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2012年05月16日

皆わかってないなぁ、ビートルズと俺たちは親友同士なんだ、特にジョンとジョージ。だがあのバンドはややティンパンアレイ寄りなところがあってね。〜キース・リチャーズ

売れる前に、マネージャーはなんとかビートルズのようなイメージにさせたかったが、ストーンズはアルバムジャケットのセッションでもいい加減な服装で、マネージャーを苛立たせた。「みんな同じスーツを着るんじゃなかったっけ?君のスーツはどこだ?」「あ、僕の彼女に貸しちゃった」別に反ビートルズを演じる気もないけど、わざわざ売れるために妥協するのは絶対嫌だった。「なんで言うことを聞かないのかね?」「なに、俺たちはデルタ、ミシシッピを知ってるんだ!」そんな態度だった。

They are songwriters, they’re trying to flog their songs, it’s Tin Pan Alley, and they thought “I Wanna Be Your Man” would suit us. We were a mutual-admiration society. Mick and I admired their harmonies and their songwriting capabilities -
they envied us our freedom of movement and our image.
With the Beatles and us, it was a friendly relationship, also cannily worked out, because in those days singles were coming out every six, eight weeks, and we’d try and time it so that we didn’t clash. John calling me up and saying, “Well, we’ve not mixing yet.” “We’ve got one ready to go.” “OK, you go first.”
posted by Foomy at 02:48| 東京 ☁| 雑学 | このブログの読者になる | 更新情報をチェックする

Keith Richards About Chuck Berry (not the film 'Hail Hail Rock'n Roll')

Chuck Berry: from the start it wasn’t just the singer. What had to impress me behind the singer would be the band. As impressed as I was with Elvis, I was even more impressed by Scotty Moore and the band. It was the same with Ricky Nelson. I never bought a Ricky Nelson record, I bought a James Burton record. It was the bands behind them that impressed me . Little Richard’s band, which was basically the same as Fats Domino’s band, was actually Dave Bartholomew’s band. I was impressed by ensemble playing, how guys interacted with one another, natural exuberance and seemingly effortless delivery.

That goes even more for Chuck Berry’s band. From the start it wasn’t just the singer.
Did we hit it off? You get in a carriage with a guy that’s got Rockin’ at Hops by Chuck Berry on Chess Records, and The Best of Muddy Waters also under his arm, you are gonna hit it off. Mick’s got Henry Morgan’s treasure, the real shit. I had no idea how to get hold of that...
posted by Foomy at 02:32| 東京 ☁| 雑学 | このブログの読者になる | 更新情報をチェックする

I might not have wanted to be Elvis, but I wasn’t so sure about Scotty Moore.--Keith Richards

He was on all the Sun stuff, with a couple of RCA. Guitar player, or a budding guitar guitar player, heaven. Scotty Moore was my icon. I’d have died and gone to heaven just to play like that. How the hell was that done! That was before the music led me back to the blues. To this day there’s a Scotty Moore lick I still can’T get down and he won’t tell me. Forty-nene years it’s eluded me. He claims he can’t remember the one I’m talking about. It’s not that he won’t show me; he says, “I don’t know which one you mean.” It’s on “I’m Left, You’re Right, She’s Gone.” It’s in E major He has a rundown when he hits the 5 chord, the B down to the A down to the E, which is like a yodeling sort of thing. It’s also on “Baby Let’s Play House.” When you get to “But don’t you be nobody’s fool / Now baby, come back, baby” and right at that last line, the lick is in there. It goes too fast, and there’s a bunch of notes involved: which finger moves and which one doesn’t? I’ve never heard anybody else pull it off. Creedence Clearwater got a version of that song down, but when it comes to that move, no. And Scotty’s a sly dog, He’s dry.”Hey, youngster, got time to figure it out.” Every time I see him, it’s “Learnt that lick yet?”
My first performance was with Michael Ross, an extrovert, up for all risk and adventure. I can no longer listen to certain records without Michael Ross coming to mind. He is a gifted illustrator, we liked the same kind of music, we gravitated to country music and blues. He introduced me to Sanford Clark, a heavy-duty country singer, very like Johnny Cash, came out of the cotton fields and the air force with a US hit called “The Fool”.

posted by Foomy at 00:20| 東京 🌁| 雑学 | このブログの読者になる | 更新情報をチェックする

2012年05月15日

「エルビスはただの歌手だ。歌だけでなく美しい和声と絶妙なリズムチェンジに基づいた作曲作法を学ぶのならバディー・ホリーが一番だよ」〜キース・リチャーズ

ミックとキースの共通のヒーローはバディー・ホリー。
キースは言う。「ミックは1958年にバディーのライヴを見に行った程だ。ミックは俺と出会う前に、バディー・ホリーのコピーバンドをしていた。バディーはエルヴィスと並ぶ大スターだった。 エルヴィス派は革ジャンを着ていた、そしてバディー派は、ミックみたいな格好をしていた(笑)。」
ミックは言う。「イギリス人にとってバディーは巨大なインスピレーションだった。彼はソングライターでもあった。エルビスはただのシンガーだった。バディーの曲は、ソングライティングのレッスンに使える様な、素晴らしい曲ばかりだった。基本コードに基づいた、美しいメロディー、そして絶妙なテンポチェンジ、全てを学ぶ事ができる。

”You could learn from Buddy Holly how to write songs, the way he put them together. He was a beautiful writer.”

Mick’s got Henry Morgan’s treasure, the real shit. Before he started the Stones. he did a dance (band) around there doing Buddy Holly and Eddie Cochran. Mick had seen Buddy Holly play at the Woolwich Granada. It’s one of the reasons I cottoned to him. and because he had far more contact than me, because this man’s got some shit! He was studying at the London School of Economics, meeting a wider range of people, I just used to read the magazines, like New Musical Express:”Eddie Cochran appearing with Buddy Holly.” Wow, when I grow up I’ll get a ticket. Of course they all croaked before then.

In 1980, I paid a visit to the remaining Crickets in Nashville. Went to see Jerry Allison, alias Jivin’ Ivan, the drummer, the one who actually married Peggy Sue (though it didn’t last long), at his place what he calls White Trash Ranch outside of Nashville in Dickson, Tennessee. Don Everly was around on that trip, and to play WITH him, sitting around..these were the cats I was listening to on the goddamn radio twenty years ago.

Country area is that’s been the other side of it to me; there’s been blues and there’s been country music. And let’s face it, those are the two vital ingredients of rock and roll.
posted by Foomy at 23:56| 東京 🌁| 雑学 | このブログの読者になる | 更新情報をチェックする

15歳のキースはアイスクリームパーラーで初めてジェリー・リー・ルイスを聴いて衝撃受けた。

how he hated school, growing as only-child in Dartford It was Dickensian. I was known to have a temper. p43 Gus (grandfather) played violin, sax, piano, had a squareband playing howdowns in American air bases, jewish weddings and Masonic do’s. Emma (grandmother) was a pianist, “played like Rubinstein”. Grandparents “very bohemian, very un-Victorian.

Gus showed me the first licks and chords, the major chord shapes, D G and E. He said “Play MALAGUENA, you can play anything. I think you’re getting a hang of it,” I was pretty happy.
(Aunt) Joanna used to do Chehow at Highbury Theatre, and she too, was into music. We would harmonize together. Any song that came on the radio, we’d say, “Let’s try that”. Like the Everly Brothers song,”When Will I Be Loved”.

Dimashio’s was the ice cream parlor-coffee shop, there was a jukebox there, so it was a hang. Jerry Lee Lewis, Little Richard, apart from a load of schlock, it was the one little bit of Americana in Dartford. I didn't know he Jerry Lee was white, back then. And life was black-and-white; the Technocolor was just around the corner, but it wasn’t there yet in 1959. People really do want to touch each other, to the heart, that’s why you have music: if you can’t say it, sing it. Listen to the songs of the period, heavily pointed and romantic, and trying to say things that they couldn’t say in prose or even on paper. I didn’t know whether the singers were white, black or green at the time. Ella Fitzgerald, Sarah Vaughan, Big Bill Broonzy, Louis Armstrong, Stephane, Grappelli, Django Reinhardt’s Hot Club and Bix Beiderbecke, Mozart and Bach.

It was almost as if I’d been waiting for it to happen. When I woke up the next day I was a different guy. Suddenly I was getting overwhelmed: Buddy Holly, Eddie Cochran, Little Richard, Fats Domino.
“Since my baby left me” – it was just sound, the last trigger. That was the first rock and roll I heard. It was a totally different way of delivering a song, a different sound, stripped down, burnt, no bullshit, no violins and ladies’ choruses and schmaltz, totally different. It was bare, right to the roots that you had a feeling were there but hadn’t yet heard. The silence is your canvas, that’s your frame; that’s what you work on. It wasn’t that I wanted to be Elvis. I had no idea who he was. It was just the sound, the use of a different way of recording.
I have my sketchbook and notebook of 1959, the crucial year when I was, mostly, fifteen years old. It’s a neat, obsessive piece of work in blue Biro. The pages are divided by columns and headings:
Page two: “Record List. 45 rpm” – Title: Peggy Sue Got Married, Artiste(s): Buddy Holly. “Long Players” – Title: The Buddy Holly Story, A Date with Elvis, Wilde about Marty (Marty Wilde), The “Chirping” Crickets. Ricky Nelson, Eddie Cochran, Everly Brothers, Cliff Richard (“Travellin’ Light”), but also Johnny Restivo (“The Shape I’m In”), “The Fickle Chicken” by the Atmospheres, “Always” by Sammy Turner – forgotten jewels. These were the record lists of the Awakening – the birth of rock and roll on UK shores. Elvis dominated the landscape. He had a section in the notebook all to himself. The first album I bought, “Mystery Train,” “Money Honey,”"Blue Suede Shoes,” “I’m Left, You’re Right, She’s Gone,” the crème de la crème of his Sun stuff.


I started improvising when I had to play Malaguena to my Uncle. He said:
"You’ve got it” And I started to improvise,he said, “that’s not how it goes!” And I said, “No, but it’s how it could go.” “You’re getting the hang of it.” I firmly believe if you want to be a guitar player, you better start on acoustic and then graduate to electric. Don’t think you’re going to be Townshend or Hendrix just because you can go wee wee wah wah, and all the electronic tricks of the trade. First you’ve got to know that fucker. Everything was available in Sidcup – it reflected that incredible explosion of music, of music as style, of love of Americana. I would raid the public library for books about America. The recording, as I discovered, of that visionary Sam Phillips of Sun Records, the use of echo, no extraneous additions, you felt you were in the room with them, that you were just listening to exactly what went down in the studio, no frills, no pastry.
posted by Foomy at 23:48| 東京 🌁| 雑学 | このブログの読者になる | 更新情報をチェックする

「カントリーに影響受けているのはキースだけではない。私の歌をちゃんと聴けば私がジョージ・ジョーンズ、アーネスト・タブ、マール・ハーガードに馴染んでいることがわかるはず。ハンクとジミー・ロジャーズにもね」ミック・ジャガー

ストーンズのメンバー、とりわけキースとミックに関して言えるのは、二人とも非常に自分たちの実力に自信がある、というところだ。 黒人音楽=母と祖父のジャズを通してキースは沢山のジャズ曲を知っている。だから黒人音楽に関しては詳しいのだ、と言う。 歌唱力=ミックはこう言う「私は生まれつきの歌手なんだ。子供の頃からいつも歌っていたし、とにかく歌う事が好きだった。コーラスグループで歌うのが好きな子もいれば、人前で格好つけるために歌う子もいたが、私はどちらにも当てはまったし、更には家で一人でラジオ(BBCとルクセンバーグ放送局)とかTVとか映画に合わせても歌っていた。 カントリー&ウェスタン=キースの母はこう思い出す。
「キースは、まるでジョニー・キャッシュのように美しく演奏してたわ。何時間も何時間もずーっとカントリー&ウェスタンを聴き続けてて、それをそっくりになるまで練習して、台所まで来て私に演奏してみせてたわ。」 キースはこう語る「カントリーをラジオでたくさん聴いてた。だから僕はカントリーで育ってる。当時よくエアプレイされてたのはGeorge Jones, Ernest Tubb, Jimmie Rodgers, Hank Williams。なんの違和感も無い。自分にとって自然と湧き出て来るものなんだ。ほら、あれらのメロディーって元々は発祥地がイギリス、ウェイルズ、スコットランドとアイルランドだからね。」
ミックはこう語る「I’m very country-influenced, from quite young. Merle Haggard, Johnny Cash, George Jones,などなど。私はブルース以前にカントリーを聴いてきた。ほら、だって Jim Reeves. Everly Brothersなどのポップ系も実はカントリー・ミュージシャンなんだ。イギリスでは彼らが最大スターだったからね。だから私たちイギリス人にとってカントリーというのは非常に身近な音楽なんだよ。イギリスではレコード、ラジオだけじゃなくてTVでもカントリーはよく流れた。私はあらゆるアクセントが喋れる。そしてそれらを曲によって使い分けている。私の歌さえ聴けばカントリーの影響は、言わなくてもじゅうぶんにわかるはずだ。」 I played the George Jones, Hoagy Carmichael, Fats Domino songs and Merle Haggard.
posted by Foomy at 23:29| 東京 🌁| 雑学 | このブログの読者になる | 更新情報をチェックする

「ミックがハーモニカのようにいつも真面目に歌ってくれたらいいのに」…キース・リチャーズ

結成当初のストーンズのメンバー= Bill Wyman (10/24, 1936), Ian Stewart (7/18, 1938), Charlie Watts (6/2, 1941), Brian Jones (2/28, 1942), Mick Jagger(7/26, 1943), Keith Richards (12/18, 1943). 音楽的初体験 ビル・ワイマンは子供の頃からピアノを習い、ラジオでグレン・ミラー・オーケストラとフランク・シナトラを聴いていた。のちにブルースとカントリーとロックンロールとソウルを聴く様になった。彼の一番好きなシンガー(!)は、ボブ・ディラン。彼はディランのことを「最高の白人ブルースシンガー」だと言った。 ブライアンの母はピアノの先生だった。父は教会のオルガニスト兼指揮者。ブライアンの最初に聴いた音楽はクラシック。Cannonball Adderleyを聴いてジャズが好きでサックスを始め、のちにクラリネットにうつったが、エルモア・ジェームズとロバート・ジョンソンに目覚め、ギターを弾きながら欧州をバスキングしてた。 チャーリー・ワッツは、もっぱらアメリカの音楽なら何でも聴いていた。Gerry Mulligan”Walkin’ Shoes”(Chico Hamilton, brushes)を聴いたのがきっかけで、ドラムを始めた。好きなドラマーはカウント・ベーシーのフィリー・ジョーンズ。 キース・リチャーズは,母親の影響でビリー・ホリデイ、ルイ・アームストロングとデューク・エリングトンを聴いてたが、ジャズギタリストだった母親側の祖父を通じてギターを始め、ラジオでプレスリーを聴いたのがキッカケで Sun Records のものを聞きあさる。彼の初のアイドルはスコッティー・ムーア。彼の最初のバンドはジョニーキャッシュのコピーバンドだった。かなりのチャック・ベリーのオタクでもあって、彼のリフは全て完コピした、とのことである。ジャズ、レゲエ、ソウル、ブルースにも詳しい。 ミック・ジャガーは教会でゴスペルを歌ってた。リトル・リチャードを聴いてリズム&ブルースに目覚めた。マーキーズクラブでアレクシズコーナーバンドに誘われ、ブルースハープを吹くようになった。ハーモニカ奏者としてミックは過小評価されているが、ウィリー・ネルソンのハープ奏者ミッキー・ラファエルが真面目にコピーしたたハーモニカ奏者はポール・バターフィールドとミック・ジャガーの二人だったと言う。
posted by Foomy at 23:02| 東京 🌁| 雑学 | このブログの読者になる | 更新情報をチェックする

Gram Parsons

Early in 1968, he joined the Byrds, “Mr. Tambourine Man”, “Sweetheart of the Rodeo”, and it was Gram who had turned them around from a pop band into a country music band and expanded their whole being. He was on his way to South Africa, and Gram asked me, “What’s the drift I’m getting since I got to England? When I say I’m going to South Africa, I get this cold stare.” He was not aware of apartheid or anything. So, when I explained it to him, he said, “Oh, just like Mississippi?” And immediately, “Well, fuck that.” He quit – he was supposed to leave the next day for South Africa. So, we just sat around all night, played music without stopping. Sat around the piano or with guitars and just went through the country songbook. Gram taught me country music – how it worked, the difference between the Bakersfield style and the Nashville style. He played it all on piano, Merle Haggard, George Jones, Hank Williams. Some of the seeds he planted in the country area are still with me, which is why I can record a duet with George Jones with no compunction at all…Gram and John were really pure musicians. He was a bold man, never had a hit record, yet his influence is stronger now than ever. Basically, you wouldn’t have had Waylon Jennings and all of that outlaw movement without Gram Parsons. Country music isn’t just this narrow thing that appeals to rednecks.
It’s hard to describe how deeply Gram loved music. We’d sing Everly Brothers songs. He’d be like me, wake up with George Jones, roll over and wake up again to Mozart. I absorbed that Bakersfield way of turning melodies and also lyrics, different from the sweetness from Nashville – the tradition of Merle Haggard and Buck Owens, the blue-collar lyrics from immigrant world of the farms and oil wells of California, at least that’s where it had its origins in the ’50s and ’60s.
“I’ve been writing about a guy that builds cars.” THE NEW SOFT SHOE
--Keith Richards

posted by Foomy at 15:38| 東京 ☁| 雑学 | このブログの読者になる | 更新情報をチェックする