lauantai 21. toukokuuta 2011

Merirosvokapteeni Keith puhuu syvällisiä!

In Pirates of the Caribbean: On Stranger Tides, opening today, rival corsairs set out to find the mythical Fountain of Youth. On board as Captain Teague for the second time, Keith Richards is braced for the usual cracks about his indestructibility.
He has heard it all, including the post-apocalyptic prophecy that "it'll be me and the roaches left," Richards says with a hoarse laugh, shrugging off his reputation as a wrinkled survivor. "I've become a cartoonish little icon. You've got to be proud of that. If you can't take the pot shots, you shouldn't be in show business."
Richards, 67, gets the last laugh as one of few in showbiz to hold the globe rapt for five decades. The raggedly charming guitarist for the
Rolling Stones has crafted indelible riffs, co-written some of rock's finest classics and influenced countless players with his primal, unpretentious style, often while on a rocky and reckless trail of drug habits, legal scrapes, toxic relationships and life-threatening mishaps. (A fall from a tree in Fiji in 2006 required cranial neurosurgery. Residual damage? "A dent, a war wound," he says.)
The unvarnished tale unfolds in his highly praised, best-selling memoir, Life (which peaked at No. 3 on USA TODAY's Best-Selling Books list), freshly out in paperback (Back Bay Books, $16.99). The tone is pure Keef.
The
Boston Phoenix asserts, "He writes the way he sings — naked, straight up, heart on sleeve," and The New York Times compares Richards' prose to his guitar playing: "intense, elemental, utterly distinctive and achingly, emotionally direct." The New Yorker declares Life "a slurry romp through the life of a man who knew every pleasure, denied himself nothing and never paid the price."
What led him down a path of decadence and carefree indulgence?
"Everybody out there gave me the license," says Richards, holed up in a hotel suite the day before the Pirates premiere at Disneyland. He's trim in all gray, save his bright turquoise high tops and a patterned scarf tied around a mop of shaggy gray hair. "People want to live vicariously, and they set me up. You want Keith? I'll give you Keith. It may not always be me, but people want to believe it."


Making peace with Mick
Richards' wildest days are behind him. He gave up heroin in 1978 and cocaine after his head injury. He has been happily married to model Patti Hansen since 1983. He's more workaholic than alcoholic, drinking vodka sparingly these days and hustling moonlighting guitar gigs as he maneuvers to reboot the Stones in time to mark next year's 50th anniversary.
That's a ticklish question in light of Life's tough love for
Mick Jagger. Richards dwells on the singer's philandering and dictatorial tendencies, calls him "unbearable" and even impugns his manhood.
When Jagger read Life before publication, "the blue pencil was flying," Richards says. "Of course, he had a few issues. I said, 'What am I going to do, lie? After all, Mick, the book ain't about you.' He did give me a hard time throughout life. Trying to bring the man down to earth took a while and took a toll on me. I have great respect for the man. I love him dearly, quirks and all."
When Jagger and Richards, boyhood pals since the early '50s, met in
New York a month ago, "Mick pouted a bit, as is his wont," Richards says. "I told him, 'It's water under the bridge. I want to talk about the future. We're larger than a little bitching here and there. It's only rock 'n' roll.' I love working with Mick. Maybe that friction that makes it work, that bit of sand in the oyster that makes the pearl."
The band is plowing through masters of 1978's
Some Girls in search of buried gems for a reissue similar to last year's Exile on Main Street. Jagger has a solo album in the works, and Richards has collaborated with Tom Waits and cut tracks with Steve Jordan, key member of his solo band X-Pensive Winos.
"There's a Wino-ish thing in the air," Richards says. "We've got a track or two."
But a monster milestone is looming, and Richards concedes, "Timing is everything." The Stones played their first gig at London's Marquee Club on July 12, 1962. Richards' golden anniversary wish list: a 2012 studio album and world tour.
"Something's blowing in the wind," he says. "The idea's there. We kind of know we should do it, but nobody's put their finger on the moment yet. This is what we have to ask each other: Do we want to go out in a blaze of glory? We can, if Mick and Charlie (Watts) feel like I do, that we can still turn people on. We don't have to prove nothing anymore. I just love playing, and I miss the crowd."
Marking the band's 50th with a blowout tour "does indeed seem logical, even likely," says Ray Waddell, Billboard's senior editor of touring. "If they do, and if they bill it as their last, which they've never done, it will without a doubt be an international blockbuster and a lock to be among the top tours of all time."
U2's 360 tour just surpassed the record $558 million set by the Stones' Bigger Bang tour, and the Irish quartet is expected to gross $700 million before 360 ends in July, according to Billboard Boxscore. It also holds the record for attendance with 7 million tickets sold, pushing the Stones' Voodoo Lounge, with 6.4 million, to second place.
"If they were to pass U2 and reclaim the record gross, it would probably be driven by ticket prices as opposed to attendance, as the unprecedented capacities on 360, as well as the sheer number of shows, is what drove that band's historic numbers," Waddell says. "If the Stones go out, there is no reason they wouldn't command the highest ticket prices in history, at least on the top end. And it would be worth the price."
Can the Stones reclaim the touring crown?
"I don't know and I don't care," Richards sniffs. "So what? U2 made a few mill more, or maybe not by the time the gross is done and you look at the net. Meanwhile, (Broadway's) Spider-Man is going down the tubes. And I don't think they played to 2 million people in Brazil, which we did (in 2006, the largest rock concert ever).
"U2's a good band, so why not? I hope another band eclipses both of us. Bono's an interesting guy. I wouldn't say he's my favorite guy to hang with."


Film is ‘bizarre other world’
He finds Pirates star Johnny Deppmore simpatico. Richards joined Disney's franchise at the behest of Depp and plays the father of his character, Jack Sparrow, a wry, mumbling buccaneer largely inspired by the guitarist.
"I get to shoot somebody," Richards says. "It's fun and a change, a bizarre other world. If you're used to rock 'n' roll, books and movies are fairly tame."
The swashbuckling pair became drinking buddies off set, though Richards says he's not the guzzler he was.
"Johnny loves red wine, and I'll drink anything that's available," he says. "If there ain't any around, I don't drink. If I think, 'I can handle this better with a drink,' I'll take it. Compared to the other stuff I did, a drink is gnat's piss."
As for that other stuff, Richards says his pharmaceutical consumption, while copious, was cautious. "I don't recommend it for anybody else," he says, adding with a cackle: "I'm not human, after all. It's not something to emulate. It was done out of innocence."
Not simply an occupational hazard, drugs "helped you make the gig, especially if you're working 350 days a year," he says. "You can't be vegetarian and straight and play rock 'n' roll."
You can be monogamous, Richards discovered. He had three children with
Anita Pallenberg and flings with Ronnie Spector and Marianne Faithfull (partly as payback to Jagger for bedding Pallenberg) before settling down with Hansen.
"If you're married to Patti Hansen, you don't want to switch," he says. "She's the most wonderful woman in the world. I love her more every day. If anyone can keep me on the straight and narrow, she's the one."
Hansen survived bladder cancer after being diagnosed in 2007, a scare that sent her usually unflappable husband into a tailspin.
"I didn't handle it that well," he says. "I had to pretend everything's cool because someone has to not freak out, but it was a terrible jolt."
He was less taken aback when the couple's daughter Theodora, 26, was arrested in March for scrawling on a Soho convent wall and possessing marijuana.
"That was a wake-up call for her," her father says. "She went to the tank for the night, didn't say, 'Do you know who my dad is?' She went to court, did her community service. I admire the way she handled it."
Richards is no stranger to the blunders of youth. Writing Life brought those lessons into sharper focus.
"I realized how stupid I could be at times," he says. "What a dummy."


Lasting bond with a guitar
The redeeming love story at Life's core is between Richards and his guitar.
The book, a notch above most rock autobiographies, "is terrific when Richards writes about the music," says
Greg Kot, co-author of The Beatles vs. The Rolling Stones: Sound Opinions on the Great Rock 'n' Roll Rivalry.
"That band, that sound was his mission, though it was eventually derailed by heroin. The human relations, they all fell by the wayside, whether it was with Mick Jagger, friends, associates, wives, children. He treats all of them far more blithely than he does the music, which remains sacred."
Life is on the shelf, but Richards' life isn't. Overwhelmed by reaction to the book, he may consider a sequel.
"Not a lot of cats get to be No. 1 on their first bash at it," he says. "I might fill in the gaps later. It's not the Bible, but I didn't realize what a task it would be. You try being Keith Richards twice in one lifetime." ( Edna Gundersen)
www.usatoday.com

perjantai 20. toukokuuta 2011

Gregg Allmanilta & Tony Iommilta muistelmat!

Following in the footsteps of Keith Richards, Sammy Hagar, Steven Tyler and Pete Townshend, Gregg Allman will finally put his story to pen and paper. The Allman Brothers legend signed a deal with William Morrow and will release his memoirs next spring.
In a statement, Allman said: “When I got out of high school, I thought, ‘I'll take a year or two off and play the clubs, get this out of my system and then go to med school.’ More than 40 years later, I figure it's finally time to write about this crazy journey that's taken me around the world and back.”
The Allman Brothers Band was formed in 1969 by Gregg Allman, his brother Duane, Dickey Betts, Berry Oakley, Butch Trucks and Jaimoe Johanson. Following the tragic deaths of Duane Allman in 1971 and Berry Oakley in 1972, the band soldiered on and—despite a few breakups and reunions—the Allmans have continued their tradition as one of rock’s great live acts to this day.

Black Sabbath’s Tony Iommi is the latest rock star to get in on the autobiography fad.
His future includes an autobiography called, Iron Man: My Life with Black Sabbath and Beyond, as well as supergroup WhoCares, which is a collaboration between Iommi and Deep Purple vocalist Ian Gillan.
Excerpts from the chat are below, on his future plans:
“I’ve got a lot of things in the can, but I can’t talk about that at the moment. I am doing my autobiography now, which comes out at the end of this year. I’m also doing [music for] three movies. It’s gonna be three altogether, but I’m doing one first and then we’ll take on another one next year or whenever. But I’ve signed up with a producer for three films. So that’s something else that’s gonna keep me very busy. And I’ve also got another project that I’m writing at the moment. I’m doing a lot of writing.”
WhoCares will drop their debut single in North America on June 27 through Eagle Rock Entertainment and in Europe on May 24 via earMUSIC.
Blabbermouth.net

Chuck Berryn eka sinkku täyttää tänään 56 vuotta!

Chuck Berry recorded his first single Maybellene 21.5. 1955 at the Universal Recording Studios in Chicago. According to Berry’s partner, Johnnie Johnson, the song was a reworking of the traditional Ida Red, renamed Maybellene after producer Leonard Chess spotted a mascara box in the studio bearing that name. The song hit #5 on the U.S. pop charts and #1 on the R&B charts.


Secreat loven esittäjä on poissa!


British pop star of the ’60s, Kathy Kirby has died. The Daily Telegraph reports that she was 72.
Best known for her dramatic version of “Secret Love” which made it to #4 on the U.K. charts in 1963, Kirby suffered a short illness before passing away on Thursday.
In 1964, NME named her Top British Female Singer and, in 1965, Kirby, a blonde bombshell often compared to Marilyn Monroe, represented the U.K. in the Eurovision Song Contest with “I Belong,” finishing second behind Luxembourg.
She had two more Top 10 hits in the ’60s and her own TV series. She also sang the theme song for the BBC series Adam Adamant Lives! A stage show about her life, Secret Love, was produced Leeds in May 2008.

Bob Dylania juhlitaan Tavastialla!

Kotimaiset huippuartistit juhlistavat Bob Dylanin 70-vuotissyntymäpäivää Tavastialla. Lavalle nousevat 24. toukokuuta muun muassa Paleface, Anssi Kela, Dave Lindholm ja Pelle Miljoona
Bob Dylanilla on ollut valtava vaikutus populaarimusiikkiin jo viiden vuosikymmenen ajan ja artistin omaleimaisen soundin ovat löytäneet sukupolvet toisensa jälkeen.
Se näkyy myös juhlien artistikattauksesta, mukana on sekä pitkänlinjan suomalaisia huippumuusikoita että nuorempia tähtiartisteja. Illan aikana lavalla nähdään Pelle Miljoona, Paleface, Dave Lindholm, Esa Kuloniemi ja Aija Puurtinen, Siiri Nordin, Anssi Kela, Heikki Silvennoinen, Mikko Kuustonen, Eero Raittinen ja Joe Vestich.

Artistit esittävät konsertissa omia Dylan-suosikkejaan ja illan aikana tullaan kuulemaan musiikillisen ikonin monipuolista tuotantoa uran alkupäästä aina tähän päivään saakka. Illan vieraiden taustalla soittaa taiturimainen Wentus Blues Band.
Bob Dylan on yksi maailman kuuluisimmista ja arvostetuimmista muusikoista. Dylanin levyjä on on myyty maailmanlaajuisesti yli 90 miljoona levyä ja hän esiintynyt tuhansissa tilaisuuksissa ympäri maailmaa viisi vuosikymmentä käsittävän uransa aikana. Dylan on edelleen yksi maailman ahkerimmin kiertävistä artisteista vuosittaisella yli sadalla konsertillaan.
http://www.bobdylan.com/
http://www.bobdylan.com/store

torstai 19. toukokuuta 2011

Bob Dylan 70 vuotta ensi tiistaina! Too Old To ROCK?

Ajat muuttuvat, lauloi nuori Bob Dylan aikanaan. Ensi tiistaina 24.5. hän täyttää 70-vuotta! Telegraphin toimittaja Neil McCormick miettii, joko Dylanin ja muiden hänen aikalaistensa aika on ohi. Hänen loppupäätelmänsä on, että 60-70-vuotiaat rockstarat pärjäävät edelleen erittäin hyvin. Tutkimuksen mukaan 20 menestyneimmästä liveartistista 40 % on kuusikymppisiä.
Yleisö ei vanhetessaan enää siirry pehmeämpään Mantovaaniin tai tradijazziin, vaan pitää nuoruutensa suosikit. Varmasti esimerkiksi Elton Johnilla ja Tom Jonesilla riittää Pori Jazzissa kuulijoita ja sitäpaitsi Bob Dylan, Paul Simon, Neil Young, Paul McCartney ja kumppanit ovat edelleen oivassa luomisvireessä, joten vanhemmille ikäluokille riittää uuttakin kuultavaa.Once upon a time, rock music was young - and its stars were, too. Bob Dylan will be 70 years old next Tuesday, May 24. Seventy! From one perspective, looking through the prism of youth-obsessed pop culture, it seems such an extraordinary thing. Pop freezes its icons in moments in time, and Dylan will always be there at the explosive birth of the modern pop age, manning the barricades of the Sixties revolution, captured in black and white: a skinny, grave-faced, curly haired, visionary twentysomething, strumming his acoustic guitar, blowing bony notes through his harmonica, warning the adult establishment to get out of the way (“Senators, congressmen, please heed the call/ Don’t stand in the doorway, don’t block up the hall”) because the times they were a-changin’.
Well, the times have changed all right and Dylan with them. This year, he has toured the once mysterious and inaccessible land of China, allegedly submitting his set list to censorship by the powers that be. He didn’t play The Times They Are a-Changin’ but he did play his world-weary postscript from the year 2000, Things Have Changed, in which he growls with a defeatism that borders on defiance: “People are crazy, times are strange/ I used to care but things have changed.” Yet he ended his set in Beijing with his beautiful 1974 hymn Forever Young, in which he elegantly celebrates the most positive virtues of youth: “May your heart always be joyful/ May your song always be sung.”
We are still singing Dylan’s songs, in all their poetry, wisdom, contradiction and complexity. His sombre, gospel-tinged ballad Make You Feel My Love from 1997 has just spent more than 40 weeks in the British top 40, delivered with worshipful authority by 23-year-old star of the moment, Adele.
Shift the pop-culture prism, and Dylan at 70 starts to make a different kind of sense, because he has been here, right in front of us all this time, hair greying, jowels sagging, wrinkles spreading across his face, voice slowly turning from the barbed wire ululations of a youth in thrall to the ageless depths of folk to a rubbed raw bullfrog croak of an old man giving it whatever his ragged vocal cords still can.
And he is not alone, out there on the geriatric frontline. Paul McCartney (68) is on tour, and planning a new album. Mick Jagger and Keith Richards (both 67) are considering another Rolling Stones tour. Brian Wilson (68) is currently on tour in Britain, no longer a Beach Boy, but still a celebrated musical genius. Paul Simon (69) has a new album and tour this year. Roger Daltrey (67) has been performing the Who’s rock opera, Tommy. Rock and roll once revelled in its youthful flash of energy, delighting in anti-adult sloganeering like “Live fast, die young, leave a beautiful corpse” and Pete Townshend’s aggressively nihilistic “I hope I die before I get old” (he is 66 today), but those who survived its first hedonistic impulses inevitably did get old, and along the way made some vital new discoveries. Music is for life. And life is long.
It.is a good time to be a veteran rock musician. Bob Dylan’s last album, 2009’s Together Through Life, was number one on both sides of the Atlantic, his first British chart topper since Desire in 1975. Neil Diamond (70) had his first ever number one studio album in Britain in 2008. Leon Russell (69) staged a critically acclaimed comeback last year with The Union, made with Elton John (a mere stripling of 64).
Other spring chickens enjoying a second wind of recording and touring success include Greg Allman (63) and Robert Plant (a youthful 62), who, when challenged about being a sexagenarian rock star in a radio interview, smartly retorted “old people do it better”. Perhaps that could be a new slogan for our times. But it would be a mistake to get too carried away by the apparent triumph of age over beauty. As recorded music sales collapse and musical activity migrates towards the internet, it is older consumers still romantically attached to the notion of the long-playing record as a cohesive work of art who are keeping the album alive. Bob Dylan fans, in other words.
The young are still with us, illegally downloading Lady Gaga, Rihanna and provocative art rapper Tyler The Creator. And if you haven’t heard of him, then all it shows is that the generation gap is still wide open. But veterans are cleaning up on the still thriving live circuit, too, trading on reputations built over time. According to a recent report on the live music industry by Deloitte, a full 40 per cent of the frontmen of the top 20 highest grossing live acts in the States will be 60 or over next year.
Rock got old, and so has its audience. This is our music, and it still speaks to us, still tells us things about our lives, still brings us joy in the moment, still carries our spirits aloft. Because it turns out that we didn’t, as we perhaps might have once imagined in more innocent times, all slip into pipes and slippers and start listening to Mantovani and trad jazz. Certainly, we may have shifted the dial from BBC Radio One to Radio 2, but only to find the DJs were getting older with us, and are still playing our songs. And even if veteran artists are only talking to their own generation, we should celebrate the very fact that they are still talking.
Paul Simon, an artist working at the very heights of lyrical singer-songwriting, has spoken of being on “a new frontier”: the frontier of age. Prior to the Sixties, popular songs were essentially show tunes, dance tunes, novelty songs and love songs. Dylan and his contemporaries introduced the notion of the songwriter as a poetic chronicler of his life and times, they were artists of their own interior worlds, making pop music music that aspired to the same heights as other art forms.
This remains the challenge, as Simon would have it: “The struggle of Dylan and the Stones and McCartney and Neil Young is to see the possibility of talent continuing to evolve, as is the case in other arts. Nobody says you should stop painting when you’re 60.”
Dylan at 70 makes sense to us, because he is still helping his listeners make sense of the world. The final track on his most recent album is a masterpiece every bit as beautifully wrought and challenging as The Times They Are a-Changin’, even if its message might sound sour in the mouth of a firebrand youth. It’s All Good simultaneously rails against and accepts the injustices of life, juggling with the great and small in an almost mocking spirit, eyes fixed on an even bigger picture. “Big politicians telling lies/ Restaurant kitchens, all full of flies” barely seem to move Dylan at 70, as he declares he “wouldn’t change a thing, even if I could”.
It’s a song no child could have written, magnificent in its ambiguity, the great bard of pop culture barking out his indifference over a rattling rock and roll rhythm, snapping “throw on the dirt, pile on the dust”. It is, as he wryly notes, “all good”.
As we mark Dylan’s shifts from the raging fires of youth to the slow-burning embers of old age, we should celebrate not just his extraordinary legacy, but the even more extraordinary fact of his continuing creativity, reporting back from what may turn out to be popular music’s last unexplored frontier.
http://www.telegraph.co.uk/

Rootsy.nu: Staffan Soldingin arvio Levon Helmin Ramble At The Ryman-levystä!

Om man ändå hade varit där, på Ryman Auditorium i Nashville den 17 september 2008. Det måste ha varit något alldeles speciellt. Om man ska döma av den liveplatta som nu kommer och bekräftar detta.Laguppställningen för The Midnight Ramble på turné var The Levon Helm Band med gäster: Levon Helm (vocals, mandolin, drums); Buddy Miller (vocals, guitar); Larry Campbell (vocals, acoustic guitar, electric guitar, mandolin, fiddle); Teresa Williams, John Hiatt (vocals, acoustic guitar); Sheryl Crow (vocals, autoharp); Amy Helm (vocals, mandolin, drums); Sam Bush (vocals, mandolin); Sammy Davis, Jr. (vocals, harmonica); Brian Mitchell (vocals, accordion, piano, organ); Billy Bob Thornton (vocals); Erik Lawrence , Jay Collins (saxophone); Steven Bernstein (trumpet); Clark Gayton (trombone, tuba); Tony Leone (drums); Paul Ossola (bass) George Receli (percussion). Så mycket mer behöver egentligen knappast sägas.Men om man vill, så kan man säga att det är friskt, fartfyllt, glatt och en musikalisk guldgruva av sånger ur den amerikanska traditionen som bjuds. Sånger från förr, sånger från The Band och sånger från Levons tidigare soloplattor får en kärleksfull, livfull och ömsint behandling från band och gäster. Inte minst måste man ge det helt underbara blåset en stor eloge för det arbete de gör.För att vara en sjungande trummis och mandolinspelare i The Band som fick strupcancer på slutet av 90-talet så sjunger den 70-åriga Levon alldeles fantastiskt bra med sin personligt säregna och nu ännu mera hesskrovliga sångröst. Man kan se Levon Helm både som en utveckla och som en konservator av den amerikanska musiktraditionen. Men han håll sig väldigt nära den och han håller den väldigt kär. Precis så jordnära som han uttryckte det på albumet »Dirt Farmer«. Så här får vi vaudeville, blues, R&B, rock ´n´ roll, bluegrass, country rock och traditionell folkmusik.Bättre start än en av flera klassiska sånger från The Band i sin säregna vaudevillestil kan inte någon annan än »Ophelia« vara. Bara för att följas av Chuck Berrys »Back To Memphis« och två spår med sångaren och munspelaren Little Sammy Davis; Buster Browns »Fannie Mae« och Slim Harpos »Baby Scratch My Back«. Sedan följer en skön duett med Sheryl Crow i »Evangelina« och Sam Bush och Buddy Miller stiger in på scenen för att sig an countryvalsen »Wide River To Cross«. Den enkla storheten växer fram i »Anna Lee« med en följsam fiol som enda följeslagare till sången.Föreställningen avslutas med en stor dos sånger från The Bands storhetstid. »Rag Mama Rag och sedan tre där Brian Mitchell, Larry Campbell och John Hiatt byter av varandra vid sångmikrofonen i «The Shape I´m In», «Chest Fever» och avslutande, som sig bör, «The Weight”. Passion känns som ett alldeles perfekt ledord för det vi får höra här. 1 timme och 11 minuters kärleksförklaring.
/
Staffan Solding