THE BEATLES - JOHN, PAUL, GEORGE AND RINGO.
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I remember when we first met, at Woolton, at the village fete. It was a beautiful summer day and I walked in there and saw you on stage. And you were singing Come Go With Me, by the Dell Vikings, but you didn’t know the words so you made them up. Come go with me to the penitentiary. It’s not in the lyrics.
I remember writing our first songs together. We used to go to my house, my dad’s home, and we used to smoke Ty-Phoo tea with the pipe my dad kept in a drawer. It didn’t do much for us but it got us on the road. We wanted to be famous.
I remember the visits to your mum’s house. Julia was a very handsome woman, very beautiful woman. She had long, red hair and she played a ukulele. I’d never seen a woman that could do that. And I remember having to tell you the guitar chords because you used to play the ukulele chords.
And then on your 21st birthday you got 100 pounds off one of your rich relatives up in Edinburgh, so we decided we’d go to Spain. So we hitchhiked out of Liverpool, got as far as Paris, and decided to stop there, for a week. And eventually got our haircut, by a fellow named Jurgen, and that ended up being the Beatle haircut.
I remember introducing you to my mate George, my schoolmate, and getting him into the band by playing Raunchy on the top deck of a bus. You were impressed. And we met Ringo who’d been working the whole season at Butlins camp he was a seasoned professional but the beard had to go, and it did.
Later on we got a gig at the Cavern Club in Liverpool, which was officially a blues club. We didn’t really know any blues numbers. We loved the blues but we didn’t know any blues numbers, so we had announcements like Ladies and gentleman, this is a great Big Bill Broonzy number called Wake Up Little Suzie. And they kept passing up little notes “This is not the blues, this is not the blues. This is pop.” But we kept going.
And then we ended up touring. It was a bloke called Larry Parnes who gave us our first tour, I remember we all changed names for that tour. I changed mine to Paul Ramon, George became Carl Harrison and, although people think you didn’t really change your name, I seem to remember you were Long John Silver for the duration of that tour. Bang goes another myth.
Wed been on a van touring later and we’d have the kind of night where the windscreen would break. We would be on the motorway going back up to Liverpool. It was freezing so we had to lie on top of each other in the back of the van, creating a Beatle sandwich. We got to know each other. These were the ways we got to know each other.
We got to Hamburg and met the likes of Little Richard, Gene Vincent I remember Little Richard inviting us back to his hotel. He was looking at Ringo’s ring and said, I love that ring. He said, I’ve got a ring like that. I could give you a ring like that. So we all went back to the hotel with him. (We never got a ring.)
We went back with Gene Vincent to his hotel room once. It was all going fine until he reached in his bedside drawer and pulled out a gun. We said Er, we’ve got to go, Gene, we’ve got to. We got out quick!
And then came the USA New York City where we met up with Phil Spector, the Ronettes, the Supremes, our heroes, our heroines. And then later in L.A., we met up with Elvis Presley for one great evening. We saw the boy on his home territory. He was the first person I ever saw with a remote control on a T.V. Boy! He was a hero, man.
And then later, Ed Sullivan. We’d wanted to be famous, now we were getting really famous. I mean imagine meeting Mitzi Gaynor in Miami!
Later, after that recording at Abbey Road. I still remember doing Love Me Do. You officially had the vocal Love Me Do but because you played the harmonica, George Martin suddenly said in the middle of the session, Will Paul sing the line love me do? The crucial line. I can still hear it to this day you would go Whaaa whaa, and I’d go love me doo-oo. Nerves, man.
I remember doing the vocal to Kansas City well I couldn’t quite get it, because it’s hard to do that stuff. You know, screaming out the top of your head. You came down from the control room and took me to one side and said, You can do it, you’ve just got to scream, you can do it. So, thank you. Thank you for that. I did it.
I remember writing A Day in the Life with you, and the little look we gave each other when we wrote the line “I’d love to turn you on.” We kinda knew what we were doing, you know. A sneaky little look.
After that there was this girl called Yoko. Yoko Ono. She showed up at my house one day. It was John Cage’s birthday and she said she wanted to get hold of manuscripts of various composers to give to him, and she wanted one from me and you. So I said, “Well it’s OK by me, But you’ll have to go to John.”
And she did
After that I set up a couple of Brennell recording machines we used to have and you stayed up all night and recorded Two Virgins. But you took the cover yourselves nothing to do with me.
And then, after that there were the phone calls to you, the joy for me after all the business **** that we’d gone through was that we were actually getting back together and communicating once again. And the joy as you told me about how you were baking bread now, and how you were playing with your little baby, Sean. That was great for me because it gave me something to hold on to.
So now, years on, here we are. All these people. Here we are, assembled, to thank you for everything that you mean to all of us.
This letter comes with love, from your friend Paul.
John Lennon, you’ve made it. Tonight you are in the Rock n Roll Hall of Fame.
God bless you.
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This is the exact same JOHN LENNON Box of Vision that will be stored inside the JOHN LENNONTIME CAPSULE. In celebration of the 70th anniversary of John Lennon’s birth, it will only be manufactured and available for a limited time. (Each copy will be uniquely numbered.)
The unique “artist’s canvas” oversized Box (measuring over 15 inches by 13 inches, and 4 inches deep) is wrapped in a stunning, silver-inked portrait of John Lennon, with a precise reproduction of John’s original line drawing “Baby Grand” on the back.
Inside the Box are three brand new, officially authorized books, and 4 exclusive, art -adorned recordable discs:
1) The LP artwork book:
166 pages of newly restored LP art, in original LP size, including the complete artwork for John and Yoko’s WEDDING ALBUM, formatted for the first time in book form, to be enjoyed as an actual wedding album (its stunning!); the complete calendar artwork for LIVE PEACE IN TORONTO 1969; all of John’s studio albums from PLASTIC ONO BAND through MILK AND HONEY plus all officially released worldwide compilations and live albums originally issued in the LP format. (oh yes—and those photos—offered both behind a “paper bag” image reproduction, or at your discretion, in full glory when you “open up” the page.)
2) The Catalography:
A brand new, full color discography of John’s, and John and Yoko’s, album catalog, with an exclusive essay and textual guide by Bruce Spizer; newly restored reproductions of classic Lennon album advertisements; John’s handwritten sound notes to DOUBLE FANTASY and MILK AND HONEY; and more.
3) The CD Storage Book:
The patented Box of Vision CD storage system, built to store all of John Lennon’s official CD releases, it can hold up to 32 different CD albums, in an expandable and adaptable format to accommodate any fan’s collection. (CDs not included)
THE EXCLUSIVE RECORDABLE DISCS
Two (2) art-adorned recordable DVDs, and two (2) different art-adorned recordable CDs, intended for you to record and store audiovisual and audio content you choose. We have received permission from Yoko Ono to create these unique CD/DVDs using classic John and John and Yoko art elements as well as from John’s drawings. Create your own “time capsule” content to store in your Box of Vision, or transfer and store your John Lennon, or John and Yoko, MP3s and videos.
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"Perhaps the most puzzling aspect of the LP was the time it had taken to see the light of day. Yellow Submarine. albeit a highly successful film in both critical and box-office terms, had been on release for all of seven months before this (supposedly) accompanying soundtrack album was issued. The songs themselves were even older."
The Beatles were mildly criticised at the time of this LP release for giving less than their usually excellent value-for-money. Lovely though George Martin's score was, fans of the group were having to buy a full price album for just four "new" songs by the group (even the most recent was 11 months old), two of the six titles-'Yellow Submarine' itself and 'All You Need Is Love' - having long been released. The group evidently took the criticism to heart, for there remains in the EMI library a master tape for a seven-inch mono EP, to run at LP speed, 331/3 rpm, complied and banded on 13 March 1969 by Abbey Road employee Edward Gadsby-Toni, with the following line-up: Side A 'Only A Northern Song', 'Hey Bulldog'; 'Across The Universe' . Side B: 'All Together Now'; 'It's All Too Much' . (Note the bonus inclusion of 'Across The Universe', long finished and mixed but, as of March 1969, still awaiting issue on the World Fund charity album.)"
The EP was never released!
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Part of the proceeds from this book will be joyfully
Material World Charitable Foundation
OM (or AUM) is the symbol of essence of Hinduism. It means oneness with the Supreme, the merging of the physical being with the spiritual. The most sacred syllable, the first sound of the Almighty - the sound from which emerges each and every other sound, whether of music or of language.
In the Upanishads (inner mystical thinking - meditation) this sacred syllable appears as a mystic sound, regarded by scriptures as the very basis of every other sacred mantra (hymn). It is the sound not only of origination but also of dissolution. The past, present and future are all included in this one sound and even all that transcends this configuration of time is also implied in OM.
OM - THE SYMBOL OF ABSOLUTE.
Beatlemania to the extreme!
If "A Hard Day's Night" married "I Love Lucy," the offspring would be "A Date With A Beatle." An wild trip through Beatlemania with a 16-year old girl who has one goal in mind -... Read more
A fabulous book -I read A Date With a Beatle on a road trip. First, it's a very easy read. Second, it made the trip just zoom by.
Within the first 3 minutes of having this book in my possession, I read the first four chapters. I am not a reader but this book grabbed my attention and held onto it until I... Read more Judy was a Philadelphia Beatle fan with extraordinary resourcefulness and good fortune. From the time she, then 15 first saw the boys featured on the CBS Evening News on Tuesday,... Read more
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Tribute to Gordon Waller
by Bill Donati, May 28, 2010, special to Fab 4 Radio
Las Vegas is the entertainment capital of the world. Performers know the city has appreciative audiences, especially for rock artists. Saturday afternoon was no exception when fans lined up inside the Cannery Casino to fill the theatre where Peter Asher hosted a concert in memory of singing partner Gordon Waller. Peter organized a great show with help from rock stars who were part of the British Invasion, proving that Peter and Gordon remain indelibly etched in the memories of music fans with famous songs like “World Without Love,” “Woman,” “Nobody I Know,” “I Don’t Want to See You Again,” and “Lady Godiva.”
Gordon Waller passed away in 2009 and, as Peter told the crowd, he wasn’t sure if hecould ever sing their songs again but, thankfully, Peter organized a dazzling tribute to his longtime partner. Peter’s voice filled with emotion as he spoke of his friend and colleague, but the range of emotions was broad as he recounted Gordon’s sense of humor, the likely reason for his friendship with Ian Whitcomb – “You Turn Me On” – who brought laughs with his comedic singing. Performers recounted how Gordon Waller’s idol was Elvis, so it was a fitting tribute that D.J. Fontana, Elvis’s drummer, took the stage as Spencer Davis and Denny Laine rocked the theater with Elvis songs, and both received thunderous applause when they sang their own
hits “Go Now” and “Gimme Some Loving.” Terry Sylvester of the Hollies also pleased fans with the band’s great songs, including his favorite, he noted, “He Ain’t Heavy, He’s My Brother.” John Walker, of the Walker Brothers, captured the audience with his powerful voice as he sang “The Sun Ain’t Gonna Shine Anymore,” with his wife Cynthia on backing vocals. Chad and Jeremy were equally as mesmerizing with flawless harmony in their classic tunes “Yesterdays Gone,” “Summer Song,” and “Willow Weep for Me.” But the most poignant performance occurred when Peter Asher closed the show. As monitors projected clips of Peter and Gordon in their heyday, Peter recounted how Paul McCartney, while living at the
Asher home in London, had shown him a song that “John or somebody didn’t like.” The song was “World Without Love.” On the monitors the original McCartney handwritten lyrics were shown and still exist in his personal archive Peter explained. But Paul said the song was unfinished because the bridge or “middle eight,” as The Beatles called it, had yet to be written. The monitors next showed McCartney’s completion, the bridge section written in red ink, “like it was an emergency,” quipped Peter. After thirty years, the duo agreed to reunite in a benefit for Mike Smith, lead singer for the Dave Clark Five, who was tragically paralyzed in an accident in 2003. Despite the long hours, the performers graciously participated in a Vegas custom – a “meet and greet” with admirers. I asked Denny Laine if the show would be anywhere else.
He shook his head, “No, we discussed that and decided it would be a one time event.” The show was taped so perhaps it will be broadcast, but those who saw it live witnessed a world of love for Gordon Waller.
Thank you, Peter.
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For those not familiar with it, it is also known by some as the "East Coast" version. It is identical the "regular" US stereo version of the Rubber Soul LP in every way except that it has a layer of reverb across the entire album.
That's right. . . .Capitol reverb across the whole LP!
It is not dramatic, but it is very noticeable on specific songs where the vocals are completely or partially isolated.
Songs like "Girl" and "Wait" are particularly noticeable. .
It can be heard clearly on a song like "Think For Yourself," which normally ends cold and dry.
On the "Dexterized" version, there is a very definite echoey decay on that last note. . .
now playing SIDE 1 & 2 on
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The Beatles were banned from Public Hall in Cleveland, Ohio in 1964! In an ironic twist of fate, the Beatles were invited back to that same venue in 1966.
The escalation in Beatlemania prompted the Powers That Be never to invite the Beatles to Cleveland again because of the uncontrolled outbursts and manic attacks that are a part of Beatlemania! Fans rushed the stage, jumping police barricades to reach the Fab 4, the World's Best Band!
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