|
Post by P(D)enny La(i)ne on Nov 17, 2023 18:35:15 GMT -5
Now and Then - the twin version
|
|
|
Post by P(D)enny La(i)ne on Nov 15, 2023 13:15:04 GMT -5
It doesn't take a genius to find out who made that call to the Mersey Beat. The only reason I did include that quote from David is so that my readers at least would know who had reported the story to the Mersey Beat publication. But we don't even need to know the identity of the caller. www.beatlesagain.com/images/pete.jpgwww.beatlesagain.com/breflib/pete.htmlwww.triumphpc.com/mersey-beat/a-z/petebest3.shtml"On Tuesday, September 4th, The Beatles will fly to London to make recordings at E.M.I. Studios. They will be recording numbers that have been specifically written for the group, which they have received from their recording manager George Martin (Parlophone)." Everyone, including Epstein, Martin, the Fab Four, were satisfied with the contents of this story: Please Please Me, PS I Love You and Love Me Do were written "specifically" FOR the Beatles. Now, everything else comes into question of course: who wrote all of the other Beatles songs? Are there any classical scores which resemble these songs? Please Please Me, PS I Love You and Love Me Do were not Lennon-McCartney compositions. Anyone from Parlophone, GM himself, Epstein of course, or one of the four Beatles, could have called the Mersey Beat and have them retract the story. No one did so. Thank you for finally admitting that there’s no proof that Epstein was the one who made the claim that the six songs in question were written FOR the Beatles. You could have saved both of us time and energy by admitting this last week. Having said that, I DO find it interesting that Mersey Beat made that claim, and would love to know who their source was. I don’t have a dog in this fight. In fact, I find it entirely possible that some of those early songs were written by someone other than LenMac, but I also believe that they were both writing songs from the outset.
|
|
|
Post by P(D)enny La(i)ne on Nov 14, 2023 10:12:40 GMT -5
You are not paying attention and you are trolling this thread. You asked for the link on November 6, and I did provide it immediately, just like I did on September 27: davidabedford.com/4th-september-1962-in-beatles-history-the-fab-four-love-me-dont/Brian Epstein reported for Mersey Beat, and his story, carried anonymously at his request. He told how they had met together at Liverpool Airport at 8.15am for their flight to London. The Beatles couldn't write any songs at all, they only played cover songs. Without Adorno's songs they would have gotten nowhere. Please Please Me, Love Me Do and PS I Love You were written "specifically" for the Beatles. The Fab Four did not retract the story or complain about it. GM did nothing. By May 1963, everyone of course had forgotten this story, but it is still there in print. Since their first hit songs were not Lennon-McCartney compositions, everything else comes into question. Regarding the first blue highlighted section above:Ok, so David A. Bedford is the one claiming that Epstein reported for Mersey Beat and that the story was carried anonymously at his request. That's fine, I guess, as long as you believe David A. Bedford's claim... Regarding the second blue highlighted section above:But ... even if we believe that Epstein was reporting anonymously for Mersey Beat, the David A. Bedford article that you quoted DOES NOT claim that Please Please Me, Love Me Do and PS I Love You were written "specifically" for the Beatles. In fact, the David A. Bedford article that you linked to says the following about the six songs in question... So, the link that you provided as proof actually negates your claim instead. I'm not trolling. I'm simply asking you to prove claims that you can't seem to prove.
|
|
|
Post by P(D)enny La(i)ne on Nov 13, 2023 16:39:48 GMT -5
"Martin was told about Brian Epstein, who was managing a pop group that had been turned down by the majority of labels including Decca. He arranged to meet Epstein in February 1962, where he heard the Decca recordings, which he thought “unpromising”. He did, however, think well of John and Paul’s vocals. The pair met again in May at Abbey Road, where they agreed a contract without Martin having met The Beatles or seen them perform. The contract, which he felt gave him “nothing to lose”, promised The Beatles a royalty of one penny for each record sold. George Martin agreed to sign the contract only when he had heard an audition from the band. This took place on June 6, 1962. Martin was not present at the session, but did meet the band and listened to the recordings. While he thought the band’s original songs below par, he was impressed by their wit." Had the Beatles been the real songwriters they'd have never accepted such a lousy deal (one penny for each record). GM knew that the only useful feature was their vocals, but what they needed was an arsenal of songs. The fact that Epstein called in to state that those six songs were written "specifically" for the Beatles, and that he did other things as well, means that he could not care less about his supposed ticket to stardom or a possible very good chance to get even richer. Again, the supposed musical output from John, 1963-1965 is without precedent in music history: as I said before, not even Mozart and Beethoven getting together to write songs for the Beatles would have been sufficient to generate that output. In 1965, Satisfaction was voted the best song of the year (followed by Yesterday, Help, Eight Days A Week). However, in my opinion, Norwegian Wood was the best song, nothing else like it had been done before, it put an end to the careers of Dylan and the Byrds; in second place I would have We Can Work It Out. For the year 1966, Eleanor Rigby was the best song, it should have been released as a separate single, and have Yellow Submarine ready to compete with Good Vibrations later in the year (all of these songs were written by Adorno). No one else, since 1965-1966 has even come close to matching Norwegian Wood and Eleanor Rigby. I've already asked you this, but please provide proof that "Epstein called in to state that those six songs were written specifically for the Beatles." The link that you provided (see below) makes no claim that Epstein said any such thing. www.beatlesagain.com/breflib/pete.html#:~:text=On%20Tuesday%2C%20September%204th%2C%20The,manager%20George%20Martin%20(Parlo phone) From the link: Again, no mention of Epstein...
|
|
|
Post by P(D)enny La(i)ne on Nov 5, 2023 19:59:37 GMT -5
New Bio of Beatles Roadie Mal Evans Uncovers Last Known Photo of John Lennon and Paul McCartney Together (Exclusive)By Jordan Runtagh Published on October 31, 2023 09:05AM EDT People Magazine people.com/john-lennon-paul-mccartney-last-known-photo-together-mal-evans-biography-exclusive-8384690?mibextid=2JQ9ocIn addition to busting myths about the final days of the Fab Four and providing an intimate glimpse into one of the most beloved musical partnerships of the modern era, Peter Jackson’s 2021 docuseries Get Back introduced fair weather Beatles fans to Mal Evans. Whether having the time of his life taking an anvil solo on early rehearsals of “Maxwell’s Silver Hammer,” distracting the London bobbies trying to bust up the infamous rooftop gig, lugging guitars or delivering endless cups of tea, the nattily dressed, shaggy-haired gent became one of the breakout stars of the eight-hour epic, lightening tense moments with his good-natured grin and the mischievous twinkle behind his horned-rimmed glasses. His moment at center stage was long overdue, since he spent most of his life on the very edge of the Beatles’ white hot spotlight.
As their ever-present road manager, protector, fixer and trusted confidant, he’s one of the very few who can make a legitimate claim to Fifth Beatle status. (Though we’d probably place him at eighth…) Combing through photos of the Fabs throughout their career becomes like a game of rock ‘n’ roll Where’s Waldo. Whether on tour, in the studio, or even at play, you’ll inevitably find Evans in the background, his sturdy six-foot-three frame towering above everyone else. A gentle-giant, his ability to both lift Paul McCartney’s heavy bass amp and wordlessly persuade the most unruly of fans to step aside made him a welcome addition to the band’s one-person entourage back in 1963. From that moment on, Evans dedicated his life to their service. Even after the Beatles' breakup in 1970, he remained one of the most loyal friends the band ever had — and their biggest fan.
A new biography by renowned Beatles scholar Dr. Kenneth Womack will delve deeper into the man who became the band’s shadow. Living the Beatles Legend: The Untold Story of Mal Evans, due out Nov. 14 on HarperCollins’ Dey Street Books imprint, draws extensively from the memoir of the same name that Evans completed and planned to submit for publication. But following his tragic death in January 1976 at the age of 40, the project was shelved. In the decades since, the myth around the manuscript has continued to grow. Womack is also overseeing a second volume of the biography, slated to be published in 2024, showcasing elements of Evans’ vast personal archive. Dubbed “the Holy Grail” in Beatles circles, it contains diaries, artifacts, and never-before-seen photos — including what may be the very last image of McCartney and John Lennon ever taken together. (Which PEOPLE can exclusively premiere in the excerpt below.)
It’s a testament to the Beatles' love of “Big Mal” that the famously private foursome all granted him permission to pen his memoirs. Their individual approval letters are printed in Womack’s bio, and they’re all uniquely hilarious. “Sure, you can do your book,” writes McCartney, “as long as you tell them how lovely I am.” John Lennon’s note is characteristically more cheeky. “Good luck with the book. And heaven help us all! I’ve been dying to read your diary for the last thousand years! Make a buck, but don’t f--- it [up]...” Lennon had a right to be mildly concerned, as Evans was then — and, arguably, now — the most intimate band insider to share their complete story. (Harrison’s slight I Me Mine notwithstanding.) He quite literally saw it all because he was there, from Liverpool onward.
He was there for nearly every concert date, setting up the stage and prepping the instruments. He was there for every recording session, standing by in the corner with cups of tea and ciggies while the foursome filled the room with their world-changing music. When the Beatles got high (supposedly) for the first time with Bob Dylan in 1964, it was Evans who ran and got a pad of paper for McCartney to scribble down the meaning of life he’d just worked out in his stoned mind. (Answer: “There are seven levels.”) When they paid a visit to Elvis Presley’s house in 1965, Evans was dispatched to the kitchen to break apart plastic spoons for homemade guitar pics. When the band scored their first US No. 1 with “I Want to Hold Your Hand” in January 1964, the newly minted international hitmakers immediately climbed on Evans for a piggyback ride. When angry mobs directed by Filipino dictator Ferdinand Marcos turned on the Beatles, Evans put his body on the line. A West Coast vacation with McCartney helped inspire the plot to their Magical Mystery Tour film, and evidence suggests he’s an uncredited co-writer on a handful of Beatles standards. What’s more, he also played on a few, including “Yellow Submarine,” “Being for the Benefit of Mr. Kite,""A Day in the Life,”and “Helter Skelter.” He helped make the Sgt. Pepper cover collage a reality, cameoed in the Beatles’ feature films A Hard Day’s Night and Help!, and developed numerous acts for the band’s new label, Apple—most notably, Badfinger. And as Womack's book attests, he did even more.
Evans had a favorite phrase: “To serve is to rule.” There are many tales of his devotion. Living the Beatles Legend opens with a famous anecdote from one of his first nights working with the band, shuttling them up the 200-mile route from London to Liverpool in January 1963. A pebble hit the windshield early in their journey, sending it splintering into shards of glass. Undeterred, Evans put his hat over his fist and punched out the remainder of the windshield and drove on, with nothing between him and the subzero temperatures of Britain’s coldest winter in 150 years. No job was too painful, and no task was beneath him. Womack quotes McCartney’s friend Barry Miles, who “once overheard John mutter ‘Socks, Mal!’ and an hour later Mal appeared in the studio with a dozen different pairs of brightly colored socks. Where Mal found them in the middle of the night is a mystery.”
Still another associate recalls a night where Evans spent a solid 20 minutes genially persuading a belligerent drunk to vacate the lobby of the Beatles’ recording studio. When later asked why he didn’t simply pick up the much smaller man and toss him out, Evans shook his head. “If I had done that, then the bloke would have gone back and told his mates, ‘What a bunch of bastards those guys are.’ Instead, he walked away, really happy, thinking what a nice bunch of people we are. What we do reflects on the band. It’s about the band.”
Living the Beatles Legend features Evans' own insights on the group's final days and ultimate split — an experience that left him traumatized and struggling to find his own identity. Yet he remained close to all the former Fabs prior to his death, and even relocated to Los Angeles with Lennon in 1973. The ex-Beatle was in the midst of his infamous 18-month separation from wife Yoko Ono, forever known as “The Lost Weekend.” The estrangement inadvertently set the stage for a musical reunion with McCartney, who joined him in the studio on March 28, 1974 for their only known post-Beatles recording session. Unfortunately, the results were a drugged up shambles, but Evans couldn’t care less. His heroes were together again.
PEOPLE has an excerpt of Living the Beatles Legend detailing Evans’ debauched time with in LA recording Lennon's album Rock 'n' Roll, his memories of the final Lennon-McCartney recording session, and what may be the last photo of Lennon and McCartney together — captured by Evans’ camera.
What John would later describe as his Lost Weekend—a nod to the 1945 Billy Wilder film noir classic of the same name—began in the summer months of 1973. Yoko had kicked John out of the Dakota, their fortress-like apartment building on Central Park West, after his drinking and public debauchery grew out of control. During the Lost Weekend, “I was just insane,” John admitted. “I’ve never drunk so much in my life, and I’ve been drinking since I was 15. But I really tried to drown myself in the bottle, and it took an awful lot. I don’t seem strong physically that much, but it just seems to take an amazing lot to put me down. And I was with the heaviest drinkers in the industry.” Those drinkers grew to include the likes of Ringo Starr, Harry Nilsson, Keith Moon, Alice Cooper . . . and Mal.
As Mal soon discovered, working with John during this period would prove to be a chore—incomparable, in fact, to their touring years together, when the Beatles were often confined to the relative safety of a hotel suite. When he was in L.A., John could often be found at the Sunset Strip’s Rainbow Bar and Grill, which had emerged as his de facto headquarters during the Lost Weekend. With musicians like John, Harry, Ringo, Moonie, Alice Cooper, and Micky Dolenz adopting the Rainbow as their regular watering hole, they had taken to calling themselves the Hollywood Vampires, a nickname that evoked the night hours they spent guzzling hooch in the bar’s loft space.
On one of his most harrowing evenings in Los Angeles, Mal had accompanied John and [record producer] Phil Spector to the Rainbow. At one point, John walked Phil to his car, assuring Mal that he would return shortly. “About a half hour goes by, and I start worrying and go outside looking for John—no sign,” Mal later wrote. “I’d lost track of a Beatle for a day. What had happened, I found out the following evening, was that when he’d seen Phil off, a few hippie fans of his took him in tow, and John, who had just moved into a flat, couldn’t remember the address, nor his or my phone numbers. [John] eventually turn[ed] up, but not before I’d had a few irate words from Yoko, who phoned me from New York shouting, ‘I thought you were John’s bodyguard—why don’t you guard his body?’” At a loss for words, Mal admitted that “I never really thought of myself as a bodyguard to anybody, but I suppose over the years that had been part of the gig. Anyway, they were all grown up, with very strong minds of their own as to what they wanted to do, and I certainly didn’t expect them to hold themselves accountable to me.”
Spector would play an outsized role in the chaos of the Lost Weekend when he signed on to produce Lennon's covers album of '50s rock standards, released in 1975 under the evocative (if not creative) titled Rock 'n' Roll. Spector's notorious temper was exacerbated by his excessive intake of drugs and booze, and Evans found himself in the unenviably role of having to protect Lennon from his own producer.
That December, as work on Back to Mono [later retitled Rock 'n' Roll] proceeded, John and Phil shifted their project to the Record Plant West. The change of recording studios had nothing to do with the amenity-rich facilities and everything to do with John’s and Phil’s antics having gotten them evicted from A&M [Studios]. At one point, Harry Nilsson and Keith Moon, in a drunken stupor, had urinated onto the studio’s recording console, leaving the electronics in an ungodly mess. In a letter to Phil entitled “A Matter of Pee,” John wrote that “I can’t be expected to mind adult rock stars… I’m about to piss off to Record Plant because of this crap!"
Mal was delighted by the change of venue, but within a remarkably short period—only a few sessions, really—John’s Lost Weekend would leave its mark on the Third Street facility. As for Phil, nobody in the business had any illusions about the producer’s condition. “He was bats— crazy,” said [Evans' girlfriend] Fran, who pointed out that the industry tolerated Spector only because he was a legendary hitmaker of yore.
Things began innocently enough after John and Phil completed their Dec. 11 session at the Record Plant West, where they took a pass at Chuck Berry’s “You Can’t Catch Me.” As Mal looked on, the two men, drunk to the gills, were horsing around. In a nod to the early days of Beatlemania, John decided to hop onto Mal’s back for a piggyback ride. Unfortunately, Phil opted to get in on the act, too. Mal’s physical dexterity in late 1973 was a far cry from that of the early 1960s, and he had difficulty sustaining the weight of two men atop his aching back. As always, Mal observed, “Phil goes a little too far,” and in the ensuing ruckus, “he karate-chopped me on the nose, my spectacles went flying, and I got tears in my eyes I can tell you. I turned around with a real temper and told Phil, ‘Don’t ever lay another finger on me, man.’”
And that’s when Phil, “maybe to reestablish himself in his own eyes,” Mal thought, pulled out a handgun. To the roadie’s surprise, the producer “fired it off under our noses, deafening us both, the bullet ricocheting around the room and landing between my feet.”
John was understandably incensed, exclaiming to Phil, “If you’re gonna kill me, kill me, but don’t take away my hearing—it’s me living!”
Until that moment, Mal and John had believed that Spector’s handgun was a toy. At one point earlier in the evening, Phil had cocked the trigger and aimed the weapon at John’s head. As a result of the incident, “John’s fear of guns generally was doubled.” For his part, Mal vowed to stay clear of Phil. He would attend the recording sessions in deference to John, but that was it.
[By the spring of 1974], the Back to Mono production had gone on hiatus after Spector’s reckless behavior finally caught up with him in the form of a harrowing car accident. Barely escaping with his life after being catapulted through the windshield of his Rolls-Royce, he had required some seven hundred stitches. As for Harry Nilsson, his latest record, A Little Touch of Schmilsson in the Night, had hit the charts with a thud, and he was eager to recapture the glory days of his “Without You” era. As his drinking buddy and bosom companion, John offered to serve as producer on the singer’s next album. Thanks to Spector’s penchant for driving while intoxicated, John had plenty of free time on his hands.
For Harry’s album—which went under the working title Strange Pussies [later renamed Pussy Cats]—John intended to pull out all the stops for his friend, and this meant procuring the services of Mal to stage-manage the production. After the drunken debauchery associated with Back to Mono, there was little doubt that Strange Pussies would be no easy feat. Knowing Harry’s hard-drinking proclivities, John reasoned that the best way to proceed would be to ensure that the album’s motley group of participants lived under the same roof for the duration of the project. Their salvation arrived in the form of an opulent seaside estate in Santa Monica.
On the advice of Ringo’s personal lawyer, Bruce Grakal, John and [girlfriend] May Pang toured the Spanish-style mansion on Palisades Beach Road, easily the most storied address among California’s Gold Coast abodes. Constructed in 1926, the home had been the brainchild of legendary Hollywood mogul Louis B. Mayer. The estate had earned a notorious reputation in later years, after it was purchased by actor Peter Lawford and his wife, Patricia (née Kennedy). As John already knew, in the early 1960s, 625 Palisades Beach Road was the site of President John F. Kennedy and Marilyn Monroe’s love nest.
When it came time to move into the rented house, John and May took the master bedroom for themselves, with Lennon quipping “so this is where they did it,” referring to Kennedy and Monroe’s seaside assignations.The other bedrooms at the estate were allotted to Harry, Keith Moon, and Klaus Voormann, with the estate’s library—complete with President Kennedy’s portrait on the wall—converted into a bedroom for Ringo, who was in town to escape his failing marriage. For the purposes of recording Strange Pussies, RCA Records had blocked off studio time for John and Harry at the Record Plant.
For those associated with Strange Pussies, the project was doomed from the start, with John and Harry earning international headlines after being kicked out of the Troubadour [nightclub] for disorderly behavior after heckling the Smothers Brothers earlier that same month. For Mal especially, working on Harry’s album was nothing short of a disaster. For one thing, most of the players subsisted in a state of perpetual drunkenness worsened only by the lines of cocaine being doled out. It didn’t help that the other principal musicians—saxophonist Bobby Keys and guitarists Jesse Ed Davis and Danny Kortchmar—were world-beating partiers in their own right. Along with May, a lifelong teetotaler, Mal struggled to keep the troops in order and working toward the common goal of righting Harry's career. When the sessions devolved into chaos, which they invariably did, Mal would throw up his hands in defeat and join the revelry.
For Mal, the album achieved its zenith on March 28. In many ways, that evening alone should have given Strange Pussies the kick in the ass it sorely needed. But the players simply weren’t up to it. That night, none other than Paul and Linda had strolled into the Record Plant. Ever the sentimentalist, Mal was overcome by emotion at the sight of John and Paul together for the first time since [George Harrison's wife] Pattie’s March 1970 birthday celebration at Friar Park. Unfortunately, the music they made that night was a different matter altogether. In truth, Mal couldn’t have asked for a more talented assemblage of musicians under a single roof. The great Lennon and McCartney were on hand, of course, along with Nilsson, Davis, and Keys. Better yet, they had been joined that evening by Stevie Wonder, who chipped in on keyboards. With nary a drummer in sight, Paul strode behind Ringo’s empty drum kit, joining John and a series of ragged lead vocals on such chestnuts as “Lucille” and “Stand by Me.” For their part, Mal and May made half-hearted efforts at percussion. After several sloppy attempts at finding a groove, the musicians mercifully called it quits. What might have been an unexpected Lennon-McCartney triumph had ended in an amateurish, desultory jam.
For Mal, the sunny afternoon of March 29 would bring pure magic in contrast with the previous evening’s lackluster proceedings. The McCartney clan showed up [at the Santa Monica beach house] out of the blue, this time with daughters Heather, Mary, and Stella in tow, and Mal was thrilled at the prospect of seeing John and Paul together again—twice in the span of two days, no less. And he was by no means disappointed, observing the two old friends reclining on the patio together and, later, walking along the beach, with May, Linda, and the McCartney brood trailing along behind them. “Nice to see him and John together,” Mal scribbled in his diary later that month.
At one point that afternoon, Evans reached for his camera and snapped a photo of the two old friends lounging at the beach house — flanked by their partners, Linda and May Pang, and Harry Nilsson. May would also take some Polaroids of the meeting at some point this day, but there's a very real possibility that Evans' picture is the last photo ever taken of the 20th Century's greatest songwriting duo. (It will be included in the upcoming collection of Evans' diaries and archives, slated for publication in 2024.)
A week after taking the historic photo, Evans returned to the Santa Monica beach house on April 6, 1974, to have one of the most difficult conversations of his life. After dedicating himself body and soul to the Beatles for more than a decade, he was about to tender his resignation. It was the only way to forge his own path as a budding producer, songwriter, and talent scout. Thankfully, three of the Fab Four were in residence at the beach house that day, so he could say his farewells in person.
Girding his courage, Mal sought out John first. To his relief, the Beatle was sitting alone by a table in the living room. “I told him that I felt it was time for me to become my own person and do my own thing,” Mal later recalled. He had to admit that “doing his own thing” wasn’t entirely clear in that moment. “For too long, I had been resting on my laurels,” he told John, “not doing anything constructive for them nor myself except on a personal level, and I would never stop doing that, no matter what.” And with that, Mal braced himself for John’s reaction.
Without missing a beat, John piped up, saying, “It’s about time, Mal. I was wondering when you would come to it. You’re certainly capable of standing on your own two feet now, and I wish you all the luck in the world. If you ever need me, I’ll be there,” he continued, “and I know your songwriting will develop into a career for you.”
As it happened, Ringo’s reaction was more difficult to gauge. In Mal’s memory, the two old friends “sat together at the bottom of the garden, just lying back in the sunshine.” When Mal informed the drummer of his decision, Ringo went quiet. By contrast, Paul proved to be eminently more receptive, taking Mal in a warm embrace and saying, “Good on you, lad. I know you’ll be very successful—you deserve to be.”
That Sunday evening, [Mal] joined John, May, and a bevy of other friends for a seafood dinner at the Crab Shell, a bistro on Venice Beach. Harry was there, of course. He confided in Mal that Ringo had stayed up with him drinking well into the night and weeping as he took in the full measure of Mal’s decision. “Now that Mal’s left,” Ringo had cried to Harry, “the Beatles are really over.” Excerpted from LIVING THE BEATLES LEGEND: The Untold Story of Mal Evans by Kenneth Womack. Copyright © 2023 by Kenneth Womack. Reprinted by permission of Dey Street, an imprint of HarperCollins Publishers.
|
|
|
Post by P(D)enny La(i)ne on Nov 5, 2023 17:08:37 GMT -5
"On Tuesday, September 4th, The Beatles will fly to London to make recordings at E.M.I. Studios. They will be recording numbers that have been specifically written for the group, which they have received from their recording manager George Martin (Parlophone)."This means that whoever wrote that article for the Mersey Beat knew for a fact that Love Me Do and P.S. I Love You were written especially for the Beatles. It was Brian Epstein who had related the entire story to the Mersey Beat reporter:
Brian Epstein reported for Mersey Beat, and his story, carried anonymously at his request. He told how they had met together at Liverpool Airport at 8.15am for their flight to London.At that point in time Epstein knew for a fact that all those songs had been written "specifically" for The Beatles. For the September 4, 1962 session, The Beatles were given six songs: How Do You Do It (Mitch Murray), Love Me Do, Ask Me Why, P.S. I Love You, PLEASE PLEASE ME, and Tip Of My Tongue. Yes, Please Please Me was among the "recording numbers that have been specifically written for the group, which they have received from their recording manager George Martin (Parlophone)". Obviously, whoever wrote Please Please Me also penned I Saw Her Standing There, and their next two singles, From Me To You and She Loves You. I do not provide conjectures, but only direct proofs. You didn't provide a link for any of the above, so I'm assuming that you're referring to the below article, which makes NO MENTION of Brian Epstein relating anything to the Mersey Beat writer. If there's a link that specifically indicates this, please provide it. www.beatlesagain.com/breflib/pete.html#:~:text=On%20Tuesday%2C%20September%204th%2C%20The,manager%20George%20Martin%20(Parlophone).
|
|
|
Post by P(D)enny La(i)ne on Oct 25, 2023 19:13:23 GMT -5
Accompanying this woman on her journey down the rabbit hole is delightful.
|
|
|
Post by P(D)enny La(i)ne on Oct 23, 2023 11:21:25 GMT -5
Here's a fascinating fly-on-the-wall recording of a conversation between the character Paul, Linda, John Eastman, and Lee Eastman regarding Klein, Capital royalties, the possible dissolution of Apple, and more. The transcript has been available for ages, but it's informative to hear the tones of voice. It's refreshing to hear Paul (and Linda to a lesser extent) not being cagey for a change, even though he IS aware that the conversation is being recorded. Particularly when discussing how the other three are arguing against their own interests. Paul:"They're arrogant, they're big heads, and they're dumb."
"They really are arrogant. They really think like someone like Ringo."
Linda:
"Got that on tape, honey."
Paul: "I don't care. I really feel it..."
Linda:
"Yoko has so much up her sleeve, she's bulging." That's one example, but the whole conversation is fascinating.
|
|
|
Post by P(D)enny La(i)ne on Oct 22, 2023 13:27:23 GMT -5
Junior Campbell – The Marmalade Years THESTRANGEBREW JANUARY 14, 2022Junior Campbell talks about his time in The Marmalade in the first part of an extensive podcast interview. We cover his early years, Dean Ford and the Gaylords, Marmalade’s psychedelic and pop singles, hitting number one with Ob-La-Di, Ob-La-Da, songwriting, Reflections of My Life and leaving the group. link
|
|
|
Post by P(D)enny La(i)ne on Oct 22, 2023 12:59:17 GMT -5
Here's Braverman's Cream of the Beatles in its entirety...
|
|
|
Post by P(D)enny La(i)ne on Oct 22, 2023 12:19:48 GMT -5
"Jarv Remember, Pepper is based on a parody of a satire of a band that never REALLY existed. There were NO Beatles. At this point, in some sort of Twilight Zone manner, the band ceased, replaced by SPLHCB. The story, hidden in plain sight, tells the tale of two bands, actually. One that has come to a funeralistic ending, and another that will carry on. At least, that was the concept. Apollo" This might be the most significant statement ACV communicated. I've read the first sentence at times as Pepper is the the band that never really existed. But, mentally shifted because of 'IS BASED ON' . And 'a band that never REALLY existed' And thirdly - 'There were NO Beatles.' Not sure he could be more in someone's face and straight shooting then this. “I'm the urban spaceman, baby; here comes the twist-- I don't exist.” “I’m the Urban Spaceman” by the Bonzo Dog Doo-Dah Band was written and sung by Neil Innes, AKA Ron Nasty of The Rutles (another parody of a satire of a band that never really existed), and produced, as you all know, by Bill, using the pseudonym Apollo C. Vermouth. In the 1968 live performance on Do Not Adjust Your Set, Vivian Stanshall played a black woodwind instrument (recorder?), because of course he did. Edited a million times because I’m useless posting with my phone… Speaking of Neil Innes...
|
|
|
Post by P(D)enny La(i)ne on Oct 21, 2023 20:32:04 GMT -5
"Jarv Remember, Pepper is based on a parody of a satire of a band that never REALLY existed. There were NO Beatles. At this point, in some sort of Twilight Zone manner, the band ceased, replaced by SPLHCB. The story, hidden in plain sight, tells the tale of two bands, actually. One that has come to a funeralistic ending, and another that will carry on. At least, that was the concept. Apollo" This might be the most significant statement ACV communicated. I've read the first sentence at times as Pepper is the the band that never really existed. But, mentally shifted because of 'IS BASED ON' . And 'a band that never REALLY existed' And thirdly - 'There were NO Beatles.' Not sure he could be more in someone's face and straight shooting then this. “I'm the urban spaceman, baby; here comes the twist-- I don't exist.” “I’m the Urban Spaceman” by the Bonzo Dog Doo-Dah Band was written and sung by Neil Innes, AKA Ron Nasty of The Rutles (another parody of a satire of a band that never really existed), and produced, as you all know, by Bill, using the pseudonym Apollo C. Vermouth. In the 1968 live performance (below) on Do Not Adjust Your Set, Vivian Stanshall played a black woodwind instrument (recorder?), because of course he did.
|
|
|
Post by P(D)enny La(i)ne on Oct 20, 2023 19:29:53 GMT -5
Helter Skelter in the summer swelter The birds flew off with a fallout shelter Eight miles high and falling fast It landed foul on the grass The players tried for a forward pass With the jester on the sidelines in a cast Now, the half-time air was sweet perfume While the sergeants played a marching tune We all got up to dance Oh, but we never got the chance 'Cause the players tried to take the field The marching band refused to yield… It may (or may not) be worth noting that American Pie is...Apple. www.google.com/search?q=as+american+as+apple+pie-j Apaul pie
|
|
|
Post by P(D)enny La(i)ne on Oct 17, 2023 20:28:26 GMT -5
Helter Skelter in the summer swelter The birds flew off with a fallout shelter Eight miles high and falling fast It landed foul on the grass The players tried for a forward pass With the jester on the sidelines in a cast Now, the half-time air was sweet perfume While the sergeants played a marching tune We all got up to dance Oh, but we never got the chance 'Cause the players tried to take the field The marching band refused to yield…
|
|
|
Post by P(D)enny La(i)ne on Feb 13, 2023 22:05:57 GMT -5
Hey Jarv, thanks for starting this thread! Bob (I guess his real name being identified doesn't matter anymore) sent me this message on January 3, 3 days before his passing: Hi JoJo, My health is deteriorating. I could "go" at any time, though I am hanging on as best I can. Just wanted to let you know. Also having vision issues. If I disappear at NIR-PWR, it may be due to death or blindness. I'll keep you posted (I hope!)I replied with a note that when I was on death's door, I visited the other side (true!) and it was more of a social gathering for lack of a better description. I of course said I will talk to you soon.. Ah well it was not meant to be. I first met Bob when he came to visit his brother who lived in Portsmouth, NH which is just a 15 minute drive away from me or so, and he said hey want to meet? I said sure and so we and his brother met at a restaurant there. What probably many don't know is that Bob and his brother were identical twins. As often happens as time passes, identical twins don't look so "identical" anymore and yes it was the case with Bob and his brother. But you could see they had a close bond and also that way of annoying each other that only brothers can do, LOL. I really enjoyed when Bob came to visit and was hoping for another one. Last time was I believe in 2018, we went out to a seafood place across the state line in Maine and Bob paid the tab, very generous! Bob was a highly intelligent guy, definitely on the right side of the curve. He also marched to the beat of his own drummer, and for me that is a big plus, those are my people. :-) Anyway, I know Bob is now with his brother and is enjoying becoming acquainted with his new digs. Miss you Buddy! I was worried about him. He hadn't responded to a FB message for over a week, and I feared the worst. Bob was a good guy. His heart was in the right place. Let it be, Letter B.
|
|
|
Post by P(D)enny La(i)ne on Sept 6, 2018 9:21:21 GMT -5
Youtube seems to have been scrubbed of the Condensed Cream of the Beatles.
The only thing I can find is a 1 minute clip.
Does anyone have the entire video saved?
JoJo?
Best,
P(D)
|
|
|
Post by P(D)enny La(i)ne on Jul 30, 2017 22:05:55 GMT -5
|
|
|
Post by P(D)enny La(i)ne on Jul 21, 2017 15:14:01 GMT -5
The Saturn theory offers a radically different approach to understanding the recent history of the solar system. Briefly summarized, the theory posits that the neighboring planets only recently settled into their current orbits, the Earth formerly being involved in a unique planetary configuration of sorts together with Saturn, Venus, and Mars. As the terrestrial skywatcher looked upwards, he saw a spectacular and awe-inspiring apparition dominating the celestial landscape. At the heart of heaven the massive gas giant Saturn appeared fixed atop the North polar axis, with Venus and Mars set within its center like two concentric orbs (see figure one, where Venus is the green orb and Mars the innermost red orb). The theory holds that the origin of ancient myth and religion—indeed the origin of the primary institutions of civilization itself—is inextricably linked to the appearance and evolutionary history of this unique congregation of planets. and... Further support for the alternative "Saturn theory" comes upon considering the representation of the planet Venus in ancient art. A straightforward interpretation of the various images superimposed upon the "solar" disc in figure two would understand the first as an " eye"; the second as an eight-spoked wheel or "star"; and the third as an eight-petalled flower. Now it is a remarkable fact that the planet Venus is consistently associated with these very forms from one ancient culture to another. The ancient Sumerians, for example, represented Venus (as Inanna) as an eye-goddess, eight-pointed star, and eight-petalled flower or rosette. Consider the figurine represented in figure six, one of thousands discovered by Max Mallowan during his excavations of the Inanna-precinct at Uruk. Similar "eye-goddesses" have been found throughout the ancient world, from Neolithic Europe to India. Figure seven shows an early cylinder seal from the Jemdet Nasr period (c. 3000 BCE), depicting Inanna as an "eye-goddess" alongside her familiar eight-petalled rosette. www.maverickscience.com/saturn.htm
|
|
|
Post by P(D)enny La(i)ne on Jul 16, 2017 20:34:09 GMT -5
|
|
|
Post by P(D)enny La(i)ne on Jul 9, 2017 22:53:32 GMT -5
https://www.youtube.com/watch?v=yGGFkFuSNLM
|
|
|
Post by P(D)enny La(i)ne on May 7, 2015 16:30:22 GMT -5
Paul is Dead at the End of the World - Pt. 12 (Happy Crimball Edition) hey P(D), much like Ringo, you don't seem to reply to fanmail much these days, but that clip of William Holden is a doozy! He also played Paul in the loaded film Born Yesterday.Read about his personal life on Wiki... Yeah, Billy Holden's definitely quite a resonator. Is there a particular piece of fanmail that I should be reading? Peace and love, of course. P(D)
|
|
|
Post by P(D)enny La(i)ne on Mar 27, 2013 11:36:35 GMT -5
Not a comic strip, but comedy gold, nonetheless.
|
|
|
Post by P(D)enny La(i)ne on Feb 5, 2013 14:21:26 GMT -5
Danny Wilten - Hour 1 - Orion In The VaticanRed Ice Creations January 29, 2013 Danny Wilten, an analyst, alchemist, symbolist, & hermeticist joins us to discuss his Ebook, Orion In The Vatican. There is a mystery associated with the Orion Constellation found in indigenous cultures all over the world that dates back to ancient Egypt. Danny discusses man's connection to the Orion Nebula and its association to the human body and consciousness. He talks about the mystery of how the Orion Nebula has been subconsciously depicted by some of the greatest masters in religious art including Michelangelo, El Greco, Bernini, and others, yet the intimate knowledge of the Orion Nebula found mysteriously in these paintings precedes the discovery of the telescope and still would require technology that rivals some of our most powerful telescopes today. We’ll point out what art pieces reveal important clues. In the second hour, we discuss symbols such as the winged disc and the all-seeing eye. Danny will talk about the Orion Constellation and Pleiades as mentioned in the Bible. Later, we’ll discuss Ellen G. White who founded The Seventh-day Adventist Church as well as other seers and visionaries who have mentioned Orion in their work. Wilten further explains why the findings he’s made can’t be explained away as Pareidolia, seeing patterns in random data.
|
|
|
Post by P(D)enny La(i)ne on Jan 23, 2013 14:45:30 GMT -5
Forgot to mention that I went to the show, and before "Oh Darling," Denny said, in jest(?):
"I'm contractually obligated to NOT sing like Paul McCartney, so I'll have to sing it this way..."
Oh, and his vocal on "Bathroom Window" was uncannily Macca-esque.
Finally, Peter Asher was great.
|
|
|
Post by P(D)enny La(i)ne on Jan 15, 2013 14:41:45 GMT -5
Denny Laine remembers Abbey RoadJan 10, 2013 9:19 AM EST Updated: Jan 10, 2013 2:42 PM EST By ROBERT PRICE bprice@njherald.com Denny Laine has fond memories of working and hanging out at Abbey Road Studios, the venerable London recording studio where The Beatles, Pink Floyd and many other British bands used innovative recording techniques to make musical history. Laine, a founding member of both The Moody Blues and Wings, will relive and share memories of those times Thursday at the Salt Gastropub in Byram when he and his band perform The Beatles' 1969 "Abbey Road" album. "The show isn't just the album -- that's only 46 minutes. It's Abbey Road memories ... and the music that was made there, not just by The Beatles, but by other bands from the British invasion. It should be a good show," said Laine, in a telephone interview from his home in Las Vegas. "Abbey Road Memories" is a show that features a complete performance of the Beatles' legendary album, as well as other Beatles classics and songs recorded at Abbey Road Studios by the likes of The Zombies, Manfred Mann, Pink Floyd, Gerry and the Pacemakers, Stealer's Wheel and The Hollies. Of course, Laine will play his own songs, including The Moody Blues' No. 1 hit "Go Now," and Wings smashes such as "Time to Hide," "Live and Let Die" and "Band on the Run." Backing Laine will be a group of musicians known in music circles as "the Peter and Gordon Band" because in the '60s they played with British pop duo of Peter Asher and Gordon Waller. (Asher, of course, became head of Apple Records and a world-renown record producer.) The band consists of: Jeff Alan Ross (keyboards, guitar), who was in Gerry and the Pacemakers in the '60s and Badfinger in the '80s; Bill Cinque (bass), also a Pacemaker; Steve Aho (drums), and Brian Pothier (guitar), both of whom have toured and recorded with many acts of the '60s and beyond. A sampling of Laine's Abbey Road memories includes Wings' "Live and Let Die" session with a 40-piece orchestra conducted by famed Beatles producer George Martin; and being present for The Beatles' "Fool on the Hill" session in 1967. Laine's connection to Beatles music can be attributed to his long friendship with Paul McCartney. Considering his decade with McCartney and Wings from 1971 to 1981, he's practically a fifth Beatle. "I met The Beatles back in Birmingham, before any of us moved down to London. We were very friendly via the party scene," he said. "We (The Moody Blues) got invited to do their second British tour. It all led to me getting together with Paul in Wings." Laine's time with The Moody Blues was short-lived, but in 1965 his voice was among the most recognizable on the scene thanks to the smash hit "Go Now" off their first album, "The Magnificent Moodies." "The album didn't do that well and I wanted to do other things," Laine said, of his 1966 departure from The Moody Blues, who would go on to become one of the pre-eminent progressive rock bands of all time. "The Moodies I was in was more of a blues, R&B band. That first album is a cult album now. I keep getting asked to do the album live. Someday I may do it." Laine plans to do several shows on this mini-tour in the East and the timing couldn't be better since McCartney is about to re-issue Wings' 1977 live album "Wings Over America," which documented the band's only tour of America. Laine was a founding member of Wings, along with Paul and Linda McCartney, and stayed with the band through its entire 10-year run. He played guitar, bass and sang on such albums as "Wild Life," "Red Rose Speedway," "Band on the Run," "Wings at the Speed of Sound," "Wings Over America," "London Town" and "Back to the Egg." While Laine was influenced by early rock and roll acts such as Buddy Holly and Chuck Berry, his first guitar hero was actually jazz/ragtime legend Django Reinhardt. Laine's first band, prior to The Moody Blues, was Denny and the Diplomats. After his stint in the Moodies, he formed The Electric String Band, another short-lived project despite the fact that its sound spawned the more popular and successful Electric Light Orchestra three years later. Next Laine became lead guitarist and vocalist for Ginger Baker's Air Force. But as noteworthy as these early gigs were, it was all preparation for Laine's time with Wings and his development as an honorary Beatle, while eventually forging his own musical identity as well. Among his best solo efforts along the way were "Holly Days" (1976), "Wings on My Feet" (1986), "Blue Nights" (1994), "Danger Zone" (1995) and "Reborn" (1996). Laine, who wrote and recorded an "environmental" album called "Arctic Song" in 2000, had direct dealings with nature in October when Superstorm Sandy dismantled the Jersey Shore. Laine docks a boat in Mayville and has a part-time residence there. "The boat was OK because it was out of the water, being restored. But the cabin I stay in was under water," Laine said. At 68, Laine certainly is not resting on his laurels. He has a new album, "Valley of Dreams," set to be released early this year. He will be taking part in a stage show called "Vinyl," in Las Vegas and London, that's all about the music of the '60s and '70s. And he will be staging "Arctic Song," probably in Las Vegas. "It's all about the climate change situation," he said. And he never says never about possible future dates with McCartney. "We're still in touch over various things. I can't predict anymore what Paul's gonna do," Laine said.
|
|