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2012年05月16日

ボビー・キーズ

彼らは俺と同じテキサス/ラボック出身のBuddy Hollyの曲『Not Fade Away』をカヴァーした。
「この青白い顔した、変な英語を喋る、細い脚の奴らがバディーの歌で金を稼ぎにきたのか?奴らを蹴っ飛ばしてやる!」と思った。
同じ理由でビートルズも嫌っていた。本当は始めからストーンズを好きだったが認めなかった。いいよ、俺は一生ハーブ・アルパート&ティフアナブラスでも吹いてるからな、とツッパってみせた。ストーンズはヘッドライナーだったし、俺の 地元で俺の地元の音楽をやってのけることが許せなかった。三日間のイベントだったが、彼らはアメリカの音楽を俺たち以上によく知っていた。彼らには、エルヴィス、チャック、バディー、オービンソン、スコッティーの要素がたくさんあった。そして楽屋ではいつも音楽の話しをしてたし、ジョージ・ジョーンズの演奏を必死に研究していた。そして俺の顔を見るとすぐテキサス州の歴史について質問を投げかけた。とても人なつこい、研究熱心な奴らだった。特にギターのキースはね。そしてミックの歌はバディー並みに素晴らしかった。
posted by Foomy at 03:13| 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

No, I’m not at all interested in what Paul (McCartney) does. Unfortunately, John Lennon’s dead… – Keith Richards

Led Zeppelin? I played their album quite a few times when I first got it, but then the guy’s voice started to get on my nerves. I don’t know why; maybe he’s a little too acrobatic. But Jimmy Page is a great guitar player.-Keith Richards
AC/DC
I’ve always liked AC/DC, all right?
- Keith Richards, 1988
AEROSMITH
Oh God, Aerosmith! They’re just rubbish – absolute bullshit. The singer (Steve Tyler) is quite a nice guy, mind you. He’s almost too bloody sweet. He’s very kind to me, anyway (smirk). Yeah, you know what I mean. He’s such a little sweetheart, really – what can you do with him? Punch ‘im in the mouth? Here, what are you playing at, fuckin’ impersonating me? – Slam! (Laughs)
– Mick Jagger, 1977
BEATLES
I liked John very much to start. We all had a good relationship with John. He seemed to be in sympathy with our kind of music, so we used to go out to clubs a lot… He was educated and very smart and cynical and funny and really amusing company. He had a very funny take on the rest of the Beatles… But I used to get on with Paul as well. Paul is very nice and easy to get on with – didn’t have the acerbic side. You always knew with John, you’re gonna be on the end of a lot of sarcastic remarks that you weren’t always in the mood for.
– Mick Jagger, 1995
No, I’m not at all interested in what (Paul McCartney) does. Unfortunately, John Lennon’s dead… – Keith Richards, 1997
DAVID BOWIE, TALKING HEADS, THE POLICE, EURYTHMICS
No one seems to be doing anything very innovative in stadium shows. I’ve seen David Bowie, I’ve seen Talking Heads and the Police, and I mean, is that all there really is?… I’m still waiting for something I haven’t already heard. But, I mean, there’s no stopping a record like Eurythmics’ – it’s just straight pop. Real good for what it is. Better than a lot of the bands earning money in arenas, I think, just for records.
- Mick Jagger, 1983
CHICAGO I would think contrived.
– Keith Richards, 1988
THE CLASH
I don’t feel connected with bands like the Clash, the bands that still play every night. I can only see them as repeats of everything that happened before. I think it’s a bit unfortunate, too, but I think no one would disagree with me. Most musicians in fact do agree with me. Bands like the Selector and the Specials, which are good bands, are repeats too. I mean, I
saw bands like that in 1959. It’s the same old thing done slightly differently. I like some of the shows I’ve seen.
- Mick Jagger, 1981
DURAN DURAN
Q: Do you like their records?
Mick: Who?
Q: Duran Duran.
Mick: (Closes eyes, smiles, remains silent for 15 seconds.)
Q: Uh, right…
Mick: (Laughs) C’mon, Chris, gimme a BREAK!
- Mick Jagger, 1984
GLORIA ESTEFAN
A Holiday Inn band, a club band that made it.
- Keith Richards, 1988
GUNS ‘N’ ROSES
I admire their guts. But too much posing. Their look – it’s like there’s one out of this band, one looks like Jimmy (Page), one looks like Ronnie. Too much copycat, too much posing for me.
- Keith Richards, 1988
THE HIVES, THE STROKES, THE VINES, THE WHITE STRIPES
I love it. It’s gratifying that people are realizing rock ‘n’ roll is still vibrant. It’s great that doors are opening but it’s hardly a breakthrough. Imagewise, it looks very much middle-’60s, but musically it’s more ironic. Obviously, it’s unapologetically taken from that era. They’re not trying to hide their influences any more than we were trying to hide that we got lots of ideas from Chuck Berry and Muddy Waters. I don’t have a problem with that. And I’m sure some of the bands will go on to create their own style.
- Mick Jagger, 2002
I haven’t really (listened to them). I’m looking forward to seeing them (on the tour). I don’t want to listen to the records until I see them. (But it is encouraging to see new guitar music being made.) That’s the whole point. What Muddy Waters did for us is what we should do for others. It’s the old thing, what you want written on your tombstone as a musician: HE PASSED IT ON. I can’t wait to see these guys – they’re like my babies, you know?
- Keith Richards, September 2002
INXS
INXS I’m quite interested in.
- Keith Richards, 1988
ELTON JOHN? Lovely bloke, but posing.
– Keith Richards, 1988
Led Zeppelin
I just read in Sounds the poll for awards. (Shakes his head in disagreement) For best songwriter, it said Robert Plant, Jimmy Page, followed by Ritchie Blackmore and some amazing people I don’t know. England is very strange, as far as its music goes.
– Keith Richards, 1977
ZIGGY MARLEY
Ziggy Marley I find interesting because he’s not just the son of.
- Keith Richards, 1988
GEORGE MICHAEL
Shave and go home. A wimp in disguise.
- Keith Richards, 1988
Ugh, the New York Dolls! What a load of rubbish!
– Mick Jagger, 1977
NIRVANA & PEARL JAM
I’m not in love with things at the moment. I was never crazy about Nirvana – too angst-ridden for me. I like Pearl Jam. I prefer them to a lot of other bands. There’s a lot of angst in a lot of it, which is one of the great things to tap into. But I’m not a fan of moroseness…
- Mick Jagger, 1995
PINK FLOYD & ELVIS COSTELLO
I liked the Pink Floyd show – better, anyway, than Elvis Costello’s. But I haven’t been interested in rock for years – I mean interested in it in the way of wanting to talk about it. It’s not really the 100% of everything I’m interested in. I guess, I never have been.
- Mick Jagger, 1981
POLICE
The Police are good old hands; I mean, Andy (Summers)’s from the same era as I am. I thought their reworking of Stand By Me – Every Breath You Take – was a beautiful record. The basic thrust of the song is real Drifters, a classic pop sequence with an extra twist thrown in. And Roxanne was one of our big favorites during the 1978 tour.- Keith Richards, 1983
IGGY POP
Iggy (Pop)’s all right. I saw him with David Bowie on that last tour – the band was pretty ropey, I thought. Here, but listen, I know who started all that! Lou Reed. Lou Reed started everything about that style of music, the whole sound and the way you play it. I mean, even WE’VE been influenced by the Velvet Underground… No, really. I’ll tell you exactly what we pinched from the very first Velvet Underground album. You know, the sound on Heroin. Honest to God, we did! – Mick Jagger, 1977
THE RED HOT CHILI PEPPERS
The Chili Peppers have a sort of sense of the theatrical, but they can’t take it anywhere. It’s become a bit cliché, just a guitar thing. Everybody wants to be Neil Young, and Pearl Jam is trying to drive ticket prices down. Doing that, they will never get themselves on a stage this big.
- Mick Jagger, 1995
THE SEX PISTOLS
Well (if Johnny Rotten said we should have retired in 1965), then he should definitely retire next year. He was on Tops of the Pops in England and that was a cop-out for the Sex Pistols. It’s difficult for Americans to know what Top of the Pops means, but it’s the only pop music show on television – and I do mean pop – and the only place for Top Twenty records and it’s the most banal – it’s aimed at a real teeny market, people with clean hair ad all that…. Now they’re on the front of the Rolling Stone. That’s a real cop-out. If I was Johnny Rotten, I wouldn’t do either. I wouldn’t do Top of the Pops and I’d tell Rolling Stone to go fuck themselves… I don’t care what Johnny Rotten says. Everything Johnny Rotten says about me is only ’cause he loves me ’cause I’m so good. It’s true. (Grins)… I’m not pleased at Johnny Rotten, who says all these nasty things about me. I know that he feels he has to because I’m, along with the Queen, you know, one of the best things England’s got.
- Mick Jagger, 1977
I don’t think that Bowie or Johnny Rotten or all the Zeppelins are anywhere in the future let alone the present. Jagger believes punk is today, is now. To think you’ve got to do something new just for the sake of doing it isn’t real. It’s the equivalent to when a lot of Dixieland bands added electric guitars, calling themselves R&B just to stay up with the times. For a band of the Stones’ position to do that would have been ludicrous. It’s fatal for the Stones to try that. Why the fuck do WE have to sound like the Sex Pistols for? What’s the point of listening to that shit? It’s for mass-media consumption.
- Keith Richards, c. 1977-78
PRINCE
I happen to think Prince is probably the best of all the newer (artists)… In his position, doing what he does, with what he does, he’s by far and away the best, I think. Most exciting, Prince is… He’s a good player, as well. When you’re that good, you don’t start nowhere. You can’t be half of these guys unless you’re grounded and, on top of that, have a very good natural ability.
- Charlie Watts, 1994
It’s fashionable to knock Prince now because he seems to have gone off on a tangent (laughs)… No, I think Prince is a great artist, very traditional in some ways. Prince has been overlooked. But he’s so incredibly in the mold of the James Brown sort of performer. He broke a lot of musical modes and invented a lot of styles and couldn’t keep up with himself. Very prolific, which is rare. Mostly people write three songs and repeat themselves. Prince has a lot of talent as a writer, and I’ve seen great performances by Prince. He’s outperformed almost everyone. I’d rate him at the top. I don’t think there’s a lot of competition from new artists.
- Mick Jagger, 1995
RAP
I mean, I’ve had enough of bloody rap. (Imitates rap over knee-slapped beat.) I mean, Mary had a little lamb, her fleece was white as fucking snow. What’s the attraction of that? This is kindergarten shit. It’s like karaoke. But I’m making records that people can listen to. Obviously, the attraction is there, until they all shoot each other – and they’re doing a good job of it. If you want to hear good rap, you should listen to early Jamaican dub, which is some really interesting stuff. At least they didn’t keep it to just one meter.
- Keith Richards, 1997
BRUCE SPRINGSTEEN
Oh, yeah, (I saw the Springsteen show). (Laughs) Sure, through the bear and everything. I liked it. I thought the band sounded wonderful; I thought he sounded wonderfully well. It was better than when I saw him last time around. I thought the drums sounded fantastic. I took the kids also. To tell you the truth, the kids did not like it very much.
- Mick Jagger, 1984
That’s a tough one, because I like the GUY… I love his attitude. I love what he WANTS to do. I just think he’s gone about it the wrong way. These are just my opinions, and OK, I’ll annoy the lot of you. Bruce? Too contrived for me. Too overblown.
- Keith Richards, 1988
THE STRANGLERS
Don’t you think the Stranglers are the worst thing you’ve ever fuckin’ heard? I do. They’re hideous, rubbishy… so bloody stupid. Fuckin’ nauseatin’, they are.
THE STRAY CATS
We wanted the new record (Undercover) to sound very 1983, as opposed to something very period, like the Stray Cats. They’re very good, but not what I’m after at the moment.
- Mick Jagger, 1983
Mick and I picked up on the Stray Cats before anybody else did and tried to sign them to the Stones’ label. Brian Setzer’s an excellent player and they’re all nice guys.
- Keith Richards, 1983
STEVE WINWOOD
He’s a great musician but… he’s kind of faceless. A great voice, but that’s not enough.
- Keith Richards, 1988
posted by Foomy at 03:05| 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

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