⇡ Château de La Colle Noire − Montauroux, France ▪︎ 20-22 May 1999 ⚡︎ by Jill Furmanovsky.
seen from Germany
seen from Canada
seen from United States
seen from United States
seen from Estonia

seen from United States
seen from United States
seen from China
seen from United States
seen from United States

seen from China

seen from United States

seen from United States

seen from United States
seen from T1
seen from Yemen
seen from United States
seen from China
seen from China

seen from United States
⇡ Château de La Colle Noire − Montauroux, France ▪︎ 20-22 May 1999 ⚡︎ by Jill Furmanovsky.
That Time I Worked with Jeffrey Combs
One of the cooler things I've done while writing for Dune: Awakening, is get to work in the recording booth with the Re-Animator himself, Jeffrey Combs. The whole situation manifested strangely.
I wrote the Twisted Mentat character Zayn De Witte. When I write a character, I often think of some actor or character as a starting point. It's not something I tell the eventual voice actor, just a springboard to develop a voice as I write.
For Zayn, my springboard was Jeffrey Combs, specifically his character Milton Dammers from the film The Frighteners. It's important to remember, I did NOT tell anyone on the team I had Combs in mind. This was just a voice to reference and read back dialogue to myself as I wrote it.
Time passes. A teammate messages me about casting and says, "Hey, what do you think of Jeffrey Combs for this part?" What!? Did I manifest this? Am I the god-monster-boy from The Twilight Zone?
The recording session was awesome. I allowed myself a little bit of geeking out at the top of it, particularly over the audio of Mr. Combs's one-man show as Edgar Allan Poe. He was surprised and delighted I'd listened to it.
Looking over the Zayn dialogue, he said it gave him Milton Dammers vibes. Then we got to it. He was lovely to work with.
LECTURE 20: THE END: Images from the Abbey Road sessions, from the spring and summer of 1969.
“I don’t like people explaining albums. The only way you can explain it is to hear it. You can’t really use words about music, otherwise we’d do a talking album. The album is the explanation, and it’s up to you to make sure what you want of it. There is no theme to Abbey Road. There never is a theme to any of our albums, although some people saw one in Sgt. Pepper.”
— Paul McCartney, 1969
“Abbey Road was like a freak. It was an effort trying to produce something that we used to produce, because it was already disintegrating on the White Album because there was so much material. Either we would have had to make double albums every time or Paul and I would have had to say, 'OK, we’ll only have two songs on every album,' and that wouldn’t have been fun for Paul and I. It had to break.”
— John Lennon, 1970
“Maybe when I get the album finished and in the sleeve, then I’ll get some sort of expression of it. When I did Pepper and the White Album I got an overall image of the album, but whereas with this one, I’m kind of lost. People have said, ‘It’s great! It’s a bit more like Revolver.' Well, maybe it is, but it still feels very abstract to me. I can’t see it as a whole. It all fits together, but it’s a bit like it’s something else. It doesn’t feel like it’s us. We spent hours doing it, but I still don’t see it like us. It’s more like somebody else. It’s a very good album.”
—George Harrison, 1969
“The second side of Abbey Road is incredible! The White Album, ninety-nine percent of it is very good. If I had Desert Island Discs, I’d take the White one or Abbey Road, I think. I like the boys playing together, you know. I like a group.”
—Ringo Starr, 1969
Linkin Park during the recording of their Meteora Album!!!
ON THIS DAY IN BEATLES HISTORY -- PLAYING HARD AT WORK ON "THE WHITE ALBUM."
PIC INFO: Spotlight on John Lennon and Ringo Starr of THE BEATLES, recording the basic backing track for "I'm so Tired" at the end of "The White Album" Sessions on October 8, 1968 -- one day before John's then 28th birthday.
Sources: www.thewhitealbumproject.com/photographs, Reddit, various, etc...
I love the album "From Elvis In Memphis" beyond words could say, so much so it was the first Elvis CD I bought to my collection (the LP is on my wishlist). Anyway, once I found out "Back In Memphis" is an extension of the first, I consider those two as only one in my rank of favorite Elvis albums. I really can't have a definite favorite between the two... all the songs are SO GOOOOOD! If you haven't listen to it yet, give yourself a gift this Christmas. ♥
"Back In Memphis" is the split-up of the double-album "From Vegas To Memphis/From Memphis To Vegas" released in October 1969. The second album on that set is the recorded live "Elvis In Person At The International Hotel." A year later, in October 1970, those albums were released in a new configuration, as individual LPs. The album "Back In Memphis" has songs saved from the American Sound Studios recording sessions (January and February 1969), after part of the material was released on the album "From Elvis In Memphis" in June 1969.
Roger Taylor and Freddie Mercury recording the overdubs for the album 'A Day At The Races' around November 1-5, 1976.
(×)