Elvis & Sebastian Krys in conversation at the Latin Alternative Music Conference, May 6, 2021

Pretty self-explanatory
sweetest punch
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Elvis & Sebastian Krys in conversation at the Latin Alternative Music Conference, May 6, 2021

Postby sweetest punch » Wed Apr 14, 2021 11:27 am

https://www.latinalternative.com/?mc_ci ... Gl4nMu3I84

Will they announce the Spanish This Year Model?
Last edited by sweetest punch on Tue May 04, 2021 12:36 am, edited 1 time in total.
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Re: Elvis & Sebastian Krys in conversation at the Latin Alternative Music Conference, May 4 - 7, 2021

Postby sweetest punch » Wed Apr 21, 2021 12:39 pm

Rolling Stone interview with Sebastian Krys:

https://www.lanacion.com.ar/revista-rol ... d10042021/

Krys: el productor argentino que servía café y ya ganó 17 Grammy
Radicado en Los Ángeles, el ingeniero de sonido cuenta cómo arrancó de abajo hasta llegar a trabajar con Shakira, Elvis Costello y Juanes

Dice que toca varios instrumentos, pero todos mal. Por eso se convirtió en productor. Sebastián Krys, argentino, 50 años, residente en Los Ángeles, es hoy uno de los ingenieros de sonido y productores más reconocidos de América Latina. Aunque no tan conocido en su propio país, cuenta con cinco Grammy de la industria en Estados Unidos y doce Grammy Latinos, mientras que su currículum es un variado cóctel de estilos, lenguajes y artistas como Gloria Estefan, Pink Floyd, Eros Ramazzotti, Shakira, Julio Iglesias, Alejandro Sanz, Ricky Martin, Juanes y (más recientemente) Elvis Costello.

“Con mi familia nos fuimos de Argentina en 1980, yo tenía nueve años y la dictadura estaba a tope, aunque creo que mi viejo ya tenía la idea de irse antes. La situación de incertidumbre era cotidiana. El oculista de mi mamá vivió el horror del secuestro de su hijo, que tenía 17, y eso fue un golpe muy cercano, el gran empujón. Como todos los argentinos que se iban en ese momento, la idea era irnos un par de años y volver. Pero nos quedamos”, cuenta Krys con tono tranquilo y pausado, y el acento argentino impoluto.

Reconoce que le costó adaptarse. “Antes vivía en La Lucila y teníamos mucha libertad. Por supuesto que no entendíamos nada lo que estaba pasando en Argentina. Mi realidad era la de un chico que andaba en bicicleta con sus amigos, así que el cambio, dejar de verlos y mudarme a Miami, adonde llegué sin hablar una palabra de inglés, fue un poco traumático”, sigue Sebastián.

Como adolescente en la Florida, el futuro productor se volcaría a la escena punk. “Mi entrada fue por The Police, que no se la cataloga como punk, pero a mí me hizo entrar al género. Igual, siempre fui abierto, escuchaba a los Clash y Ramones, y también me interesaba Peter Gabriel, cómo interactuaba con la música africana y se inspiraba en otras culturas. Mi viejo era super rockero y me mostraba sus discos de The Who y Beatles, mi hermano mayor estaba metido en la música progresiva. En casa se escuchaba rock clásico, punk, Genesis, Pink Floyd, Rush y Alan Parsons Project”.

Krys, por supuesto, no tardó en armar su primera banda. “Llegamos a tener cinco fans. Se llamaba Suburban Delinquents. Una etapa muy divertida, invitábamos vagabundos para llenar los lugares. Yo tocaba una guitarra que todavía tengo, una Rickenbacker de doce cuerdas parecida a la de Pete Townshend, que tocaba con toda la distorsión posible y sin afinador”.

Terminada la secundaria, Krys pensaba estudiar ingeniería de sonido en Los Ángeles o Nueva York: “Era la única forma de entrarle a la música por lo menos de algún lado. Venía del punk, no tocaba bien ningún instrumento. Ni como rockstar ni como músico tenía mucha carrera. Entonces, la ingeniería”.

Pero un problema de salud de su padre lo obligó a permanecer y buscar algo que hacer en Miami. “Un amigo me muestra en la revista Mix que estaba abriendo un nuevo estudio en la ciudad. Habré llamado durante dos meses, todos los días; la recepcionista me ignoraba. Pero un día, supongo que ella no estaba, atendió la manager del estudio y me dio trabajo sirviendo café”, recuerda con un tono casi nostálgico. El estudio era (y es actualmente) Crescent Moon, que fue creado y manejado por Gloria y Emilio Estefan.

Estudiar ingeniería de sonido quedó en pausa y Sebastián empezó a trabajar en los estudios de los Estefan. El primer crédito de su carrera sería en un EP de Jon Secada de 1992. “Aparezco como Assistant Engineer, una forma técnica y romántica de poner que servía café. Igual, el café es super importante en una grabación –dice entre risas–. Sin café no hay disco. Aprender en el estudio fue lo que más me sirvió. Empecé a ver el rol del productor, del músico y también del ingeniero. El trabajo del ingeniero es fundamental, es el que interpreta la estética del artista y el productor, como el director de fotografía en una película. Es el que tiene que plasmar la visión sónica de todos los que trabajan en una canción”.

Así, Krys se formó directamente en el campo. “Es la mejor manera. Primero buscás el café y la comida. Después empezás a tener un poco más de responsabilidades, desde poner los micrófonos, confirmar que todo funciona correctamente. El próximo paso es ingeniero de grabación. Y, si tenés talento y suerte, ingeniero de mezcla, antes de llegar a productor. Hay gente a la que le gusta quedarse en la parte de ingeniería. Yo quería llegar a producir”.

Krys fue partícipe y testigo de la explosión de la música latina en Miami en los noventa. Fue ingeniero de hits como “Ciega, sordomuda” (1998), de Shakira, y “Livin’ la vida loca”, de Ricky Martin; colaboró con Jennifer Lopez, Thalía, Enrique Iglesias y Paulina Rubio. ¿Cómo un chico punk termina involucrado con artistas que estarían en la vereda opuesta a su gusto musical? “Siempre quise vivir de la música. Mi idea fue aprender de los mejores y en los mejores lugares. Y, en ese momento, el mejor estudio de Miami era ese. No se trataba de qué música se estaba haciendo. La idea era poder lograr el mejor sonido sin importar el estilo. Asistí en sesiones de Julio Iglesias y Jon Secada pero también de Pink Floyd y Frank Sinatra. En ese abanico está lo que aprendés del laburo. Me encanta saltar de disco en disco y de estilo en estilo. Para mí, ir de algo tan latino como Gloria Estefan a una banda punk-ska como los panameños Los Rabanes es una actitud punk. Mostrar algo de inconformismo, hacer lo que quiero, no tener que hacer solo un estilo sino probar todos y aprender en el camino”.

Gracias a esa curiosidad, Sebastián llegó a trabajar con uno de sus ídolos personales, Elvis Costello, con el que ya grabó tres discos y un EP.

“Siempre fui muy, muy fan de Costello. Hace unos trece años, por las cosas del destino, él estaba en Estados Unidos haciendo unas composiciones para el ballet de Miami. Un muy amigo mío, Dan Warner, que en paz descanse, que era un brillante productor y guitarrista, me cuenta que lo habían convocado para tocar en la banda del ballet para ese mismo proyecto. Así que le pregunté si podría llevarle una guitarra Fender Mustang para que me la firmara. Pero después Dan me llama y me dice que Elvis preguntó de quién era la guitarra y que él le contó quién era yo y qué hacía. Costello le dice entonces que le gustaría conocerme. Justo tenía una sesión con Luis Fonsi, así que lo llamé y le dije que sería la única vez en mi vida que tenía que cancelar una sesión. ¡Fonsi, por suerte, escucha mi desesperación y me dice que todo bien! Me junté con Elvis y hablamos una hora”.

El argentino y el inglés mantuvieron desde entonces cierto contacto. Hasta que Krys le pidió conectarlo con Pete Thomas (eterno baterista de Costello) para ofrecerle ser sesionista para una banda con la que estaba trabajando, La Santa Cecilia. Elvis no solo lo hizo sino que escuchó el disco resultante y terminó invitando a cantar en vivo a la vocalista, La Marisoul. “Todas estas idas y vueltas hicieron que tuviéramos una relación un poco más orgánica los últimos tiempos. Y cuando Elvis empieza a trabajar en las maquetas de su disco Look Now, Thomas le dice que debería convocarme. Lo gracioso es que Pete me dijo, después, que Elvis le comentó que pensaba que yo quizás no querría trabajar con él... ¡con Elvis Costello! ¡De dónde habrá sacado eso! Cuando me llamó, más bien acepté y salí a festejar con mi esposa. Esa misma noche me entraron a llegar demos de Elvis. Prolífico, me mandó treinta canciones en doce horas”.

Krys produjo Look Now en 2018, con el cual Elvis volvió a grabar después de cinco años, tuvo críticas muy positivas y se llevó el Grammy al mejor álbum de pop tradicional. Luego, Purse, de 2019, un EP de canciones que Costello compuso con McCartney, Cash, Dylan y Burt Bacharach. Y Hey Clockface, de 2020. Todos títulos que volvieron a poner a Costello en las listas de mejores discos editados en esos años.

Paradójicamente, el productor trabajó poco con argentinos: “Pude colaborar con Diego Torres en algunas cosas y estuve con el disco que Soledad grabó en Miami para Emilio Estefan”, cuenta. “Cuando estaba en Miami vi la explosión de la música argentina con Fito [Páez] y El amor después del amor, y me parece que después la música se volvió un poco más insular, más metida para adentro. No tuve mucha oportunidad de hacer cosas en Buenos Aires. Ahora estoy muy entusiasmado con lo que escucho, está pasando por un gran momento, con artistas que están saliendo al exterior. Nathy Peluso y Paulo Londra me encantan, pero Paco y Ca7riel me sorprendieron, me parecen fenomenales”, dice Krys, actualmente al frente de su propia empresa, Rebeleon Entertainment, “una empresa de música. Hacemos todo el trabajo, firmamos artistas, manejamos productores. Somos de bajo perfil, pero nos está empezando a ir bien”. Mientras tanto, trabaja en un nuevo proyecto junto a Costello. “Me tiró una idea extraña y divertida. Grabar versiones en castellano sobre las pistas originales de su disco This Year’s Model (uno de sus clásicos, de 1978). Una idea crazy, según sus propias palabras, que lanzaremos en 2021”.

—————————————
Google translation:

Krys: the Argentine producer who served coffee and has already won 17 Grammys
Based in Los Angeles, the sound engineer tells how he started from the bottom until he got to work with Shakira, Elvis Costello and Juanes

He says that he plays various instruments, but all wrong. That is why he became a producer. Sebastián Krys, Argentine, 50 years old, living in Los Angeles, is today one of the most recognized sound engineers and producers in Latin America. Although not so well known in his own country, he has five industry Grammys in the United States and twelve Latin Grammys, while his resume is a varied cocktail of styles, languages ​​and artists such as Gloria Estefan, Pink Floyd, Eros Ramazzotti, Shakira, Julio Iglesias, Alejandro Sanz, Ricky Martin, Juanes and (most recently) Elvis Costello.

“With my family we left Argentina in 1980, I was nine years old and the dictatorship was at its peak, although I think my old man already had the idea of ​​leaving earlier. The situation of uncertainty was daily. My mother's eye doctor experienced the horror of the kidnapping of his son, who was 17, and that was a very close blow, the great push. Like all Argentines who were leaving at that time, the idea was to leave for a couple of years and come back. But we stayed, ”says Krys in a calm and deliberate tone, and with an immaculate Argentine accent.

He acknowledges that he had a hard time adjusting. “Before I lived in La Lucila and we had a lot of freedom. Of course we did not understand what was happening in Argentina. My reality was that of a boy who was riding a bicycle with his friends, so the change, to stop seeing them and move to Miami, where I arrived without speaking a word of English, was a bit traumatic, ”continues Sebastián.

As a teenager in Florida, the future producer would turn to the punk scene. “My entry was for The Police, which is not classified as punk, but it made me enter the genre. Anyway, I was always open, I listened to the Clash and Ramones, and I was also interested in Peter Gabriel, how he interacted with African music and was inspired by other cultures. My old man was a super rocker and he showed me his records of The Who and Beatles, my older brother was into progressive music. At home you could listen to classic rock, punk, Genesis, Pink Floyd, Rush and the Alan Parsons Project ”.

Krys, of course, wasted no time in putting together his first band. “We got to have five fans. It was called Suburban Delinquents. A very fun stage, we invited homeless people to fill the places. I played a guitar that I still have, a 12-string Rickenbacker similar to Pete Townshend's, which he played with as much distortion as possible and without a tuner. "

After high school, Krys planned to study sound engineering in Los Angeles or New York: “It was the only way to get into music at least from somewhere. He came from punk, he didn't play any instrument well. Neither as a rockstar nor as a musician he had a lot of career. So, engineering ”.

But a health problem with his father forced him to stay and find something to do in Miami. “A friend shows me in Mix magazine that he was opening a new studio in town. I will have called for two months, every day; the receptionist ignored me. But one day, I suppose she was not there, she attended the studio manager and gave me a job serving coffee ", she recalls with an almost nostalgic tone. The studio was (and is currently) Crescent Moon, which was created and managed by Gloria and Emilio Estefan.

Studying sound engineering was put on hold and Sebastián started working at the Estefan studios. His first career credit would be on a 1992 Jon Secada EP. “I appear as Assistant Engineer, a technical and romantic way of putting that I was serving coffee. Anyway, coffee is super important in a recording, ”he says with a laugh. Without coffee there is no record. Learning in the studio was what helped me the most. I began to see the role of the producer, the musician and also the engineer. The work of the engineer is fundamental, it is the one that interprets the aesthetics of the artist and the producer, like a cinematographer in a movie. He is the one who has to capture the sonic vision of all those who work in a song ”.

Thus, Krys was formed directly in the field. "It is the best way. First you look for coffee and food. Then you start to have a little more responsibilities, from putting the microphones, confirming that everything works correctly. The next step is a recording engineer. And, if you are talented and lucky, mixing engineer, before you become a producer. There are people who like to stay in the engineering part. I wanted to get to produce ”.

Krys was a participant and witness to the explosion of Latin music in Miami in the nineties. He was an engineer for hits like “Ciega, sordomuda” (1998), by Shakira, and “Livin’ la vida loca ”, by Ricky Martin; he collaborated with Jennifer Lopez, Thalía, Enrique Iglesias and Paulina Rubio. How does a punk boy end up involved with artists who would be on the opposite side of his musical taste? “I always wanted to make a living from music. My idea was to learn from the best and in the best places. And, at that time, the best studio in Miami was that one. It wasn't about what music was being made. The idea was to be able to achieve the best sound regardless of style. I attended sessions with Julio Iglesias and Jon Secada but also with Pink Floyd and Frank Sinatra. In that range is what you learn from work. I love jumping from record to record and from style to style. For me, going from something as Latin as Gloria Estefan to a punk-ska band like Panamanians Los Rabanes is a punk attitude. Show some nonconformity, do what I want, not have to do just one style but try all of them and learn along the way ”.

Thanks to this curiosity, Sebastián came to work with one of his personal idols, Elvis Costello, with whom he has already recorded three albums and an EP.

“I was always a very, very fan of Costello. About thirteen years ago, due to fate, he was in the United States doing some compositions for the Miami ballet. A very good friend of mine, Dan Warner, may he rest in peace, who was a brilliant producer and guitarist, tells me that he had been summoned to play in the ballet band for the same project. So I asked him if he could bring him a Fender Mustang guitar to sign for me. But then Dan calls me and tells me that Elvis asked whose guitar it was and that he told him who I was and what he was doing. Costello then tells him that he would like to meet me. He just had a session with Luis Fonsi, so I called him and told him that it would be the only time in my life that he had to cancel a session. Luckily Fonsi listens to my despair and tells me that everything is fine! I got together with Elvis and we talked for an hour. "

The Argentine and the English have maintained some contact since then. Until Krys asked him to connect him with Pete Thomas (Costello's eternal drummer) to offer him to be a session player for a band he was working with, La Santa Cecilia. Elvis not only did, but listened to the resulting album and ended up inviting the vocalist, La Marisoul, to sing live. “All these twists and turns made us have a more organic relationship lately. And when Elvis starts working on the demos for his Look Now album, Thomas tells him that he should summon me. The funny thing is, Pete later told me that Elvis told him that he thought I might not want to work with him ... with Elvis Costello! Where did he get that from! When he called me, I rather accepted and went out to celebrate with my wife. That same night I received demos of Elvis. Prolific, he sent me thirty songs in twelve hours ”.

Krys produced Look Now in 2018, with which Elvis recorded again after five years, had rave reviews and won the Grammy for best traditional pop album. Then 2019's Purse, an EP of songs that Costello composed with McCartney, Cash, Dylan, and Burt Bacharach. And Hey Clockface, from 2020. All titles that put Costello back on the lists of best albums released in those years.

Paradoxically, the producer did little work with Argentines: "I was able to collaborate with Diego Torres on some things and I was with the album that Soledad recorded in Miami for Emilio Estefan," he says. “When I was in Miami I saw the explosion of Argentine music with Fito [Páez] and Love after love, and it seems to me that afterwards the music became a little more insular, more inwardly involved. I didn't have much opportunity to do things in Buenos Aires. Now I am very excited about what I hear, it is going through a great time, with artists who are going abroad. I love Nathy Peluso and Paulo Londra, but Paco and Ca7riel surprised me, they seem phenomenal to me, "says Krys, currently in charge of his own company, Rebeleon Entertainment," a music company. We do all the work, we sign artists, we manage producers. We are low-key, but we are starting to do well ”. Meanwhile, he works on a new project with Costello. “He threw me a strange and funny idea. Record Spanish versions of the original tracks from his album This Year's Model (one of his classics, from 1978). A crazy idea, in his own words, that we will launch in 2021 ”.
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.

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Re: Elvis & Sebastian Krys in conversation at the Latin Alternative Music Conference, May 4 - 7, 2021

Postby sweetest punch » Tue May 04, 2021 12:32 am

https://latinalternative.com/schedule/L ... hedule.pdf

Thursday, May 6th
SCHEDULE OF EVENTS

(NYC) 1:05pm - (MAD) 19:05 - (BsAs) 14:05 - (CDMX) 12:05pm - (LA) 10:05am LAMC Conversation: Elvis Costello sits down with Sebastian Krys
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Re: Elvis & Sebastian Krys in conversation at the Latin Alternative Music Conference, May 6, 2021

Postby sweetest punch » Thu May 06, 2021 1:46 pm

Sebastian and Elvis talked for more than 30 minutes about the “new album” Spanish Model, expected for 2021/2022.
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Re: Elvis & Sebastian Krys in conversation at the Latin Alternative Music Conference, May 6, 2021

Postby johnfoyle » Thu May 06, 2021 5:02 pm

Image




Lots of interesting details. Longer takes of the original recordings by The Attractions used. Longer fade out on No Action. Mick Jones guitar part on Pump It Up will be heard more clearly. 'Bruce Thomas plays fantastically well'. 'I don't think he'll (Bruce) turn down the royalties, if there's any'. Roger Bechirian's engineering complimented. 'I was surprised by what good condition the original tapes were in' was a early comment. Sebastian did all the mixing, Elvis being busy touring & then in lockdown.

This is cited as the start point of the project

https://youtu.be/NHu-Im1QDBo

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Re: Elvis & Sebastian Krys in conversation at the Latin Alternative Music Conference, May 6, 2021

Postby Neil. » Fri May 07, 2021 2:44 am

Thank you, John. But hang on... Mick Jones did the guitar part on Pump It Up???!!!!

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Re: Elvis & Sebastian Krys in conversation at the Latin Alternative Music Conference, May 6, 2021

Postby krm » Fri May 07, 2021 2:55 am

Neil. wrote:Thank you, John. But hang on... Mick Jones did the guitar part on Pump It Up???!!!!


ALternate take! not on the standard version, but some of it was used on the remix version from 1984
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Re: Elvis & Sebastian Krys in conversation at the Latin Alternative Music Conference, May 6, 2021

Postby Neil. » Fri May 07, 2021 3:45 am

Thank you, Krm!

Holy cow, I have never heard of this version.

And here it is.
https://www.youtube.com/watch?v=OixKiRJOpoU

There is defo more separation on the all the instruments and the vocal - can hear what everyone's doing much more clearly. The vocal is prob the original, but because it has more space around it, it sounds almost like a brand new vocal.

It's less swampy. But I am used to the swampy version, so this sounds wrong to me!!

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Re: Elvis & Sebastian Krys in conversation at the Latin Alternative Music Conference, May 6, 2021

Postby Ymaginatif » Fri May 07, 2021 5:37 am

And so Elvis makes another album (after the French "clock de coucou" + not forgetting that more than half of Clockface itself was relying on other people's work as a backing) entirely by proxy ...

If I was doing that, I would consider myself outrageously lazy.
More about me (including some Elvis Costello covers): http://ymaginatifandmusic.blogspot.com/

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Re: Elvis & Sebastian Krys in conversation at the Latin Alternative Music Conference, May 6, 2021

Postby verbal gymnastics » Sat May 08, 2021 6:54 am

Ymaginatif wrote:If I was doing that, I would consider myself outrageously lazy.


I was going to post that but I thought I’d leave it to somebody else :lol: :lol:
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Re: Elvis & Sebastian Krys in conversation at the Latin Alternative Music Conference, May 6, 2021

Postby Mr. Hush » Sat May 08, 2021 10:36 am

Can't see the point but not sure he's lazy as such, just concentrating on things that aren't to my taste for reasons I struggle to understand. Certainly wont be listening to a Spanish TYM. Would just ruin the original.

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Re: Elvis & Sebastian Krys in conversation at the Latin Alternative Music Conference, May 6, 2021

Postby sulky lad » Sat May 08, 2021 11:14 am

Mr. Hush wrote:Can't see the point but not sure he's lazy as such, just concentrating on things that aren't to my taste for reasons I struggle to understand. Certainly wont be listening to a Spanish TYM. Would just ruin the original.



EXACTLY !!!

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Re: Elvis & Sebastian Krys in conversation at the Latin Alternative Music Conference, May 6, 2021

Postby MOJO » Sat May 08, 2021 8:45 pm

Looking forward to hearing the new interpretations. Latin tinge? Would be cool. But doesn’t matter... I’m sure it will be great... fabulso

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Re: Elvis & Sebastian Krys in conversation at the Latin Alternative Music Conference, May 6, 2021

Postby Hawksmoor » Sun May 09, 2021 7:27 am

Ymaginatif wrote:And so Elvis makes another album (after the French "clock de coucou" + not forgetting that more than half of Clockface itself was relying on other people's work as a backing) entirely by proxy ...

If I was doing that, I would consider myself outrageously lazy.

Sometimes this forum leaves my jaw dropped. Consider the last year-and-a-bit.

The Helsinki sessions
The Paris sessions
The New York sessions (which had to be conducted online - I know, the lazy little bugger)
'No Flag'
'Hettie O'Hara'
'We Are All Cowards Now'
'Newspaper Pane'
'Shut Him Down'
Hey Clockface LP (which did rely on 'other people's work as backing', but can you name an Elvis LP that doesn't have a backing band?)
Multiple appearances on Steve's webcast
'I Wish It Would Rain'
Various foreign language, remix or collaborative versions of the above
'Peace Love and Understanding' in a great new version for the Meditate America gig
'Maud Gone Wrong' for the Songs from Quarantine LP
'Farewell OK', brand new single with the Imposters
The Clock de Coucou remix EP
And now...a Spanish version of TYM

Seriously, that's your concept of 'outrageously lazy'? You might want to have a look at the volume of stuff that other leading popular music artists have produced, released or shared online in the last fifteen months.

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Re: Elvis & Sebastian Krys in conversation at the Latin Alternative Music Conference, May 6, 2021

Postby Hawksmoor » Mon May 10, 2021 3:53 am

Mr. Hush wrote:Certainly wont be listening to a Spanish TYM. Would just ruin the original.

Well indeed. I mean, since 'Sie Liebt Dich', I haven't been able to listen to 'She Loves You'. Ruined for me now. :lol:

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Re: Elvis & Sebastian Krys in conversation at the Latin Alternative Music Conference, May 6, 2021

Postby cwr » Tue May 11, 2021 11:35 am

I think This Year's Model is a strong enough album to survive alternative interpretations by other performers.

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Re: Elvis & Sebastian Krys in conversation at the Latin Alternative Music Conference, May 6, 2021

Postby Ymaginatif » Tue May 11, 2021 1:32 pm

Hawksmoor wrote:
Ymaginatif wrote:And so Elvis makes another album (after the French "clock de coucou" + not forgetting that more than half of Clockface itself was relying on other people's work as a backing) entirely by proxy ...

If I was doing that, I would consider myself outrageously lazy.

Sometimes this forum leaves my jaw dropped. Consider the last year-and-a-bit.

The Helsinki sessions
The Paris sessions
The New York sessions (which had to be conducted online - I know, the lazy little bugger)
'No Flag'
'Hettie O'Hara'
'We Are All Cowards Now'
'Newspaper Pane'
'Shut Him Down'
Hey Clockface LP (which did rely on 'other people's work as backing', but can you name an Elvis LP that doesn't have a backing band?)
Multiple appearances on Steve's webcast
'I Wish It Would Rain'
Various foreign language, remix or collaborative versions of the above
'Peace Love and Understanding' in a great new version for the Meditate America gig
'Maud Gone Wrong' for the Songs from Quarantine LP
'Farewell OK', brand new single with the Imposters
The Clock de Coucou remix EP
And now...a Spanish version of TYM

Seriously, that's your concept of 'outrageously lazy'? You might want to have a look at the volume of stuff that other leading popular music artists have produced, released or shared online in the last fifteen months.


I'm too outrageously lazy too start arguing about things like this :D
More about me (including some Elvis Costello covers): http://ymaginatifandmusic.blogspot.com/

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Re: Elvis & Sebastian Krys in conversation at the Latin Alternative Music Conference, May 6, 2021

Postby johnfoyle » Thu Jun 03, 2021 11:16 am



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