The Hollywood Bowl" (a live album mixed from two shows of the Beatles at the venue in 1964 and 1965.) Maybe soon.
Also, perhaps the worst packaging era of the old Beatles CDs was that the large book from "Let It Be" was not reproduced. I hope this is fixed.
I imagine the price will be steep. I'll have to save up (maybe I can get them all in one shot with the stereo Box-set.) I shant be going for the mono set. Too excessive, even for me.
Well, I'll push off that promised review of "Hannah Montana The Movie" soundtrack for now, as the idea of Miley and Emily singing from the book of John, and the Beatles being presented in the high fidelity they deserve, is just too much for me to take in at once.
And it is only Tuesday.
Monday, April 6, 2009
"Don't Forget" Won't Be Forgotten
With the threat of the "Conficker" virus, my family decided no computer use in the household for the past week. Thankfully, that spell is over, and I'm back.
And so much has happened!
First off, Paul McCartney & Ringo Starr together at Radio City! As part of a charity show for teaching children Trancendental Meditation (an, er, interesting cause), Paul and Ringo appeared in their own sets, plus an encore together! During this encore, they did "With A Little Help From My Friends", "Cosmically Conscious" (a Paul song from 1968, which he recorded solo in 1993), and "I Saw Her Standing There." Paul and Ringo had last appeared on stage in 2003 for the George Harrison tribute concert. Look up this show on youtube.
Miley Cyrus is working hard to promote the "Hannah Montana" movie. She is on the radio, on daytime talk shows, on late shows, singing "The Climb", doing interviews, and making sure you see her movie out this Friday (in America, anyway.) I hope to see it with my friend Chris, and some lady friends of his.
Miley's song "Butterfly Fly Away" will see a re-release tomorrow on Billy Ray's "Back To Tennesee" album, promising an extended version of the beautiful duet (I assume Billy Ray will take on some solo vocals on this version.)
Selena Gomez has returned to the continental US after spending an extended period in Puerto Rico with her castmates working on the "Wizards Of Waverly Place" TV movie. But before we get too excited by that, she will star alongside old pal Demi Lovato in "Princess Protection Program" due on TV soon. Looks interesting, especially to see the two friends on screen together for the first time since Barney.
Speaking of Demi, I purchased her "Don't Forget" album, in the deluxe format. The album was very good. It had a heavy pop-rock feel, with crunchy guitars on "La La Land" (which, by the way, may very well have been called Hollywood Land, 'cept for the fact that it might clash with the fact that her record label is Hollywood.) Demi's voice is in top form, more trained and powerful than on her demos. The production of the album works well too, giving it some glisten, but without sterilzing it. Aside from strings, and the dynamics of the arrangemnts, all of this album could be recreated on stage (well, even the dynamics could, I guess. It would be pretty clever and tricky, though)
The singles are great. "Get Back" is kind of cocky, kind of desperate, and very catchy. Demi wants to "get back" with and old flame, and with the guitars blazing, plus some buried keyboards creating a bed of sound for the quieter moments, it is a kickin' song. "La La Land" is defiant, as Demi claims she won't be changed by her stardom. It is cleverly written and performed, with the lines "Well, some may say I need to be afraid /Of losing everything /Because of where I /Had my start and where I made my name ", a thinly veiled reference to her beginnings on Disney (not more than a few months past.) "Don't Forget" is a very simple song, its' arrangement calling to mind the JoBro's "Lovebug." However, Demi's is even more subtle, after breakining into a full rock peak, it comes back with strings, and then piano, with effects making it sound as though Demi is coming off a crackly vinyl.
Some of the slower songs don't do as much for me as the more rock ones, while "Party" is a bit of confusing one. It calls to mind Led Zeppelin with the riff, but I thought Demi was uncharacteristically tame. "Two Worlds Collide" has a great, sweeping melody. Overall, the album is tops.
The new tracks are "Lo Que Soy" (the acoustic "This Is Me" with spanish lyrics) and "Behind Enemy Lines." This song was probably left off the original album because it is very different. But we should get used to it, as Demi has said on TV that it is the direction she will be going on as she continues her music (despite not having started at the time, the ambitous Demi said back in February that she hoped to have an album out in the summer/fall.) The song is very jazzy, with her vocals up close in front of a bluesy arrangement. She seems to channel her hero, John Mayer, whose influence on her is otherwise non-existant on this album. I'm excited for Demi, and hope for much more in the same vein as "Behind Enemy Lines." It is a very original, artsy, and creative direction.
I also hope for a duet between her and Selena, but I digress.
This edition also has a DVD. The best parts here are her singing "Don't Forget" live, almost crying, channeling the inspiration of the song perhaps too well (although still breathing full life into the song.), as well as scenes of her being driven to a show, shouting out the window, waving at fans who don't at first recognize her. It is the most candid part of the set, and is very pleasant and satisfying. It is hard to believe when Demi first started concerts last year, she was just another up-and-coming talent hoping for recognition. Now she shines brightly.
I also picked up a copy of "Hannah Montana The Movie" soundtrack, but perhaps I will review that tomorrow (spoiler: it is not Miley's best, though certainly not bad.)
And so much has happened!
First off, Paul McCartney & Ringo Starr together at Radio City! As part of a charity show for teaching children Trancendental Meditation (an, er, interesting cause), Paul and Ringo appeared in their own sets, plus an encore together! During this encore, they did "With A Little Help From My Friends", "Cosmically Conscious" (a Paul song from 1968, which he recorded solo in 1993), and "I Saw Her Standing There." Paul and Ringo had last appeared on stage in 2003 for the George Harrison tribute concert. Look up this show on youtube.
Miley Cyrus is working hard to promote the "Hannah Montana" movie. She is on the radio, on daytime talk shows, on late shows, singing "The Climb", doing interviews, and making sure you see her movie out this Friday (in America, anyway.) I hope to see it with my friend Chris, and some lady friends of his.
Miley's song "Butterfly Fly Away" will see a re-release tomorrow on Billy Ray's "Back To Tennesee" album, promising an extended version of the beautiful duet (I assume Billy Ray will take on some solo vocals on this version.)
Selena Gomez has returned to the continental US after spending an extended period in Puerto Rico with her castmates working on the "Wizards Of Waverly Place" TV movie. But before we get too excited by that, she will star alongside old pal Demi Lovato in "Princess Protection Program" due on TV soon. Looks interesting, especially to see the two friends on screen together for the first time since Barney.
Speaking of Demi, I purchased her "Don't Forget" album, in the deluxe format. The album was very good. It had a heavy pop-rock feel, with crunchy guitars on "La La Land" (which, by the way, may very well have been called Hollywood Land, 'cept for the fact that it might clash with the fact that her record label is Hollywood.) Demi's voice is in top form, more trained and powerful than on her demos. The production of the album works well too, giving it some glisten, but without sterilzing it. Aside from strings, and the dynamics of the arrangemnts, all of this album could be recreated on stage (well, even the dynamics could, I guess. It would be pretty clever and tricky, though)
The singles are great. "Get Back" is kind of cocky, kind of desperate, and very catchy. Demi wants to "get back" with and old flame, and with the guitars blazing, plus some buried keyboards creating a bed of sound for the quieter moments, it is a kickin' song. "La La Land" is defiant, as Demi claims she won't be changed by her stardom. It is cleverly written and performed, with the lines "Well, some may say I need to be afraid /Of losing everything /Because of where I /Had my start and where I made my name ", a thinly veiled reference to her beginnings on Disney (not more than a few months past.) "Don't Forget" is a very simple song, its' arrangement calling to mind the JoBro's "Lovebug." However, Demi's is even more subtle, after breakining into a full rock peak, it comes back with strings, and then piano, with effects making it sound as though Demi is coming off a crackly vinyl.
Some of the slower songs don't do as much for me as the more rock ones, while "Party" is a bit of confusing one. It calls to mind Led Zeppelin with the riff, but I thought Demi was uncharacteristically tame. "Two Worlds Collide" has a great, sweeping melody. Overall, the album is tops.
The new tracks are "Lo Que Soy" (the acoustic "This Is Me" with spanish lyrics) and "Behind Enemy Lines." This song was probably left off the original album because it is very different. But we should get used to it, as Demi has said on TV that it is the direction she will be going on as she continues her music (despite not having started at the time, the ambitous Demi said back in February that she hoped to have an album out in the summer/fall.) The song is very jazzy, with her vocals up close in front of a bluesy arrangement. She seems to channel her hero, John Mayer, whose influence on her is otherwise non-existant on this album. I'm excited for Demi, and hope for much more in the same vein as "Behind Enemy Lines." It is a very original, artsy, and creative direction.
I also hope for a duet between her and Selena, but I digress.
This edition also has a DVD. The best parts here are her singing "Don't Forget" live, almost crying, channeling the inspiration of the song perhaps too well (although still breathing full life into the song.), as well as scenes of her being driven to a show, shouting out the window, waving at fans who don't at first recognize her. It is the most candid part of the set, and is very pleasant and satisfying. It is hard to believe when Demi first started concerts last year, she was just another up-and-coming talent hoping for recognition. Now she shines brightly.
I also picked up a copy of "Hannah Montana The Movie" soundtrack, but perhaps I will review that tomorrow (spoiler: it is not Miley's best, though certainly not bad.)
Monday, March 30, 2009
The KCAs
Last Saturday was the Kid's Choice Awards. I haven't watch a KCA show in a few years, so it was cool to catch it this year with a renewed interest.
Dwayne "The Rock" Johnson was a funny host. I prefer him in children's fare than as a wrestler. He's pretty funny, and very self-teasing, in good taste.
I voted for some categories out of obligation, but others more seriously (considering that it is a Kid's Choice Award.)
Voting for best show was hard. I had to choose between "iCarly"and "Hannah Montana." Both great shows, but I ultimately chose "iCarly". As of late, it has been more entertaining. And it doesn't get the same press as "Hannah Montana." So I figured it deserved a KCA. And it won! Good call on my part.
Then their was best female singer. I chose Miley hands down, and she of course won. But when she came out (as part of a joke, where her and Johnson wore the same dress), she was given the award unannounced. She was first surprised, and then started crying. It was adorable, and showed how much she really cares about what she does.
Voting for best female actress was hard. Miley, Miranda, and Selena were all nominated. Most of the time, I chose Miranda. But the last time I voted, I gave it to Selena (in part just cause she is a good actress, and also because it was the only nom she got, unlike Miranda who got one for the show, and Miley who had singer, show, and voice in an animated movie.) And Selena won! She wasn't there, still working on the "Wizards" movie, but there is a video on youtube of her getting the news, and thanking her fans.
Lastly, the best part of the show was when the most unlikely trio came out to present an award. Miranda Cosgrove, John Cena, and Chris Rock came up to the podium. Forgive me as I paraphrase a bit, but their banter went something like this:
John Cena - we are going to be in a remake of "Charlie's Angels."
Miranda Cosgrove - I'll be the smart one
John Cena - I'll be the strong one
Chris Rock - and I'll be the black one.
Hysterical!
Dwayne "The Rock" Johnson was a funny host. I prefer him in children's fare than as a wrestler. He's pretty funny, and very self-teasing, in good taste.
I voted for some categories out of obligation, but others more seriously (considering that it is a Kid's Choice Award.)
Voting for best show was hard. I had to choose between "iCarly"and "Hannah Montana." Both great shows, but I ultimately chose "iCarly". As of late, it has been more entertaining. And it doesn't get the same press as "Hannah Montana." So I figured it deserved a KCA. And it won! Good call on my part.
Then their was best female singer. I chose Miley hands down, and she of course won. But when she came out (as part of a joke, where her and Johnson wore the same dress), she was given the award unannounced. She was first surprised, and then started crying. It was adorable, and showed how much she really cares about what she does.
Voting for best female actress was hard. Miley, Miranda, and Selena were all nominated. Most of the time, I chose Miranda. But the last time I voted, I gave it to Selena (in part just cause she is a good actress, and also because it was the only nom she got, unlike Miranda who got one for the show, and Miley who had singer, show, and voice in an animated movie.) And Selena won! She wasn't there, still working on the "Wizards" movie, but there is a video on youtube of her getting the news, and thanking her fans.
Lastly, the best part of the show was when the most unlikely trio came out to present an award. Miranda Cosgrove, John Cena, and Chris Rock came up to the podium. Forgive me as I paraphrase a bit, but their banter went something like this:
John Cena - we are going to be in a remake of "Charlie's Angels."
Miranda Cosgrove - I'll be the smart one
John Cena - I'll be the strong one
Chris Rock - and I'll be the black one.
Hysterical!
Why I Love Layla
A post or two back, I told an abbreviated tale of Derek & The Dominos. As a follow-up, I'd like to review their lone studio disc, "Layla & Other Assorted Love Songs."
Now, I have known the song "Layla" for years. Long before I knew who Eric Clapton was. Long before I even knew it was called "Layla." But it was when I was in eighth grade, becoming a full-fledged Beatles fan that I heard the story that it was inspired by Beatle George's wife, and I was getting into Q104.3, a great classic rock station in New York. So I soon became very familiar with it, as well as the other famous number, perhaps one I love even more, "Bell Bottom Blues."
When I finally bought the album last June, I was certainly interested, but would not have bought it right away had it not been for a nice sale at the CD store. So, I couldn't take it in fully when I first got it. It is a long album, and I had to force myself to sit through my first play. Needless to say, I didn't get too much out of it. But, thankfully, I played it more since then.
The album opens with "I Looked Away." The song is very catchy and upbeat. For most bands, this would be the perfect single. Of course, Clapton & Co. can do even better, but that does nothing to belittle this song. Bobby Whitlock takes the vocals once or twice, and proves from the get-go that he is as much an important force on the album as Clapton (Whitlock co-wrote most of the material with Clapton.) The solo is also cool. Like the song in general, it is short, but very sweet.
Next is "Bell Bottom Blues." I've loved this song for quite some time, so hearing is always a treat. It is a bit droning, with the organ, and is very desperate. Clapton sings like his heart is about to break in most tragic of fashions, and his guitar gives off the same desperation. The drums change to a very tribal like beat in the short section that prefixes the refrain. The song is such a plea for love, and it does not resolve, making it all the more dramatic.
"Keep On Growing" opens with a very funky rhythm. Yes, funky is the best word for it. It is not the deepest number on the album, but is all the same cool to listen to. Very upbeat too.
"Nobody Knows You (When You're Down & Out)" is a true blues number. Duane Allman plays on it, and his slide carries the number just as much as Clapton's gruff, defeated vocal. The song is not fast nor heavy, but it grabs me in and holds me hard. It is the grittiest blues number the album has to offer.
Perhaps the black sheep of the album is "I Am Yours." It is not at all blues. It is a pretty song, very sweet, telling of devotion. It kind of falls towards MOR, but I'm trying to be careful, because I mean it in the best way. The chords get higher and higher in the most peculiar way. The rhythm is very American, like a CCR song, but the lead guitar gives it a Hawaiian twist. (I assume a bottleneck guitar is used.)
"Anyday" is often give praise as a classic 'deep cut', but for me, it comes off as hard to listen to. The refrain itself is the best part (and the intro), but the song seems to have problems linking the parts together. It just does gel for me.
While all the other songs are well-crafted and arranged, "Key To The Highway" is just the band flexing their music muscles. In another room, a group was recording this number. Clapton and the gang could hear them, and decided to jam on it themselves. The engineer had not intended to make a recording, and only started the tapes after the group had begun (hence the fade-in.) For me, the song just doesn't do enough. It lacks the consistancy the other songs have. When they did this live, they showed how good they could do it. Here, it sounds like they are just competent.
The last two songs don't do it for me, and there is still one more song to go before the album picks up. "Tell The Truth" can be a good song. I love the fast paced single version. I love the long instrumental versions. But the album version is not one I like (besides, it is kind of "fake". The vocals were taken from the fast single, and just slowed down onto one of the aforementioned instrumentals. Doesn't work.) I don't care for the live recordings either.
But now it gets good again. "Why Does Love Got To Be So Sad?" is one of the greatest songs. Live, it was a long number, and showed the virtousity of both Clapton, as well as drummer Jim Gordon, whose drums would carry the intro while Clapton played some very restrained licks before jumping in. The studio version is a bit different. It lacks the same punch that the live versions have, but makes up for it with the guitars, which are magnificent and in your face. They carry the song, conveying the songs emotion better than even the vocals. The guitar reminds me of Harrison's "Art Of Dying." In both songs, the guitar plays lead, but jumps in and out of the rhythm. They go non-stop, and are as insistent as can be.
"Have You Ever Loved A Woman" is a blues number. Their are other versions that are bare, but here the arrangement makes it a little to produced to be pure blues. Still, it is a great number. It may not be an original, but it is so much a part of the theme of Clapton's love for Pattie Boyd. Because Clapton is so connected to the songs story, he gives it a better treatment than other singers I've heard, because their general ability does not compare to Clapton's deep connection.
"Little Wing" is a cover of a Hendrix tune, recorded only days before the composers death. It would be an emotional tribute when done in concert, but here, it is just a nod to a friend. The intro is cool and upbeat, cutting into the lower key composistion of the song.
"It's Too Late" is tinged with some country. It is a light number, but fun to listen too. Clapton does some call and response with Whitlock. While many songs on this album are emotional, this one, though maybe in the subtext is a bit, on the outside is just a tight performance.
The album draws to a close now, and "Layla" is up. What to say. The first have of the song is so desperate, the most outright plea to Layla, to Pattie, this plea of love, this admitting that he would more or less die without her love. And then, finally, the song, with guitar solos approaching some sort of crescendo, turns into a piano instrumental, no more desperate, but calm and beautiful. Pure satisfaction. For a few minutes, we get no longer Clapton bearing his breaking heart on his sleeve, but instead a presentation of his dream, his fantasy.
Bobby Whitlock wrote and sang the album's last track, "Thorn Tree In The Garden." It has none of Clapton's situation.. Instead, Whitlock presents a love that may not be working any longer. It is sad, yet beautiful. On an album lead by Clapton's deep desire for Pattie, blinding him to the rest of the world, Whitlock gives a more sobering take on love, undercutting Clapton's ideal but also presenting a greater picture, underscoring that Clapton is coming from more of a fantasy, by giving a taste of reality.
And that's why I love "Layla."
Now, I have known the song "Layla" for years. Long before I knew who Eric Clapton was. Long before I even knew it was called "Layla." But it was when I was in eighth grade, becoming a full-fledged Beatles fan that I heard the story that it was inspired by Beatle George's wife, and I was getting into Q104.3, a great classic rock station in New York. So I soon became very familiar with it, as well as the other famous number, perhaps one I love even more, "Bell Bottom Blues."
When I finally bought the album last June, I was certainly interested, but would not have bought it right away had it not been for a nice sale at the CD store. So, I couldn't take it in fully when I first got it. It is a long album, and I had to force myself to sit through my first play. Needless to say, I didn't get too much out of it. But, thankfully, I played it more since then.
The album opens with "I Looked Away." The song is very catchy and upbeat. For most bands, this would be the perfect single. Of course, Clapton & Co. can do even better, but that does nothing to belittle this song. Bobby Whitlock takes the vocals once or twice, and proves from the get-go that he is as much an important force on the album as Clapton (Whitlock co-wrote most of the material with Clapton.) The solo is also cool. Like the song in general, it is short, but very sweet.
Next is "Bell Bottom Blues." I've loved this song for quite some time, so hearing is always a treat. It is a bit droning, with the organ, and is very desperate. Clapton sings like his heart is about to break in most tragic of fashions, and his guitar gives off the same desperation. The drums change to a very tribal like beat in the short section that prefixes the refrain. The song is such a plea for love, and it does not resolve, making it all the more dramatic.
"Keep On Growing" opens with a very funky rhythm. Yes, funky is the best word for it. It is not the deepest number on the album, but is all the same cool to listen to. Very upbeat too.
"Nobody Knows You (When You're Down & Out)" is a true blues number. Duane Allman plays on it, and his slide carries the number just as much as Clapton's gruff, defeated vocal. The song is not fast nor heavy, but it grabs me in and holds me hard. It is the grittiest blues number the album has to offer.
Perhaps the black sheep of the album is "I Am Yours." It is not at all blues. It is a pretty song, very sweet, telling of devotion. It kind of falls towards MOR, but I'm trying to be careful, because I mean it in the best way. The chords get higher and higher in the most peculiar way. The rhythm is very American, like a CCR song, but the lead guitar gives it a Hawaiian twist. (I assume a bottleneck guitar is used.)
"Anyday" is often give praise as a classic 'deep cut', but for me, it comes off as hard to listen to. The refrain itself is the best part (and the intro), but the song seems to have problems linking the parts together. It just does gel for me.
While all the other songs are well-crafted and arranged, "Key To The Highway" is just the band flexing their music muscles. In another room, a group was recording this number. Clapton and the gang could hear them, and decided to jam on it themselves. The engineer had not intended to make a recording, and only started the tapes after the group had begun (hence the fade-in.) For me, the song just doesn't do enough. It lacks the consistancy the other songs have. When they did this live, they showed how good they could do it. Here, it sounds like they are just competent.
The last two songs don't do it for me, and there is still one more song to go before the album picks up. "Tell The Truth" can be a good song. I love the fast paced single version. I love the long instrumental versions. But the album version is not one I like (besides, it is kind of "fake". The vocals were taken from the fast single, and just slowed down onto one of the aforementioned instrumentals. Doesn't work.) I don't care for the live recordings either.
But now it gets good again. "Why Does Love Got To Be So Sad?" is one of the greatest songs. Live, it was a long number, and showed the virtousity of both Clapton, as well as drummer Jim Gordon, whose drums would carry the intro while Clapton played some very restrained licks before jumping in. The studio version is a bit different. It lacks the same punch that the live versions have, but makes up for it with the guitars, which are magnificent and in your face. They carry the song, conveying the songs emotion better than even the vocals. The guitar reminds me of Harrison's "Art Of Dying." In both songs, the guitar plays lead, but jumps in and out of the rhythm. They go non-stop, and are as insistent as can be.
"Have You Ever Loved A Woman" is a blues number. Their are other versions that are bare, but here the arrangement makes it a little to produced to be pure blues. Still, it is a great number. It may not be an original, but it is so much a part of the theme of Clapton's love for Pattie Boyd. Because Clapton is so connected to the songs story, he gives it a better treatment than other singers I've heard, because their general ability does not compare to Clapton's deep connection.
"Little Wing" is a cover of a Hendrix tune, recorded only days before the composers death. It would be an emotional tribute when done in concert, but here, it is just a nod to a friend. The intro is cool and upbeat, cutting into the lower key composistion of the song.
"It's Too Late" is tinged with some country. It is a light number, but fun to listen too. Clapton does some call and response with Whitlock. While many songs on this album are emotional, this one, though maybe in the subtext is a bit, on the outside is just a tight performance.
The album draws to a close now, and "Layla" is up. What to say. The first have of the song is so desperate, the most outright plea to Layla, to Pattie, this plea of love, this admitting that he would more or less die without her love. And then, finally, the song, with guitar solos approaching some sort of crescendo, turns into a piano instrumental, no more desperate, but calm and beautiful. Pure satisfaction. For a few minutes, we get no longer Clapton bearing his breaking heart on his sleeve, but instead a presentation of his dream, his fantasy.
Bobby Whitlock wrote and sang the album's last track, "Thorn Tree In The Garden." It has none of Clapton's situation.. Instead, Whitlock presents a love that may not be working any longer. It is sad, yet beautiful. On an album lead by Clapton's deep desire for Pattie, blinding him to the rest of the world, Whitlock gives a more sobering take on love, undercutting Clapton's ideal but also presenting a greater picture, underscoring that Clapton is coming from more of a fantasy, by giving a taste of reality.
And that's why I love "Layla."
Subscribe to:
Posts (Atom)
