The Beatles – Vol 2: Revolution (1965-67) the second volume of Record Collector's Beatles special hits stores next week in Britain.
The second in a series of three bookazines celebrating the life, music of The Beatles.
.
Friday, 12 July 2019
RECORD COLLECTOR´S BEATLES VOL.2 NEXT WEEK IN UK
The Beatles – Vol 2: Revolution (1965-67) the second volume of Record Collector's Beatles special hits stores next week in Britain.
The second in a series of three bookazines celebrating the life, music of The Beatles.
Wednesday, 10 July 2019
ON THIS DAY: "SON OF SCHMILSSON WAS RELEASED, FEATURES CONTRIBUTIONS FROM RINGO STARR AND GEORGE HARRISON
Most of the sessions were extensively filmed, at the request of Nilsson. The footage was to be used for a planned documentary, titled Did Somebody Drop His Mouse?, but the film was never released.
The album cover features a photograph of Nilsson (dressed as a Dracula-like vampire) taken by Michael Putland at Harrison's home, Friar Park.The album was remastered and released on CD with two bonus tracks in 2000 and with five bonus tracks in 2006.
- TRACK LISTING:
- Side 1
- "Take 54"
- "Remember (Christmas)"
- "Joy"
- "Turn on Your Radio"
- "You're Breakin' My Heart"
- Side 2
- "Spaceman"
- "The Lottery Song"
- "At My Front Door" (Ewart B. Abner, John C. Moore)
- "Ambush"
- "I'd Rather Be Dead" (Nilsson, Richard Perry)
- "The Most Beautiful World in the World"
- Harry Nilsson – vocals, piano, Fender Rhodes (tracks 1, 5, 6, 9), acoustic guitar (4)
- Nicky Hopkins – piano (tracks 1–8, 11)
- Klaus Voormann – bass guitar(tracks 1,3–6, 8, 11),saxophone (1, 5),electric guitar (7)
- Ringo Starr (credited as Richie Snare) – drums (tracks 1, 6, 8, 9, 11)
- Peter Frampton – electric guitar (tracks 3–6, 8, 9), acoustic guitar (7)
- Chris Spedding – bouzouki (track 2), electric guitar (6, 8, 9), acoustic guitar (7)
- Milt Holland – percussion (tracks 1, 7)
- Jim Price – trumpet (tracks 1, 5, 9), horn arrangements (9)
- Bobby Keys – trumpet (tracks 1, 5, 9), tenor saxophone (8, 9), trombone (9)
- Lowell George – guitar (track 1)
- Del Newman – string arrangements (track 2, 11)
- Pop Arts String Quartet - strings (track 2)
- John Uribe – acoustic guitar (tracks 3, 7), electric guitar (track 6, 9)
- Red Rhodes – pedal steel guitar (track 3)
- Ray Cooper – percussion (tracks 3, 7, 11), congas (8), tambourine (9)
- Kirby Johnson – horn arrangements (tracks 4, 11)
- Richard Mackey – tuben/French horn (track 4)
- Vincent DeRosa – tuben/French horn (track 4)
- David Duke – tuben/French horn (track 4)
- George Harrison – slide guitar (track 5)
- Barry Morgan – drums (track 5)
- Paul Buckmaster – orchestral arrangement (track 6)
- Richard Perry – percussion (tracks 6, 11), arrangements (11)
- Senior Citizens of the Stepney&Pinner Choir Club No.6,London,England–choir(track 10)
- The Henry Krein Quartet with Klaus Voormann – rhythm section (track 10)
- Henry Krein – accordion (track 10)
- Paul Keogh – guitar (track 11)
- Les Thatcher – guitar (track 11)
- Technical
- Ken Scott, Robin Geoffrey Cable, Phil McDonald - engineer
Tuesday, 9 July 2019
50 YEARS SINCE THE BEATLES RELEASED "HERE COMES THE SUN"
It's been 50 years since the Beatles song "Here Comes the Sun" was released by Apple Records.
As George Harrison said in the Beatles Anthology, "Here Comes the Sun was written at the time when Apple was getting like school, where we had to go and be businessmen." While on a break from a business meeting, he took a stroll through the garden outside Eric Clapton's home and wrote this song about how good spring feels after a dreary English winter.
As George Harrison said in the Beatles Anthology, "Here Comes the Sun was written at the time when Apple was getting like school, where we had to go and be businessmen." While on a break from a business meeting, he took a stroll through the garden outside Eric Clapton's home and wrote this song about how good spring feels after a dreary English winter.
Monday, 8 July 2019
Saturday, 6 July 2019
Wednesday, 3 July 2019
YOU GAVE ME THE ANSWER - 'PAUL IS LIVE'
We spend a lot of time on the internet. In fact, it’s our job to spend
a lot of time surfing it! From time-to-time we come across some funny
rumour or theory and wonder how these could ever have become a “thing”.
One of these conspiracies is that Paul isn’t…well, actually Paul! The
rumour goes he passed away in the 1960s and was replaced in The Beatles
by a stand in. Of course there are some jobs that require a lot of
skill, but you can get someone else to do it – the office tea round, for
example! However, there are other jobs where it’s not as easy. Becoming
part of one of the most successful songwriting partnerships in music
history, for example!
Paul will be reissuing four live titles in July to coincide with his current US Freshen Up tour leg. We’ve already discussed Wings Over America and CHOBA B CCCP with Paul. The next in the series is Paul Is Live…
Recorded during the US and Australian swings of the tour in support of 1993’s Off The Ground, Paul Is Live is Paul's fifth live album. Originally released that same year, the album is famous for the multiple meanings and clues embedded in its title and cover art, all of which play on the “Paul Is Dead” conspiracy. In this month’s ‘You Gave Me The Answer’ we finally hear first-hand about that rumour…
PaulMcCartney.com: What are your main recollections from ‘The New World Tour?’
Paul: Well, it was a big world tour. The audiences were huge and the band was very good! So, we were enjoying it and it seemed like everyone else was enjoying it too! At that time what we would do is record a lot of concerts with the idea that we would listen to them and if there had been a particularly good show – like Boulder, Colorado, for example – we pulled a lot of tracks from that. There was also a New York show that was particularly good too, you know! That was the thing, just choose the best takes from around the tour.
PM.com: Was the idea to document the whole tour?
Paul: It was basically to just choose the best versions of the songs. The best recordings and the best audience reactions. You know, one night you’d do a song, and the next night you might do it again. But you might not do it as well. So, we wanted to choose the night we played it well.
PM.com: So… the title. Are you happy to talk about “that” conspiracy?
Paul: Oh yeah, 'Paul is Live’! Well, that’s why we did the cover on the Abbey Road crossing with my little doggie. This rumour had come out; it was an American DJ that had started it. And because I was barefoot in the original Abbey Road crossing picture, which really was because it was a very hot day. And I had arrived wearing sandals and kicked them off for a couple of the shots. And one of the shots we used was me without the sandals. So, you know, in those days people were going, ‘Why has he got bare feet?’ Whereas I would say, ‘It was probably hot and he probably took his sandals off!’ If you’re looking for conspiracies, apparently it was some old mafia thing about being barefooted!
PM.com: And you’ve done a cheeky nod to it here [points at car on the album]. The number plate reads ‘51 IS’ and on the original Abbey Road cover it says ‘28 IF’.
Paul: Oh yeah, ‘He’d be 28 if he’d have lived!’ So people said, ‘Oh, he’s obviously dead isn’t he…!’
PM.com: Even though you were 27 when Abbey Road came out! So, you’re aware of the conspiracy?
Paul: I know all the rumours… because I was being asked about them! There would literally be someone ringing up to ask, ‘Are you dead?’ I said, ‘Well, no. I’m answering this phonecall!’ And the reply would be, ‘Well, I can’t be sure it’s you’. So, then you actually do get a bit paranoid about yourself. And you think, ‘How am I going to prove to them or to anyone, that this is me?!’ I figured, in time, this look-a-like will be writing some pretty decent songs, and if it wasn’t me how had I trained him to write songs?
PM.com: There are rumours that it’s actually William Campbell or Billy Shears. And various hashtags online, like #Faul – ‘Fake Paul’.
Paul: Too many drugs! People may have taken too many drugs and started looking for answers in all the wrong places!
PM.com: Was the cover a deliberate thumbing your nose to the conspiracies?
Paul: No. No, this wasn't to thumb one’s nose. This was just to have a joke with it. We had live stuff and when you’re thinking of a title, it would be ‘Paul McCartney Live’. And that suggests, ‘Oh, remember that old rumour that Paul McCartney is dead?!’ Oh great, so instead of 'Paul is dead’ - which was sort of the original rumour - we’ll put this together as ‘Paul Is Live’. And that would be a funny thing. A lot of my life has been trying to have fun, because you know otherwise you'll get bored or fed up of what you do. And music is too great to get fed up of! I know plenty of people who are and just churn it out. So for me I just think, ‘Well, for us it just makes life better.’ So, it’s not like we’re churning out the same old. Even though you may be playing the same songs, you’re still trying to have a new kind of fun with them. Trying to rediscover them. I am every time I play them. I’m still trying to learn them. I’m still trying to figure them out, and think, ‘Oh, I could do this. I could do that.’
PM.com: Are you making little changes as you play them? Are you relating to the songs differently?
Paul: Yeah, you make little changes without meaning to. They just morph. I can tell by listening to tracks on this album, as we’ve done today to check the remastering. ‘Let Me Roll It’, for example. I play that slightly different now. Not massively. But I’ve just changed how I play it. ‘Lady Madonna’, we do that slightly differently too.
PM.com: It’s quite a quick version on 'Paul Is Live'…
Paul: Yeah! We do it very fast on this version, which is nice. Now, we probably play it closer to the original tempo.
We found it so interesting to hear that Paul is still learning to play his songs in new and fun ways. And we raise our glasses to him – what could be more fun, than trying to keep life fun!
Paul Is Live has been newly remastered at Abbey Road Studios and will be available in configurations including CD, 2 x 180g black vinyl, and limited edition colour vinyl (LP1 - opaque baby blue, LP2 - plush peach white opaque).
Pre-order your copy of the four decades-spanning "live" albums Amoeba Gig, Paul Is Live, Choba B CCCP and Wings Over America HERE!
Paul will be reissuing four live titles in July to coincide with his current US Freshen Up tour leg. We’ve already discussed Wings Over America and CHOBA B CCCP with Paul. The next in the series is Paul Is Live…
Recorded during the US and Australian swings of the tour in support of 1993’s Off The Ground, Paul Is Live is Paul's fifth live album. Originally released that same year, the album is famous for the multiple meanings and clues embedded in its title and cover art, all of which play on the “Paul Is Dead” conspiracy. In this month’s ‘You Gave Me The Answer’ we finally hear first-hand about that rumour…
PaulMcCartney.com: What are your main recollections from ‘The New World Tour?’
Paul: Well, it was a big world tour. The audiences were huge and the band was very good! So, we were enjoying it and it seemed like everyone else was enjoying it too! At that time what we would do is record a lot of concerts with the idea that we would listen to them and if there had been a particularly good show – like Boulder, Colorado, for example – we pulled a lot of tracks from that. There was also a New York show that was particularly good too, you know! That was the thing, just choose the best takes from around the tour.
PM.com: Was the idea to document the whole tour?
Paul: It was basically to just choose the best versions of the songs. The best recordings and the best audience reactions. You know, one night you’d do a song, and the next night you might do it again. But you might not do it as well. So, we wanted to choose the night we played it well.
PM.com: So… the title. Are you happy to talk about “that” conspiracy?
Paul: Oh yeah, 'Paul is Live’! Well, that’s why we did the cover on the Abbey Road crossing with my little doggie. This rumour had come out; it was an American DJ that had started it. And because I was barefoot in the original Abbey Road crossing picture, which really was because it was a very hot day. And I had arrived wearing sandals and kicked them off for a couple of the shots. And one of the shots we used was me without the sandals. So, you know, in those days people were going, ‘Why has he got bare feet?’ Whereas I would say, ‘It was probably hot and he probably took his sandals off!’ If you’re looking for conspiracies, apparently it was some old mafia thing about being barefooted!
PM.com: And you’ve done a cheeky nod to it here [points at car on the album]. The number plate reads ‘51 IS’ and on the original Abbey Road cover it says ‘28 IF’.
Paul: Oh yeah, ‘He’d be 28 if he’d have lived!’ So people said, ‘Oh, he’s obviously dead isn’t he…!’
PM.com: Even though you were 27 when Abbey Road came out! So, you’re aware of the conspiracy?
Paul: I know all the rumours… because I was being asked about them! There would literally be someone ringing up to ask, ‘Are you dead?’ I said, ‘Well, no. I’m answering this phonecall!’ And the reply would be, ‘Well, I can’t be sure it’s you’. So, then you actually do get a bit paranoid about yourself. And you think, ‘How am I going to prove to them or to anyone, that this is me?!’ I figured, in time, this look-a-like will be writing some pretty decent songs, and if it wasn’t me how had I trained him to write songs?
PM.com: There are rumours that it’s actually William Campbell or Billy Shears. And various hashtags online, like #Faul – ‘Fake Paul’.
Paul: Too many drugs! People may have taken too many drugs and started looking for answers in all the wrong places!
PM.com: Was the cover a deliberate thumbing your nose to the conspiracies?
Paul: No. No, this wasn't to thumb one’s nose. This was just to have a joke with it. We had live stuff and when you’re thinking of a title, it would be ‘Paul McCartney Live’. And that suggests, ‘Oh, remember that old rumour that Paul McCartney is dead?!’ Oh great, so instead of 'Paul is dead’ - which was sort of the original rumour - we’ll put this together as ‘Paul Is Live’. And that would be a funny thing. A lot of my life has been trying to have fun, because you know otherwise you'll get bored or fed up of what you do. And music is too great to get fed up of! I know plenty of people who are and just churn it out. So for me I just think, ‘Well, for us it just makes life better.’ So, it’s not like we’re churning out the same old. Even though you may be playing the same songs, you’re still trying to have a new kind of fun with them. Trying to rediscover them. I am every time I play them. I’m still trying to learn them. I’m still trying to figure them out, and think, ‘Oh, I could do this. I could do that.’
PM.com: Are you making little changes as you play them? Are you relating to the songs differently?
Paul: Yeah, you make little changes without meaning to. They just morph. I can tell by listening to tracks on this album, as we’ve done today to check the remastering. ‘Let Me Roll It’, for example. I play that slightly different now. Not massively. But I’ve just changed how I play it. ‘Lady Madonna’, we do that slightly differently too.
PM.com: It’s quite a quick version on 'Paul Is Live'…
Paul: Yeah! We do it very fast on this version, which is nice. Now, we probably play it closer to the original tempo.
We found it so interesting to hear that Paul is still learning to play his songs in new and fun ways. And we raise our glasses to him – what could be more fun, than trying to keep life fun!
Paul Is Live has been newly remastered at Abbey Road Studios and will be available in configurations including CD, 2 x 180g black vinyl, and limited edition colour vinyl (LP1 - opaque baby blue, LP2 - plush peach white opaque).
Pre-order your copy of the four decades-spanning "live" albums Amoeba Gig, Paul Is Live, Choba B CCCP and Wings Over America HERE!
Thursday, 27 June 2019
PAUL MCCARTNEY - SOUNDCHECK AT TALKING STICK RESORT ARENA PHOENIX
Paul McCartney - Soundcheck at Talking Stick Resort Arena Phoenix , 26 June, 2019.
Wednesday, 26 June 2019
PAUL MCCARTNEY REVEALS FAVOURITE SHOTS FROM HIS WIFE's PROFESSIONAL PHOTOGRAPHY CAREER
A new exhibition curated by Paul McCartney will showcase some of his late wife Linda's best work as a professional photographer.
In the last years of her life, Linda was also known for her activism, animal rights campaigning and vegetarian food line. But it was a career as a professional photographer that came first.
Before she married Paul McCartney in March 1969 she was an award-winning photographer, making history as the first woman to ever shoot a Rolling Stones front page image and praised for her candid celebrity snaps.
The Linda McCartney Retrospective runs from July 5 to January 12 next year at the Kelvingrove Art Gallery in Glasgow.
In the last years of her life, Linda was also known for her activism, animal rights campaigning and vegetarian food line. But it was a career as a professional photographer that came first.
Before she married Paul McCartney in March 1969 she was an award-winning photographer, making history as the first woman to ever shoot a Rolling Stones front page image and praised for her candid celebrity snaps.
The Linda McCartney Retrospective runs from July 5 to January 12 next year at the Kelvingrove Art Gallery in Glasgow.
Tuesday, 25 June 2019
ON THIS DAY : THE BEATLES PRESS CONFERENCE IN ESSEN
The Beatles performed two shows at Gruga Halle in Essen on June 25th, holding this press conference between the two performances.
Q: "Would you be so kind as to tell us something about your impressions in Munich and here in Essen?"
JOHN: (jokingly) "NO! Umm, yeah."
(laughter)
PAUL: "It's bigger here."
JOHN: "It's very nice. We only saw the hotels and that."
Q: "What's your opinion about your listeners here in Essen?"
PAUL: "Good audience."
RINGO: "Yeah... The best audience."
JOHN: "Louder audience than Munich."
Q: (female voice) "Do you like the German girls?"
PAUL: "Yes."
(laughter)
JOHN: "Yes, great."
Q: "Do you think it's very exciting and nice to be here as you are today, or would you rather be in Hamburg again?"
PAUL: "No, it's just wonderful. As you can see, we enjoy it."
Q: "What do you think of a lot of noise at Beat concerts?"
PAUL: "Umm, yes. Just about as much as at a football match."
(laughter)
Q: "What's the difference between German fans, English fans and American fans?"
RINGO: "They're all the same."
Q: "There's an old German song that says 'Why is it so beautiful on the Rhine?' You've traveled along the Rhine, what are your impressions of it?"
JOHN: "We were asleep!"
RINGO: "I slept, you know."
(laughter)
Q: "What about an appearance in Canada?"
JOHN: "We've been there."
RINGO: "We go there in August."
GEORGE: "We've been there three times."
Q: "Are you never homesick?"
PAUL: "Yes, always."
Q: "John, what's the time?"
JOHN: "I don't know."
(laughter)
Q: "George?"
GEORGE: "Yeah."
Q: "What's the time?"
GEORGE: (pause) "Five 'til eight, on my watch."
RINGO: "Time you were in bed!"
(laughter)
Q: "Are you afraid of your trip to Tokyo?"
JOHN: "Why?"
Q: "Because they said they would cut your hair over there."
PAUL: "No, they won't."
JOHN: "They'd just imitate us."
Q: "Do the Beatles plan in the near future to make another film?"
JOHN: (exaggerated German accent) "YA!"
(laughter)
Q: "Do you have any idea what it's going to be like?"
JOHN: "No. We have no script."
Q: "Do you sing for music or for money?"
PAUL: "Both."
JOHN: "Well, when they don't pay you, you do it for music."
(laughter)
Q: "Do you do it for love or for money?"
PAUL: "Both."
Q: "Is it possible that you will make a film without music?"
PAUL: "Umm, no. Not likely. It's possible though, but it's not likely."
Q: "If you would have to buy a ticket for your own performance, how much would you pay for it?"
JOHN: "We know the manager, so we get in free."
(laughter)
Q: "Do the Beatles write their arrangements for their songs all by themselves?"
PAUL: "Yes."
Q: "Who wrote the arrangement for 'Michelle'?
JOHN: "We did."
GEORGE: "Leonard Bernstein."
(laughter)
PAUL: "We did, all together. We do them all together."
Q: What do you think about people who have written about you? Do you think they have intelligence or not?"
GEORGE: "We don't think..."
JOHN: "Some are intelligent, some are stupid. Some are silly, some are stupid... the same in any crowd. They're not all the same. Ein is clever... Ein is soft."
(laughter)
Q: "What do you think of the questions you are getting asked here?"
JOHN: "They're a bit stupid."
(laughter, followed by applause)
Q: "Would you be so kind as to tell us something about your impressions in Munich and here in Essen?"JOHN: (jokingly) "NO! Umm, yeah."
(laughter)
PAUL: "It's bigger here."
JOHN: "It's very nice. We only saw the hotels and that."
Q: "What's your opinion about your listeners here in Essen?"
PAUL: "Good audience."
RINGO: "Yeah... The best audience."
JOHN: "Louder audience than Munich."
Q: (female voice) "Do you like the German girls?"
PAUL: "Yes."
(laughter)
JOHN: "Yes, great."
Q: "Do you think it's very exciting and nice to be here as you are today, or would you rather be in Hamburg again?"
PAUL: "No, it's just wonderful. As you can see, we enjoy it."
Q: "What do you think of a lot of noise at Beat concerts?"
PAUL: "Umm, yes. Just about as much as at a football match."
(laughter)
Q: "What's the difference between German fans, English fans and American fans?"
RINGO: "They're all the same."
Q: "There's an old German song that says 'Why is it so beautiful on the Rhine?' You've traveled along the Rhine, what are your impressions of it?"
JOHN: "We were asleep!"
RINGO: "I slept, you know."
(laughter)
Q: "What about an appearance in Canada?"
JOHN: "We've been there."
RINGO: "We go there in August."
GEORGE: "We've been there three times."
Q: "Are you never homesick?"
PAUL: "Yes, always."
Q: "John, what's the time?"
JOHN: "I don't know."
(laughter)
Q: "George?"
GEORGE: "Yeah."
Q: "What's the time?"
GEORGE: (pause) "Five 'til eight, on my watch."
RINGO: "Time you were in bed!"
(laughter)
Q: "Are you afraid of your trip to Tokyo?"
JOHN: "Why?"
Q: "Because they said they would cut your hair over there."
PAUL: "No, they won't."
JOHN: "They'd just imitate us."
Q: "Do the Beatles plan in the near future to make another film?"
JOHN: (exaggerated German accent) "YA!"
(laughter)
Q: "Do you have any idea what it's going to be like?"
JOHN: "No. We have no script."
Q: "Do you sing for music or for money?"
PAUL: "Both."
JOHN: "Well, when they don't pay you, you do it for music."
(laughter)
Q: "Do you do it for love or for money?"
PAUL: "Both."
Q: "Is it possible that you will make a film without music?"
PAUL: "Umm, no. Not likely. It's possible though, but it's not likely."
Q: "If you would have to buy a ticket for your own performance, how much would you pay for it?"
JOHN: "We know the manager, so we get in free."
(laughter)
Q: "Do the Beatles write their arrangements for their songs all by themselves?"
PAUL: "Yes."
Q: "Who wrote the arrangement for 'Michelle'?
JOHN: "We did."
GEORGE: "Leonard Bernstein."
(laughter)
PAUL: "We did, all together. We do them all together."
Q: What do you think about people who have written about you? Do you think they have intelligence or not?"
GEORGE: "We don't think..."
JOHN: "Some are intelligent, some are stupid. Some are silly, some are stupid... the same in any crowd. They're not all the same. Ein is clever... Ein is soft."
(laughter)
Q: "What do you think of the questions you are getting asked here?"
JOHN: "They're a bit stupid."
(laughter, followed by applause)
Sunday, 23 June 2019
PAUL MCCARTNEY AT PETCO PARK, SAN DIEGO - SOUNDCHECK
Paul McCartney at Petco Park San Diego, Soundcheck., 22 June.
Thursday, 20 June 2019
ON THIS DAY: PRINCE´S TRUST ROCK GALA WITH PAUL MCCARTNEY & OTHERS
#ONTHISDAY 20 June, 1986: the Prince’s Trust Concert was held at #Wembley, a charity in the #UK founded in 1976 by Charles, Prince of Wales to help vulnerable young people get their lives on track.
Location:
Wembley Arena
London
United Kingdom
GB
Band Lineup:
Eric Clapton - guitar / vocalsPaul McCartney - guitar / vocalsMark Knopfler - guitar / vocals
Midge Ure - guitar / vocals
Rick Parfitt - guitar
Bryan Adams - guitar
Francis Rossi - guitar
Elton John - piano / vocals
Howard Jones - keyboards / vocals
Rod Stewart - vocals
George Michael - vocals
Suzanne Vega - vocals
Tina Turner - vocals
Paul Young - vocals
Sting - vocals
Joan Armatrading - vocals
Mark King - bass
John Illsey - bass
Phil Collins - drums / vocals
Ray Cooper - percussion
Vicky Brown - backing vocals
Samantha Brown - backing vocals
Jimmy Chambers - backing vocals
George Chandler - backing vocals
Jimmy Helms - backing vocals
Set List:
01. In a Big Country - Big Country02. Marlene On The Wall - Suzanne Vega03. Hot Water - Level 42
04. Your Song - Elton John
05. In The Air Tonight - Phil Collins
06. Better Be Good To Me - Tina Turner
07. Tearing Us Apart - Eric Clapton and Tina Turner
08. Call Of The Wild - Midge Ure
09. Money For Nothing - Mark Knopfler, Sting
10. Everytime You Go Away - Paul Young
11. Reach Out - Joan Armatrading
12. No One Is To Blame - Howard Jones
13. Sailing - Rod Stewart
14. I'm Still Standing - Elton John
15. Every Time You Go Away - Paul Young and George Michael
16. I Saw Her Standing There - Paul McCartney
17. Long Tall Sally - Paul McCartney
18. Get Back - Paul McCartney And The All-Stars
Wednesday, 19 June 2019
ON THIS DAY IN 1970: "DORIS TROY" APPLE ALBUM WAS RELEASED IN THE UK - PRODUCED BY GEORGE HARRISON
Doris Troy is an album released in 1970 on the Beatles' Apple Records label by American soul singer Doris Troy.
It features songs written by Troy and a number of the participants on the sessions, including George Harrison, Stephen Stills, Klaus Voormann and Ringo Starr.
Through the extended period of recording, the album became an all-star
collaborative effort, typical of many Apple projects during 1968–70,
although it was Troy's only album on the Beatles' label. Other guest
musicians included Billy Preston, Peter Frampton, Leon Russell, Eric Clapton and members of the Delaney & Bonnie Friends band. Like the Harrison-produced single "Ain't That Cute", Doris Troy failed to chart in Britain or America on release.
The album was reissued in 1992 and 2010 with bonus tracks such as Troy's version of the Beatles' hit song "Get Back".
It features songs written by Troy and a number of the participants on the sessions, including George Harrison, Stephen Stills, Klaus Voormann and Ringo Starr.
The album was reissued in 1992 and 2010 with bonus tracks such as Troy's version of the Beatles' hit song "Get Back".
Tuesday, 18 June 2019
Tuesday, 11 June 2019
JOHN LENNON AND HIS PSYCHEDELIC PHANTOM V
One of the most
famous car manufacturers in the world, Rolls Royce, is the foreword of
luxury. Its distinguished and effortless class make it the go-to car for
royalty and dignitaries alike. The Phantom V was possibly the pinnacle
of this gliding gilded brand, with only 517 made the car remained an
elusive and utterly exclusive vehicle. Until John Lennon
subverted its very core.
A mammoth vehicle, weighing 2.5 tonnes with a 3.6-metre wheelbase and the same 6.2L V8 engine as the Rolls-Royce Silver Cloud II, the Phantom was a car reserved for royalty. The British Royal family owned two of them, for the Queen and Queen Mother, but both were put to the metaphorical sword when John Lennon bought himself a Phantom in 1964.
Lennon bought a 1964 Mulliner Park Ward Phantom V, finished in
Valentines black, which may well be the coolest colour name we’ve ever
seen. Everything was black except for the radiator (though Lennon did
ask for the radiator to be black too but Rolls point blank refused),
even the wheels. It featured some incredible customisations including
black leather upholstery, cocktail cabinet with fine wood trim, writing
table, reading lamps, a seven-piece his-and-hers luggage set, and a
Perdio portable television. It’s guessed that Lennon paid £11,000 for it
– roughly £190,000 – which is quite a bit considering Lennon didn’t
even learn to drive until 1965 at the age of 24.
But in 1965 black was no longer in fashion and so Lennon reportedly made a seven-page list of expensive changes. Some incredible adaptations would have left Xzibit on Pimp My Ride blushing, they included a backseat that could change into a double bed, a Philips Auto-Mignon AG2101 “floating” record player that stopped needless needle jumping, a Radio Telephone, and a cassette tape deck. Speakers were even mounted in the front wheel wells so that Lennon and whoever he was travelling with could talk outside via a microphone.
After using the car in Spain filming Richard Lester’s How I Won the War,
it needed a new paint job and Lennon was decidedly bored of the
all-black look. The Beatle commissioned a private paint job from coach
makers J. P. Fallon Ltd. to be decorated like a Romany gypsy wagon – but
more sixties.
Artist Steve Weaver painted the red, orange, green and blue swirls, gorgeous floral side panels and even a Libra on the roof. It was a clear message that Lennon was not going to be one of the establishment’s playthings, he was his own man. He even also went on to buy a second all-white Phantom V to match his burgeoning ‘white period’.
Lennon used the psychedelic Phantom V regularly until 1969 when the car was shipped to the USA with Lennon’s own move across the pond. The car was loaned out to a host of rock stars who fell in love with the Rolls, such as The Rolling Stones, Bob Dylan and The Moody Blues.
In 1977 Lennon donated the now famous Phantom V to the Cooper-Hewitt Museum at the Smithsonian Institute to cover a teensy IRS problem. The Cooper-Hewitt then sold the psychedelic car in 1985 for a whopping $2.3 million to a Canadian businessman and since 1993 it has been in the Royal British Columbia Museum in Canada.
A mammoth vehicle, weighing 2.5 tonnes with a 3.6-metre wheelbase and the same 6.2L V8 engine as the Rolls-Royce Silver Cloud II, the Phantom was a car reserved for royalty. The British Royal family owned two of them, for the Queen and Queen Mother, but both were put to the metaphorical sword when John Lennon bought himself a Phantom in 1964.
But in 1965 black was no longer in fashion and so Lennon reportedly made a seven-page list of expensive changes. Some incredible adaptations would have left Xzibit on Pimp My Ride blushing, they included a backseat that could change into a double bed, a Philips Auto-Mignon AG2101 “floating” record player that stopped needless needle jumping, a Radio Telephone, and a cassette tape deck. Speakers were even mounted in the front wheel wells so that Lennon and whoever he was travelling with could talk outside via a microphone.
Artist Steve Weaver painted the red, orange, green and blue swirls, gorgeous floral side panels and even a Libra on the roof. It was a clear message that Lennon was not going to be one of the establishment’s playthings, he was his own man. He even also went on to buy a second all-white Phantom V to match his burgeoning ‘white period’.
Lennon used the psychedelic Phantom V regularly until 1969 when the car was shipped to the USA with Lennon’s own move across the pond. The car was loaned out to a host of rock stars who fell in love with the Rolls, such as The Rolling Stones, Bob Dylan and The Moody Blues.
In 1977 Lennon donated the now famous Phantom V to the Cooper-Hewitt Museum at the Smithsonian Institute to cover a teensy IRS problem. The Cooper-Hewitt then sold the psychedelic car in 1985 for a whopping $2.3 million to a Canadian businessman and since 1993 it has been in the Royal British Columbia Museum in Canada.
Sunday, 9 June 2019
NEW EDITIONS OF "ROCK AND ROLL CIRCUS" IS OUT! (JUNE 2019)
The legendary 1968 concert film, The Rolling Stones Rock and Roll Circus,
has been released in restored, expanded editions, including previously
unheard performances from The Dirty Mac, a supergroup formed especially
for the film, consisting of John Lennon, Keith Richards (on bass
guitar), Eric Clapton and Mitch Mitchell of the Jimi Hendrix Experience.
The new editions of Rock and Roll Circus, released June 7 via ABKCO Films and ABKCO Music & Records, feature Dolby Vision® and Dolby Atmos® restoration. The releases include a limited Deluxe Edition (including its first appearance on Blu-ray; more details below), an expanded 2-CD edition, and its vinyl debut (on 3 LPs). Order the vinyl here and the Deluxe Edition here.
A limited Deluxe Edition multi-format package (Blu-Ray, DVD, and a 2-CD
soundtrack) contains a perfect-bound 44-page book with David Dalton’s
original 1969 Rolling Stone essay, and photographs by Michael
Randolf. The soundtrack has been expanded to 28 tracks, received a new
mix and 192k 24 bit HD restoration.
The new editions of Rock and Roll Circus, released June 7 via ABKCO Films and ABKCO Music & Records, feature Dolby Vision® and Dolby Atmos® restoration. The releases include a limited Deluxe Edition (including its first appearance on Blu-ray; more details below), an expanded 2-CD edition, and its vinyl debut (on 3 LPs). Order the vinyl here and the Deluxe Edition here.
Friday, 7 June 2019
ROCK STARS SET BEATLES WHITE ALBUM TRIBUTE TOUR
One year after the 50th anniversary of the Beatles’ self-titled double album (aka The White Album), several classic rock greats have announced a tour to celebrate the landmark LP. Tour 2019 – A Tribute to the Beatles’ White Album features Todd Rundgren, Micky Dolenz, Christopher Cross, Joey Molland of Badfinger and Jason Scheff of Chicago.
The tour, scheduled to begin September 21, currently lists 17 dates with additional shows to be announced. The Musical Director is Joey Curatolo.
The tour, scheduled to begin September 21, currently lists 17 dates with additional shows to be announced. The Musical Director is Joey Curatolo.
Tuesday, 4 June 2019
PAUL MCCARTNEY PRAISES NOVA SCOTIA TEEN'S Mi'kmaq COVER OF 'BLACKBIRD'
A Nova Scotia teen who has drawn global attention for her Mi'kmaq rendition of The Beatles' classic song "Blackbird" can now add Paul McCartney to her growing list of fans.
In concert footage published Sunday on Twitter by the United Nations' human settlements and youth branch, the former Beatle praises Emma Stevens' recording and encourages his fans to look it up online.
"There's an incredible version a Canadian girl has done, you can see it on YouTube. It's in her native language," McCartney told fans at the unspecified venue."It's really cool. Check it out," he said a moment later.
McCartney is the writer and original performer of "Blackbird," which first appeared on The Beatles' self-titled 1968 album, known as the White Album. The 76-year-old did not publicly respond to a tweet from UN-Habitat Youth proposing a duet with Stevens when his current tour comes to Vancouver on July 6.
Stevens and her classmates at Allison Bernard Memorial High School in Eskasoni, Cape Breton, recorded the song to highlight the United Nations' International Year of Indigenous Languages, which seeks to raise awareness of threats to Indigenous languages across the world. As of Monday afternoon, the video had been viewed more than 420,000 times since it was uploaded to YouTube on April 25.
Stevens also spoke and performed last week at a UN-Habitat Assembly in Nairobi, Kenya, where she highlighted the red dress movement, which seeks to highlight the plight of missing and murdered Indigenous girls and women in Canada.
In concert footage published Sunday on Twitter by the United Nations' human settlements and youth branch, the former Beatle praises Emma Stevens' recording and encourages his fans to look it up online.
McCartney is the writer and original performer of "Blackbird," which first appeared on The Beatles' self-titled 1968 album, known as the White Album. The 76-year-old did not publicly respond to a tweet from UN-Habitat Youth proposing a duet with Stevens when his current tour comes to Vancouver on July 6.
Stevens and her classmates at Allison Bernard Memorial High School in Eskasoni, Cape Breton, recorded the song to highlight the United Nations' International Year of Indigenous Languages, which seeks to raise awareness of threats to Indigenous languages across the world. As of Monday afternoon, the video had been viewed more than 420,000 times since it was uploaded to YouTube on April 25.
Stevens also spoke and performed last week at a UN-Habitat Assembly in Nairobi, Kenya, where she highlighted the red dress movement, which seeks to highlight the plight of missing and murdered Indigenous girls and women in Canada.
Monday, 3 June 2019
"IMAGINE" AND "THE END" : LAST SONGS BROADCAST ON WPLJ/95.5 FM
After 48 years, radio station WPLJ/95.5 FM entered radio silence Friday.
The last song broadcast from the top of Madison Square Garden was John Lennon’s “Imagine,” released in 1971, the same year the station went on the air.
DJ Mike Allan also spun a WPLJ tribute song by Hall and Oates, and — just before the stroke of the station’s 7 p.m. demise — a fitting snippet from the Beatles’ “The End”: “And in the end, the love you take is equal to the love you make.”
The station was one of six purchased for $103 million by the Educational Media Foundation, a religious-programming group.
It was fitting for John Lennon to serenade WPLJ’s end.
The station mourned Lennon’s Dec. 8, 1980, murder with days of round-the-clock Beatles music, followed by 15 minutes of silence, as requested by his widow, Yoko Ono.
At 7 p.m., the station joined the K-LOVE network, and will now broadcast Christian contemporary music.
The last song broadcast from the top of Madison Square Garden was John Lennon’s “Imagine,” released in 1971, the same year the station went on the air.
DJ Mike Allan also spun a WPLJ tribute song by Hall and Oates, and — just before the stroke of the station’s 7 p.m. demise — a fitting snippet from the Beatles’ “The End”: “And in the end, the love you take is equal to the love you make.”
The station was one of six purchased for $103 million by the Educational Media Foundation, a religious-programming group.
It was fitting for John Lennon to serenade WPLJ’s end.
The station mourned Lennon’s Dec. 8, 1980, murder with days of round-the-clock Beatles music, followed by 15 minutes of silence, as requested by his widow, Yoko Ono.
At 7 p.m., the station joined the K-LOVE network, and will now broadcast Christian contemporary music.
Friday, 31 May 2019
PRODUCER JACK DOUGLAS REVEALS WHY JOHN LENNON WAS EASY TO WORK
As a producer, Jack Douglas has helped shape some of the greatest albums in rock and roll history.
From Aerosmith to Cheap Trick to Rick Derringer to Alice Cooper to Clutch to John Lennon and Yoko Ono, Douglas knows rock stars better than most — perhaps better than anyone should.
And in a profession full of excess, insecurity and unrealistic expectations, Douglas says the easiest star he ever produced was also the biggest: Lennon.
Douglas worked with Lennon and Ono on their Grammy-winning 1980 album, Double Fantasy. On the latest episode of Ken Dashow's Beatles Revolution podcast, Douglas explains that, unlike many of his contemporaries, Lennon didn't sweat the small stuff. He also surrounded himself with people, like Douglas, whom he trusted with his songs.
"He drew a real line between who was the artist and who was the producer, and he liked to take direction," Douglas explains. "For example: you're putting together John's vocals. You'd think he would be there like ... [micromanaging] 'The 's' from this [take]...' You know, when you're working with Steven Tyler, he's going to want to break up the syllable on the song until I have to smack him... But with John, the only think he would ever say that he would get into my head with was, 'If I make a really bad mistake, make it louder, and it'll seem like something cool I did on purpose.'"
Douglas says Lennon would rarely stick around for vocal edits; he would instead make himself scarce and wait to be called back to perform any overdubs that were necessary.
Despite his accomplishments with The Beatles and as a solo artist, Douglas says Lennon was overly critical of his own work and hyper-sensitive to his limitations as a musician. While self-consciousness was a constant struggle, it also allowed Lennon some distance from his work. Lennon knew he couldn't be objective until he heard a finished project; that's why he put his trust in Douglas to craft the arrangements for Double Fantasy.
Going into Double Fantasy, Lennon thought his career might be over. He thought he was out of good songs and everything he had written towards the album was substandard.
"On the demos, there's narration," Douglas recalls. "[Lennon would say] 'Oh, here's another crappy piece of s--t. And when something would be 'kind of good' [in Lennon's opinion], he would say, 'You know what? This one's for Ringo.' I gave those tapes to Ringo (laughs)."
From Aerosmith to Cheap Trick to Rick Derringer to Alice Cooper to Clutch to John Lennon and Yoko Ono, Douglas knows rock stars better than most — perhaps better than anyone should.
And in a profession full of excess, insecurity and unrealistic expectations, Douglas says the easiest star he ever produced was also the biggest: Lennon.
"He drew a real line between who was the artist and who was the producer, and he liked to take direction," Douglas explains. "For example: you're putting together John's vocals. You'd think he would be there like ... [micromanaging] 'The 's' from this [take]...' You know, when you're working with Steven Tyler, he's going to want to break up the syllable on the song until I have to smack him... But with John, the only think he would ever say that he would get into my head with was, 'If I make a really bad mistake, make it louder, and it'll seem like something cool I did on purpose.'"
Douglas says Lennon would rarely stick around for vocal edits; he would instead make himself scarce and wait to be called back to perform any overdubs that were necessary.
Despite his accomplishments with The Beatles and as a solo artist, Douglas says Lennon was overly critical of his own work and hyper-sensitive to his limitations as a musician. While self-consciousness was a constant struggle, it also allowed Lennon some distance from his work. Lennon knew he couldn't be objective until he heard a finished project; that's why he put his trust in Douglas to craft the arrangements for Double Fantasy.
Going into Double Fantasy, Lennon thought his career might be over. He thought he was out of good songs and everything he had written towards the album was substandard.
"On the demos, there's narration," Douglas recalls. "[Lennon would say] 'Oh, here's another crappy piece of s--t. And when something would be 'kind of good' [in Lennon's opinion], he would say, 'You know what? This one's for Ringo.' I gave those tapes to Ringo (laughs)."
Thursday, 30 May 2019
JOHN LENNON's TRACKSUIT IS GOING UP FOR SALE FOR $35,000
John Lennon's tracksuit that he wore on a trip to Denmark in 1970 is going up for sale for $35,000.
The tracksuit, worn with wife Yoko Ono, is going up for sale through the memorabilia company, Moments In Time.
It comes from the collection of Yoko's ex-husband, Tony Cox, and the vintage top is available for $35,000.
Lennon wore it when he and Yoko traveled together to Denmark to visit Cox and their daughter.
The couple wore matching tracksuits on the trip and even shaved their hair off to give away as part of a peace protest.
The trip was in order for Ono and Cox to discuss custody of their daughter as the pair were locked in a legal battle.
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