Elton John THE UNRELEASED TRACKS 11 17 70

Elton John´s Corporation - Elton John THE UNRELEASED TRACKS Live AR Studios New York City 11 17 70.rar

http://en.wikipedia.org/wiki/​17-11-70
7-11-70 (US title 11-17-70) is a live album by British singer/songwriter Elton John,
released in 1971. The recording was taken from a live radio broadcast on
17 November 1970, hence the album's title. The recording was originally popular
among bootleggers which, according to Gus Dudgeon,
eventually prompted the record label to release it as an album.
It has been said that the release by an eastern bootlegger of the
whole 60-minute aircast rather than the 40 minutes selected by
Dick James Music significantly cut into the US sales of the live album.
Another contributing factor to the original album's soft sales could have been the glut of
Elton John product on the market at the time. John also had in release
2 full studio albums (Elton John and Tumbleweed Connection) and a movie soundtrack
(Friends) when the live LP was issued. Nonetheless, it become the fourth of John's
records to simultaneously land in the Top 100, making him the first act to do so since
The Beatles. According to longtime NYC radio DJ Dave Herman
(who can be heard at the beginning and end of the album), Elton John cut his hand at
some point during the performance, and by the end of the show, his piano keyboard
was covered with blood.

John and his band performed 13 songs during the radio broadcast.
The original album included only six of the songs; a seventh, "Amoreena,"
appeared as a bonus track on the album's 1996 CD reissue.
The other six performances remain officially unreleased: "I Need You to Turn To,"
"Your Song," "Country Comfort," "Border Song," "Indian Sunset," and "My Father's Gun."

John has stated in several interviews that he believes that this recording is
his best live performance. He has also cited the album as a great showcase
for the musicianship of drummer Nigel Olsson and bassist Dee Murray.
It is also the only officially released example of what John's live band sounded
like prior to the arrival of guitarist Davey Johnstone, who wouldn't be a member for
another year or so.

Full set list

I Need You To Turn To
Your Song
Country Comfort
Border Song
Indian Sunset
Amoreena
Bad Side Of The Moon
Take Me To The Pilot
Sixty Years On
Honky Tonk Women
Can I Put You On
Burn Down The Mission (including My Baby Left Me & Get Back)
My Father's Gun (encore)

Personnel

Elton John – piano, vocals
Dee Murray – bass, backing vocals
Nigel Olsson – drums, backing vocals

Production

Producer: Gus Dudgeon
Engineer: David Hentschel, Phil Ramone
Coordination: Steve Brown, Joe Disabato
Design: David Larkham
Photography: David Larkham
Liner notes: Gus Dudgeon, John Tobler
Emcee: Dave Herman





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Elton John´s Corporation - Elton John THE UNRELEASED TRACKS Live AR Studios New York City 11 17 70.rar

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I Need You To Turn To
Your Song
Country Comfort
Border Song
Indian Sunset
Amoreena

My Father's Gun (encore)

Ballet inspired by Elton John comes to TV

Ballet inspired by Elton John comes to TV

By Bob Clark, Postmedia News April 5, 201


Read more: http://www.ottawacitizen.com/entertainment/movie-guide/Ballet+inspired+Elton+John+comes/6418151/story.html#ixzz1rIkckPt3 



Love Lies Bleeding, a production of Alberta Ballet Company, is a hit production based on the life of Elton John. It will be staged at the National Arts Centre next season. A version will be shown on CBC-TV Monday at 9 p.m.
Photograph by: Courtesy Alberta Ballet Company
If you’d like an advance peek at the hit ballet based on the life of Elton John that is coming to the National Arts Centre next season, tune in Monday to CBC-TV. An adaptation of Love Lies Bleeding by Alberta Ballet — an homage to the life and often hard times of singer/songwriter Sir Elton John — airs at 9 p.m.
The ballet comes to the NAC April 19-20, 2013.
Director Moze Mossanen filmed Love Lies Bleeding over five days last October at the Banff Centre’s Eric Harvie Theatre for the one-hour television adaptation of the Jean Grand-Maitre ballet.
“I really wanted the film to be its own thing, a complete entity,” says Mossanen.
Arguably the most popular among the trio of ballets Grand-Maitre created based on songs of pop superstars (Joni Mitchell and Sarah McLachlan are the others), Love Lies Bleeding bowled over critics and audiences alike in Calgary, Edmonton, Vancouver and Toronto.
So how different is the film from what thousands of ballet and music lovers saw onstage?
The Toronto-based filmmaker says the major change in the TV version is turning the central Elton Fan figure of the ballet into more of an “avatar for Elton himself,” through cutting to images that show what the legendary performer is thinking — something that could never be shown on a theatre stage.
“We made him a much bigger part of the film, so people get a sense of ‘Oh, this guy’s imagining himself to be Elton’ — and this whole thing is weaving in and out of his imagination,” says Mossanen, a freelance producer/writer with 20 years’ experience of directing for television, primarily in the area of converting stage work to story film for the small screen.
The rejigging of the character into someone substantial enough for television offsets the necessity of doing away with some of the songs in the 105-minute live Love Lies Bleeding to fit the 60-minute made-for-TV format, said Mossanen.
Deciding which songs to cut was difficult, Mossanen says.
The broadcaster’ initial idea was to get rid of the some of the lesser-known songs. “But I thought those, such as The Bridge and Sixty Years On, were some of the most brilliant pieces,” the director says. “They almost sounded to me like brand new Elton John songs because we haven’t heard them that much before.
“So for me, it was really important to keep them. But at the same time, I thought the content of those pieces was really important.”
In the end, “They made their case and I made a counter-case — and I think we found a happy medium.”
For Alberta Ballet principal dancer Yukichi Hattori, who alternated in the Elton Fan role with Kelley McKinlay in live runs of the show, and plays the part in the TV adaptation, the enhancement and re-imagining of his role means close-ups, definitely not something he has to worry about in large theatres.
“The cameras get much closer than you would ever be (seen) onstage, so my facial expressions definitely had to change toward a more subtle feel.”
© Copyright (c) The Ottawa Citizen


Read more:http://www.ottawacitizen.com/entertainment/movie-guide/Ballet+inspired+Elton+John+comes/6418151/story.html#ixzz1rIkZjxwB