- okt 26, 2012
Ping Floyd er et 9-manns orkester med røtter fra Bergen og Askøy som gjør alt de kan for å gi deg den gåsehuden en Pink Floyd-konsert kan kle deg inn i.
Med et tett og originaltro komp, 4 kraftfulle korist/vokalister, tett-opp-til-originalen, keyboardist, en gitarist som ikke bare har pugget alle David Gilmours gitarlicks men også bruker samme gitaranlegg og signaturgitar som Gilmour, egenproduserte videoanimasjoner med laser- og lys, og ikke minst et to timers omfattende repertoar som favner hele perioden fra Dark Side of The Moon i 1973 helt fram til David Gilmours soloalbum i 2006. Og selvfølgelig får du høre Radio Norges publikumsfavoritt #1 to år på rad – Comfortably Numb!
Ping Floyd har eksistert siden 2006 og har opparbeidet seg et rykte for å være svært naturtro i komp, kor og alle «Gilmour-riffs». En herværende kjent musikkjournalist uttrykte følgende etter en av konsertene i Logen i Bergen; «En kveld med Ping Floyd er en opplevelse av de sjeldne, både for øyne og ører. Det visuelle og det musikalske hører sammen og skaper en helhet som sørger for at gåsehuden formelig tapetserer kroppen. Greit nok, de ser ikke ut som Pink Floyd. Heldigvis, kan man legge til. Ping Floyd er yngre og flere enn den berømte kvartetten fra England, og på en god kveld høres det nesten ut som moderbandet. Men at Ping Floyd eksisterer her og nå, i vår egen nærhet, gjør at det føles desto bedre å oppleve showet til dette imponerende gode bandet.»
Jan Erik Bartz – vokal
Aud Marit Bjordal – kor og vokal
Giske Bratli – kor og vokal
Kristin Hovde kor og vokal
Knut Løtvedt – gitarer
Einar Kinden – keyboards
Steinar Eide – bass, gitarer, vokal
Helge Nyheim – trommer og perkusjon
Stian Bjordal Simonsen – tekniker
Mer info: www.pingfloyd.no
- mar 12, 2011
Legendetid på Madam Felle! Den amerikanske låtskriveren og sangeren Tony Joe White har øst fra sitt overflødihetshorn siden 1969 og gitt oss et tyvetalls album, det foreløpig siste «Take Home the Swamp» fra 2007.
Tony Joe White har levert låter til Elvis, samarbeidet med Tina Turner på hennes monsteralbum «Forreign Affair» og spilt med Roger Waters, men mest husker vi ham med låtene «Rainy Night in Georgia» og «Polk Salad Annie»
Tony Joe White … The Shine
Tony Joe White has accomplished much in the years since he emerged from his home in Louisiana’s swamp country and the hardscrabble circuit of Texas honky-tonks. His music is part of America’s soundtrack – sparse and elegant, filled with shadows, sadness and beauty. Nobody else writes songs like these – songs that evoke both the mysteries of the place were he was raised and the spirits that haunt us all in our most private, lonely moments.
Nobody sings them like White either. That dark baritone, scarred and sweet, brings these songs to life like none other. Even so, others have memorably interpreted his songs, from Brook Benton’s unforgettable take on “Rainy Night in Georgia” in 1970 to Tina Turner’s intensely soulful rendition of “Steamy Windows.” Elvis Presley, Ray Charles, Roy Orbison, Dusty Springfield, Etta James – iconic artists in their own right have honored “the Swamp Fox” by cutting his tunes. Others have joined White, with Eric Clapton, Mark Knopfler, Michael McDonald, Waylon Jennings, Emmylou Harris, Lucinda Williams and Shelby Lynne among those who have paid tribute as guests on recent, theme-oriented projects such as The Heroines and Uncovered.
But with The Shine, released September 28 on White’s Swamp Records imprint, this long road circles and comes back toward where it began. Before exploding onto the Top 10 with “Polk Salad Annie” in 1969, before beginning his ongoing commitment to perform regularly for fans in markets as distant as Europe and Australia, White built his vision on a bedrock of blues, backwoods country, and sounds too much his own to categorize. This foundation is simple yet seductive and strong: Within its fabric of raw guitar, hypnotic rhythm and spellbinding lyrical imagery, White’s soul pulls from its roots and reasserts itself with deep conviction.
There are no all-star cameos on The Shine – only White on guitar, harmonica and vocals, bassist George Hawkins, drummer “Swamp Man” Jack Bruno, Tyson Rogers on keyboards, John Catchings on cello, and a selection of songs that had sprouted in White’s imagination over the previous few months. “They just started stacking up on me and my wife Leann over the wintertime,” White says. “They hit me every day and every night. When I’d go to bed, they were going through my mind. It was really cool stuff, and I was like, ‘Man, I’ve got to put these down, just to see what they sound like.’”
Each one told a different story, but taken together they seemed to call White back to the well that had first nourished him. From the feverish, dreamlike images that course through “Season Man” to the heartbreak that colors the romantic nostalgia of “All,” these tracks live on their own yet exist together as memories and premonitions of a single story.
“They’re all about truth and life and daily or nightly happenings,” White says. “They all came to me, the guitar parts and the words, maybe at a campfire down by the river with a few cold beers. I’ll sit there, strum a little bit, and all of a sudden a lick will come – except for the ones I wrote with Leann. She’s a real word person, so she’ll say ‘what do you think about this,’ and all of a sudden a little light goes off in my head, a guitar chord will pop up and here we go.”
“Paintings on a Mountain” is one example of this collaboration between Tony Joe and Leann White. “We have a place up in Taos, New Mexico,” he says. “Our house sits on land that backs up to an Indian village. It’s a magic spot. In the late afternoon, the sun makes so many paintings on the mountainside; they change as the sun moves on. A lot of that was written by Leann.
The guiding principle for The Shine can be heard in one of its details, from “Tell Me Why,” which preaches “it’s all about the song, keeping it simple. Got to have passion. Got to have soul.” That was the mission when White and his musicians began cutting these tracks in the living room of his home south of Nashville. Beneath high ceilings, on original hardwood floors in a building old enough to have been used as a battlefield hospital during the Civil War, they played with minimal direction, trusting in the moment as they brought these songs to life. “Sometimes I would say ‘simplify,’ but that’s all,” White remembers. “It was almost like I was a bystander. I had this weird feeling of looking at everybody as we played, watching the song happen without really trying very hard to make it happen.”
Most songs were captured in one take. The emotions and connections were so strong that even without any rehearsal, with only the barest indication of which chord followed the next, each one seemed to draw deeper from somewhere within White. He sensed this himself, sometimes not even singing where he was supposed to because the music they were laying down was so compelling. “All of a sudden I’d remember, ‘Hey, you should have been singing right there,’” White says, chuckling. “So I’d go back later and punch it in. But we were all very aware that something was happening in the air between us. Maybe there were some spirits walking about.”
They roamed especially free on the one track where White recorded solo, “Roll Train Roll.” “I think that one was a matter of being taken back,” he reflects. “That’s what made it sound like I was going back to listening to Lightnin’ Hopkins, when I lived on the Boeuf River in Goodwill, Louisiana, first learning the guitar. That’s the kind of stuff I’d play out on the porch at night.”One doesn’t have to have been a Tony Joe White fan to appreciate that there is something elusive and hard to define in this music. But these depths surface in The Shine. More than a return to an artist’s seminal references, this project seeks the seed from which his work took form. White finds it on The Shine; from here, all that he produced before and all that will follow come into a revealing and enduring light.
- jan 30, 2009
«Dark side of the Wall» (DSOTW) har med sitt kritikerroste multimediashow med samme navn markert seg som Norges ledende Pink Floyd-tolkere.
Showet ”Dark side of the Wall” er et fantastisk gjenhør med det beste fra de legendariske Pink Floyd-albumene ”Dark side of the moon”, ”Wish you were here” og ”The Wall”. I kjent DSOTW-stil får publikum servert alle låtene i tett samspill med sterke video- og animasjonsuttrykk på lerretet. Lydbildet er spekket med detaljer og energi, og Helge Nyheims stemme har Gilmours trøkk og Waters’ følsomhet. Gitarist Bjarte Aasmul og resten av bandet tryller frem hver minste detalj av Floyds magiske musikk. DSOTW har blant annet spilt på det offisielle Nachspielet etter Roger Waters’ konsert på Norwegian Wood, og gjort uforglemmelige sommershow ved Oscarsborg festning i Drøbaksundet.
I anledning Roger Waters’ konsert i hjembyen Bergen 2007 ga DSOTW fansen en helt spesiell oppvarming – og fremførte hele klassikeren ”Pink Floyd – The Wall” som første band i Norge! Roger Waters og bandet hans dukket uventet opp på konserten og ”skrøt Dark side of the Wall opp i skyene” (Engelen, BT, 8/5 – 2007).
Vi lover en meget rå og vakker opplevelse for musikkelskere når DSOTW trår til i Kongesalen på Radisson SAS Royal Hotel 2 & 3 Juledag!