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Beiträge
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Zu schade, dass die Cafe-Oto-Shows in London bereits im Vorfeld ausverkauft waren, wenn man die Setlists liest:
02.03.2017
The Siren Song
Just Good Friends
The Unconscious Life
Shell
Losing Faith in Words
Time to Burn
The Comet, The Course, The Tail
If I Could
Slender Threads
Ship of Fools
Torpor
Sitting Targets
Like Veronica
Friday Afternoon
Milked
A Better Time
Stranger Still03.03.2017
Easy to Slip Away
Don’t Tell Me
Curtains
Labour of Love
After the Show
Anagnorisis
Comfortable?
Been Alone So Long
The Habit of the Broken Heart
Charm Alone
Central Hotel
Stumbled
Patient
Nothing Comes
This Side of the Looking Glass
The Mercy
Your Tall Ship
Still Life04.03.2017
My Room
Time Heals
Too Many of My Yesterdays
Faculty X
Four Pails
The Lie
Shingle Song
Last Frame
(On Tuesday She Used To Do) Yoga
Unintented
Modern
Undone
That Wasn’t What I Said
The Descent
A Way Out
Traintime
Again--
Hey man, why don't we make a tune... just playin' the melody, not play the solos...Highlights von Rolling-Stone.deZum 60. Geburtstag von Eddie Vedder: Sänger für die Verlorenen
Christmas-Playlist: 10 großartige Songs zu Weihnachten
Oh, du Hässliche! Die 25 schrecklichsten Weihnachtsalben-Cover
Legendäre Konzerte: The Concert For Bangladesh 1971
„Kevin allein zu Haus“: Ein Familienfilm ohne Familie
The Beatles: Wie die Aufnahmen zu „Let It Be“ zum Fiasko wurden
WerbungNeue Solo-Termine:
Japan im Oktober:
25th Haretara Sorani Mamemaite, Daikanyama, Tokyo
26th Jamusica, Sapporo – nb change of venue!
27th Pit Inn, Shinjuku, Tokyo
28th Pit Inn, Shinjuku, Tokyo
29th Pit Inn, Shinjuku, TokyoItalien im November:
9th Roma Auditorium Parco della Musica
10th Napoli, Basilica di ASan Giovanni Maggiore
11th Terni, Teatro Secci
13th Chiari (BS), Auditorium Toscanini
14th Milano, La Salumeria della Musica
15th Tolmezzo (UD), Teatro Candoni
17th Livorno, La GoldonettaAktuell ist Peter Hammill im Studio, ein neues Album soll noch in diesem Jahr erscheinen.
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Hey man, why don't we make a tune... just playin' the melody, not play the solos...Weißt du, ob er an einem Flügel spielt?
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A Kiss in the DreamhouseIch gehe davon aus, dass es an der jeweiligen Location liegen wird, ob man ihm einen Flügel zur Verfügung stellen wird.
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Hey man, why don't we make a tune... just playin' the melody, not play the solos...
Am 3. November erscheint die neue LP „From the Trees“.
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Es ist Breitling, scheiß auf deine Aldi-Uhr / Auf meinem nächstem Cover halt ich das ExcaliburTracklist:
A
1) My Unintended
2) Reputation
3) Charm Alone
4) What Lies Ahead
5) Anagnorisis
6) TorporB
1) Milked
2) Girl to the North Country
3) On Deaf Ears
4) The DescentPeter Hammill’s first solo album since 2014’s hugely ambitious …all that might have been…. represents a return to a more intimate style of music.
The songs on From The Trees are mostly based on single piano, guitar and vocal parts designed for live performance. Consequently the overdubbing is textural (supportive guitars, a central spine of bass, synth and string washes, multiple voices – backing, harmony, choral – behind the main one).
The characters who pave their fretful way through these songs are in general facing up to or edging in towards twilight. What’s coming to them are moments of realisation rather than resignation. In the third act of life it’s time to look with a clear eye at where one’s been, at where one’s going.
Another unique entry in Peter Hammill’s unique catalogue.
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Hey man, why don't we make a tune... just playin' the melody, not play the solos...Hab zwar mehr von Van der Graaf als von ihm solo, freue mich aber sehr auf die neue Platte bzw. grundsätzlich, dass er noch aktiv ist!
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Das Album erscheint zwar offiziell erst im November, über die Homepage von Musea Records kann man das Album aber bereits kaufen. Ich habe zwar nicht so recht daran geglaubt aber heute morgen hatte ich „From The Trees“ tatsächlich in der Post.
Es ist zwar nicht das lang erwartete Solopiano-Album geworden, dennoch halte ich es für ein sehr gelungenens Album mit deutlich stärkeren Songs als auf den letzten Alben. Die Stücke seiner EP klingen durch die neuen Arrangements deutlich anders.--
Hey man, why don't we make a tune... just playin' the melody, not play the solos...
X/Ten is a live album drawn from Peter Hammill’s 2018 tour versions of material from his 2017 studio release, From The Trees.
A fascinating insight into the evolution of one of PH’s most acclaimed recent albums.
‚Something of an oddity, this release. For the first time ever, I believe, I performed all of the songs from my latest album, From the Trees in the course of my tours at the end of 2017 and the start of 2018. One of the guiding principles behind the recording of “Trees” was that I’d be able to do versions of all the songs in a stripped down – one voice, one piano or guitar – form before starting the recording proper. This collection, then, squares the circle, consisting of live solo performances of the entire album, fully informed by the arrangements which the originals featured on disc, yet also true to the original spirit in which they were written.’ – PH, October 2018
Klasse, darauf freue ich mich wirklich sehr, denn die Songs sind live enorm gewachsen und deutlich intensiver in dieser Form.
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Hey man, why don't we make a tune... just playin' the melody, not play the solos...Danke, @atom, für den Hinweis!
Ich habe mich erst recht spät dem Werk Hammills und von VdGG angenähert und es ist wirklich oft nicht einfach zu hörende Musik,
aber wenn man sich darauf einlässt, kann man auch beim x-ten Hören immer wieder neue, interessante Facetten darin finden.
Werde ich mir holen, das Album; allein schon, weil ich sogenannte „oddities“ mag
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Neues Boxset der langen Tour:
And now, ladies and gentlemen, news of the release of a project on which I’ve been working for most of the last few months.
As you’ll doubtless know, between November 2017 and May 2018 I undertook the most significant bout of solo touring in Europe for some time, taking in shows in Italy, Belgium, Netherlands, UK and Germany. With such a flood of performances I took the opportunity/accepted the personal challenge to widen the repertoire even more than has recently been the case (which was already considerable). In the end I played a hundred songs, more or less, in this run of shows, covering the whole spread of my career.
I’ve now gathered these together to form an eight CD Box Set, „Not yet, not now“ and this will be released on March 29th. (I know, what better date could there be?)
Five of the CDs have a geographical focus, featuring songs taken from Berlin, Nurnberg/Dortmund (2 sets), Italy and UK. The final three CDs are a mix of songs from different countries. Each CD is about an hour long and is structured to mirror the rhythm and tempo of live performance. I’m not going to be falsely modest: some of these performances are outstanding. Not *definitive*, of course, as happily most of these songs continue to come at me afresh each time I encounter them on stage and so there’s no such thing as an absolutely correct or perfect version. Rather, I mean to say, that many of these takes on the songs have kinks and curves to them which surprise this singer himself.
I don’t intend to retire just yet – not yet, not now – but who knows how long I’ll be carrying on for. Indeed, there’s evidently a great deal of uncertainty surrrounding the possibility of touring Europe at all after the dread ioncoming Brexit. I’m pretty sure, though, that this will be the last time that I’ll assemble such a comprehensive package of live versions of the PH material, so it marks some kind of definitive full stop.
This limited edition release, which also includes a 24 page booklet, is now available for pre-order here.
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Hey man, why don't we make a tune... just playin' the melody, not play the solos...
CD 1
Just Good Friends
Mirror Images
Faculty X
Comfortable
Rubicon
La Rossa
Patient
The Lie
The Descent
A Better Time
Your Time starts NowCD 2
Siren Song
Too Many of my Yesterdays
Time Heals
The Comet
Time for a change
Sign
Last Frame
Anagnorisis
The Unconscious Life
Labour of Love
Stranger Still
AgainCD 3
My Room
This side of the Looking-glass
Unrehearsed
If I could
Ship of Fools
Girl to the North Country
Out of my Book
Sitting Targets
Been Alone so Long
Bubble
Losing Faith in Words
Your Tall Ship
VisionCD 4
Empire of Delight
Bravest Face
Close to Me
Yoga
What’s it Worth?
My Unintended
Once You Called Me
Come Clean
The Mercy
A Way Out
On Deaf Ears
Still LifeCD 5
Curtains
Shell
The Mousetrap
Nothing Comes
Amnesiac
Soomething about Ysabel’s Dance
The Habit of the Broken Heart
Slender Threads
Primo on the Parapet
Milked
Time to Burn
Traintime
Sleep NowCD 6
Don’t Tell Me
Tenderness
His Best Girl
Happy Hour
Shingle Song
Our Eyes give it Shape
The Birds
Like Veronica
Central Hotel
Gone Ahead
Reputation
RefugeesCD 7
Easy to Slip Away
Autumn
4 Pails
I will Find You
The Second Hand
Charm Alone
Driven
The Sphinx in the Face
Modern
Silver
Mean while my Mother
What Lies Ahead
AfterwardsCD 8
After the Show
Confidence
Undone
Ophelia
Skin
Torpor
Stumbled
When She Comes
Friday Afternoon
That wasn’t what I said
In the End
House with no Door--
Hey man, why don't we make a tune... just playin' the melody, not play the solos...Belesene Graaf-Genossen, wohl informierte Generator-Zeitzeugen: Woher stammt die dutzendfach wiederholte Behauptung, „Pawn Hearts“ hätte es in Italien bis auf Platz eins der LP-Charts geschafft? Dieser Ausschnitt aus der Musikzeitschrift (?) „Ciao 2001“ scheint mir doch eher die Redaktions- oder Lesercharts zu zeigen (wäre mir jedenfalls neu, dass „Islands“ von King Crimson die italienischen Charts auch nur gestreift hätte):
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A Kiss in the DreamhouseDas dürfte nicht nur Hammill-Fans interessieren:
We Persuade Ourselves We Are Immortal by The Amorphous Androgynous
The Amorphous Androgynous return with symphonic 41 minute ‚We Persuade Ourselves We Are Immortal‘ in 6 epic parts. Featuring the legendary Peter Hammill (the Van Der Graaf Generator) on vocals alongside a host of musicians including Paul Weller (piano and guitar) Ray Fenwick (Spencer Davis Group / Ian Gillan Band) lead guitar, Brian Hopper (Caravan / Soft Machine) on sax and many others including the 50 piece Chesterfield Philharmonic Choir and a 25 piece sumptuously recorded live orchestral string section.
Opening with the 13 minute epic space prog rock of title track ‚We Persuade Ourselves We Are Immortal‘ (written with Peter Hammill and Paul Weller) the themes of mortality and immortality are then musically and conceptually catapulted to the far flung corners of the AA sonic multiverse over 40+ minutes utilizing choir, moog, a live orchestral string section, piano, harp and a plethora of vintage synth all fed against a backdrop of classic rock and psych samplerdelia courtesy of the Amorphous Androgynous.
Space Odyssey like dystopian choirs and moog of ‚Hymortality‘ crash full force into the Led Zep Bonham- like drums of ‚the Immortality Break‘ before cascading down into the harp daydream reverie and minimoog space landings, choir and french romantic strings of ‚Physically I’m Here, Mentally Far, Far Away‘
‚Psych Recap‘ is all backwards voices and guitars / samplerdelia over pounding Tomorrow Never Knows era Beatles bass and drums with dislocated PETER HAMMILL psychedelic tripped out vocals
while ‚Synthony On A Theme of Mortality‘ builds from an almost Vangelis Bladerunner-esque vintage synthony of some of the themes of the original track (utilising the classic 70s Yamaha CS80 synth beloved of Vangelis)) before triumphantly soaring to lift-off atop a Pink Floyd-like female wailing aria (KENDRA FROST – vocals) against classic vintage guitar rock bringing the whole album to a triumphant ending.--
Hey man, why don't we make a tune... just playin' the melody, not play the solos...
Peter Hammill veröffentlicht mit In Translation sein erstes Cover-Album. Erscheinen soll es im Laufe des Jahres.
Tracklist:
1. The Folks Who Live On The Hill – 1937 piece by Kern/Hammerstein
2. Hotel Supramonte – composed by Fabrizio De André
3. Oblivion – composer Astor Piazzola
4. Ciao Amore – 1967 song by Luigi Tenco
5. This Nearly Was Mine – from the musical South Pacific by Rogers/Hammerstein
6. After A Dream – by Gabriel Fauré
7. Ballad For My Death – a second Piazzolla piece
8. I Who Have Nothing – originally an Italian song by Carlo Donida and Giulio ‘Mogol’ Rapetti. The English lyrics are by songwriting giants Leiber and Stoller. Recorded by Ben E King and Shirley Bassey
9. Il Vino – composed by Piero Ciampi
10. Lost To The World – written by Gustav MahlerPeter Hamill has announced he will release his very first covers album later this year. In Translation features songs from a variety of musical worlds including classical, American Songbook, Italian pop, and Tango.
In all but three cases, Hammill has also translated the lyrics into English. These songs have remarkable stories behind them. The album has, Hammill, explains, been recorded during the Covid lockdown and partly inspired by Brexit.
“This collection seems to fit together as a group, not least because most of these songs are to do with measures of dislocation, of loss, of some kind of imagined future which didn’t arrive,“ explains Hammill.
“Only three of the songs here were originally in English; I’ve translated the rest, having had a some experience of song translation over the years. I didn’t feel that I could do proper justice to the songs if I sang them in the original languages. My approach has always been to make cultural rather than strictly linguistic translations, so that the spirit of the song rather than its precise narrative is rendered.
„I was unfamiliar with several of these songs before I began this project. One discovery led on to another in a kind of paper trail. It’s worth noting that many of the back stories to the songs are interesting and some of the writers and singers had a spectacularly dramatic time of things. I doff my hat to these sometimes complicated lives. I hope I’ve addressed the material, the writers, and the original performers, with due and proper respect. Inevitably though there’s spin here, mine all mine.
“These recordings were made, of course, in the time of Covid and lockdown. But also in the knowledge that Brexit – in all its horror – was fast approaching. So these performances of, for the most part, European songs were my last as a European singer, with all the rights and privileges that has brought me for so many years.”
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Hey man, why don't we make a tune... just playin' the melody, not play the solos...
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