Paul Weller

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  • #11021967  | PERMALINK

    pheebee
    den ganzen Tag unter Wasser und Spaß dabei

    Registriert seit: 20.09.2011

    Beiträge: 18,380

    marbeckEs kombiniert Elemente aus elektronischer Musik, Soul, klassischen Pop-Songs und herzergreifenden Balladen.

    Was soll man nur davon halten?

    --

    Ever tried. Ever failed. No matter. Try Again. Fail again. Fail better. Samuel Beckett
    Highlights von Rolling-Stone.de
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    #11021977  | PERMALINK

    j-w
    Moderator
    maximum rhythm & blues

    Registriert seit: 09.07.2002

    Beiträge: 38,783

    pheebee

    marbeckEs kombiniert Elemente aus elektronischer Musik, Soul, klassischen Pop-Songs und herzergreifenden Balladen.

    Was soll man nur davon halten?

    Klingt wie Style Council von der Mischung her. Her damit!

    --

    Staring at a grey sky, try to paint it blue - Teenage Blue
    #11024733  | PERMALINK

    marbeck
    Keine Lust, mir etwas auszudenken

    Registriert seit: 27.07.2004

    Beiträge: 20,947

    https://www.frontview-magazine.be/en/news/paul-weller-new-album-on-sunset-out-june-12th?fbclid=IwAR1sTTh7IIJUR9cuIW40XYJJ57dmuAyWKoa79C4lI2kIyXys3AkoFD0nlpE

    Paul Weller New album ‚On Sunset‘

    Paul Weller today announces the first details of his eagerly awaited new album ‘On Sunset’ which will be released on June 12th. “On Sunset” will be Paul’s first release for his new label Polydor

    Paul Weller’s 15th solo album, On Sunset, is a soul album. At the same time it’s an electronic album, an orchestral album, an album packed with classic pop songs and heart-tugging ballads, and an album filled with touches of experimentalism. It’s also an album that sees Weller taking a rare glance into the rear-view mirror as he speeds into the 2020s.

    “One thing that seems to unite much of this album is a sense of reflection,” says Paul Weller. “A lot of the lyrics are about looking back, from the point of view of a sixty-something man, not with regret or sadness, but with huge optimism. Turning 60 could be something that triggers some kind of crisis in a lot of people, but it’s calmed me down and inspired me to create in the best way. In the last ten years I’ve given up the booze and got clean. I’ve got three young children, and I can now look at things with much more clarity than I’ve ever been able to. And I think that’s started to come out in my lyrics.”

    The sense of retrospection is not musical – Weller retains a rigorous forward-looking focus when it comes to seeking out the best contemporary music. But lyrically, Weller – back on his old home, Polydor Records for the first time since The Style Council days – is starting to look back on the past with the insight of age.

    “There’s a bit in the track ‘Old Father Tyme’ where I sing ‘Time will become you, you will become time’. I love that line. It’s that kind of wisdom that starts to make sense as you get older, when you start to reflect on your mortality and your legacy.” Another track, “Sunset”, sees Weller in Los Angeles, reflecting upon his first visits to America with The Jam four decades ago. “We used to stay right by the Sunset Strip, playing little venues like the Whisky A Go Go and the Rainbow,” he recalls. “I went back to Los Angeles last year to visit my eldest son, who lives out there, and I could see the Sunset Marquis and it brought back tons of memories – it was like looking up an old lover. It was 40 years’ ago and it still seems like last week.”

    “Village”, a dreamy meditation co-written with producer Jan Stan Kybert, is sung from the decidedly un-rock’n’roll perspective of a man who is entirely happy with his state in life. “It’s a response to being told that we’ve all got to explore the Amazon and climb Everest to make our lives complete,” says Weller. “And there’s a guy who says, fuck all that, I’ve got heaven around me..” On “Equanimity” Weller writes about dealing with marital discord (“it’s a word we can all use to calm ourselves down!”); on “More” he reflects on the ceaseless desire to accumulate wealth without any emotional consideration. The final track, “Rockets” is a quietly furious rant about destiny and the lack of class mobility, disguised as a dramatic Bowie-ish ballad.

    On Sunset started to take form as Weller was completing True Meanings in the spring of 2018, with the track “Mirror Ball”. “I was going to use ‘Mirror Ball’ as a b-side or something, but everyone I played it to said it was too fucking good. And the more I listened to it, I agreed, and I decided to make it the centrepiece of a new album. When I wrote the song I had images of all these kids, throughout the ages, queuing up to get into their favourite nightclub, ready to transform themselves on the dancefloor, under the mirror ball. It might be a 1920s ballroom, a psychedelic rave, the Wigan Casino, the Twisted Wheel or some techno club, but it’s the same thing – being on the dancefloor turns you into a shining star. It’s a feeling I remember from going clubbing as a kid, and it’s a feeling I still get today when I hear songs I love.. It’s such a beautiful, timeless image, about the transformative power of music.”

    Where his last album, 2018’s True Meanings, was a largely drumless acoustic affair, featuring string arrangements by Game Of Thrones composer Hannah Peel, On Sunset sees Weller integrating these lavish orchestrations into a more orthodox band context. “Hannah’s a genius orchestrator,” he says. “There were tracks like ‘More’ where I was after something inspired by Roy Ayers’ ‘We Live In Brooklyn’, or tracks like ‘Sunset’ where I wanted something like Lalo Schifrin. Hannah was able to transform my ideas into something unique, something that matched the ideas that I had in my head but took them into new territory. It’s a dimension to music I’ve only really started to explore recently.”

    On Sunset also might be Weller’s most soulful album since The Style Council days. “I wrote several songs imagining them being sung by great soul singers,” he says. “More” was written with Bobby Womack in mind; Pharrell Williams inspired “Earth Beat”, while Weller was thinking of the Southern gospel singer Bobby Bland when he penned the New Orleans-style soul stomper, “Baptiste”. “Baptiste is a celebration of soul music’s universality,” says Weller. “I’m not religious but there is a spiritual vibe to great soul music that speaks to all of us. When I hear that music I do feel that ancient connection.”

    Most of the album sees Weller multi-tasking on various instruments with accompaniment from his regular band, comprising Steve Cradock on guitar, Andy Crofts on bass, Tom Van Heel on keyboards, Steve Pilgrim on drums and guitar, and Ben Gordelier on percussion.. But there are also a host of guests. Backing vocals throughout are by Watford indie trio The Staves, while Weller’s old Style Council comrade Mick Talbot plays Hammond on a couple of tracks, “Walkin’” and “Village”. “Walkin’” also features a tenor sax solo from Madness’s Lee Thompson. “I’ve seen Lee playing blinders in recent years, both with Madness and with his Ska Orchestra. He’s a terrific player.”

    “More” features a verse sung by French singer Julie Gros, from the band Le Superhomard (whose album Meadow Lane Park was one of Weller’s favourites of 2019), while “Equanimity” – (“a cheeky little number,” says Weller, “a bit Berlin cabaret, a bit Bonzo Dog Doo Dah Band”) – features a swinging violin solo from Slade’s Jim Lea, in the style of “Coz I Luv You”. “I loved Slade’s singles,” says Weller. “They were a real lad’s band – skinheads and suedeheads like me mainly listened to black music, but Slade were one of the few pop groups we loved.”).

    The cutting-edge R&B of “Earth Beat” features guest vocals from the US-born teenage singer Col3trane. “He’s going out with my daughter,” says Weller. “When they both came to visit me at the studio we thought it’d be good to try out a few things, which is the spirit in which we always work.” The song is also co-written with Jim Jupp, founder of Ghost Box Records and the producer behind the hauntological electronicists Belbury Poly.

    “I’m still excited by what’s new,” says Weller. “I find it depressing when people get to a certain age and stop listening to new music. I’m 62 this year and I’m still seeking out new stuff every day. It gives me hope that there is still so much amazing music being made. Music is my obsession, it’s my education, it’s my entertainment, it’s the way that I communicate, it’s everything to me. Every track here reflects that obsession.”

    On Sunset is the sound of a man who is still in love with music. It’s an album that sees Paul Weller motoring into the future and exploring the new decade with fascination, while maintaining an eye in the rear-view mirror.

    --

    "I spent a lot of money on booze, birds and fast cars. The rest I just squandered." - George Best --- Dienstags und donnerstags, ab 20 Uhr, samstags ab 20.30 Uhr: Radio StoneFM
    #11025327  | PERMALINK

    liam1994

    Registriert seit: 31.12.2002

    Beiträge: 1,582

    Klingt jetzt gar nicht mal so scheiße. Bestes Album seit…?

    Ich persönlich muss da gar nicht so weit zurückgucken, weil ich „A Kind Revolution“ immer noch sehr gelungen finde.

    --

    Nie mehr Zweite Liga!!!
    #11025653  | PERMALINK

    j-w
    Moderator
    maximum rhythm & blues

    Registriert seit: 09.07.2002

    Beiträge: 38,783

    liam1994Klingt jetzt gar nicht mal so scheiße. Bestes Album seit…? Ich persönlich muss da gar nicht so weit zurückgucken, weil ich „A Kind Revolution“ immer noch sehr gelungen finde.

    Same here. Ich finde das klingt sehr vielversprechend und freue mich sehr auf die Platte!

    --

    Staring at a grey sky, try to paint it blue - Teenage Blue
    #11035075  | PERMALINK

    marbeck
    Keine Lust, mir etwas auszudenken

    Registriert seit: 27.07.2004

    Beiträge: 20,947

    The Jam
    Fox Warfield
    San Francisco, CA
    1980-03-15 (Saturday)

    THTP Release 121

    Recording chain:
    Stage mics > splitter (split to house snake/SBD and TH snake) > TH dedicated snake >
    Peavy MkII 12 channel mixing board (10 channels snake, 2 channels audience mics) >
    AKAI GXC-570D Cassette Deck (Dolby B on) > TDK SA-90 tape

    Archival Process:
    1999: Sony TC-KA3ES > TDK SA-90 tapes playback (NO Dolby) > BBE 462 Sonic Maximizer (to clean up tapes) >
    Tascam DA-30 DAT > HHb DAT-125 DAT tape
    2002: HHb CDR-850 Professional CD Recorder (In real time) > HHb CDR74 Gold 100 year archival grade CDRs
    2005: Transfered to HDD in AIFF file format

    Dime release processing: AIFF Master Files > FFMPEG > 16 bit FLAC 8 > tagging, cover artwork, checksums.

    Recorded, preserved, and master AIFF files provided by: Terry Hammer

    Setlist:
    01. Saturday’s Kids
    02. Burning Sky
    03. It’s Too Bad
    04. Thick As Thieves
    05. The Modern World
    06. Mr. Clean
    07. Butterfly Collector
    08. Private Hell
    09. Away From The Numbers
    10. Dreams Of Children
    11. Little Boy Soldiers
    12. Smithers-Jones
    13. In A Strange Town
    14. When You’re Young
    15. Eaton Rifles
    16. Down In The Tubestation At Midnight > encore applause
    Encore:
    17. Heat Wave
    18. All Mod Cons
    19. David Watts > encore applause
    Encore 2:
    20. To Be Someone
    21. A Bomb In Waldorf Street

    Length: 1:14:55

    Band:
    Paul Weller – bass, vocals
    Steve Brookes – guitar, vocals
    Rick Buckler – drums

    Notes:
    * I mean, it’s the Jam, what do I really need to say? Ok, I did not realize that they, like XTC and Ultravox, were in fact Pre-Punk bands, not post punk, punk, art-punk, etc.
    * If it matters, Setting Sons is one of my all time favorite albums. A testament to the value of a good eduction, extraordinarily literate, pulling from all kinds of threads of British poetry and the classics, and weaving them all together to form the stunning tapestry that was Setting Sons, and this would have been, roughly, the Setting Sons tour.

    * The Dreams of Children was their new single in Britain.

    * About the Jam: https://en.wikipedia.org/wiki/The_Jam
    „The Jam were an English mod revival/punk rock band during the 1970s and early 1980s, which formed in 1972 at Sheerwater Secondary School in Woking, in the county of Surrey.
    While it shared the „angry young man“ outlook and fast tempo of the contemporary mid-1970s‘ British punk rock movement, in contrast with it the band wore smartly tailored suits reminiscent of English pop-bands in the early 1960s, and incorporated mainstream 1960s rock and R&B influences into its sound, particularly from The Who’s work of that period, and also drew influence from the work of the Kinks and the music of American Motown. This placed the act at the forefront of the 1970s/1980s nascent Mod Revival movement. “

    * And really, what more do you need to know? It’s the Jam, it’s a great show, check it out!!

    * This brings the THTP main series releases to a close, happy trails, do something with your lives, remember:

    From ‚Punk: Rock/Style/Stance/People/Stars‘:

    „It’s about doing something
    and getting off your ass
    saying something
    seeing what a
    shitty place
    this is and
    what a
    Jam place
    it could
    be“

    Think about that. This is what real punk rock was all about, forget the stupid crap that came in the following years, the boring derivative pale imitations, the endless hordes of safe suburban kids not inventing anything of their own.

    That short statement is the simplest explanation of the vast sea of creativity that was uncorked in the first wave of ‚pre‘, ‚post‘, and ‚Punk Rock‘. The reason they had to invent silly labels like post-punk (which often started, lol, the very same year as ‚punk‘), was because people didn’t get how wide and creative the pool of talent being pulled from really was, around the world, but especially in the bigger cities. The Offs, No Sisters, Tuxedomoon, the Units, the Jam, were as ‚punk‘ as the Mutants, DOA or VKTMS, because they were all totally true to themselves, and tried to see what a shitty place this is, and what a Jam place it could be….

    Look for it around you, it never goes away, but it never has a real label, and it’s almost always underground, has to be sniffed out, it’s a never ending quest, and there is no better quest in the world to undertake, nor will you ever find better music than it’s creating, to this day. It was here before you, and it will be here long after you are gone, but if ever a day comes when it is gone, that day will be a very, very, dark time indeed.

    ===========================================================

    No distribution in lossy formats!!
    No selling!!
    No bootlegging!!
    No remastering!!
    Yes sharing. Definitely share.

    Support the artists when or if they play, and buy their records/merchandise.

    Please correct any errors or oversights in this information in the comments section so the information can be as accurate as possible.

    If you can find related materials like flyers, posters, ticket stubs, even photos, etc, please add them in a comment and I will add them to the main release folder, so that can be included on the next re-seeding. Every bit is welcome, and as I am time constrained on this project due to the amount of material, I cannot spend as much time on each release doing research as I would like, so if we can add to and improve the information and release contents during this series, that would be great.

    Please make an effort to pick at least one of these THTP releases and keep it seeded for as long as you can, particularly the lesser known groups. That will really help out long term.

    ===========================================================
    About Terry Hammer and the THTP:

    Someone put my feelings very well about these recordings in the following quote. I can’t really improve on their words beyond noting that these recordings sound absolutely and utterly stunning, and I consider myself incredibly lucky to be able to present these to you here in their original, first generation, lossless hi-fidelity versions, for the first time ever.

    „[These recordings were] recorded and preserved by collector/engineer Terry Hammer, for broadcast over the UC Berkeley station KALX and several others from the 1979 -1981 period. Anyone who spent a night at one of these clubs knows how chaotic the atmosphere was. That he was able to, not only get a decent feed from the sound mixing board, but was also able to get clean recordings was something of a miracle. And the fact this guy did it over and over again is pure dedication to the cause of preserving history for decades to come. Fortunately for everyone, he’s been making these gems of history available and their value as historic documents is inestimable. This is really exciting stuff and I am grateful for Terry’s foresight and deft skill.“
    src: https://pastdaily.com/2014/06/25/gang-four-live-american-indian-center-san-francisco-1980-nights-roundtable-concert-edition/

    As Terry notes about the process of recording these shows: „Like all of my live recordings this was mixed direct to 2-Track Reel To Reel (and Cassette deck for backup and personal use) using headphones. Sitting in the club with the loud P.A. sound trying to drive the amp in my mixing board loud enough to hear what I was mixing.If you’ve ever been to a live concert,then,you know how loud it can be.“

    If you’ve ever been looking for an excuse to upgrade your sound system, these recordings certainly should provide you with some motivation, because they have incredible sound. And if you already have a quality sound system, you are in for a treat!! The audio goes straight to 20k hz, no losses I can detect. Due to the reality of tapes, even high end as used here, the low end starts at 47 hz.

    And if you want to learn more about this incredible musical era, listen to the stuff you haven’t heard, there are amazing gems in there.

    Do we call these soundboards? Technically not precisely because this is not the house mix, these shows were mixed using a dedicated mixing board, with an additional 1 to 2 audience mics (1 for Mab because he needed 11 snake inputs), 2 at other clubs) in the mix. But I call it the Terry Hammer Tape Project (THTP) to make sure there is no doubt about the project’s creator.

    TECH:
    Note that Terry made 2 master recordings (recording at the same time) when he mixed these shows live:
    1: Reel to reel, for the radio stations:
    Technics RS-1500 Reel To Reel (mostly TDK Audua L-1800 & LB-1800 tape with back coating or Scotch 206 / 207 with back coating. Maybe a few Maxell UD-XL). All the KALX shows went to KALX, they supplied the reel to reel tape.

    2: For his own use, and as backup in case something happened to the reels:
    AKAI GXC-570D Cassette Deck (Dolby B on) > TDK SA-90 tape

    Terry isn’t sure, but thinks the audience mics he used maybe were Electro Voice EV-DS35’s.

    Info: http://www.bbesound.com/products/sonic-maximizers/482i.aspx

    ===========================================================
    Jemand Interesse?

    --

    "I spent a lot of money on booze, birds and fast cars. The rest I just squandered." - George Best --- Dienstags und donnerstags, ab 20 Uhr, samstags ab 20.30 Uhr: Radio StoneFM
    #11035579  | PERMALINK

    j-w
    Moderator
    maximum rhythm & blues

    Registriert seit: 09.07.2002

    Beiträge: 38,783

    marbeckBand: Paul Weller – bass, vocals Steve Brookes – guitar, vocals Rick Buckler – drums

    AYFK?

    --

    Staring at a grey sky, try to paint it blue - Teenage Blue
    #11035589  | PERMALINK

    august-ramone
    Ich habe fertig!

    Registriert seit: 19.08.2005

    Beiträge: 51,070

    marbeckIch habe gerade erst bemerkt, dass das Weller Konzert am 30.5. in Frankfurt mit dem Champions-League-Finale kollidiert. So ein Mist.

    Jetzt nicht mehr.

    --

    http://www.radiostonefm.de/ Wenn es um Menschenleben geht, ist es zweitrangig, dass der Dax einbricht und das Bruttoinlandsprodukt schrumpft.
    #11039079  | PERMALINK

    marbeck
    Keine Lust, mir etwas auszudenken

    Registriert seit: 27.07.2004

    Beiträge: 20,947

    Erster Song aus dem neuen Album: Earth Beat

    --

    "I spent a lot of money on booze, birds and fast cars. The rest I just squandered." - George Best --- Dienstags und donnerstags, ab 20 Uhr, samstags ab 20.30 Uhr: Radio StoneFM
    #11039509  | PERMALINK

    j-w
    Moderator
    maximum rhythm & blues

    Registriert seit: 09.07.2002

    Beiträge: 38,783

    marbeckErster Song aus dem neuen Album: Earth Beat <iframe src=“https://www.youtube.com/embed/r_DiWq4aVQk?feature=oembed“ width=“500″ height=“281″ frameborder=“0″ allowfullscreen=“allowfullscreen“></iframe>

    Solide, aber noch mit Luft nach oben.

    --

    Staring at a grey sky, try to paint it blue - Teenage Blue
    #11039663  | PERMALINK

    liam1994

    Registriert seit: 31.12.2002

    Beiträge: 1,582

    Das fällt leider ziemlich deutlich in die „Egal“-Kategorie. Ich hab es immerhin schon ungefähr fünfmal so oft gehört, wie die Ghost Box-EP. Nämlich fünf Mal.

    --

    Nie mehr Zweite Liga!!!
    #11040055  | PERMALINK

    john-the-relevator

    Registriert seit: 16.04.2005

    Beiträge: 7,324

    Song gehört – Vorbestellung gecancelt – alles gesagt! :negative:

    --

    Music is like a river, It's supposed to flow and wash away the dust of everyday life. - Art Blakey
    #11040183  | PERMALINK

    dennis-blandford
    Tied to the 90s

    Registriert seit: 12.07.2006

    Beiträge: 12,028

    Starke Late 80s SC Vibes, treffen auf eine nicht ganz so eingängige Hook, deutlich hörbare Gitarren und feine Streicher im Schlussteil. Erinnert an „Starlite“ und ist für mich ein richtiger Frühlings/Sommersong. Von mir eindeutig „Daumen hoch“.

    --

    "And everything I know is what I need to know and everything I do's been done before."
    #11043379  | PERMALINK

    marbeck
    Keine Lust, mir etwas auszudenken

    Registriert seit: 27.07.2004

    Beiträge: 20,947

    Aus dem Newsletter von Reflex:

    PAUL WELLER

    ON SUNSET

    Paul Weller’s upcoming album On Sunset is now available in a limited edition peach coloured vinyl format. This special pressing can be pre-ordered now, exclusively through independent shops such as ourselves!

    Limited indies only peach LP – £24.99

    Standard LP – £26.99

    Standard CD – £12.99

    Deluxe hardback book CD – £14.99

    With a creative peak that continues to shoot skyward, Paul Weller releases his 15th studio album, On Sunset, on June 12th.

    On Sunset features 10 classic yet modern Paul Weller songs. On Sunset is a soul album. At the same time it’s also an electronic album, an orchestral album, an album packed with masterly pop songs and heart-tugging ballads, and an album filled with touches of experimentalism. It’s also an album that sees Weller taking a rare glance into the rear-view mirror as he speeds into the 2020s.

    Weller started work on On Sunset soon after finishing 2018’s masterpiece True Meanings. Opening track Mirror Ball was from the TM sessions and originally slated as a B-side. Thankfully it was rescued for On Sunset as it’s shimmering opener.

    As ever, Weller retains a rigorous forward-looking focus when it comes to seeking out the best contemporary sounds and music. But lyrically, Weller – back on his old home, Polydor Records for the first time since the Style Council days – is also starting to look back on the past with the insight of age especially on songs like Old Father Thyme.

    Most of the album sees Weller multi-tasking on various instruments with accompaniment from his regular band – Ben Gordelier appears on all tracks and Andy Crofts on most whilst Steve Cradock pops up with his guitar on four songs. An eclectic and sometimes surprising gathering of guests appear on On Sunset including Slade’s Jim Lea contributing violin to the Bonzos-esque Equanimity, and Paul’s old Style Council chum Mick Talbot adds his signature Hammond Organ sound to three tracks. The beautifully lush More features a verse sung by French singer Julie Gros, from the band Le Superhomard (whose album Meadow Lane Park was one of Weller’s favourites of 2019) as well as the return of The Strype’s guitarist Josh McClorey. English folk trio The Staves contribute backing vocals for three tracks. Once again Hannah Peel sprinkles her magic over the album with string arrangements and The Paraorchestra were invited to add their expertise to four tracks.

    REFLEX
    23 NUN STREET
    NEWCASTLE UPON TYNE
    TYNE & WEAR
    NE1 5AG
    U.K.

    Tel : +44 (0)191 260 3246
    Email : andy@reflexCD.co.uk

    Facebook – Reflex CD Vinyl Newcastle
    Twitter – @REFLEX_CD_VINYL
    Instagram – @reflexrecordshop

    --

    "I spent a lot of money on booze, birds and fast cars. The rest I just squandered." - George Best --- Dienstags und donnerstags, ab 20 Uhr, samstags ab 20.30 Uhr: Radio StoneFM
    #11056275  | PERMALINK

    marbeck
    Keine Lust, mir etwas auszudenken

    Registriert seit: 27.07.2004

    Beiträge: 20,947

    „On Sunset“ trailer

    --

    "I spent a lot of money on booze, birds and fast cars. The rest I just squandered." - George Best --- Dienstags und donnerstags, ab 20 Uhr, samstags ab 20.30 Uhr: Radio StoneFM
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