rapture of the deep

[Stood 0]

А где же ссылка? Тоже ведь слушать хоцца!

 

Вот-вот, только собирался то же самое спросить

[doktor 0]

Feed ?

[Rusin 0]

С остальными участниками не знаком, помогите вычислить.

Нет проблем. Итак, по композициям:

1. На гитаре потихонечку бренчит Joe Satriani.

2. Гитарист - Janick Gers из Iron Maiden.

3. Поет Ronnie James Dio, на гитаре играет Uli Jon Roth из Scorpions.

4. Здесь опять Satriani.

5. На гитаре играет Steve Morse. Здесь.

6. Jeff Healey. Вот.

7. Roger Glover и Ian Paice.

8. Tomi Iommi.

9. Michael Jackson. Вернее, Michael Lee Jackson

10. Опять Glover и Paice.

11. Опять Satriani.

12. Steve Morse и Uli Jon Roth.

13. Поет Joe Elliot из Def Leppard.

 

Вроде все. От альбома я лично просто в восторге. Спасибо doktorу и еще одному меломану за на-водку.

 

Да, если feed не найдет до четверга, то я залью куда-нибудь, если будет куда.

[doktor 0]

Rusin, мэни сенкс! Со Скорпионсом и Айроном я разобрался, Морз - понятно, сам 2 раза лично обозревал, хотя предпочел бы Сатриани в нынешнем составе Пеплов (на Блэкмора не надеюсь )

Кстати, у этого Uli Jon Roth вышел сольник прикольный. Я просто поразился, насколько у этого гитариста много энергии скопилось в полупопсных Скорпах! Вот он развернулся!

 

Кстати, тема специфичная, не попсовая, надеюсь, что никого раздражать не буду, если помещу оригинал интервью с Гилланом, о котором упомянул выше, ссылки нет:

 

Brent: Congratulations on 40 years in the music business!!! The new Gillan's Inn cd is brilliant in it's concept. How did it come about?

 

Ian: All the greatest things in life happen by accident, you know. During a conversation with my manager back in 2004, he reminded me that I'd been singing for quite a long time. In fact, we worked out it was probably about 400 years... but nearer 40 to be truthful. And he suggested I do some sort of anniversary record to celebrate. I thought he meant do a compilation so I started burning some cd's and playing them in the car and realized very quickly that this wasn't going to work at all, because all the tracks over the years... different line-ups, different musicians, different years, different eras... they all had different production values. Individually they sounded good and the records they came from sounded alright, but together (put onto one record) and it just was uncomfortable shifting and adjusting your ears and adjusting your spiritual moods to all these different things. Also, it didn't cover the early years before I started writing when I was in bands like Episode 6, and my first band The Javelins, etcetera and I wanted to include some of the singing side, not just the writing side of my life. So that's when the remake idea came up and I had no idea what musicians to use so I just made a few calls and sent some e-mails and the respose was overwhelming... I... I'd no idea! Joe Elliot was the first one to call me back. I got an e-mail reply from him within 20 minutes. He said "Sure, mate, I'll be there! Count me in!" and it was pretty much the same with everyone else. Joe Satriani gave me an immediate response... Jeff Healey, Jon Lord, all the guys in Purple, Tony Iommi called back straight away. So it's just been amazing. And then the concept kind of developed and I thought "How would you do this?"... then the idea of Gillan's Inn came in as a vehicle to present it. I'd had this pub sign my manager made for me, it's been hanging up in my pool room for 20-odd years, so I thought "That's it! We'll have an imaginary jam session in a pub." 'Cos we all grew up in pubs in England. That's where our first professional gigs were, in what they called the "punging" rooms. they used to try to make blues clubs in the back of the pubs... every gig was in the back of a pub. So with all of Gillan's Inn, here's the iidea: it's packed with people... friends, guests, fans, whatever, and long bar on the left, grab a drink - they're all free - as you come in, and then there's a stage with all the equipment that you would need, and I have one guest who jumps up... there's a setlist taped to the floor... and each guest plays 2 or 3 songs. We basically have a party... it's like a birthday party, if you like.

 

Brent: That seems very appropriate!

 

Ian: That's the ethos of the record. Of course, it wasn't like that because it would have been impossible to get all these guys together in the same room at the same time. But we worked on a plan for that and it worked like a dream. I've done this once before. We did all the bed tracks live in Buffalo - live vocals - and then we gradually inserted each player. For example, let's take Ian Paice. Each musician had a 3 hour session, so drummers never know who's in the room with them anyway 'cos they're always surrounded by soundscreens to stop leakage and stuff like that. So if you imagine Paicey's putting on his cans and he's hearing in the earphones the live session from Buffalo, and all we did was take out the drummer from the live session and he can hear himself playing with us live as if we're all in the room at the same time. So that's how we did it with every musician and it worked like a dream. It kept the spontaneity and I still listen to it now and I... (laughs a bit) it sounds like they're all actually playing together, and it worked very well. the album was recorded in Buffalo, Toronto, San Francisco, Los Angeles, Austin, Texas, and three different locations in the UK, and one in Ireland. So it was quite a logistical excercise.

 

Brent: I can imagine. It sounds like a very cosmopolitan effort. So did you actually work with the guest musicians in the studio?

 

Ian: Yeah... oh, yeah.

 

Brent: So how was it to see Tony Iommi again? A lot of my members are just thrilled about that.

 

Ian: I knew you would ask that. Tony was the only one I didn't... Tony was busy. Tony did his sessions and his overdubs at home in his own studio. But I saw Tony just a couple of weeks ago in London.

 

Brent: Yes! You were on his radio show, I believe, yes?

 

Ian: How did you know that?!

 

Brent: Oh, I keep up with everything!

 

Ian: It's amazing! Other people know more about what's going on than I do! And I thought I was in the loop! But I could not miss the opportunity of putting Tony Iommi and Ian Paice and Roger Glover together on the track from the Born Again record.

 

Brent: I am really looking forward to hearing that.

 

Ian: It was awesome... It was like a kind of Black Purple!

 

Brent: You know, that was the first thing I ever heard. Of course the critics were just blasting that album, and just ripping it to shreds and it was the first new Black Sabbath album I ever bought and I'd never heard of you. I saw your photo on the back and thought Wow! Who is this guy? Then I put Trashed on and heard that opening scream and I thought Oh my God! I have to know more! I've heard your opinion on the final mix of the Born Again album. How do you feel the revisitation on Gillan's Inn compares?

 

Ian: Well, it was a rule I made when I started this album that I wouldn't make comparisons. I didn't want anyone to change the arrangements, we were paying total respect to all the original recordings. I didn't want the fans to think, or anyone to think that we were trying to improve anything. We can't. We couldn't. It was just the voicing of the instruments was different this way. I was... it's always been over-exaggerated, if anyone ever reads my words, I think maybe the first time I was a little pissed off. I was more disappointed than anything else with the final... it wasn't the mix, it was the final mastering. It seemed it turned wooly. There was a cloud of bass over it. It took quite a lot of the definition out of the tracks. I mean, I'd been hearing monitor mixes that were sharp and brilliant. How this compares? It doesn't, really. It's not... there's nothing you can do to compare it. I think the sound, obviously, is the only thing I would say is better.

 

Brent: That's... that's really what I was talking about.

 

Ian: I mean, obviously it would have been absolutely, ridiculously infantile to do another shit version!

 

(Both laugh)

 

Brent: I was surprised to hear that you'd be touring behind this cd. Given the concept of having guest musicians on the disc, who are you going to be playing with? Who's going to be in your band on the tour?

 

Ian: I haven't given it a moment's thought yet. I'm 8 weeks into a 2 year Deep Purple tour. If any gaps appear... I think there may be a space in August or September. I was talking to my manager the other day and I said, "If anything occurs just keep your ears to the ground and when we have a confirmed break, eh, you know... make some phone calls." I would like to do some clubs and theatres because they're the kind of places I like. I would jump up and do some festivals, but I don't think it would be right at the moment, as I don't know how many people in a large crowd would be familiar with all the material. I think an intimate setting would be very good. As to who would be in the band, well, my first choice would be Tim Jones, Mike Jackson, Michael Lee... there's 2 or 3 drummers I'd like to use. Harry from Thunder would be brilliant if he's available. We did a gig at the Royal Albert Hall a couple of weeks ago and there are so many mates that are great players... Dean Howard, for example. I would like Dean Howard in the band. We've got an electric violinist who is just sensational.

 

Brent: I think I saw a photograph of her on stage with Purple...

 

Ian: ... It's a "him".

 

Brent: Oh, it's a "him", well I must have been looking at the wrong thing, eh?

 

Ian: He's bald...

 

Brent: Well, no. It was definitely not him!

 

Ian: You know, I think the bigger name guys, they're all working. They did me a brilliant favor by playing on the record. I'm not going to put a band together with Joe Satriani and Uli Jon Roth and Tony Iommi. I mean, it's just not going to happen, you know. But you never know... if any one of those guys happen to be in town, or available, or whatever, they all get the invitation to drop by, and maybe pop up and play a couple of songs. That's how I would like it to be. But I'm more interested in something that came up in conversation the other night is that if you're doing a tour, something we always did in the old days with the Gillan band... if I'd seen some interesting people, performers, in town, I would get jugglers, I would get dancers, I would get groups of singers, musicians, and just get up and play and jam. And I love that concept. And so, if we do some dates like that, I'm gonna be pushing hard for the local guys, the local promoters, local radio stations, local record companies... whatever, to be checking out and making known that I would like to invite a lot of people to come and, you know, here are some of the songs we're doing, learn them, and if you have any contribution to make we always jam anyway. You know, if you want to show off and do some histrionics show, or something silly, or dance to it, or juggle to it, or whatever you want. Let's have some fun, you know? To me the spontaneity is having a different contribution every night, and that’s the whole thing about touring. It's like a traveling circus. It's brilliant. I used to do that in Russia and the Soviet Union in the old days before the Berlin Wall came down. I once had 12 drummer boys onstage with hand drums and sitting on chairs. We segued from them... they had a spectacular performance! They'd throw their drums up in the air and catch them without missing a beat, you know? It was just incredible. Because I'd think of the tempo... I'd seen them performing and I'd related it to the tempo to a song called "New Orleans" that I did with the Gillan band, and it was sensational! And that's the kind of thing I'd like to do. It takes a lot of work, but I think it pays dividends.

 

Brent: Yes! It's a great concept. We have so many blues clubs down here in Baton Rouge that people just drift in and out...

 

Ian: Yes. Exactly. The whole country's exploding with music, and musicians, and performers, so that would be a good idea.

 

Brent: Besides what we're seeing on the cd as far as the tracks, what other pieces of your past might you revisit on the tour... like, on the setlist? Nick and Karen Green of Nottingham said they'd lend you a quid if you'd play "Born to Kill"!

 

Ian: (laughing) Well, you can't do everything. I've written over 400 songs and that would be a long set. I think what you try to do is put together something... it's always got to include elements of the past but I think we've always got to focus on the future. Gillan's Inn would be a fairly good starting point for a setlist. A song I want to do is "Dancing Nylon Shirt" and all of the musicians would say "can we play this?" or "can we play that?"... we had that all the time during the studio and I would just go "No. No. No. This is the setlist." Obviously it's endless. We could debate it... That's half the fun, actually, is working out what you're going to do, but when you're doing a show you have to consider to a certain extent the dynamics, the texture, and the pace, and actually how long you can stand up and sing for, you know.

 

Brent: The cover kind of caught my attention, I think it’s rather surrealistic and I noticed a big hurricane up on the side of the wall. Now living down here in south Louisiana and having just been affected by a couple of storms…

 

Ian: Yes. Katrina and Rita…

 

Brent: Is that a picture of Hurrican Katrina up on the wall of the pub in the cover art?

 

Ian: No. It’s just a regular ”perfect storm”, nothing to do with Katrina really, no. There is a surreal element to the cover, but it’s based on a real pub in Buffalo, New York called The Pink. It used to be called The Pink Flamingo, but it’s just called The Pink now. In fact, it’s now called Gillan’s Inn (laughs).

 

Brent: On to some of the current Deep Purple stuff, the fans are just loving Rapture of the Deep and the setlist has been incredible with ”Living Wreck”, which has just been brilliant. That’s one thing I always wanted to hear with that funky Hammond groove and slinky guitar solo. How did that manage to make it’s way into the set?

 

Ian: Well, you know, you throw ideas around. It’s the same way we used to do ”Into the Fire”, and ”Fools”, and ”Mary Long”… I mean all of these things are just ”well, let’s try this” or ”let’s try that” and the old songs, particularly the obscure old songs, have one requirement; they have to fit with the new stuff, and the other way around. We don’t compromise fitting the new stuff with the old stuff, and some things we’ve tried just don’t work and some of them do. So occasionally a suggestion comes up… ”oh yeah, let’s do that”, and ”Living Wreck” really does work and it’s a great groove. We tried a few others that we’ve had endless, endless requests to do such as ”Flight of the Rat” and we have tried it. We literally rehearsed it a couple of times and it sounds like crap, it just doesn’t fit. It sounds particularly dated, the rhythm sounds… really, it was a struggle. And the guys are hot; the band is hot right now. So it wasn’t a question of complacency or lack of interest. We really did try to do it, but it sounded alright… not really as good as we’d like it to, you know. Things like that are to a certain extent self-selecting when you get to a point where a show… when you put in a song like ”Living Wreck”, the point it comes in the show about second, third, fourth song in, and at that point you’re settling into the show and it’s a really important time that you don’t lose the audience, you know? So, it works. It works well.

 

Brent: Some of the other questions I’m getting, and you probably get this a lot, is fans wonder why the Steve Morse era material isn’t better represented in the set… can you speak to that?

 

Ian: You mean the Don Airey era?

 

Brent: I mean the new era altogether, from Steve all the way up to Don.

 

Ian: Well, if you can find a formula for it, just let me know, because we have had one principal rule since Deep Purple began, since I joined them back in ’69, and that was that we’re making a record for one reason only, and that is to provide new material for the next tour. It’s the only reason we made records. It was not a pop group, it was just there because we write songs and we need to keep the show fresh because the essence of this band is live performance. Now that consequently means that like a snake you’ve got to slough off your skin every now and again and refresh the show. If you do a new album you’ve got to drop something. You can’t just keep adding to the show. And there are certain songs that become almost indispensable over that time. If we dropped, for example, ”Highway Star” and some of the stuff from the ‘70’s like ”Smoke On the Water”, then people would be calling us arrogant and disrespectful to our past. If we drop the stuff from the ‘80’s like ”Perfect Strangers” they would say, ”Well why aren’t you doing those? That was a really important period.” We have to focus on new material and I think also that because of the nature of Deep Purple fans, they really do know their stuff, they’re familiar with everything we’ve ever done. You were talking about ”Living Wreck” just now, so I think some of the more obscure material has to go into the show. Now given all that and the fact that it’s all tied together, the ”glue” of the show, the adhesion, is the improvisation that happens every night. No song is the same from night to night. So what do you do? You’ve got to promote your new record. You’ve got to include the fresh material that keeps it going. You’ve gotta do one or two from the ‘70’s, you’ve gotta do one or two from the ‘80’s, so I think it’s fair enough. And to be honest, intriguing as it may seem, this has been a big rebuilding period for us and I think that with Bananas and Rapture of the Deep, we’ve finally got the band back into shape properly. When Ritchie left the band it was almost broken, it was in a very bad shape. We weren’t brilliant at performing and we weren’t brilliant at our production because of lack of confidence. I think when the Steve Morse era was just begun that it took a long time to get it actually right, and I think the final two pieces of the jigsaw puzzle fell in when Jon Lord left and Don Airey came into the band, because of the energy he brought. I’m not comparing the musicians any more than I would compare Steve to Ritchie. I’m talking about the spiritual strength and the speed at which you go forward, and the sense of adventure and all that sort of thing. So Don Airey joining us was a major, major step forward. And of course, at that time, it’s just been in the last two records that we’ve had an outside producer and that’s made so much difference. A.) because we have an objective ear and someone at the steering wheel, and B.) it’s just done Roger Glover so much good because his bass playing has just improved beyond measure. I mean, he always was brilliant but his playing on Bananas and Rapture of the Deep is just awesome.

 

Brent: Right. Because he’s able to concentrate on that instead of juggling a million other things.

 

Ian: Well, consequently these things have ripple effects. Consequently I think Paicey has upped his game and I think once again, and we used to proud of this but I think… not that I’m a competitive sort of person, but I always believed that in the ‘70’s Deep Purple had the greatest rhythm section of any rock band that has ever existed. I know Bonham was great, and I know Mooney was great, but these guys (Roger and Paicey) were just like… (makes a noise like he’s lost for words) they had something extra, the way they worked together… the bass drums particularly, and the bass. I think they’ve got that back again now and they’re at the top of their game. They’re as good, if not better, than they were in the ”70’s.

 

Brent: It has been exciting. I heard the London Astoria show from earlier in this year and the electricity was just incredible. I mean it was crackling.

 

Ian: Yes, that was great. It was wonderful.

 

Brent: It truly was. You mentioned Michael Bradford’s production. I was very pleased to see Don come into the band, but I was really surprised when Bananas came out because that fat, distorted Hammond sound had always been as much as a driving force as the guitar had, and on Bananas it was almost, like, missing.

 

Ian: Yeah, you’re right. I think that was early days for Don. You know, it takes a while. You know, you go to a… uh, I’ve just seen the time. I’m going to have to make this the last one, Brent, if you don’t mind.

 

Brent: Okay. No problem, Ian.

 

Ian: Let me say this. When Roger Glover and I joined the band, we didn’t just join as a singer and a bass player. We joined as a songwriting team. We kind of came in as a unit. Now… I don’t know how to describe it… If you go to a party on your own, it takes a while to meld in with the strangers there. If you go with a couple of people, you’re already a unit and consequently you walk in with a lot more confidence and you fit in straight away. You know what I’m saying? And I think that’s kind of like Don. He arrived at a party on his own and I’ve watched his personality expand over the last 4 or 5 years, and I think Bananas was just a case of that, really. He was just shy.

 

Brent: Well, I knew he’d been on the road and sounded awesome. I’d seen y’all several times with him, so I didn’t know if it was simply down to production. Because Rapture of the Deep, man, that Hammond just leaps out like the animal it is, you know?

 

Ian: Well I think playing on stage is one thing, but actually being involved in writing songs is another phase, and he was on his own and we were established as writers, and I think Don was feeling his way in. In the studio it’s a different thing. Going onstage and playing other people’s music is easy. You just have to be a great performer and have great stagecraft, which Don’s got. But being accepted into the team, no matter how welcome we made him… it’s more than that. It’s intangible, these little nuances, the complexities of human nature is beyond all understanding, you know. Anyway, I’ve gotta go, Brent.

 

Brent: Okay. Very quickly I want to tell you thank you for everything over the years. I appreciate the energy and the spirituality you put into everything. Have a great day, be safe, and take care.

 

Ian: Nice talking to you, mate. Take it easy.

[feed 0]

Feed ?

 

Альбом классный, но только для тех, кто знает, что такое Child in Time (шутка такая)

 

 

1 & 2

 

слушайте и наслаждайте себя музыкой

[Amorales 0]

хе.....хе

полилось. Утром будем прикладать ухо.

 

Утро:

 

А вотхрен! ерор! хальп хальп!

[amigo 350]

06. When A Blind Man Cries - Ft. J. Healey - .....................................04:22

 

Я в шоке!!!!!!! Поставил в авте на репит и .... слушаю, слушаю... Выкрутил на полную, ажно колонки выпрыгивают, ну ... классная вещь, просто классная! ))

[Amorales 0]

Ну что-же делать то?! Ведь не качает! Сразу же флэшгет рисует крест на мечте!

[feed 0]

убери на время флэшгет, или еще лучше - качай через рапгет

[igorc 13]

Cлавян, а DVD Rip слабо?

[Amorales 0]

фидушко! Границы моей благодарности, не имеют пределов! Слушаю в общем. Нравицца. Дослушаю до конца, стану тогда иметь объемлющее мнение.

Дослушал, границы стали ещё беспредельнее.