HardcoverWriter 

У меня он есть. Посмотрел только половину. Там в основном интервью с разными людьми (сестрой Джона, бывшими участниками Quarrymen). Смотреть очень скучно.

2 SASA
Мелодия, которую вы ищете, из фильма Bridge over River Kwai.
http://history.acusd.edu/gen/filmnotes/bridgekwai.html
Интересно, что музыку оказывается написал Малькольм Арнолд, который, если я не ошибаюсь, дирижировал оркестром, когда "Дип Перпл" записали свой "Концерт для группы с оркестром"

Спасибо sunset!

2sunset:
Не подскажите пароль к 12 Dreams - Spirit? Спасибо!

2Кот Котофеич
По-моему, выставленная вами песня - это Titles в исполнении Barclay James Harvest...

Вот информация про название этой песни

He Ain't Heavy, He's My Brother is a song by the Hollies. Becoming one of their biggest hits, "He Ain't Heavy" became one of the most defining and enduring tunes of the 1960s.

The song was orignally released as a single with "'Cos You Like To Love Me" on the B side. The UK release was on the 1st September 1969, and the song hit the United States on the 1st December, later that year. "He Ain't Heavy" shot up the charts reaching #3 in the UK and #7 in the United States. The song was also re-released in late 1988 as another single paired with "Carrie". "He Ain't Heavy" finally reached its deserved #1 spot in the charts with this re-release.

"He Ain't Heavy" was composed by Bobby Scott and Bob Russell. The pair were introduced to each other by Johnny Mercer at a California nightclub. Despite the fact that Russell was dying of cancer and that the pair met in person only three times, they managed to turn out "He Ain't Heavy". The Hollies soon recorded the emotional ballad, featuring the piano talents of Elton John, and with Allan Clarke providing a heartfelt rendition of the lyrics.

The origination of the title of the song has caused great speculation. In 1924, the first editor of Kiwanis Magazine, Roe Fulkerson, published a column carrying the title "He Ain't Heavy, He's My Brother". Dated September 1924, the article speaks of Fulkerson's encounter with "a spindly and physically weak lad" carrying a baby and "staggering towards a neighboring park".

" 'Pretty big load for such a small kid' I said as I met him. 'Why, mister,' he smiled, 'He ain't heavy; he's my brother.' "

Fulkerson goes on to examine his profound regard for that statement and how it could perhaps help us to view life in a better way.

The phrase is also associated with Father Edward J. Flanagan, the founder of Boys Town. Father Flanagan came across a line drawing in the Christmas 1941 edition of the Louis Allis Messenger, a company publication. The "Two Brothers" line drawing of a young boy carrying his brother featured on Page 44, in gold & black ink. The caption read "He ain't heavy Mister - he's m' brother!" It was created by Mr. Van B. Hooper who later became the editor of Ideals Magazine. The drawing was subsequently repeated in the first issue of Ideals in December of 1944.

The Girls and Boys Town website recounts the subsequent story: "Over the years, Father Flanagan had seen numerous examples of boys helping each other in a fashion similar to the one depicted in the publication. He thought the drawing would be a perfect example to illustrate the work done at Girls and Boys Town. Father Flanagan contacted the company in August of 1943 for permission to reproduce the two boys in full color and to change the caption to 'He ain’t heavy, Father . . . he’s m’ brother.'" Consequently, the phrase became the motto of Girls and Boys Town, and the image became the universal, enduring image of the organisation. The story of Father Flanagan was told in the 1938 movie Boys Town starring Spencer Tracy and Mickey Rooney.

Yet one of the most popular explanations for the origination of the title "He Ain't Heavy, He's My Brother" is that of a Vietnam War photo. Supposedly, the image depicted a GI carrying a Vietnamese man on his back. The journalist had asked if he'd been carrying him far, and the soldier had smiled at the camera and said, "He ain't heavy, he's my brother." Whether or not this story is true, it has endured. And whether or not it is true, it is a story that touches the heart, and reflects the true message of this iconic phrase - that same message that both Father Flanagan and Roe Fulkerson found so moving and profound, all those years ago.

2sunset:
Подскажите, пожалуйста, пароль к Грифону Midnight Mushrumps.
Заранее спасибо.

Хороший кавер на эту песню есть на Criminal Tango Мэнфреда Манна.

Вообще-то это должно было попасть в Bag o' Goodies. Но видно не туда нажал... Если можно, просьба к модераторам перенести...

Это сообщение было перемещено из темы "Brufford & Moraz".

Вот, решил пополнить мешок.
Бруффорда и Мораза представлять, я думаю не нужно. Альбом называется "Музыка для пианино и ударных" - Точнее и не скажешь.
http://rapidshare.de/files/11547465/Brufford___Moraz_-_Music_for_Piano_and_Drums.rar.html

Это сообщение было перемещено из темы "Brufford & Moraz".

Ticket to Ride в исполнении Vanilla Fudge на мой взгляд намного круче оригинала.

Cat man-y:
Конспективно:
1) Рокабилли - смесь кантри, вестерна и раннего ритм-энд-блюза
2)Играется в основном белыми музыкантами, главным образом с южных штатов
3)этот стиль сделал рок-н-ролл доступным белой аудитории
4)Стиль "выкристализовался" на пластинках Э.Пресли 1954-56 гг.
5)Rock Around the Clock Хейли - большой успех рокабилли
6) Среди рокабильшиков упоминаются Carl Perkins, Jerry Lee Lewis, Roy Orbison,Johnny Cash, Charlie Rich, Buddy Holly, Gene Vincent, Eddie Cochran, Johnny Burnette

Rockabilly was a wild, hepped-up meeting between country & western music and early rhythm & blues. It was one of the very first forms of rock & roll, and it was the first one performed predominantly by white musicians (almost all of whom came from the South). Rockabilly was played with spare instrumentation: a twangy electric guitar and an acoustic stand-up bass whose strings were snapped percussively in a technique dubbed "slap-back" (which sometimes made drums unnecessary). Rockabilly had a thumping, jumping beat that easily made it the most propulsive, visceral, and implicitly sexual style of "white" American music up to that point. Essentially, it made rock & roll accessible to white audiences, thus touching off a cultural revolution the effects of which are still being felt. The genesis of rockabilly dates back to the early '50s, when Bill Haley started fusing electrified country boogie with jump blues. But the style truly crystallized on Elvis Presley's 1954-56 recordings for the Sun label, which captured the manic, primal energy that would become a rockabilly staple. They also established rockabilly's signature production style: echoed vocals, loads of reverb, and a warm, crisp ambience that became the Sun label's trademark. Haley's "Rock Around the Clock" broke rockabilly into the big time in 1955, making it possible for Sun owner Sam Phillips to sell Presley's contract to RCA for a substantial sum of money. Presley became a superstar in 1956, touching off a tidal wave of copycat recordings that, while low on budget and innovation, still inspire rockabilly fanatics with their crazed DIY enthusiasm; additionally, many straight country singers began making rockabilly records, some for the style's popularity, others for its wild excitement. Meanwhile, Phillips used his Presley dollars to gather a stable of rockabilly artists that was second to none: Carl Perkins, Jerry Lee Lewis (who broke from the rockabilly norm by playing piano), Roy Orbison, and singers like Johnny Cash and Charlie Rich who were really country artists at heart. Other significant rockabilly artists were Buddy Holly, who brought melodic pop sensibilities to the music; Gene Vincent, whose crack band featured rockabilly's fastest lead guitarist in Cliff Gallup; Eddie Cochran, whose wry stories of teenage rebellion were overshadowed by his untimely death; and Johnny Burnette, who waxed some of the wildest rockabilly sides ever before finding greater acceptance as a pop idol. As rock & roll evolved into a slicker commercial enterprise, and as the music itself mutated (very quickly) into new forms, rockabilly was left in the dust, largely disappearing from the charts after 1958. However, as the "roll" was slowly siphoned out of rock & roll over the coming decades, artists looking for ways to lend their music a certain raunchiness frequently returned to rockabilly's madly swinging, hip-rolling beat. In the early '80s, there was a full-fledged rockabilly revival; some groups, like the Stray Cats, played up the retro-'50s stylization and greaser image, while others, like the Cramps, loved the raw, crude, amateurish side of the music (usually adding a campy flair) that created a modern subgenre known as psychobilly.