что страх – самый верный наш союзник и одному Господу известно, что бы с нами без него сталось.
Э. ...
что страх – самый верный наш союзник и одному Господу известно, что бы с нами без него сталось.
Э.Ажар. ВЖВ
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Когда я увидел ее впервые, мне было, наверное, года три. До этих лет у человека нет памяти и он ...
Когда я увидел ее впервые, мне было, наверное, года три. До этих лет у человека нет памяти и он живет в неведении. Неведение я потерял в возрасте трех или четырех лет, и без него иной раз приходится туго.
Эмиль Ажар. Вся жизнь впереди
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They brook no interference from sanity, bless their hearts.
K.Richards. Life
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They brook no interference from sanity, bless their hearts.
K.Richards. Life
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One of the great sessions I have played on happened around this time, when Lil and I went to Jamaica ...
One of the great sessions I have played on happened around this time, when Lil and I went to Jamaica and I fell in with Sly Dunbar and Robbie Shakespeare, who were making a Black Uhuru album. Sly and Robbie were one of the best rhythm sections in the world. We did seven tracks together in one night, and one of them, called "Shine Eye Gal," became a great big hit and a classic. Another was an instrumental called "Dirty Harry" for Sly's album Sly, Wicked and Slick. And I've still got the rest. All done on four-track at Channel One, Kingston. We played anything anybody felt like playing. Most of it was just made out of riffs, but it was a supreme band: Sly and Robbie; Sticky and Scully, who were Sly's percussion men and did all the little fiddly bits; Ansell Collins on organ and piano; me on guitar; another guitar player, might have been Michael Chung. It was a brilliant night. At the time, we said, let's split the tracks, I'll take three and you take three, but they made a big hit out...
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You might have all of the music, a great riff, but sometimes the subject matter is missing. It only ...
You might have all of the music, a great riff, but sometimes the subject matter is missing. It only takes one guy sitting around a room, saying, "throwing craps last night..." for a song to be born. "Got to roll me." Songs are strange things. Little notes like that. If they stick, they stick. With most of the songs I've ever written, quite honestly, I've felt there's an enormous gap here, waiting to be filled; this song should have been written hundreds of years ago. How did nobody pick up on that little space? Half the time you're looking for gaps that other people haven't done. And you say, I don't believe they've missed that fucking hole! It's so obvious. It was there staring you in the face! I pick out the holes.
I realize now that Exile was made under very chaotic circumstances and with innovative ways of recording, but those seemed to be the least of the problems. The most pressing problem was, do we have songs and do we get the sound? Anything else that went on was peripheral....
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