#friend (at the same time): gold-dig paul mccartney | Explore Tumblr Posts and Blogs

amoralto · 5 years

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Playgirl: Paul! (June, 1982)

(Note: I’ve been wondering if I should include more full articles/interviews on the blog, i.e. pieces that are not already available and/or hosted online. This is one of them - more of an overview/feature piece, but worth a read nonetheless. For Paul and Linda’s 1985 interview w/ Playgirl, I typed it up a while ago here. Previous quote posts from both articles: here, here.)

by Mark Rowland

He turns 40 this month, and if he is anything like the rest of us, the last 20 must feel as close as yesterday. Was it really so long ago that four working-class chums from a dingy English port town sang and laughed and shook their mop-tops to signal a crumbling of the old order and a hailing of the new? You look for the signs of age in recent photographs, but the changes are so subtle—a slight hollowing of those cherubic cheeks, perhaps a hint of wariness in eyes that used to sparkle with playful coquetry. Yes, time has been a gentle thief.

The lad who stole girls’ hearts all ’round the world is a husband of 13 years standing, and the father of four. The inveterate rock ’n’ roller divides his time between home and studio, now surfacing to promote a new album (Tug of War, Columbia), soon disappearing back into the mists of his Scotland farm. Which is just as it should be. Paul McCartney, handsome and rich and brimming with easy charm—and still the mirror in which we seek the reflection of our own youthful dreams.

“I like Walt Disney cartoons—they sort of live forever.” Paul McCartney

In fact, the last decade has not treated Paul all that kindly. When it becan he was, quite simply, a hero. By its close he’d become the subject of casual ridicule, a turnabout engineered in part by the mocking comments of his former best friend and musical compatriot, John Lennon. Any critical appraisal of his band, Wings, was bound to include unflattering comparisons to the Beatles and/or snide references to the credentials of its keyboard player, who just happened to be Paul’s wife.

And then there was Wings’ disastrous final episode, a triumphant tour of Japan that abruptly terminated when customs officials unearthed a hefty cache of marijuana in Paul’s luggage. Instead of Budokan’s concert stage, McCartney commenced a 10-day engagement “live” in the local jail, regaling his fellow inmates with renditions of “Yesterday” and “Mull of Kintyre”. Then he was deported.

“He certainly received quite a shock,” recalls Michael McCartney, Paul’s brother and the author of an affectionate family history entitled The Macs (Delilah Communications, Ltd.). “But even worse was the way the media deliberately distorted his situation. When I said I was angry at what was happening, for instance, they made it sound like I was angry at Paul. So just at the crucial moment, when the court is weighing judgment, they read the papers and think, ‘My God, even his own family thinks he’s a fool.’ It could have gone to his detriment, you know. He could have been locked up for years.”

Paul’s problem, of course, is that he has always appeared just a tad too sexy, too suave, too eager to please. His equipoise looms like a red flag to critics ready to knock him down a peg, and no matter that his temperament is genuinely affable. “I don’t think I’ve ever seen him in a bad mood,” contends rockabilly great Carl Perkins, a friend of nearly 20 years standing. “I’ve worked with a lot of greats, from Elvis to Dylan, and they could all get pretty moody at times. But Paul’s not like that. I’m sure he has a time and place, but it doesn’t interfere with his outward personality.” Though McCartney is far from invulnerable, it has never been his style to exorcise personal demons in public, a la John Lennon. Instead, he turns inward, to his family and his music. When the Beatles broke apart, Paul did both—he formed a new band with his wife.

“If you want the Beatles, go see Wings.” George Harrison

“I think I’m good. I like me, I’m good. I can dig me. Can you?” Paul McCartney

“He sounds like Englebert Humperdinck.” John Lennon

Wings took flight in 1971, when Paul and Linda joined forces with old pal Denny Laine (from the Moody Blues) and drummer Danny Seiwell. It endured, in various incarnations, for eight more years and eight more albums. Paul first conceived the band as a vehicle for playing small clubs and halls, a return to his rock roots and an emergence from the isolation that, in Paul’s view, had ultimately destroyed the Beatles. As a traveling show, Wings was a hit from the start—who wouldn’t want to hear Paul play the local pub?—but a succession of pop hits soon propelled him back to superstar-sized arenas and concert halls.

Critical acclaim was not so readily forthcoming. Without the Beatles’ special alchemy Paul’s romanticism tended to drift toward pap, lacking the spark of originality that characterized the best McCartney-Lennon collaborations. His most acrid critic, to Paul’s everlasting chagrin, turned out to be Lennon. For years they squabbled like ex’s unable to leave behind a stormy marriage, but when it came to sarcastic repartee John was in a class by himself. Japes like the one about Humperdinck, or the picture of John hoisting a pig by its ears (a wicked sendup of Paul holding up a sheep on the cover of his Ram album) wounded Paul deeply. He still has not entirely recovered; in a recent interview he claimed to draw fresh solace from his conversations with Yoko Ono. “She tells me something very important,” he revealed, “that John still loved me, after all.”

“Of course my brother and John loved each other,” declares Michael McCartney, “same as my brother and I do. Brothers have their feuds—you love ’em and you hate ’em. Oh, it’s easy enough to put all the negative parts under a microscope. I could have written a book called Paulie Dearest, slagged him to death and made millions. But it wouldn’t have been the truth. With Paul and John, though, all the dirty linen was brought out in public.”

Despite, or perhaps because of, such controversy, Paul continued to pour his energy into the music, and by 1976, his faith had been rewarded. Wings toured America that year like conquering heroes. McCartney was hailed on the cover of Time, and the band’s crack performances drew wildly ecstatic crowds and rave reviews. Amidst all the hoopla, however, Paul and Linda remained serene and jocular, causing one associate to marvel that McCartney was the only touring rock star around who knew how to keep a grip on his sanity.

”Groupies, chicks. It was fabulous. I loved it. There was no stopping me after a (Beatles) show. I was the biggest raver out. But I got to thinking, ‘What am I doing with my life? Who am I getting to know? What one chick do I know as a pal?’ And there weren’t any… Mainly, I’d sown enough wild oats. Making love does become a sort of commitment—I love the idea of vows and stuff. To tell the truth, it keeps me kind of straight.” Paul McCartney, 1974

“I’m not sophisticated, a good conversationalist, looking good all the time. I don’t think of myself like Jacqueline Kennedy or Patricia Nixon.” Linda McCartney, 1974

Paul was always the most desirable of the Beatle bachelors, and by the end of the sixties, he was the only one left. Any whiff of serious romance merited close scrutiny by the press. Thus, Linda “no relation to Kodak” Eastman was in for some rough sport, when, after a relatively swift courtship, she and Paul tied the knot in 1969. A rock photographer at the Fillmore East who’d enjoyed acquaintanceships with various rock figures previous to meeting Paul, she was dubbed the “Park Avenue groupie”—a sobriquet that says more about rock’s inbred sexism than Linda’s character. (Years later, Rolling Stone slurred Joni Mitchell in much the same fashion.)

Nonetheless, Paul and Linda took to the life of domestic bliss with remarkable dispatch, a condition rather smugly documented on their first two records together, Ram and Wild Life. Since then, however, they’ve managed to sustain the ideal of traditional marriage and family—no mean feat in this era of celebrity swapstakes. Though rumors of discord surface from time to time, from all indications, their marriage remains solid. Indeed, one of the highlights of the Wings Over America tour was Paul’s impassioned rendition of “My Love”, crooning the hook “my love does it gooood” while a smiling Linda posed before the multitudes, hands on hips, letting no one miss the implications of that particular song.

“Paul would be sort of a Republican.” John Eastman, Paul’s brother-in-law and business manager

According to the Guinness Book of World Records, Paul McCartney is “the most honored man in music.” One is naturally inclined to trust Guinness in these matters, and Paul’s statistics do tell an amazing story—over 100 million album sales, 100 million singles sales and, separately, 43 million-selling songs. Since 1970, all 10 of Paul’s records (solo and with Wings) have been certified gold by the Record Industry Association of America. The last five releases have also gone platinum (over a million units sold), and his newest, Tug of War, which features Ringo, Stevie Wonder, Michael Jackson and Carl Perkins, is certain to do the same.

During the sixties, however, only a small part of the Beatles’ fabulous success translated into personal wealth. For many years the band relied on a loose network of acquaintances to handle their financial matters—most proved either honest or competent, but rarely both. But under the guidance of John Eastman, Paul has since realized a vast financial empire, with an estimated annual income, mostly from record and publishing royalties, of about $40 million. His publishing house, MPL, originally established for tax purposes, is the largest independent song publisher in the world, holding the rights to scores from Grease, Annie, Hello Dolly, A Chorus Line, Bye Bye Birdie and Mame; standards from “On, Wisconsin” to “Stormy Weather” and “Autumn Leaves”; the entire catalog of Buddy Holly songs, rags by Scott Joplin, songs by Ira Gershwin, even the theme to the Dinah Shore TV show. And in a recent twist of fate, Paul and Yoko are currently negotiating with British mogul Sir Lew Grade to buy back Northern Songs, the catalog of early Beatles hits (including “Yesterday”) that was sold during the sixties. The whimsical Beatle has turned out to be one savvy entrepreneur.

Less publicized, however, are McCartney’s frequent gestures of charity. He’s performed various benefits for UNESCO, and, in 1979,, following a plea from then-Secretary General of the United Nations Kurt Waldheim, he personally organized a giant pop concert to raise the emergency relief aid for Kampuchea. The event and subsequent album, Concerts for the People of Kampuchea (featuring the Who, Queen, the Pretenders and Elvis Costello, among others), has netted UNICEF over $600,000 to date, according to organization officials. A concert movie will also be released around the United States and Europe this summer.

McCartney’s generosity crops up in smaller, more personal encounters. “When I first decided to become a writer, I sent a bunch of stuff to Paul,” recalls Laura Gross, now a radio interviewer at KRLA, the “Beatles station” of Los Angeles. “Then, when he came to L.A., I knocked on the door of his hotel, and he said ‘Oh yes, I’ve read your stuff, you ought to send us what you’re doing. Linda and I are very interested.’ Here I was, a stranger and a nobody, and he took the time to be kind. He gave me encouragement at a time when that was very important to me.”

“He was my boss,” observes Wings guitarist Laurence Juber, “but he was also my teacher. At one point he gave me a fairly substantial budget just so I could develop my own ideas. He’s an extremely benevolent sort of person, but he doesn’t shout about it. He’s aware of his responsibility to other talents, otherwise he wouldn’t be a nice person, and he is a nice person. Of course, he’s always got that element of cockiness about him, because he’s come such a long way. Don’t forget, he was just a kid off the street in Liverpool. That’s all any of them were.”

“Phony Beatlemania has bitten the dust.” The Clash

“I love Paul, he’s my favourite—brown, white, red, blue or green! He is the Beatles.” Little Richard, interviewed by KRLA’s Laura Gross

In 1974, Mark Lapidos decided to put together a kind of giant swap meet and communal gathering for Beatles fans. He called it Beatlefest, rented a hall, and ended up admitting 7,000 people and turning away thousands more. This year, Beatlefest will span 11 days in four different U.S. cities, as interest continues to mount in a group that called it quits more than a decade ago. “We’re not living in the past,” Lapidos insists. “You take surveys now and ask young people their favourite group and what do they say? The Beatles! Their music will not die. It is the cultural phenomenon of the century.”

Lapidos may be right. The past year has evidenced yet another spate of books and articles about the Beatles, along with discoveries of long-dormant radio recordings and master tapes by the Fab Foursome. And if anything, the hideous murder of John Lennon in December 1980 seems to have inspired fans to rekindle the flame of memory. “We simply couldn’t let that act destroy such an important part of our lives,” explains Lapidos. “Actually, we became more like family, pulling closer together after we’d lost our brother.”

The man who knew John Lennon best was devastated by his murder. Paul’s friend, Paddy Moloney of the Chieftains, remembers seeing McCartney looking “stunned. He said it was useless and tragic, (but) I don’t think it had penetrated that John was gone forever. I’m sure it took a few days for that to sink in.” When it did, Paul turned, as he always did in times of crisis, to his closest ally—music. At the suggestion of friend and producer George Martin, he shifted base from London to Martin’s studio on the Caribbean island of Montserrat, away from the obtrusive glare of the media. Once settled in with Linda and the kids, he called up Ringo, Wingsmate Denny Laine, Carl Perkins, Stevie Wonder, and embarked on the most ambitious and painstaking project of his musical career.

“I have never met a more dedicated musician than Paul McCartney. He’ll work all night on a little guitar lick until he gets it just the way he wants it. He’s a perfectionist.” Carl Perkins

The intensity of his commitment on Montserrat became its own kind of therapy. Between sessions the musicians would swim, sun on the beach, or take Jeep rides along the scenic island trails. But after two months, McCartney and Martin returned to London, where they continued to refine the material for another year. The sessions had produced two albums worth of music; the second set was still in its final stages of completion when I phoned Martin’s studio in March. A spokesperson remarked that McCartney was anxiously awaiting its public reception. “I think Paul wants to have a truly ‘musical’ success this time, not just a popular one,” she declared. “He really wants to be recognized for achieving something.”

In the past decade, McCartney’s most trying periods have often fostered his best work—McCartney and Ram, following the Beatles split; Band on the Run in 1973, when Wings was coming apart at the seams, and to a lesser extent, Back to the Egg in 1979, amidst persistent rumors that Paul and Linda’s marriage was on the rocks. But all of those efforts pale, I think, beside Tug of War. Here Paul has finally cast off the aureole of calculated cuteness that marred so much of his seventies music, and penned lyrics that are evocative, unsentimental and deeply personal. At the same time, the album’s sheer range and spunky, let’s-try-it-on spirit recalls the Beatles at their most ambitious, from the daring juxtaposition of rock ’n’ roll rhythm and big band texture that propels “Ballroom Dancing” to the graceful, quirky country swing duet with Perkins, to the hothouse funk of “What’s That”, a six-minute corker with Stevie Wonder that bears favorable comparison to Wonder’s own “Superstition”. Yet the record’s most eloquent moment is its most elemental—a quiet, heartfelt paean to McCartney’s fallen brother, entitled “Here Today.”

And if I said I really knew you well, What would your answer be? Well, knowing you, You’d probably laugh, And say that we were worlds apart If you were here today… here today.

Every era has its myths—from Jesus to Camelot to the Beatles—and every myth exists to fill the special needs of its culture. As Beatle Paul, he will always play the courtly knight, the crooning Lancelot in shining Nehru jacket. But the real Paul McCartney is no more or less than a talented musician with wife and kids, nearing middle age and trying, along with the rest of us, to sort out the various slings and arows of life’s fortune. It is no put-down to say that nothing he ever does, no matter how accomplished, can again approach the majesty of the legend he once helped create, precisely because it is a legend.

“Why should the Beatles give more?” John Lennon once asked, with characteristic bluntness. “Didn’t they give everything on God’s earth for 10 years? Didn’t they give themselves?”

So now Lennon is gone, though his restless, vibrant spirit survives among the living. And now Paul McCartney, unarguably one of the premier artists of his generation, continues with his own life’s work, which is simply to make music for the world to hear and enjoy; perhaps even be touched by.

#1982 #paul mccartney #paul and linda #full article placeholder tag

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auskultu · 6 years

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The Black Elvis?

Michael Lydon, The New York Times, 25 February 1968

SAN FRANCISCO —“Will he burn it tonight?” asked a neat blonde of her boyfriend, squashed in beside her on the packed floor of the Fillmore auditorium. "He did at Monterey,” the boy friend said, recalling the Pop Festival at which the guitarist, in a moment of elation, actually put a match to his guitar. The blonde and her boy friend went on watching the stage, crammed with huge silver-fronted Fender amps, a double drum set, and whispering stage hands. Mitch Mitchell, the drummer, came on first, sat down, smiled, and adjusted his cymbals. Then came bassist Noel Redding, gold glasses glinting on his fair, delicate face, and plugged into his amp.

“There he is,” said the blonde, and yes, said the applause, there he was, Jimi Hendrix, a cigarette slouched in his mouth, dressed in tight black pants draped with a silver belt, and a pale rainbow shirt half hidden by a black leather vest.

“Dig this, baby,” he mumbled into the mike. His left hand swung high over his frizz-bouffant hair making a shadow on the exploding sun light-show, then down onto his guitar and the Jimi Hendrix Experience roared into “Red House.” It was the first night of the group's second American tour. During the first tour, last summer, they were almost unknown. But this time two LP’s and eight months of legend preceded them.

The crowds in San Francisco—their three nights here were the biggest in the Fillmore’s history—were drooling for Hendrix in the flesh. They got it: this time he didn't burn his guitar ("I was feeling mild”) but, with the careless, slovenly and blatantly erotic arrogance that is his trademark, he gave them what they wanted.

He played all the favorites, “Purple Haze,” “Foxy Lady,” “Let Me Stand Next to Your Fire” and "The Wind Cries Mary.” He played flicking his gleaming white Gibson between his legs and propelling it out of his groin with a nimble grind of his hips. Bending his head over the strings, he plucked them with his teeth as if eating them, occasionally pulling away to take deep breaths. Falling back and lying almost prone, he pumped the guitar neck as it stood high on his belly.

He made sound by swinging the guitar before him and just tapping the body. He played with no hands at all, letting his wah-wah pedal bend and break the noise into madly distorted melodic lines. And all at top volume, the bass and drums building a wall of black noise heard as much by pressure on the eyeballs as with the ears.

• • •

The black Elvis? He is that in England. In America James Brown is, but only for Negroes; could Hendrix become that for American whites? The title, rich in potential imagery, is a mantle waiting to be bestowed. Within his wildness, Hendrix plays on the audience’s reaction to his sexual violence with an ironic and even gentle humor. The D.A.R. sensed what he is up to: they managed to block one appearance with the Monkees last summer, because he was “too erotic.” But if Jimi knows about his erotic appeal, he won’t admit it.

"Man, it's the music, that’s what comes first,” he said, taking a quick jerk of Johnny Walker Black in his motel room. “People who put down our performance, they’re people who can’t use their eyes and ears at the same time. They got a button on their shoulder blades that keeps only one working at a time. Look, man, we might play sometimes just standing there; sometimes we do the whole diabolical bit when we’re in the studio and there ain’t nobody to watch. It’s how we feel. How we feel and getting the music out, that’s all. As soon as people understand that, the better.”

• • •

The Jimi Hendrix Experience, now doing a two-month tour (they will be at Hunter College on Saturday and at Stony Brook, L. I., on March 9), was formed in October, 1966, just weeks after Hendrix came to London from Greenwich Village encouraged by former Animal Chas Chandler. Mitchell, 21, came from Georgie Fame’s band, a top English rhythm and blues group, and 22-year-old Redding switched to bass from guitar, which he had played with several small-time bands. Their first job, after only a few weeks of rehearsal, was at the Paris Olympia on a bill with Johnny Hallyday.

Their first record, “Hey Joe,” got to number 4 on the English charts; a tour of England and steady dates in the in London clubs, plus a follow-up hit with “Purple Haze,” made them the hottest name around. Men’s hairdressers started featuring the “Experience style.” Paul McCartney got them invited to the Monterey Pop Festival and they were a smash hit.

But Jimi Hendrix, born James Marshall Hendrix 22 years ago in Seattle, Wash., goes a lot further back. Now hip rock’s enfant terrible, he quit high school for the paratroopers at 16 (“Anybody could be in the Army, T had to do it special, but man, was I bored”). Musically he came up the black route, learning guitar to Muddy Waters records on his back porch, playing in Negro clubs in Nashville, begging his way onto Harlem bandstands, and touring for two years, lost in the bands of rhythm and blues headliners: the Isley Brothers, Joey Dee, Little Richard, and King Curtis. He even played the Fillmore once, but that was backing Ike and Tina Turner and long before the Haight-Ashbury scene.

• • •

“I always wanted more than that,” he said, “I had these dreams that something was gonna happen, seeing the numbers 1966 in my sleep, so I was just passing time till then. I wanted my own scene, making my music, not playing the same riffs.

“Like once with Little Richard, me and another guy got fancy shirts ’cause we were tired of wearing the uniform. Richard called a meeting. ‘I am Little Richard, I am Little Richard,’ he said.‘the King, the King of Rock and Rhythm. I am the only one allowed to be pretty. Take off those shirts.’ Man, it was all like that. Bad pay, lousy living, and getting burned.”

Early in 1966 he finally got to Greenwich Village, where he played at the Cafe Wha as Jimmy James with his own hastily formed group, the Blue Flame. It was his break and the bridge to today’s Hendrix. He started to write songs—he has written hundreds—and play what he calls “my rock-blues-funky-freak sound.”

• • •

“Dylan really turned me on—not the words or his guitar, but as a way to get myself together. A cat like that can do it to you. Race, that was okay. In the Village people were more friendly than in Harlem where it’s all cold and mean. Your own people hurt you more. Anyway, I had always wanted a more open and integrated sound. Top-40 stuff is all out of gospel, so they try to get everybody up and clapping, shouting, ‘yeah, yeah.’ We don’t want to get everybody up. They should just sit there and dig it. And they must dig it, or we wouldn’t be here.”

A John Wayne movie played silently on the television in the stale and disordered room, and Hendrix started alternating slugs of scotch and Courvoisier. He stopped and turned to the window, looking out over San Francisco. “This lookslike Brussels, all built on hills. Beautiful. But no city I’ve ever seen is as pretty as Seattle, all that water and mountains. I couldn’t live there, but it was beautiful.”

Besides his music, Hendrix doesn’t do much. He wants to retire young and buy a lot of motels and real estate with his money. Sometimes he thinks of producing records or going to the Juilliard School of Music to learn theory and composition. In London he lives with his manager, but plans to buy a house in a mews; in his spare time he reads Isaac Asimov’s science fiction. His musical favorites, as he listed them, are Charlie Mingus, Roland Kirk, Bach, Muddy Waters, Bukka White, Albert Collins, Albert King, and Elmore James.

• • •

“Where do you stop? There are, oh man, so many more, all good. Sound, and being good, that’s important. Like we’re trying to find out what we really dig. We got plans for a play-type scene with people moving on stage, but everything pertaining to the song and every song a story.

“We’ll keep moving. It gets tiring doing the same tiling, coming out and saying, ‘Now we’ll play this song,’ and ‘Now we’ll play that one.’ People take us strange ways, but I don’t care how they take us. Man, we’ll be moving. ’Cause man, in this life you gotta do what you want, you gotta let your mind and fancy flow, flow, flow free.”

#the jimi hendrix experience #jimi hendrix #psychedelic rock #blues #1968 #1960s #sixties #60s

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will-work-for-music · 6 years

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* 2017 ALBUMS OF THE YEAR

two thousand + seventeen birthed fantastic records that found me like friends, over + over again. these masterpieces lead me to people + experiences on adventures far better than i could have dreamed. these collections songs kept me company through the highest highs, the lowest lows + the walking in between of this year marked by hardship + madness, for most of the world. these are the tunes i smiled + screamed + cried + danced to the most, this year. i’m wildly grateful for each artist + the remarkable melody-wrapped memories they’ve gifted me. here’s to the songs that stay. 🖤

loved in no particular order:

* LOVELY LITTLE LONELY - the maine

brilliant + poetic + free. this band has been liberating me since i was seventeen. before lovely little lonely was even born i jumped at the chance to celebrate 10 years of this band of brothers who’ve grown up alongside their family of fans. to truly live the lyric: “let’s fall back in love with the world + who we are + do the things we talked about but never did before..” i’m grateful to the maine for adventures i only ever dreamed + for the soundtrack to them all.. she’s a masterpiece.

* THE SEARCH FOR EVERYTHING - john mayer

“And that ends an era. August ‘14-April ’17. I made this record for *you*. May you hear and see and feel yourself in these songs.” 🌊♥️🌊 - @johnmayer

she’s stunning from beginning to end.. i kept telling everyone this show felt like experiencing a film.. it’s surely safe to say JM has made another stellar, artistic set of songs for the soundtrack of my life. wow, wow, wow.. as he kept saying to us, “thank you, thank you, thank you.”

“[On The search for everything, Mayer] succeeds because he’s not donning a new costume: instead, he’s settling into a groove he can claim as his own, and it feels like he’s at home.” - AllMusic

* HARRY STYLES - harry styles

(on album release day) every once in awhile, a record comes along that surprises you in a great way. as i put it to my best friend, [on release day].. “oops, i think i like harry’s album.” THE cameron crowe recently wrote a truly stunning, intriguing rolling stone cover story with styles as the subject.. (the cover that my mom thought featured “a young mick jagger,” without a clue about the previous week’s SNL sketch, ha). as someone who was never into one direction (sorry, rob sheffield), i likely wouldn’t have given this album a shot, but it’s everything you wouldn’t expect to hear in a “former pop star” solo record. thanks to two of my favorite writers (rob sheffield, who penned the RS review like only he can, + crowe) for encouraging me to see harry for more than the kid from the boy band.. as crowe put it (on the RS music now podcast), “he’s a music geek, in the best way..” his love of classic rock shines through, while still capturing a sound all his own. well done, HS. “from the dining table” + “two ghosts” are early favorites.. which i chose just before ryan adams tweeted it.

Rolling Stone’s Rob Sheffield put HS at number 3 on his 2017 album list: “What a revelation to see Styles live the same week as Paul McCartney – a tutorial on the connection between joy and brilliance. So is this album. The songs are built to last, standing up to months of ridiculously heavy listening. The only rock star who can come on like Macca and Mick at the same time. The only rock star who could earn all six minutes of "Sign of the Times.” The only rock star using his hard-won artistic freedom to craft the kind of hilariously anti-commercial old-school personal statement where every song counts, making big guitar moves everybody else this year was too timid to try. The only rock star who thinks cigarettes in New York are “cheap.” The only rock star.“

* PRISONER - ryan adams

"i think ‘prisoner’ has so much more hope + sensuality in it—to me, it’s liberating. those songs are more a celebration of becoming something as it’s broken apart.”

a note to ryan, as tour came to a close:

i feel the most alive inside of these songs.. the ones that break me open + somehow heal me, all at once. RA, i know this time out on the road stole your health + your joy, at times, but the wonder with which you kept playing was magic to witness. i’m grateful for your pursuit of growth + grace, no matter what comes your way. be it bronchitis, haters or heartbreak, you never let anything keep you down. thank you for not one, but two flawless dates in two sparkling cities on the prisoner tour. rest up + stay weird.. xo

* ONLY THE LONELY - colony house

just shy of two weeks into 2017, franklin, tennessee born + bred band of brothers colony house released a creative, impactful collection of songs for the soul. the rocknroll band’s strong sophomore effort landed them spots in the year’s finest festivals across the country (homegrown pilgrimage fest, chicago’s lollapalooza, new orleans’ voodoo experience). it will be exciting to see where these driving, honest story songs take them in the coming year.

* WONDERFUL WONDERFUL - the killers

the fifth studio album from brandon flowers + co has been called their strongest in over a decade. the frontman said the lead single, “the man,” was written through the lens of what his 20-something self thought it was to be a man..“being tough + bringing home the bacon, when really it’s about being compassionate + empathetic.”

For NME, Flowers shared that the lyrics of the album are “the most personal and bare” that he has ever been: “I’m looking in the mirror on this record and focusing a lot on my own personal experiences. Instead of just drawing upon all these experiences and maybe using them in other songs, I am going straight for it with this and singing about my life and my family and that’s something different for me.” The track “Rut” was inspired by the struggle of Flowers’ wife Tana with PTSD. He said: “Usually I feel protective of her but I decided to take it head on. So 'Rut’ is about her submitting to it. That doesn’t mean that she’s gonna let it beat her, but rather that she’s gonna finally acknowledge that it’s there and promise to break this cycle.” Flowers also added that putting his wife’s battle into a song helped him understand better what she is going through. “Have All the Songs Been Written?” was originally the subject line of an email Brandon Flowers sent to Bono, in the midst of a bout of writer’s block, before the latter suggested it would make an excellent song title.“

'wonderful wonderful’ is altogether driving + poignant + strong, intricately crafted for the artist + his listener.

* METAPHYSICAL - the technicolors

as soon as i experienced the technicolors–friends/labelmates/co-creators of the maine–live, i knew they would be in my life from that day forward. it seemed previous projects couldn’t quite capture the passion + enthusiasm of that short set, so 2017’s "metaphysical” was highly anticipated by many.

the title’s defined as “relating to the transcendent or to a reality beyond what is perceptible to the senses. beyond ordinary experience.” the aptly named project evokes a raw, ethereal energy that draws outside the lines, while remaining true to a rock solid focus. “sweat,” “imposter!” + “congratulations you’re a doll” would be welcome additions to any playlist, however it’s recommended listeners follow the sparkling sonic story from start to finish.

* CONCRETE + GOLD - foo fighters the ninth record from foo fighters is born + it is a freaking force. dave says it’s motörhead meets sgt. pepper’s. i sure do dig the super crunchy guitars + layered vocal melodies. paul mccartney plays drums + justin timberlake sings bgvs, just cause he wanted to + it makes me the happiest human.

“I feel an earthquake coming on,” Dave Grohl sings on “Dirty Water,” a moment of fragile guitar poetry from Foo Fighters’ ninth album. Of course, keeping things steady amid chaos has been one of Grohl’s signature themes since the Foos were born from the wreckage of Nirvana a couple of forevers ago. Musically and emotionally, Concrete and Gold is their most balanced record yet – from stadium-punk dive bombers like “Run” and “La Dee Da” to the acoustic soul that opens “T-Shirt,” in which Grohl gets his Nina Simone on, singing, “I don’t wanna be king/I just wanna sing a love song.” “Sunday Rain” is a guitar weeper so late-Beatles great it even has Paul McCartney playing drums on it.

Adele co-writer Greg Kurstin’s production adds big-studio texture without diluting the band’s raw tumult; even Justin Timberlake’s appearance – as a backing vocalist on the space-truckin’ “Make It Right” – is subtle rather than ostentatious. The highlight is “The Sky Is a Neighborhood,” a hulking dream-metal anthem: “Trouble to the right and left,” Grohl sings, driving into the darkness with a Bic lighter raised to the heavens.“ - Rolling Stone

* HALLOWEEN - ruston kelly

ruston kelly captured me, years ago, with the single release of his flawlessly raw, haunting "black magic.” ever since, like a ghost itself, the song was never far from me.

Rolling Stone writes, “Black Magic” is a crescendoing rocker that ponders the bewitching pull of romance –and how it can easily disappear in a cloud of smoke.“

"Kelly is just as adept at making catchy country grooves – Tim McGraw and Josh Abbott Band have cut his tracks –as he is capturing life’s darkest, most introspective moments. The songwriter’s debut EP, the Mike Mogis-produced Halloween, is a solemn meditation on the inevitable end of things, and the spirits that tend to haunt us. Kelly came to Tennessee as a last-minute decision after attending high school in Belgium (he jokes that his father might have been a spy). Once he landed in town, he held tenure in the jam band Elmwood and battled addiction, writing songs on Music Row while exploring his demons on Halloween and his forthcoming full-length. Current single "Black Magic” shows a powerful grasp on storytelling gleaned from his love of the Carter Family and Townes Van Zandt, but also a more ragged rock & roll soul: it’s Americana, if your Americana is Bruce Springsteen with an acoustic guitar, sung by someone who spins a little heavy metal too. “Sometimes I wear both a cowboy hat and a Slayer T-shirt, just to throw people off,” Kelly says.“

* REPUTATION - taylor swift

"hold on to the memories, they will hold on to you” at her core, i still believe taylor to be the fiercely strong, quietly brilliant songwriter she’s always been. the power of the song comes through when you strip it down + it still shines just as bright. thank you for making music that meets me where i am + takes me away, since that very first day, at fifteen (2006). thank you for this one + for playing it for jimmy fallon + his momma (go watch that performance + weep!) i look forward to growing into this record as i have the five that came before.. i’ve never doubted her prowess as a storyteller.. + i won’t start now.

see also: Rob Sheffield’s glorious write up. i wholeheartedly agree. https://www.rollingstone.com/music/albumreviews/taylor-swift-reputation-sheffield-review-most-intimate-lp-w511359

rob is my favorite RS writer/author on all-things music. from his books on life through the lens of pop music–bowie, beatles + duran duran songs, respectively, i wouldn’t trust anyone else’s TS review. he articulately captures how i feel, as a fan from album one.. i look forward to better understanding 'reputation’ with each spin, though i can’t help but miss the classic introspective ballads.

* DIVIDE - ed sheeran

a fantastically diverse record. once again, sheeran proves he can break all of the boundaries + stay true to himself as an artist. he does it all so well, without appearing to care what anyone else thinks. “dive” is a bold, beautiful statement i continue to come back to + feel just the same. the record punches + dances in all the right places, from beginning to end, begging to be played on repeat.

* LIFE CHANGES - thomas rhett

thomas rhett gifted us the quintessential road trip singalong soundtrack record of the year. the day after it was born was spent on a bus from chicago to nashville, so when it wasn’t playing through my earbuds, it was spinning on repeat in my mind. the title track still stands out clear + strong, though i thoroughly enjoyed a live taste of the addictive early maren morris duet–“craving you”–back in february on the hometeam tour. it’s no wonder his career has catapulted with his seamless versatility in blending country’s storytelling with pop music’s neverending ear candy likeablity. this record excellently showcases rhett’s range from anthemic radio jams to heartbreaker ballads and true-to-life tales in between.

* FROM A ROOM (vol 1 + 2) - chris stapleton

stapleton released music this year in two parts, dubbing them “from A room” volumes 1 + 2–not just any room, “'A’ room” being nashville’s historic RCA studio A. some songs included in the collection were written up to a decade ago; ones chosen as they still ring true to the bearded, believable-as-they-come singer/songwriter.

on the authenticity of his craft, stapleton says, “I can’t really speak to why people like what we do. Hopefully, they know what we do is authentically us, and that goes over no matter what kind of music you’re playing. People will kind of hear that and connect with that in ways they wouldn’t if you were trying to be something that you think might be popular; I think that’s always a mistake in music, maybe even in life. Do something 'cause it’s in your heart, do something 'cause it’s what you’re supposed to be doing.”

“broken halos” + “second one to know” will, to me, always conjure up memories of seeing him open for tom petty and the heartbreakers at wrigley field, on their 40th anniversary tour, this summer. music is medicine and these honest-to-the-bone tunes are instant classics as well as a balm for the soul.

* FIRST CIGARETTE - travis meadows

“we rise. we climb. we shine like broken stars.”

the above is perhaps the defining statement of next-level nashville singer/songwriter, travis meadows’ 2017 studio album, 'first cigarette.’ the veteran of a different kind of war, there’s not much meadows hasn’t faced in life–cancer, heartbreak, addiction, depression.. and no story is off-limits for the wonderfully raw-voiced, honest-as-they-come artist. each song stays true to travis’ heart, some a little more uncomfortably authentic than accessible (ie radio-friendly), but that’s the way meadows prefers his craft.

“underdogs,” “pontiac,” “hungry,” + “better boat” stand out from first listen, yet each track was chosen to land where they do in the lineup + in the heart of the listener.

Rolling Stone writes, “To his most ardent fans and peers, including Eric Church, Dierks Bentley and Jake Owen, who have all cut Meadows’ songs for their respective albums, his open-book approach to his craft is his greatest gift. But Meadows lives in fear of rejection. That ever-lingering sense of distrust remains…

[On having label support backing a project for the first time]:

"It validates all of the suffering that I went through to get here,” Meadows says. “It gives it purpose.”

“I try not to be too hard on myself,” Meadows continues, “but I don’t deserve any of this. So I’m grateful for every inch I get walking that mile.”

* STEEL TOWN - steve moakler

steel town had only been out for nine days + i’d woken up with these songs in my head, every morning. i’m partial to “wheels” + “gold” + “summer without her” (co-written with + ft. my favorite-for-so-long, sarah buxton!!) + the title track, but i cannot pick a favorite, friends. the long wait from 'wide open’ to this one was oh-so-worth it. thanks for another heartfelt record filled with story songs i can spin for years + years to come. seriously, don’t sleep on this love letter to a historically hardworking hometown.

* BRETT ELDREDGE - brett eldredge

“Brett Eldredge’s self-titled third album is the Number One country album this week. The Illinois native also scored the highest all-genre chart position of his career, landing at Number Two on the Billboard 200, behind Kendrick Lamar’s LP Damn.” - Rolling Stone (August 15)

eldredge is both effortless + earnest, perfectly showcasing his ability + personality on the record he calls, “the most [himself].” from the playful first single, “somethin’ i’m good at” to the heartfelt vulnerability of “castaway,” listeners experience all-sides of the equal parts smooth sinatra, fun-loving country crooner. the standouts are story songs–“the long way” is dreamlike while “no stopping you” is wistful–both shine brilliantly on studio LP number three.

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londontheatre · 7 years

Link

Final casting is announced today for the 50th anniversary production of Joe Orton’s darkly comic masterpiece, LOOT.

Joining the previously announced rising British stars Calvin Demba (Evening Standard Emerging Talent Award nominee, The Red Lion, National Theatre) and Sam Frenchum (Private Peaceful, Grantchester) and the award-winning Sinéad Matthews (Mrs Elvsted in Ivo van Hove’s Hedda Gabler, National Theatre), are Christopher Fulford (Winston Churchill in Werner Herzog’s Queen of the Desert, The Crucible, Regent’s Park Open Air Theatre), Ian Redford (The Alchemist, Mad World My Master, Candide, all for the RSC) and Raphael Bar (national tour of Out of Order) with Anah Ruddin.

LOOT – from the same producers as the recent sell-out hit The Boys in the Band – is directed by Michael Fentiman, whose credits include two acclaimed shows for the Royal Shakespeare Company as well as the critically-acclaimed hit, Raising Martha.

It will run at London’s Park Theatre from 17 August – 24 September. It will then transfer to the Watermill Theatre, Newbury, Berkshire, from 28 September – 21 October. Park Theatre press night: Wednesday 23 August at 7.00pm.

When it premiered five decades ago, LOOT shocked and delighted audiences in equal measure and it scooped the Best Play of the Year Award in the 1967 Evening Standard Awards. This production commemorates three 50-year anniversaries: Joe Orton’s death on 9 August 1967; LOOT’s first award-winning West End season at the Criterion Theatre; and the momentous, transformative passing in July 1967 of The Sexual Offences Act, which partially decriminalised homosexual acts in private between two men over the age of 21.

Loot – The Plot Uproarious slapstick meets dubious morals as two young friends, Hal (Frenchum) and Dennis (Demba), stash the proceeds of a bank robbery in an occupied coffin, attempting to hide their spoils from the attentions of a psychopathic policeman, a gold-digging nurse and a grieving widower. LOOT was named one of the National Theatre’s “100 Plays of the Century”. Sixties style icon Michael Caine loved it so much he saw it six times in 1967. Another fan was Beatle Paul McCartney.

THE CAST Raphael Bar (Meadows) His recent theatre credits include a national tour of Out of Order directed by Ray Cooney, The Club and Break Time (Tristan Bates), If My Heart Was A Closed Camera (Chelsea Theatre), Reprehensible Men (Camden Fringe), Skewed Judgement (Cockpit Theatre). On film he played the title role in the movie Pericles.

Calvin Demba (Dennis) Calvin had an early break in C4’s Hollyoaks then secured the lead in the hit youth drama Youngers. His other roles include a show-stopping turn in the award-winning play Routes at the Royal Court and the film London Road. He wrote and starred in his first short film RueBoy and will soon be seen in the action film sequel Kingsman 2: The Golden Circle.

Sam Frenchum (Hal) Sam trained at RADA. He recently had a featured starring role in six episodes of Grantchester as Gary Bell, a mentally-challenged teenager sentenced to hang for murder that was really an accident. He was Jimmy Parsons in the film Private Peaceful. As a member of the National Youth Theatre he was Dave in Our Days Of Rage (Old Vic Tunnels), Jack in Saucy Jack and the Space Vixens (Edinburgh Festival), and Orlando in As You Like It, directed by Fiona Laird.

Christopher Fulford (Truscott) A regular face in British TV and film for over 20 years, he made an early mark playing green-haired punk Alex in the short-lived two-series ITV sitcom, Sorry, I’m A Stranger Here Myself. Memorably he appeared as a suspected child murderer in Cracker, he played Castor Van Bethoven in the movie Immortal Beloved and he starred as Napoleon in the BBC adaptation of Scarlet and Black alongside the then virtually unknown Ewan McGregor and Rachel Weisz. More recently, he appeared in the ITV1 dramas Whitechapel and Collision, as a suicidal Prime Minister in the TV series The Last Enemy, and as Winston Churchill in Werner Herzog’s movie, Queen of the Desert. On stage he was Rev Parriss in Timothy Sheader’s production of The Crucible at Regent’s Park Open Air Theatre, The River Line at Jermyn Street Theatre, Nightingale and Chase directed by Richard Wilson at the Royal Court, The Indian Boy at the RSC and as ”A” in Crave as part of the Sarah Kane Season in Sheffield.

Sinéad Matthews (Nurse McMahon) Sinéad trained at RADA. Her stage roles include Mrs. Elvsted in Ivo van Hove’s recent Hedda Gabler (National Theatre), Laura in Giving (Hampstead), Jane in Evening at The Talk House (NT), Heather in Wasp (Hampstead). As Hedvig in The Wild Duck, directed by Michael Grandage at the Donmar Warehouse, she won the Ian Charleson Award for Outstanding Newcomer. On film she was Queen Victoria in Mike Leigh’s Mr Turner, Miss Topsey in Nanny McPhee and the Big Bang, Alice in Mike Leigh’s Happy Go Lucky.

Ian Redford (McLeavy) Ian’s extensive theatre credits includeThe Alchemist (RSC/Barbican), Mad World My Master (RSC), Candide (RSC), Our Country’s Good (Out Of Joint), Brimstone and Treacle (Arcola), The Gatekeeper (Manchester Royal Exchange), Love the Sinner (National Theatre), Six Degrees of Separation (Old Vic), Helen (The Globe), Romeo & Juliet (The Globe). TV includes; New Tricks, Mary and Martha, Boogeyman. Film includes; The Trial of the King Killers, I.D, The Remains of the Day, Just Like a Woman.

The Creative Team Director Michael Fentiman Designer Gabriella Slade Lighting Design Elliot Griggs Sound Design Max Pappenheim Casting Director Stephen Moore CDG

Produced by Tom O’Connell, James Seabright and The Watermill Theatre in association with King’s Head Theatre and Park Theatre.

John Kingsley “Joe” Orton (1 January 1933 – 9 August 1967) Between 1963 when his first play was accepted and 1967 when he died, aged just 34, in a frenzied hammer attack in a murder-suicide at the hand of his jealous partner, Kenneth Halliwell, Joe Orton emerged as a playwright of international reputation.

Fascinated with the macabre, he wrote just a handful of plays, including Entertaining Mr Sloane and What The Butler Saw, but his impact was huge. His reviews ranged from praise to outrage, and the term “Ortonesque”, describing work characterised by a similarly dark yet farcical cynicism, was in common useage. Like Oscar Wilde before him, Orton’s plays scandalised audiences, but his wit made the outrage scintillating.

At the time of his death, aged 34, he was the toast of London, he had an award-winning West End play, two more plays broadcast on TV, was appearing on TV chat shows and had been commissioned to write a movie script for The Beatles. In the end, his death was more lurid than anything he put on stage and made front page news.

LISTINGS INFO Tom O’Connell, James Seabright and The Watermill Theatre in association with King’s Head Theatre and Park Theatre present

LOOT by Joe Orton Thursday 17 August – Saturday 24 September

Park Theatre Clifton Terrace Finsbury Park London, N4 3JP

http://ift.tt/2vBSNKD LondonTheatre1.com

#IFTTT #LondonTheatre1.com

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londontheatre · 7 years

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LOOT: Calvin Demba and Sam Frenchum – Photo Derren Bell

Calvin Demba, Sam Frenchum and Sinéad Matthews star in the 50th-anniversary production of Joe Orton’s darkly comic masterpiece “Loot”.

Rising British stars Calvin Demba (Evening Standard Emerging Talent Award nominee, The Red Lion, National Theatre), Sam Frenchum (Private Peaceful, Grantchester) and award-winning Sinéad Matthews (Mrs Elvsted in Ivo van Hove’s Hedda Gabler, National Theatre), are to star in the 50th anniversary production of Joe Orton’s darkly comic masterpiece, LOOT. More cast willl be announced soon.

When it premiered five decades ago, LOOT shocked and delighted audiences in equal measure and it scooped the Best Play of the Year Award in the 1967 Evening Standard Awards.

It will then transfer to the Watermill Theatre, Newbury, Berkshire, from 28 September – 21 October. Park Theatre press night: Wednesday 23 August at 7.00pm.

LOOT: Sinéad Matthews

The production celebrates three 50-year anniversaries: Joe Orton’s death on 9 August 1967; LOOT’s first award-winning West End season at the Criterion Theatre; and the momentous, transformative passing in July 1967 of The Sexual Offences Act, which partially decriminalised homosexual acts in private between two men over the age of 21.

Loot – The Plot Uproarious slapstick meets dubious morals as two young friends, Hal (Frenchum) and Dennis (Demba), stash the proceeds of a bank robbery in an occupied coffin, attempting to hide their spoils from the attentions of a psychopathic policeman, a gold-digging nurse and a grieving widower. Loot was named one of the National Theatre’s “100 Plays of the Century”. Sixties style icon Michael Caine loved it so much he saw it six times in 1967. Another fan was Beatle Paul McCartney.

Calvin Demba Calvin had an early break in C4’s Hollyoaks then secured the lead in the hit youth drama Youngers. His other roles include a show-stopping turn in the award-winning play Routes at the Royal Court and the film London Road. He wrote and starred in his first short film RueBoy and will soon be seen in the action film sequel Kingsman 2: The Golden Circle.

Sam Frenchum Sam trained at RADA. He was in Holby City and Doctors then he had a guest starring role in six episodes of Grantchester as Gary Bell, a mentally-challenged teenager sentenced to hang for murder that was really an accident.

Sinéad Matthews Sinéad trained at RADA. Her stage roles include Mrs. Elvsted in Ivo van Hove’s recent Hedda Gabler (National Theatre), Laura in Giving (Hampstead), Jane in Evening at The Talk House (NT), Heather in Wasp (Hampstead). As Hedvig in The Wild Duck, directed by Michael Grandage at the Donmar Warehouse, she won the Ian Charleson Award for Outstanding Newcomer. On film she was Queen Victoria in Mike Leigh’s Mr Turner, Miss Topsey in Nanny McPhee and the Big Bang, Alice in Mike Leigh’s Happy Go Lucky.

More casting to be announced soon.

Creative team: Director Michael Fentiman Designer Gabriella Slade Lighting Design Elliot Griggs Sound Design Max Pappenheim Casting Director Stephen Moore CDG

Produced by Tom O’Connell, James Seabright and The Watermill Theatre in association with King’s Head Theatre and Park Theatre.

Joe Orton’s Loot – Teaser Trailer

LISTINGS INFORMATION Tom O’Connell, James Seabright and The Watermill Theatre in association with King’s Head Theatre and Park Theatre present LOOT by Joe Orton

Thursday 17 August – Saturday 24 September

Park Theatre Clifton Terrace Finsbury Park London N4 3JP

http://ift.tt/2rMHsVH LondonTheatre1.com

#IFTTT #LondonTheatre1.com

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