The Star Online: Entertainment: Music
The Star Online: Entertainment: Music |
| Posted: The singer releases never-before-released recordings today. One year after his latest studio album, Tempest, Bob Dylan is releasing a new compilation of rare and previously unreleased tracks, the 10th volume in his Bootleg Series, today on Columbia Records. The album features 35 titles, including studio recordings as well as remastered live recordings from Dylan's concert with The Band at the Isle of Wight Festival in August of 1969.
The songs on this new double album are from the Self Portrait (1970) and New Morning (1970) studio recording sessions, and the sleeve is illustrated with one of Dylan's own drawings. Fans looking to buy the compilation can choose between two versions: A standard format double album or a deluxe, four-disc boxed set including the full concert performed by Bob Dylan and The Band at the Isle of Wight Festival in 1969. Tracklisting: The Bootleg Series, Vol. 10 – Another Self Portrait (1969-1971) CD 1 1. Went To See The Gypsy (demo) 2. In Search Of Little Sadie (without overdubs, Self Portrait) 3. Pretty Saro (unreleased, Self Portrait) 4. Alberta #3 (alternate version, Self Portrait) 5. Spanish Is The Loving Tongue (unreleased, Self Portrait) 6. Annie's Going To Sing Her Song (unreleased, Self Portrait) 7. Time Passes Slowly #1 (alternate version, New Morning) 8. Only A Hobo (unreleased, Greatest Hits II) 9. Minstrel Boy (unreleased, The Basement Tapes) 10. I Threw It All Away (alternate version, Nashville Skyline) 11. Railroad Bill (unreleased, Self Portrait) 12. Thirsty Boots (unreleased, Self Portrait) 13. This Evening So Soon (unreleased, Self Portrait) 14. These Hands (unreleased, Self Portrait) 15. Little Sadie (without overdubs, Self Portrait) 16. House Carpenter (unreleased, Self Portrait) 17. All The Tired Horses (without overdubs, Self Portrait) The Bootleg Series, Vol. 10 - Another Self Portrait (1969-1971) CD 2 1. If Not For You (alternate version, New Morning) 2. Wallflower (alternate version, 1971) 3. Wigwam (original version without overdubs, Self Portrait) 4. Days Of '49 (original version without overdubs, Self Portrait) 5. Working On A Guru (unreleased, New Morning) 6. Country Pie (alternate version, Nashville Skyline) 7. I'll Be Your Baby Tonight (Live With The Band, Isle Of Wight 1969) 8. Highway 61 Revisited (Live With The Band, Isle Of Wight 1969) 9. Copper Kettle (without overdubs, Self Portrait) 10. Bring Me A Little Water (unreleased, New Morning) 11. Sign On The Window (with orchestral overdubs, New Morning) 12. Tattle O'Day (unreleased, Self Portrait) 13. If Dogs Run Free (alternate version, New Morning) 14. New Morning (with horn section overdubs, New Morning) 15. Went To See The Gypsy (alternate version, New Morning) 16. Belle Isle (without overdubs, Self Portrait) 17. Time Passes Slowly #2 (alternate version, New Morning) 18. When I Paint My Masterpiece (demo) Bob Dylan & The Band: Isle of Wight - August 31, 1969 1. She Belongs To Me 2. I Threw It All Away 3. Maggie's Farm 4. Wild Mountain Thyme 5. It Ain't Me, Babe 6. To Ramona/ Mr Tambourine Man 7. I Dreamed I Saw St Augustine 8. Lay Lady Lay 9. Highway 61 Revisited 10. One Too Many Mornings 11. I Pity The Poor Immigrant 12. Like A Rolling Stone 13. I'll Be Your Baby Tonight 14. Quinn The Eskimo (The Mighty Quinn) 15. Minstrel Boy 16. Rainy Day Women #12 & 35 — AFP Relaxnews |
| Electric youth of Tengku Ahmad Irfan Posted: Prodigy Tengku Ahmad Irfan was on hand to celebrate the 15th anniversary of Dewan Filharmonik Petronas and kick-start its new season. YOUTH is a wonderful thing. Sergei Prokofiev was all of 23 when he premiered his Piano Concerto No.2 In G Minor Op.16 in 1913. Its reception in Pavlovsk, just outside St Petersburg, Russia, on Aug 23, was mixed, to say the least – while some reacted positively, others in the audience expressed their displeasure with hissing and booing. The score for that concerto was, however, lost in a fire during the Russian Revolution. In 1923, Prokofiev reconstructed the concerto from memory, revising it considerably along the way into the form we are familiar with today. And, nearly 100 years to the day after the composer first performed the work, a young Malaysian took to the stage of Dewan Filharmonik Petronas (DFP) recently to put his own mark on what is acknowledged as among the most technically-formidable of piano concertos. Tengku Ahmad Irfan is a familiar face to regular DFP patrons, having made his debut there in 2009. Then, just 11, he displayed a prodigiousness that belied his tender age both as pianist and composer (he improvised his own cadenzas for each of the three movements of the Beethoven piano concerto he performed). Each return he has made since has further demonstrated his burgeoning talent and now, all of 15, he calmly took on a work that has left many older and more experienced pianists nervous. Irfan, however, was fearless, tackling the music's considerable demands with a jaunty nonchalance that bordered on the impetuous. It was not purely a matter of banging on the keyboard, though, as he displayed the witted lyricism that seemed to have eluded many performances of the concerto. Ably accompanied by the Malaysian Philharmonic Orchestra (MPO), led by its music director Claus Peter Flor – who celebrates his sixth season with the orchestra – this was a dynamic and memorable performance. If there was a complaint, though, it would be that there were occasions when the music seemed a little cold, where an injection of a personal interpretation would not go amiss. That, undoubtedly, would come with greater maturity. Youth, after all, is a wonderful thing – there'll be time enough to find a more individual voice, one that is unique and will truly leave a mark as Prokofiev did a hundred years ago. Irfan's performance was among the highlights from the gala concert (held on Aug 17 and 18) to mark the beginning of DFP and the MPO's Season 2013/14. It also celebrated the music hall and orchestra's 15th anniversary, and the waltz music from Richard Strauss' Der Rosenkavalier, performed at the end of the show, neatly encapsulated the essence, as it is, of the musical experience within this bejewelled venue: gorgeous music, rendered with verve and panache to create indelible memories. Both the Prokofiev and Strauss also bookended further signs of the considerable impact DFP and the MPO have had on the local music scene. Two compositions by local composers were programmed on either side of the interval: RTM music director Datuk Mohkzani Ismail's We Are One and Irfan's Sahibul Hikayat Fantasy Overture. The former, broadly melodious and sweet, was written in 2011 and first performed by the Malaysian Philharmonic Youth Orchestra in this very venue, while the latter, spiky dissonance and always restless, is a more recent composition that was commissioned by DFP. The weekend's performance was also its world premiere, and is as good as any indication of what this new season, accreting on the experiences of previous years, would take music in Malaysia: on an upward trajectory. |
| Posted: They pulled our strings and twisted our minds, but instead of smashing them, Metallica made our dreams come true. TOWARDS the tail end of Wednesday night's concert, my neck was sore from the head banging, my voice was hoarse from screaming, my legs were cramping up, and I couldn't wait to go home. Then, guitarist Kirk Hammett started playing the familiar intro for Nothing Else Matters, and at that moment, the enormity of it all hit me – THIS. IS. METALLICA. And all of a sudden, nothing else mattered anymore, because sore necks, cramped legs and hoarse voices are mere piffles compared to the experience of watching the biggest heavy metal band in the world play in your homeland. Stadium Merdeka has seen its fair share of iconic performances and events, and the Metallica Live In Malaysia 2013 concert there on Wednesday night has to rank among the best that iconic ground has ever seen.  Metallica's lead singer James Hetfield laps up the fans' adoration during their concert at Stadium Merdeka. Metallica is one of the biggest bands in the world, and Malaysian rock fans have waited 31 years for them to come here. When news got out a couple months ago that the band was heading to Singapore instead, there was a lot of wailing and complaining about how our neighbour across the causeway seemed to be getting all the great gigs. Then, out of the blue, came the glorious announcement from Galaxy Group that Metallica, yes, the Metallica, were going to stop by in MALAYSIA before heading to Singapore, and there was much rejoicing. Yes! Justice for all at last! Slated to kick off at 9pm (opening act, local veteran metal band Cromok, was on hand to entertain early punters), Metallica caught everyone by surprise by starting their show 15 minutes early (is that also a first for Malaysia?), announcing their imminent arrival with The Ecstasy Of Gold (the Ennio Morricone score which they have been using as intro to their concerts since 1983). Then, amid a thunderous roar from around the stadium, the light exited, the night entered, and the band took us off to heavy metal never-never land. On stage, the four members formed a tight unit that combined James Hetfield's mighty vocals, Hammett's scorching guitar solos, the ferocious intensity of that beast of a bassist, Robert Trujillo, and the thunderous pounding of Lars Ulrich's drums into one intense, fist-pumping, mind-blowing wall of supersonic sound. "You want HEAVY? Metallica GIVES YOU HEAVYYYYY!" roared Hetfield midway through the show.  It is great to watch close-ups of Robert Trujillo's face scrunching up with intense concentration during the show. Even if you were not a heavy metal fan, it would have been hard not to get caught up by the fervour of it all – the head banging, the air guitars, the moshing, the singalongs, and the electrifying energy emanating from the four musicians who seemed to be doing their utmost best to upstage every single artiste that has ever been to Malaysia. At times, it was almost as if they were trying to make up for the 31 year wait Malaysian fans had to endure for them get here by giving us the hardest rocking concert these shores has ever seen in recent times. Most of their biggest hits – Master Of Puppets, Fade To Black, Ride The Lightning, One, For Whom The Bell Tolls, Blackened – were in the 18-song setlist, which included a three-song encore comprising Creeping Death, Battery, and Seek And Destroy. My only disappointment was that one of my favourite all-time Metallica songs was not in the list, but considering the entire concert lasted a solid two hours, they are pretty much forgiven for leaving out The Unforgiven. One of my personal highlights from the show was the instrumental number Orion, which for me truly emphasised the skill, dexterity and intensity each member of the band puts into their music. Watching close-ups of Trujillo's face scrunching up with intense concentration and Hammett's fingers skilfully dancing across his guitar on the big screen, one can really appreciate just how good these guys really are at what they do.  Guitarist Kirk Hammett's guitar solos are a marvel to behold. And then there was Enter Sandman. Yes, it may be their most overplayed song ever, but if you haven't heard it live, with over 20,000 fans singing and headbanging along, then you're truly missing out on one of life's most mind-blowing moments. By the end of it all, the sore neck, the hoarse voice and the cramped legs finally took their toll on me. But as I staggered out of the stadium with my ears still ringing from the music and still buzzing from the experience, there was only one thing on my mind – that there truly is, only ONE Metallica. |
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