Cohen’s letter to Marianne Ihlen said ‘our bodies are falling apart and I think I will follow you very soon’
Leonard Cohen penned a poignant final letter to his dying muse Marianne Ihlen, a longtime friend of hers revealed on Canadian radio.
Ihlen, whom Cohen wrote about in So Long, Marianne and Bird on a Wire, died in Norway on 29 July, aged 81.
Cohen met her on the Greek island Hydra in the 1960s and they became lovers. So Long, Marianne appeared on his 1967 album Songs of Leonard Cohen.
Her close friend Jan Christian Mollestad got in touch with Cohen to tell him Ihlen was dying.
“It took only two hours and in came this beautiful letter from Leonard to Marianne. We brought it to her the next day and she was fully conscious and she was so happy that he had already written something for her,” Mollestad said.
Mollestad, a documentary maker, read Cohen’s letter to her before she died. “It said well Marianne it’s come to this time when we are really so old and our bodies are falling apart and I think I will follow you very soon. Know that I am so close behind you that if you stretch out your hand, I think you can reach mine.
“And you know that I’ve always loved you for your beauty and your wisdom, but I don’t need to say anything more about that because you know all about that. But now, I just want to wish you a very good journey. Goodbye old friend. Endless love, see you down the road.”
Mollestad told CBC that when he read the line “stretch out your hand,” Ihlen stretched out her hand. “Only two days later she lost consciousness and slipped into death. I wrote a letter back to Leonard saying in her final moments I hummed Bird on a Wire because that was the song she felt closest to. And then I kissed her on the head and left the room, and said “so long, Marianne.”
Leonard Cohen’s Facebook page also marked Ihlen’s death. “The death last week of Marianne Ihlen, the woman immortalized in So Long, Marianne, has evoked an overwhelming response from those who knew Marianne well, those who knew her only as Leonard Cohen’s muse, and even those who previously didn’t know there was a real Marianne,” a post said.
Abel Tesfaye joins list of stars – including Beyoncé, Jay Z and Drake – who are making their support for the movement a matter of record
R&B star the Weeknd has donated $250,000 (£193,000) to the Black Lives Matter network. The Fader reported the donation, which was later confirmed by his representatives, according to other US reports.
The Weeknd – 26-year-old Abel Tesfaye – had previously Tweeted his support for the movement. Last month he told his followers: “Enough is enough. It’s time to stand up for this. We can either sit and watch, or do something about it. The time is now.”
Earlier this month the musician, whose parents emigrated to Canada from Ethiopia, had donated $50,000 to the University of Toronto to establish an Ethiopic studies course.
The focus on US police violence against people of colour and the rise of the Black Lives Matter movement has become an increasingly important topic for some of US music’s biggest stars over the past year. Kendrick Lamar’s album To Pimp a Butterfly and Beyoncé’s Lemonade both addressed, with varying levels of directness, issues of black identity. Beyoncé also put the topic front and centre before the US’s biggest TV audience in February, when she performed her single Formation at the Super Bowl half-time show with dancers paying tribute to the Black Panthers.
Last month, both Beyoncé and her husband Jay Z responded to the shootings of Alton Sterling in Louisiana and Philando Castile in Minnesota. Jay Z released a song called Spiritual, along with a quote from the 19th-century abolitionist Frederick Douglass: “Where justice is denied, where poverty is enforced, where ignorance prevails, and where any one class is made to feel that society is an organised conspiracy to oppress, rob and degrade them, neither persons nor property will be safe.”
Beyoncé said in a statement posted online: “We don’t need sympathy. We need everyone to respect our lives … These robberies of lives make us feel helpless and hopeless but we have to believe that we are fighting for the rights of the next generation. This is a fight for anyone who feels marginalised, who is struggling for freedom and human rights … The war on people of colour and all minorities needs to be over.”
At her concert in Glasgow in July, she called for a moment’s silence and used the giant screens on stage to display the names of black people killed by US police.
Drake, too, commented on the killings, posting a statement to Instagram in which he said: “It’s impossible to ignore that the relationship between black and brown communities and law enforcement remains as strained as it was decades ago. No one begins their life as a hashtag. Yet the trend of being reduced to one continues.”
The bassist/songwriter alleges Osbourne’s Blizzard Music ‘short-changed’ him in connection with hit song Crazy Train – a claim the company denies
Ozzy Osbourne’s former bassist Bob Daisley has sued the musician and his company Blizzard Music Limited for unpaid royalties. The musician has accused Osbourne of withholding over $2m in unpaid royalties from the song Crazy Train.
Released in 1980, both Osbourne and Daisley are credited as the song’s writers along with late guitarist Randy Rhoads. According to documents released after the filing at a court in Nevada on 8 August, Daisley’s complaint alleges that an audit revealed Osbourne and Blizzard Music were “improperly deducting undisclosed fees before distributing royalties to Daisley and improperly withholding Daisley’s rightful share of royalties owed under the publishing agreements for the commercial exploitations of the songs”.
Daisley performed with Osbourne on Blizzard of Ozz, the Black Sabbath singer’s first solo album in 1980, and was involved in 1981’s Diary of a Madman but was fired before its release. While Daisley and drummer Lee Kerslake successfully sued for royalties and credit for their work on this album in 1986, allegations made in 2002 over alleged unpaid performance royalties were dismissed.
“While Mr Osbourne was benefiting from the songs co-authored by our client, the audit shows that he was systematically short-changing Mr Daisley,” said Daisley’s lawyer Alan Howard of the 2016 allegations. “Mr Daisley had no choice but to bring this action to secure his fair share of the proceeds those songs have generated.”
Osbourne has refuted the charges, and, in an email statement to Rolling Stone his representative said: “For the past 36 years, Mr Daisley has been receiving biannual royalty statements and checks from Blizzard Music, totalling in the millions of dollars, which have been routinely cashed.
“We understand that Mr Daisley is now in retirement and that these funds are his main source of income, so it is his right to be diligent with his money, but after 36 years, this is tantamount to harassment. We would have hoped that after 36 years that Mr Daisley would have lost his unhealthy personal obsession and resentment towards Mr Osbourne’s success. Blizzard Music and Mr Osbourne plan to vigorously defend these proceedings.”
Sheeran’s Grammy-winning hit Thinking Out Loud copied the ‘heart’ of Gaye song, says its co-writer Ed Townsend as he sues British artist in New York
Ed Sheeran has been accused of copying elements of Marvin Gaye’s Let’s Get It On for his hit single Thinking Out Loud.
The track, which became the first to spend a full year in the UK top 40 and has been streamed more than 1 billion times on YouTube, became Sheeran’s first number one single, and went on to top charts in Australia, Ireland, New Zealand, Denmark, the Netherlands, Slovakia and South Africa. It also won song of the year at the 2016 Grammy awards.
An infringement lawsuit has now been filed by Ed Townsend, who composed and co-wrote the lyrics to Let’s Get It On in 1973, according to the complaint filed in federal court in the Southern District of New York. Townsend has requested the suit is assessed at a jury trial, and alleges the harmonic progressions, melodic and rhythmic elements central to Gaye’s track formed the structure of Sheeran’s hit.
“The defendants copied the ‘heart’ of ‘Let’s’ and repeated it continuously throughout Thinking,” the lawsuit said according to Reuters. “The melodic, harmonic, and rhythmic compositions of Thinking are substantially and/or strikingly similar to the drum composition of ‘Let’s.’”
A spokesperson for Sheeran has yet to respond to a request for comment.
Gaye’s family last year won $7.4m after successfully suing Robin Thicke and Pharrell Williams for copyright infringement over their single Blurred Lines. The attorney Richard Busch, who triumphed on behalf of Gaye’s family, is also representing Martin Harrington and Thomas Leonard in another case surrounding Sheeran. The pop songwriters claim Sheeran’s Photograph “note-for-note” copies their 2009 song Amazing which was released as the third single by Matt Cardle, winner of the 2010 season of The X Factor. Sheeran has not publicly responded to that claim.
The four piece, who along with their manager died in a car accident in February, take No 1 slot with self-titled debut album
Viola Beach, the band who tragically died in a car crash in Sweden, have reached No 1 with their debut album.
The band’s four members and their manager were killed in February when the car they were in fell from a highway bridge into a canal in Stockholm.
The families and friends of the group released a self-titled collection of nine songs as a tribute to vocalist Kris Leonard, guitarist River Reeves, bassist Tomas Lowe, drummer Jack Dakin and manager Craig Tarry.
In a statement, the families said: “The tragedy that ended Craig, Jack, Kris, River and Tom’s lives in Sweden and the pain and sense of loss will never leave us. By sending the Viola Beach album to Number 1 the public have sent out an important message to the world.
“The tragic circumstance that met Viola Beach and their manager Craig that fateful night in Sweden will not now define their lives. What will now define their lives and what they will be remembered for, forever, is the music they were so passionate about making together.”
At the time of the crash, Viola Beach were a rising guitar band steadily building a fanbase. The story of a group who never got the chance to realise their potential touched a nerve with many music fans, including Coldplay, who dedicated a section of their Glastonbury headline slot to them. Chris Martin told the crowd: “We’re going to create Viola Beach’s alternate future for them and let them headline Glastonbury with their song,” before playing Boys That Sing.
Martin Talbot, chief executive of the Official Charts Company, said: “It is hard to think of an album more people were rooting for than the Viola Beach release – nor a success which has felt so bittersweet. We’re delighted that it has taken the No 1 spot, but it is an awful tragedy that Jack, Kris, River, Tomas and Craig are not here to see themselves take a place in the annals of British music.”
The record company is trying to force the website to hand over a user’s details as it seeks to sue over the leak of a song featured in the DC Comic movie
Atlantic Records is on the hunt for the identity of a Reddit user who leaked a Twenty One Pilots single, and is taking legal action in order to find out.
According to court records, a copy of the song, Heathens, was posted to Reddit on 15 June, nine days before Atlantic planned to release the single, which was to be featured on the soundtrack to the upcoming Suicide Squad movie.
Atlantic Records asked the Manhattan supreme court to issue a subpoena that would force Reddit to hand over a poster’s IP address.
The New York record label argues the song was planned to be release the same day as pre-orders for the soundtrack – which comes out on Friday along with the movie – were to become available and the leak destroyed their rollout plans, costing them significant funds.
“Atlantic has gone through significant efforts and expended substantial funds to promote Heathens in an effort to drive sales of the single and pre-orders for the album,” the company stated in court documents.
They had entered into agreements with Apple and Spotify to secure “prominent promotional placement”, and had intended to release a music video the same day.
Requests for the identity of a leaker from a private company have become common in the music industry with companies routinely request IP addresses from internet service providers of suspects.
“I think Atlantic is doing what any rights holder would do in this situation,” said Jonathan Hyman, a partner at intellectual property law firm Knobbe Martens Olson & Bear. “Trying to find the root cause of the leak.”
However, Reddit users largely enjoy the site due to the anonymity it provides. The California-based company routinely responds to requests to take down copyrighted content, in accordance with the Digital Millennium Copyright Act.
Hyman, who is also lecturer at UCLA School of Law, said Reddit will be legally obligated to respond to the subpoena if the judge agrees. However, it’s unclear if the person who uploaded the account is responsible for the leak.
In the complaint, Atlantic Records said the leaker could only be one of a few select people as prior to the date of the leak only the Twenty One Pilots band members, their manager, the label executives or members of the radio field staff had access to the song. Atlantic plans to sue for damages.
Atlantic Records declined to comment on the court case.
Last year, the Department of Justice brought a case against a 28-year-old Dutchman who leaked three films before they were released in 2010. He was accused of hacking into production companies’ hard drives and acquiring the films How Do You Know, Rango and Megamind.
The singer, who died in January, appears on a list that also recognises the resurgence of UK grime by including Skepta and Kano
David Bowie has been honoured with a posthumous place on the Hyundai Mercury prize shortlist for his final album, Blackstar, which was described as a “parting gift” for fans.
The nomination, Bowie’s third – after Heathen in 2002 and The Next Day in 2013 – comes almost seven months after the singer’s death from cancer. He had released Blackstar to the surprise of fans worldwide just two days earlier, to coincide with his 69th birthday.
Blackstar received wide critical acclaim on its release and was described by the Guardian as “ambiguous and spellbinding … a rich, deep and strange album that feels like Bowie moving restlessly forward”. Initially, the album’s mysterious lyrics confounded critics but after news of Bowie’s cancer diagnosis 18 months earlier emerged, songs such as Lazarus – which saw Bowie sing “Look up here / I’m in heaven” – were widely interpreted as the singer saying goodbye.
This year’s shortlist sees the return of several Mercury favourites, as well as first-time nominations for artists such as the 1975, Skepta, Kano and Jamie Woon. Radiohead have picked up their fifth Mercury nomination for A Moon Shaped Pool, making them the most nominated artist in the history of the prize, though they have yet to win.
The inclusion of both Skepta’s Konnichiwa and Kano’s Made in the Manor in the nominations is testimony to the resurgence of grime over the past few years and its move into the mainstream. Dizzee Rascal was the first grime artist to win the Mercury, in 2003 for Boy in da Corner, but the Mercuries have been criticised in recent years for failing to recognise grime artists.
Anohni – formerly known as Antony Hegarty – is also up for a nomination for Hopelessness, her heavily political album, dealing with subjects such as Obama’s drone wars, climate change and Guantanamo Bay. This is her second time among Mercury award nominees, having won the prize back in 2005 before her transition, when she was performing as Antony and the Johnsons.
This is also the third nomination for singer Natasha Khan, known as Bat for Lashes, for her concept album The Bride, which follows the tragic story of a bride on her wedding night whose fiancé then dies in a car crash. Khan, who produced much of the album herself, said The Bride had been “the most emotionally enjoyable and joyful to execute” out of all her albums.
“I feel emotional and overwhelmed and just really flattered to be nominated again,” she said. “This album was a body of work that really took a long time and has been such an event for me that it’s really lovely that it’s been recognised.”
Khan recorded much of the album in upstate New York, down the road from where David Bowie owns a house, and said she had listened to Blackstar while recording The Bride. Speaking about being nominated alongside the singer, Khan said it was “very surreal”.
“I started listening to Bowie songs when I was really small and the fact that his career has spanned for so long that it overlaps with mine is an amazing testament to him and his relevance.” She added: “I absolutely loved that album so I wouldn’t mind at all if I don’t win and he does.”
In a Mercury nominee list noticeably absent of the usual contingent of indie bands, holding up the baton for guitar music is the 1975 for their much lauded, and lengthily titled, second album I Like It When You Sleep, For You Are So Beautiful Yet So Unaware of It. The follow up to their platinum-selling debut was described by the Guardian as “a collection of fantastic pop songs full of interesting, smart lyrics, but also peppered with self-conscious lunges for gravitas.”
Ladbrokes have named Bowie as favourite to win this year’s prize. Bookies make him 2/1, with Radiohead and Anohni at 5/1.
“Bowie is bound to be the emotional choice for the award, but after last year’s 25/1 surprise in Benjamin Clementine, we’re not ruling out another shock,” Jessica Bridge of Ladbrokes said.
The full shortlist
Anohni – Hopelessness
Bat For Lashes – The Bride
David Bowie – Blackstar
Jamie Woon – Making Time
Kano – Made in the Manor
Laura Mvula – The Dreaming Room
Michael Kiwanuka – Love & Hate
Radiohead – A Moon Shaped Pool
Savages – Adore Life
Skepta – Konnichiwa
The 1975 – I Like It When You Sleep, For You Are So Beautiful Yet So Unaware of It
Rock group have lost four core members in the last two years, and their founding lead guitarist says he doesn’t know how he’ll feel when current tour ends
Angus Young has admitted AC/DC’s future is uncertain. In an interview with Rolling Stone, Young – who formed the band in 1973 with his brother Malcolm – said he didn’t know how he would feel about playing with AC/DC once their current Rock or Bust tour finishes.
“At this point, I don’t know,” he said, when asked about his future. “We were committed to finishing the tour. Who knows what I’ll feel after? When you sign on and say, ‘I’m gonna do this and that,’ it’s always good to say at the end of it, ‘I’ve done all I said I would do.’”
AC/DC have been stricken by departing members over the past two years. In September 2014, it was announced that rhythm guitarist Malcolm Young had departed the group, owing to the onset of dementia. In November 2014, Angus told the Guardian that Malcolm had begun to show symptoms when the group recorded the Black Ice album in 2008, and that he had to relearn songs between shows on the subsequent tour: “It was hard work for him. He was relearning a lot of those songs that he knew backwards; the ones we were playing that night he’d be relearning,” Young said.
That was followed, in November 2014, by the loss of drummer Phil Rudd, when he was charged in New Zealand with attempting to procure a murder, threatening to kill and possession of illegal drugs. He later pleaded guilty to drugs charges and threatening to kill, and was sentenced to home detention.
In March this year the group announced that singer Brian Johnson was to stop touring immediately, on medical advice, for fear he would further irreparably damage his hearing. He was controversially replaced for the rest of the Rock or Bust tour by Axl Rose, of Guns N’ Roses.
Finally, in July, Cliff Williams – who has played bass with the group since 1977 – said he was “backing off of touring and recording” after the current tour was complete. Williams, who lives in Florida, as does Johnson, is the singer’s closest friend within the band.
AC/DC have 10 more dates of the Rock or Bust tour to play, starting on 27 August in Greenboro, North Carolina, and finishing on 20 September in Philadelphia, Pennsylvania. Time will tell if that turns out to be the last ever AC/DC show.
The Early Years 1965-1972 will include Syd Barrett tracks never officially released, as well as the soundtrack recording called ‘the Floyd holy grail’
Thought that 18-CD set of everything Bob Dylan recorded in 1965 and 1966 was the last word in period-specific artist box sets? Think again. Pink Floyd have announced a new box set, The Early Years 1965-1972, which will comprise 27 discs – both CDs and DVD/Blu-ray discs. It will contain seven hours of previously unreleased live audio, and more than 15 hours of video. The Early Years 1965-1972 is released on 11 November.
It’s a bonanza for Pink Floyd fans, for the amount of unreleased material included. For the first time, the much-bootlegged Syd Barrett-era songs Vegetable Man and Scream Thy Last Scream get an official release.
Arguably more exciting for Floyd fans is the release of what has been described on messageboards as “the most obscure Pink Floyd recording of all” and “the Floyd holy grail”. The music in question is eight tracks the Barrett-era band recorded for the film-maker John Latham on 20 October 1967 in London, but which he decided not to use in his short film Speak. These tracks have, so far as can be told, never been bootlegged.
Nearly as exciting is the release of In the Beechwoods, a Barrett song recorded at the same time as Jugband Blues, from the second Floyd album A Saucerful of Secrets, which has previously surfaced in low-quality abridged form.
The set is divided into six volumes, each of which will be released separately in 2017. Cambridge St/ation covers Barrett’s time with the band form 1965-1967, and also includes the band’s 1965 recordings. Germin/ation deals with the immediate post-Barrett period in 1968. Dramatis/ation contains music from 1969, including tracks recorded for but not used on the soundtrack to the film More. 1970 is covered by the Devi/ation set, which includes the first performance of the Atom Heart Mother album for the BBC. The 1971 Reverber/ation volume includes demos for Meddle, while the 1972 Obfusc/ation contains a remix of the Obscured by Clouds album. A bonus volume available only with the full deluxe set contains early BBC sessions, live recordings and three feature films scored by Floyd – The Committee, More and La Vallée (Obscured by Clouds).
The box also comes with the inevitable posters, pictures and replica 7in singles.
Those who feel a 27-disc set is too big for their shelves or too pricy for their bank balance can also get a 2CD highlights compilation. Needless to say, that does not feature Vegetable Man or Scream Thy Last Scream, or the John Latham session. So if you’re serious about your Syd, you’re going to have to shell out for the whole lot.
With the aid of a ‘space-proof’ turntable and high-altitude balloon, the singer’s Third Man Records will try to beam Carl Sagan’s A Glorious Dawn from orbit
Details of Jack White’s cosmic world record attempt have been confirmed: on 30 July, Third Man Records will bid to play the first vinyl record in space.
Following rumours of White’s astral ambitions, on Monday Third Man published a blog outlining plans to celebrate its seventh anniversary by playing a gold-plated 12-inch master of Carl Sagan’s A Glorious Dawn in orbit. The selection is described as “a moving arrangement of Sagan’s sagacious words, culled from his magnificent Cosmos series, previously pressed and distributed as a 7-inch in [Third Man’s] first year of operation, 2009”, and was chosen because it was the label’s three millionth record pressed.
It will be played via The Icarus Craft, a custom-built “space-proof” turntable attached to a high-altitude balloon designed by Kevin Carrico, who is responsible for assisting in the restoration of many of Third Man’s machines. Non-profit programme Satins – Students and Teachers in Near Space – will also assist with the mission.
To mark the occasion, Third Man will host parties at both its Cass Corridor and Nashville locations, in which fans can witness the mission, watch live bands and get hold of limited edition gold vinyl copies of the record. The launch will also be streamed online.
This is Third Man founder White’s latest world record attempt: in 2014 he recorded the fastest-released record with the song Lazaretto, while the album of the same name holds the record for most first-week vinyl sales since 1991. The White Stripes were formally recognised in the 2009 edition of the Guinness World Records for the shortest music concert ever after, on 16 July 2007, they played just one note at a gig in Canada. Following this, the judging panel received many applications from bands and performers seeking to beat the record, claiming that to appear on stage was enough to qualify. Much to White’s horror, the body eventually decided to scrap the shortest concert category.
“The nature of competing to make something the ‘shortest’ trivialises the activity being carried out, and Guinness World Records has been forced to reject many claims of this kind,” a spokesperson told NME at the time. “As such, we have been forced to cease listing records for the shortest song, shortest poem and indeed the shortest concert.”
Исполнительница популярных песен Нюша гордится своей родной сестрой. 21-летняя Маша Шурочкина отобрана для участия в Олимпийских Играх. Она – спортсмен российской сборной по плаванию. Нюша написала об этом в микроблоге.
Певица выразила искреннюю радость за сестру, написав о том, что Мария Шурочкина – успешная пловчиха, сейчас ей доверили защищать честь государства в Рио-де-Жанейро. Артистка будет «держать кулачки» за свою сестру.
Артистка намекнула о том, что испытывает сильную досаду из-за непонятных и несправедливых решений олимпийских функционеров. Нюша пожелала удачи и золотых наград всем российским спортсменам, допущенным до бразильской Олимпиады.
На сегодняшний день родственница Нюши, Мария является мастером спорта, у нее внушительное количество разнокалиберных спортивных достижений и наград.
Актер и певец посетил Санкт-Петербург, чтобы увидеться с родителями и представить кинокартину под названием «Вставай и бейся», где ему отведена одна из самых ярких ролей. Кроме этого, артист написал несколько треков к этому фильму.
Картина повествует о злоключениях молодых парней, которые напряженно играют в мяч. Парням нужно защитить честь района. Воробьеву отвели роль спокойного романтичного парня. Специально для Алексея в картине создана любовная линия с несколькими интересными сценами.
« Я работал с актрисой, которую раньше не знал. Было довольно сложно, поскольку у нас был языковой барьер, при этом нужно было играть интимную сцену, где я без одежды. Смущение было довольно сильным. Джулия решила вопрос быстро – она просто обняла меня и с тех пор все пошло быстро и комфортно», – рассказал Воробьев.
Кроме этого, Алексей рассказал, что недавно предлагал своим подписчикам в Инстаграмме начать эстафету объятий, но его призыв не поддержали. Певец надеется, что его идея все-таки понравится фанатам.
24 июля – судьбоносная дата для Аллы Пугачевой и Максима Галкина. Они впервые увиделись на «Славянском базаре». Влюбленные сейчас вновь приехали в Витебск с песнями, и, неминуемо предались воспоминаниям.
«Один человек подвел ко мне Максима, именно тогда он начинал как пародист. Глядя на артиста у меня не было позитива. Это событие состоялось 15 лет назад в Витебске», – рассказала Алла Борисовна.
Известно, что тот временной отрезок был крайне непростым для Аллы, она длительное время обижалась на весь мужской род, однако молодой артист смог растопить лед и заставил изменить свою жизнь.
Дети от суррогантной матери появились у Аллы 3 года назад. Теперь Алла стала заботливой мамочкой и постоянно уделяет внимание малышам.
Пугачева также уточнила, что она выглядит нормально, старается контролировать питание, но получается недостаточно хорошо. Певица хочет, чтобы Гарри и Лиза воспринимали ее не как молодящуюся бабушку, а как моложавую маму.
Внешность поп-певца в последние годы начинает сильно меняться. Сначала поклонников напугала резкая потеря веса Билана. Фанаты увидели певца сильно похудевшим, когда он вернулся в Россию из Америки. Поклонники отмечают, что Билан выглядит сейчас плохо, и переживают о его состоянии здоровья.
Совсем недавно Билан опять дал фанатам информацию для обсуждения. 34-летний певец поместил у себя в аккаунте несколько фотографий, на которых хорошо видна его поседевшая борода. Подписчики микроблога начали с интересом обсуждать странный внешний вид Билана. Многие предполагают, что Дима перенес серьезное эмоциональное потрясение.
Изменения во внешности артиста можно отнести к последствиям его напряженного графика. Сейчас Дима по-прежнему судья «Голоса», при этом он играет роль в фильме и ездит в туры. Недавно, артист объявил об аукционе, основным лотом которого было назначено участие в его новом клипе. Все, что удастся получить от проекта, Дима направит нуждающимся детям.
The Gouster, which evolved into Young Americans, will be form part of the box set Who Can I Be Now? (1974-1976)
A previously unreleased David Bowie album is set to be released. The Gouster, recorded in 1974, was Bowie’s experiment in soul and funk, which later morphed into Young Americans, released in 1975. It will appear later this year in a box set, Who Can I Be Now? (1974-1976).
The release was announced via Bowie’s official Facebook page, which also printed an excerpt from the sleeve notes, written by Bowie’s longtime producer Tony Visconti.
Gouster was a word unfamiliar to me but David knew it as a type of dress code worn by African American teens in the 60s, in Chicago. But in the context of the album its meaning was attitude, an attitude of pride and hipness. Of all the songs we cut, we were enamoured of the ones we chose for the album that portrayed this attitude.
David had a long infatuation with soul, as did I. We were fans of the TV show Soul Train. We weren’t ‘young, gifted and black’ but we sure as hell wanted to make a killer soul album, which was quite insane, but pioneers like the Righteous Brothers were there before us.
So The Gouster began with the outrageous, brand new, funkified version of David’s classic John, I’m Only Dancing, a single he wrote and recorded in 1972, only this time our version sounded like it was played live in a loft party in Harlem and he added (Again) to the title. It wasn’t the two-and-a-half-minute length of the original either.
We maxed out at virtually seven minutes! With the time limitations of vinyl (there was a big volume drop with more than 18 minutes a side), we could only fit two other long songs on side one, Somebody Up There Likes Me and It’s Gonna Be Me, both about six and a half minute songs. We had hit the 20-minute mark. Technically that worked because It’s Gonna Be Me had lots of quiet sections where the record groove could be safely made narrower and that would preserve the apparent loudness of side one.
Side two also hit the 20-minute mark, with Can You Hear Me saving the day with its quiet passages. Forty minutes of glorious funk, that’s what it was and that’s how I thought it would be.
The Gouster was recorded in Philadelphia in August 1974, and Visconti was ready to take the tapes back to London to mix, when Bowie met John Lennon in December 1974. Back home, Visconti forged ahead with the mix until he received a phone call.
He later recalled: “A week or so later I was in London mixing the album and I got a call from David. ‘Er, Tony. I don’t know how to tell you this but John and I wrote a song together and we recorded and mixed it. It’s called Fame … David apologised for not including me. There wasn’t time left to send for me, because of the release date constraints. For me, it would’ve been the most wonderful experience of my recording career. Oh well.”