![]() ![]() On how the screaming of Beatlemania got old ![]() ![]() It really was just we young guys trying to get laid, as Americans would say." It was the fulfillment of all our dreams. ![]() It was kind of the opposite for us, so I suppose, as we got more and more popular and the girls started screaming, to tell you the truth, we just enjoyed it. We didn't mind, as long as we were attractive, because as kids, we were apparently not very attractive and we certainly weren't the big kind of quarterback who attracted all the girls in town. So as we got fans, that became our motivation, which was, we were trying to be attractive in any way you like - visually, physically, sexually. We just wanted to have a girlfriend and basically do as much as we could, was the idea. I don’t think it’s making too much of it to say Bill Frisell has no peer when it comes to his stylistic fluidity, something that has attracted artists from across genres to him.īill thinks about and approaches music with an open mind and a sense that every note is a question in an ongoing conversation with his fellow musicians.On the Beatles going from normal teenage boys to being the most desired men on the planet It also gave gravitas to Costello, but it blew the doors off my own perceptions of Bill as an artist within the confines of jazz. Hearing Bill’s supportive guitar work – his dynamic combination of restrained phrasing and full chording – and novel voicings gave new life to familiar songs. Unlike those other records, Deep Dead Blue featured just two instruments: Elvis’s voice and Bill’s guitar. I was impressed that a musician I so identified with the world of jazz was working with an artist who, as of 1995, was still seen as something of a musical magpie, whose short-lived flirtations included country, Americana and classical string quartet.īill’s work with Elvis represented something new. ![]()
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