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Команда (совместная работа)

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Интересно, будет ли что совместное с Lissie на ее новом альбоме (февраль 2016)?





Грант с Кайли в Альберт Холле, да еще с моей любимой песней у него )


Черт, ужасная новость пришла.

Умер Дэвид Эйнтховен - один из двух человек (второй Тим Кларк), без которых мы бы никогда не увидели Робби.
Бесконечный менеджер и помощник Робби 20 лет.

http://www.mirror.co.uk/3am/celebrity-n … ng-8612557



David Enthoven obituary
Manager who guided Robbie Williams’s solo career for 20 years

David Enthoven, who has died aged 72, was one of a group of English public schoolboys who fell in love with the pop music industry in the 1960s, and helped reshape it. His early success as the co-manager of King Crimson, Marc Bolan, Emerson, Lake and Palmer and Roxy Music was followed by a descent into an abyss of drug and alcohol addiction. When he emerged from the ruins of his former life, he used his experience to help others rebuild theirs. Among them was Robbie Williams, whose solo career he guided for 20 years.

Williams had arrived at the office of Enthoven and his partner in his second management company, Tim Clark, one day in 1996, a year after leaving Take That. Neither man was impressed by the demo tape they were played, or by the 22-year-old singer’s general condition. Nevertheless, they agreed to a second meeting, at Williams’s flat in Maida Vale, north London, during which, as a last resort, the singer began reciting his poetry to them. “If you can do that, you can write songs,” they told him, and guided him towards a collaboration with the songwriter Guy Chambers. Among the initial results were two songs, Angels and Let Me Entertain You, that would lay the foundation for a career in which Williams would dominate the British charts and sell tens of millions of records around the world.

Enthoven accompanied Williams on his concert tours and helped the singer wean himself off his addictions. After his recovery, Enthoven did much work through Alcoholics Anonymous and Narcotics Anonymous to help others.

“Without David, I might have died,” Williams once said, and others could have said the same.

Brought up in Houghton Green near Rye, East Sussex, by his mother, Margo, and her husband, Tom, a businessman who had served in Malta during the war, Enthoven did not discover until his late 20s that his biological father had been a member of the Sitwell family.

From 1957 to 1962 he attended Harrow school, where he fell in with the members of the school pop group A Band of Angels. After leaving Harrow, the band turned professional and made several records, and Enthoven became their roadie, although, as the group’s rhythm guitarist, John Gaydon, recalled, Enthoven usually drove to their gigs in his Austin Healey sports car while the musicians were crammed into their Commer van.

In 1966, when their singer, Mike d’Abo, left to replace Paul Jones as the frontman of Manfred Mann, Enthoven and Gaydon, who were sharing a mews house bought by Margo in South Kensington, west London, went to work in Denmark Street, London’s Tin Pan Alley, for the Noel Gay artists’ agency. The clients included a comedy trio called Giles, Giles and Fripp. One day in 1968, Robert Fripp, the group’s guitarist, invited the pair to visit a rehearsal room in Fulham Palace Road, where he unveiled a new band called King Crimson, performing songs from an album they had written and part-recorded, In the Court of the Crimson King.

That day Enthoven and Gaydon became managers in their own right. Enthoven borrowed £4,500, secured against the mews house, to pay the costs of finishing the album, and the duo made a deal to lease the tapes of the album to Chris Blackwell, the founder of Island Records and an old Harrovian of an earlier generation.

Through a series of Sunday afternoon concerts at the Marquee Club in Soho in 1969 and an appearance on the bill of the Rolling Stones’ free concert in Hyde Park that summer in front of an audience of more than a quarter of a million, King Crimson became the hottest new band in Britain and the standard-bearers for progressive rock. When Enthoven and Gaydon made a deal for a US release with Ahmet Ertegun of Atlantic Records, who gave them an advance of $100,000 and a remarkable 12% royalty rate, King Crimson’s global success was assured.

Unlike their Tin Pan Alley predecessors, the partners behind EG Management looked like rock stars and deployed a raffish charm. They wore leather jackets and cowboy boots, rode motorbikes and took drugs (they and Blackwell had celebrated the Island deal, which was settled over a spliff in Windsor Great Park, by going out and buying matching 650cc BSA Thunderbolts). A new generation of artists readily warmed to their approach. EG’s select roster soon expanded to include Emerson, Lake and Palmer, formed by Greg Lake, an ex-member of King Crimson, and Bolan, whom they encouraged to add a bass guitarist and drummer to his formerly acoustic lineup, thus transforming the cult duo known as Tyrannosaurus Rex into the chart-topping T Rex.

Next to arrive were Roxy Music, whose leader and singer, Bryan Ferry, had failed an audition with King Crimson but had been impressed by EG’s sense of style, not least the location of their first-floor office on King’s Road, Chelsea, overlooking the Markham Arms. When Roxy performed their own audition for EG in an old cinema in Wandsworth, south-west London, one afternoon in February 1972, Enthoven arrived in his Aston Martin and left impressed enough to offer them a deal. Once again the debut album – with its startlingly glamorous pin-up cover – was offered to Island, where Clark, then the marketing director, was particularly enthusiastic about their prospects, helping to override Blackwell’s reservations about the group’s brand of retro-futurism.

Disagreements led to Gaydon’s departure soon after Roxy’s arrival. He was replaced by Mark Fenwick, a department store heir, who took on the role of managing Ferry and Roxy day to day. Enthoven, too, left in the mid-70s, when his habits began to get the better of him. In his absence the company gradually declined, its fall hastened by losses at Lloyd’s of London, until the catalogue was sold to Virgin in 1992.

Enthoven’s own decline, however, went further and faster. By the time he committed himself to rehab in 1985 he had lost his marriage, his houses in London and the Chilterns, and his collection of vintage motorbikes, although not the affection of many who had known him in the good times, remembering his warmth, kindness and droll humour. They were cheered by his resurrection as Clark’s partner in a new company, eventually known as the ie:music group, which started quietly in 1991 but achieved great success with a roster including Massive Attack, Archive, Sia and, for a while, Ferry, as well as Williams.

He and Clark were active in the founding of the Featured Artists Coalition, which campaigns for musicians’ rights and is supported by Annie Lennox, Ed O’Brien of Radiohead, Billy Bragg, Nick Mason of Pink Floyd and Sandie Shaw, among others. Enthoven also supported the Hepatitis C Trust and Steps2Recovery.

His first marriage, to Penelope Wills, ended in divorce. His second was to the model Maren Greve, who survives him, as do the children of his first marriage, Belinda and James, his step-daughter, Tania, three grandchildren and three step-grandchildren.

• David Enthoven, pop music manager, born 5 July 1944; died 11 August 2016


Совет бывалого



Как же все здорово отзываются о Дэвиде...
http://www.pollstarpro.com/NewsContent. … eID=826370



Обещать не буду, но очень хочется текст перевести. На Music Week всегда ценный материал
http://www.musicweek.com/management/rea … ute/065752


Роб на похоронах Дэвида пел 'Moon River'
https://twitter.com/velocitycomms/statu … 7476441088

Отредактировано Pooh Wiliams (24.08.2016 16:15)




Арнеллу тоже дали свою Icon Award :)
https://www.creativereview.co.uk/jamie- … r-uk-mvas/

Vaughan Arnell was presented with the Icon Award, in celebration of his work for the likes of Robbie Williams, George Michael, The Spice Girls, and All Saints.


Том Хинстон, глава одноименной студии, которая готовила обложки и буклеты всех альбомов Робби снял новый клип для Боуи. Причем это для него третья работа для него.


Не хочется особо закидывать цитатами из книги, но хотя бы фрагменты :)

Вот слова Яки Хилдиша, его тур-менеджера, начиная с 2004 года:

Что вам особенно запомнилось о временах сотрудничества с Робби?

Роб любит играть в футбол во время тура, чтобы снимать напряжение. В самые первые дни тура меня пригласили поиграть с ним. Должен признаться, мои навыки в футболе призрачны. Мы играли, и я пытался сделать вид, что действительно играю в футбол. После игры он подошел ко мне и сказал: «Яки, как тебе это удалось? Быть в моей команде в первый и в последний раз? В один и тот же день?» Именно так он мне сообщил, что из меня получился не лучший футболист. Потом он почувствовал, что, возможно, был немного резок, и добавил: «Но для футболиста ты очень хороший тур-менеджер». Я навсегда запомнил этот момент, так как он показывает две стороны его сущности. Он может быть очень прямым и улаживать проблемы, но он делает это по-человечески, по-доброму».



Все обязаны уметь играть в этот вонючий футбол?))

Отредактировано Slightly Mad (19.02.2017 21:11)


Какая красота!
Роб несколько недель вновь работал с Максом Биззли. Возможно, что-то совместное услышим, увидим. Не исключаю, что и в туре

http://www.bbc.co.uk/programmes/p051y5v … _and_music


Трубачи Робби выпустили EP на 3 песни



диалог с Наттлом
https://www.backstagepro.de/thema/gitar … gyr1nyMwBm


Взгляд в прошлое, во времена записи Rock DJ
http://www.voicecouncil.com/backing-voc … witter.com




http://metro.co.uk/2018/02/07/david-bow … g-7291835/

Tessa then confessed what it was like to work alongside Robbie Williams and be part of his team.
She said: ‘Robbie is lots of fun. He’s really vibrant, a great boss, and a fantastic leader. He makes people feel really good about themselves. ‘He becomes this very exaggerated version of himself on stage, but it’s a huge part of who he is. ‘He’s very measured and understands how lucky he is to be in this position.’

Read more: http://metro.co.uk/2018/02/07/david-bow … to=cbshare

Twitter: https://twitter.com/MetroUK | Facebook: https://www.facebook.com/MetroUK/



Перевел интервью Тессы о Робби и Rock DJ:

http://robbiewilliamsmusic.ru/2018/02/t … e-s-robbi/


Получить бы доступ ко всей статье о Томе Хингстоне
https://www.creativereview.co.uk/graphi … -hingston/



Not sure where to post this, article about Stephen Duffy with references to Robbie

The Lilac Time's Stephen Duffy on Duran Duran, Robbie Williams and life in Cornwall

https://www.cornwalllive.com/whats-on/m … an-2409891


https://www.show4me.com/blog/manager_s_ … 1561660972



Свежее интервью с затворником Крисом Хитом (автор Feel, Reveal и т.д.):
https://www.spreaker.com/show/logroll-t … on-podcast

Chris Heath: Feel
29 Oct


https://www.theguardian.com/music/2022/ … t-playlist

‘I once played drums for Stevie Wonder’: Max Beesley’s honest playlist

The Mad Dogs and Suits star loves the Stone Roses and was a session musician for Robbie Williams – but which festive song makes him storm out of the room?

Mon 13 Jun 2022 07.00 BST

‘Fools Gold still sounds fantastic’: Max Beesley’s honest playlist

The first record I bought
L is for Lover by Al Jarreau, as an 18-year-old student at the Guildhall [School of Music and Drama in London], although I’d been given lots of records as presents before. I’d been playing piano, drums, vibraphone and percussion since I was five, so my aspirations were to be a session musician. Jarreau always brought in the top LA session guys, so you knew the musicianship was going to be great.

The song I do at karaoke
I can still belt out Delilah by Tom Jones, including the high notes at the end, which always brings the house down. It’s a great song with a lot of drama.

The best song I’ve heard at a gig
I was a session musician before I was an actor, so the best song I’ve played on at a gig was percussion on Let Me Entertain You by Robbie Williams at Knebworth. I remember when Rob first played it to me at his house in Notting Hill, I said: “You’re going to have a problem topping this as an opener.”

The song I stream the most
Mars, the Bringer of War from The Planets by Gustav Holst – I played it in an audition when I was 12 because it was a really hard piece to play.

The best song to have sex to
I can’t listen to any music, because I’d be too busy listening to progressions and harmonic nuances.

The best song to get the party started
Fools Gold by the Stone Roses. I remember when I was shooting Mad Dogs in South Africa with John Simm – a fellow Mancunian – and I said: “Have you got any Roses?” and he put that on. It still sounds fantastic.

The song I can no longer listen to
I’ve always hated Merry Xmas Everybody by Slade. My dad plays it to wind me up at Christmas and I have to leave the room.

The song I inexplicably know every lyric to
As a session musician who also writes and produces, I don’t actually know the entire lyrics to a single song. My first boss when I was 18 was Paul Weller, and it drove him nuts. He’d say: “You’re just listening to the grooves and the chords,” and I’d say, “I know, the lyrics don’t interest me.”

My favourite song of all time
My mother was a world-class jazz singer, and she would always sing a lot of Dusty Springfield, including The Look of Love, written by Hal David and Burt Bacharach. It’s the perfect piece of music.

The song I wish I had written
I’m a big Stevie Wonder fan – and played drums for him – so everything time I hear anything from Songs in the Key or Life or Innervisions, like Golden Lady, I always think: “I wish I’d written that.”

The song I want played at my funeral
Disco Inferno by the Trammps as I’m getting incinerated. I want people up and dancing. It can’t be a morbid affair.

The Midwich Cuckoos is on Sky Max and Now.