The News Today
from the Ottawa Beatle Site

 


Postcard kindly supplied by Alan Chrisman. Acknowledgements to Cavern City Tours
who hold an annual International Beatles Convention in Liverpool. Phone 0151-236-9091

 
This is a LIFO system - latest items come at the top See archived news pages


September 20, 2021
Catching up with Blackbird songstress Emma Stevens


I thought today we would post recent musical activity regarding Emma Stevens who got such high
praise from Paul McCartney for her cover version of "Blackbird." On July 1 of this year a new musical
video done by Emma which was released on Youtube. The song is called "I Want To Rise" and once
again just like "Blackbird", Emma sings this new one so beautifully.

Here are the details:




September 18, 2021
New UN stamps, souvenir sheets pay tribute to John Lennon, ‘Imagine’
by Michael Baadke for Linn's Stamp News

 

Three new United Nations stamps honoring musician John Lennon and the 50th anniversary of his song Imagine
have an announced issue date of Sept. 21, which is also the International Day of Peace.

 

A new set of stamps and souvenir sheets from the United Nations Postal Administration is joining worldwide anniversary

commemorations of John Lennon’s Imagine.

 

The celebrated song, which envisions a peaceful world devoid of hunger and greed, was first recorded and released by

Lennon 50 years ago in 1971.

 

On Sept. 21 the United Nations is issuing three semipostal stamps, one each denominated for use from the U.N. post offices

in New York City; Geneva, Switzerland; and Vienna, Austria; as well as three single-stamp Imagine souvenir sheets with

stamp designs and denominations that differ from those of the individual stamps.

 

The issue date corresponds with the annual observation of the International Day of Peace.

 

Cartor Security Printing in France printed these issues using offset lithography.

 

The individual stamps are each printed in panes of 20 and feature a different engraving-style portrait of Lennon by Swedish-

born artist Martin Morck, who has gained worldwide prominence as an engraver of postage stamp designs.

 

Each portrait is modeled after a well-known photograph of Lennon, who rose to fame as a founding member and songwriter

of the Beatles, and continued his musical career with solo work and collaborations after the group broke up in 1969.

 

Born in Liverpool, England, in 1940, Lennon was shot and killed outside his Manhattan home in 1980.

 

The single stamps are printed and denominated in black, and a black tablet along the bottom reads “IMAGINE – 50th 

Anniversary” in dropout white. On the Geneva stamp the phrase is in French, and on the Vienna stamp it is rendered in

German.

 

The single semipostal stamps in the souvenir sheets each show one of the three photographs of Lennon upon which Morck’s

portraits are based.

 

At far left on each souvenir sheet, printed in white on a gold field, is a small self-portrait sketch of Lennon, the words

“IMAGINE” and “John Lennon,” and a facsimile of Lennon’s signature.

 

The complete lyrics to Imagine are printed in black in the center. The words are in English on the New York sheet,

translated into French on the Geneva sheet, and in German on the Vienna sheet.

 

The name of the stamp image photographer is printed directly below the stamp at right, and at bottom right is the message

“Surcharge will help fund the United Nations Peacekeeping Operations,” again translated into the respective language for the

Geneva and Vienna sheets.

 

Copyright information for the Imagine lyrics and the photographs also is printed on the souvenir sheets.

 

The denominations on the souvenir sheet stamps are printed in gold, unlike the single stamp issues.

 

Rorie Katz of the UNPA designed the stamp issue.

 

The $1.30+50¢ stamp and $2.60+$1 souvenir sheet stamp for the post office at U.N. Headquarters in New York show a

famous image of Lennon in dark glasses with his arms crossed in front of him, wearing a sleeveless T-shirt emblazoned with

“NEW YORK CITY.” The photograph was taken in August 1974 by Bob Gruen (born 1945).

 

A different photograph taken by Gruen in the same month was used as the basis for the U.S. John Lennon forever stamps

issued Sept. 7, 2018 (Scott 5312-5315).

 

The denominations on the U.N. New York issues correspond to the international rates for 1-ounce letters ($1.30) and large

envelopes weighing 1 ounce or less ($2.60).

 

Scottish photographer Iain Macmillan (1938-2006), famous for taking the photograph of the Beatles crossing the street

single file for the cover of the 1969 album Abbey Road, also took the 1971 photograph of Lennon used for the stamps

denominated in Swiss francs for use from the Palais des Nations in Geneva.

 

The denominations are 1.50 francs+0.50fr for the single stamp, which pays priority letter rate for international mail, and

2.60fr+1fr for the souvenir sheet stamp, which fulfills the same rate for heavier mail weighing up to 50 grams (about 1.76

ounces).

  

The picture is a full-face image of Lennon wearing his familiar eyeglasses with metal frames and small round lenses.

The same photo was previously used as the basis for artwork by Andy Warhol that appears on the cover of the 1986 Lennon

compilation album Menlove Ave.

 

David Nutter (born 1939) was the photographer for the 1969 wedding of Lennon and Yoko Ono in Gibraltar. His photograph

of Lennon with longer hair and beard, wearing a dark turtleneck sweater, appears on the €2.85+€1 souvenir sheet stamp for

use from the U.N. post office at the Vienna International Centre, and is rendered as a portrait by Morck on the €1+€0.50

single stamp. The 1969 photograph used for this set was taken in London about one month after the wedding.

 

The denominations for the Vienna issues meet priority rate for small letters mailed throughout Europe (€1) and registered

mail service on international mail (€2.85).

 

The individual stamps each measure 35 millimeters by 50mm (about 1.38 inches by 1.96 inches) and the souvenir sheets are

110mm by 70mm (4.33 inches by 2.75 inches).

 

The print quantity for each variety is 150,000 individual stamps in panes of 20, and 20,000 souvenir sheets.

 

“The year 2021 marks the 50th Anniversary of the recording of Imagine by the English rock musician,” the UNPA said in

announcing the new issue. “Released in 1971, the song, which is the most successful single of Lennon’s solo career has

been covered by artists in every genre around the globe. It has been performed at some of the world’s biggest events,

including concerts for Peace, Hunger, New Year’s celebrations and at several Olympic Games – including the recent opening

ceremony of the 2020 Olympic Games in Tokyo, Japan. The song Imagine has also been played as a hopeful message during

troubling times throughout history.

 

“The song lyrics encourage us to put aside all differences and unify to imagine a world of peace, without greed, without

hunger, without barriers separating people and nations. John Lennon’s message of peace, love and goodwill conveyed

through his music, still resonates today.”

 

For information about ordering the United Nations John Lennon/Imagine stamps and souvenir sheets, visit the UNPA website;

email unpanyinquiries@un.org; telephone 212-963-7684 or 800-234-8672; or write to UNPA, Box 5900, Grand Central

Station, New York, NY 10163-5900.

 

The UNPA advises that it is anticipating a late shipment from the printer and that orders for John Lennon/Imagine stamps will

be delayed.




September 16, 2021
Upcoming live broadcast: "The Lyrics - Paul McCartney in Conversation with Paul Muldoon,
November 5th"


Lennon interview to schoolboys, songs, to auction in Denmark
by Jan M. Olsen for AP news


John Lennon and Yoko at the University of Ottawa. 3 June 1969
Photographer: Pascal Barrette/Studio Champlain Marcil
P174,S1,D53749
Indeterminate Reproduction in Authorization for the Ottawa Beatles Web Site
© Copyright 2001, 2021 by the National Archives of Québec - Outaouais
© Copyright 2001, 2021 by the Ottawa Beatles Web Site.

 

COPENHAGEN, Denmark (AP) — Half a century ago, four Danish teenagers interviewed John Lennon for their school paper. A

cassette tape with a 33-minute audio recording of the chat, which also includes an apparently unpublished song by the late

Beatle, will be auctioned in Denmark later this month.

 

The 16-year-olds were not star-struck when they did the interview in northern Denmark on Jan. 5, 1970. At the height of

the Vietnam War and the Cold War, Lennon and his wife Yoko Ono had “a message of peace, and that was what was

important to us,” recalled Karsten Hoejen, who made the recording on a tape recorder borrowed from the local hi-fi shop.

 

The tape chiefly consists of Lennon and Ono speaking about being in Denmark and world peace, Hoejen said Wednesday. 

Alternative societies mushroomed in Denmark from the late 1960s, attracting people from abroad, and music festivals were

organized inspired by those on the Isle of Wight and Woodstock.

 

“Their peace message was what we came for,” Hoejen told The Associated Press. “There was a very relaxed atmosphere, a

cozy atmosphere. Lennon and Ono had their feet on the (coffee) table.”

 

Lennon and Ono were in the Danish region of Thy where Ono’s ex-husband had moved to and brought Kyoko, the couple’s

then five-year-old daughter with him. They stayed for about a month and tried to lie low — which worked for about a

week.  Then a local newspaper reported their presence and the press rushed to interview them. The four 16-year-olds

wanted to interview Lennon for their school magazine but turned up late for the official press conference.

 

“We knocked on the door” and moments later they sat next to the British musician and Ono. Hoejen held the microphone,

and his friend Jesper Jungersen photographed.

 

At some point, “someone ... I cannot recall who ... asked Lennon if could play the guitar for us.” He played and sang with

Ono ‘Give peace a chance’ and “then they sang ‘Radio Peace.’” It was made for a radio station in The Netherlands but was

never aired, Hoejen said.

 

The items — the tape, 23 still photos and a copy of the school paper — have been estimated to be worth at least 200,000 

kroner (nearly $31,800).

 

“What also makes (the tape) interesting is that it is a time pocket.” It was recorded on an old-fashioned tape recorder,”

said Alexa Bruun Rasmussen of Denmark’s main auction house Bruun Rasmussen Auctioneer that will auction the items on

Sept. 28.

 

“When listening to the tape, you realize that they talk straight from their hearts. This is not a staged press conference.”

The four boys behind the interview eventually found out that they “were sitting on a treasure. So the cassette was put in a

bank vault,” Hoejen said, and they debated what to do with it.

 

“A collector or a museum would likely get more of it than us having it in a bank vault,” he said. “So we decided to sell it.”




September 15, 2021
Ringo’s joy at new version of Let It Be documentary that shows the Beatles weren’t at war

RINGO STARR is delighted The Beatles' break-up will be rewritten in new documentary The Beatles: Get Back,
after five decades of the world believing the Fab Four hated one another.

by James Desborough for the Express


The drummer reckons people were presented with an image that the four youthful pals had turned on each other. He has
long been unhappy that fans felt the band were at each other’s throats recording their final album, as portrayed in the Let
It Be film 51 years ago. Ringo is overjoyed Oscar-winning director Peter Jackson has recut a new version, this time serving
up more of “the joy and laughter” between members. Director Michael Lindsay-Hogg’s Let It Be 1970 documentary film is
famed for a confrontation between Paul McCartney and George Harrison, with other tensions between members.

That has incensed Ringo for decades, and he is glad the original 80 minutes’ “dark portrayal” will be eclipsed by Mr Jackson,

whose six-hour version will “rewrite history” in a new documentary series.

 

Ringo said: “The point I am trying to make was from day one, 30 days later, no matter what happened we had an album, we

did the show on the roof and did all this video.

 

“There is no doubt of the record and we did have a few ups and downs, but that is what life is all about.

 

“First of all I never liked the film that came out. It was always [centred] around four seconds of a month. I thought there

was no joy and no laughter, and I was telling Peter Jackson this.”

 

He added: “We found 56 hours of unused footage.”

 

Ringo is delighted with the new version, which will air on Disney+ over three nights in November.

 

He said: “Peter started putting it together then he’d fly into LA and show me pieces of it.

 

“We were laughing, we were lads. But to get back to the original one, there was a discussion and there were four guys in a

room for a month, that had up days, down days, music days. But the music never, ever once got lost in what we were

doing.

 

“It was the first time we went in the studio, especially George and I, and John did not have any songs and Paul didn’t have

any songs.

 

“Usually they had two or three, so we could start. So there was a whole discussion. But when you look at it, it’s a six-hour

documentary and it is like the ocean, the waves of joy and ‘Oh what is that going on?’

 

“Laughter and playing great. We never stopped loving each other. Once we heard the count in... whatever was going on,

everybody did their best.”

 

Ringo spoke of his emotions about the upcoming release while launching his four-track EP, Change The World.




September 13, 2021
When Paul McCartney asked an English trumpeter to play a painfully high piccolo trumpet solo for ‘Penny Lane’
by Rosie Pentreath for Classic FM Digital Radio


Paul McCartney was watching TV, saw a trumpeter playing a Bach Brandenburg Concerto on screen, and next
minute invited him to play on one of the Beatles’ biggest hits.

Picture this. Paul McCartney, watching TV in a most ordinary scene, and happening across footage of the English

orchestral trumpeter David Mason performing a Bach Brandenburg Concerto. So inspired, he becomes, that he

knows he just must invite him to play on a new Beatles song he’s percolating on.

 

That’s how the story of the notoriously high piccolo trumpet solo on ‘Penny Lane’ starts.

 

Vocalist McCartney was looking for something to embellish the jaunty 1967 English pop song, so when he heard

Bach’s Brandenburg Concerto No. 2 in the hands of the virtuosic Mason, he’d found just the colour the Fab Four

didn’t even know they needed.

 

The next day, the story goes, Beatles producer George Martin (AKA The Fifth Beatle) had called the unsuspecting

trumpeter, and invited him to record at Abbey Road Studios with the most famous band in the world.

 

Mason, who played with the Philharmonia Orchestra and the Royal Philharmonic Orchestra for a living, later told The

Bath Chronicle, “I did not even know who the Beatles were when I was asked to do a recording session with them.

For me it was just another job.”

 

Modest Mason headed to the hallowed Abbey Road Studios on 17 January 1967 and didn’t take long to lay down the

embellishment that the sofa-splayed McCartney had dreamed of in front of that TV. It did take a bit of trial and error

first though.

 

“I took nine trumpets along and we tried various things, by a process of elimination settling on the B flat piccolo

trumpet,” Mason said.

 

“We spent three hours working it out: Paul sang the parts he wanted, George Martin wrote them out, I tried them.

But the actual recording was done quite quickly,” he continued.

 

“They were jolly high notes, quite taxing, but with the tapes rolling we did two takes as overdubs on top of the

existing song.”

 

The piccolo trumpet is so high, naturally, that people who weren’t there mistakenly believed that Mason’s track had

been artificially pitched up, to make it sound higher.

 

“I read in books that the trumpet sound was later speeded up but that isn’t true because I can still play those notes

on the instrument along with the record,” the trumpeter himself recalled.

 

 

The lyrics of Penny Lane refer to a real street (see above) in Liverpool, where the Beatles hailed from, and mention

of the sights and characters that McCartney remembered from his childhood.

 

Mason later contributed to several other Beatles’ songs, including ‘Magical Mystery Tour’ and ‘All You Need Is Love’.

 

David Mason was an English trumpeter, who spent his career playing as an orchestral, solo and session musician.

 

He was born in London and studied at the Royal College of Music before performing in the Scots Guards, Royal Opera

House orchestra, the Philharmonia Orchestra (Classic FM’s Orchestra on Tour), and the Royal Philharmonic.

 

Mason became a part of classical music history when he performed as the flugelhorn soloist for the world premiere of

Vaughan Williams’ Symphony No. 9 in April 1958.

 

He passed away in 2011 at the ripe old age of 85, and not before being remembered for his incredible orchestral and

solo career – and for being the legendary trumpeter who played all the right high notes with the Beatles. Bravo.


─ End of article ─

The Ottawa Beatles Site Retrogroove: St. George Quintet does an instrumental cover of "Eleanor Rigby"

 

Personnel:

 

Liesbeth Baelus (violin)
Kaja Nowak (violin)
Marie-Louise de Jong (viola)
Wouter Vercruysse (cello)
Bram Decroix (double bass)
Recording by Henk Waegebaert, Brussels, February 29th, 2016



September 11, 2021
‘The Beatles: Get Back’: Peter Jackson’s Disney+ Film By the Numbers
by Robert Edelstein for TV Insider


What will we see in this long-anticipated treat for Fab Four fans? “A lot of joy,” Beatles drummer Ringo Starr promises of
Peter Jackson’s re-edit of the notoriously dour 1970 film Let It Be. But how much joy? Here’s a tally for The Beatles: Get
Back
.

6

Hours of footage in the documentary series

 

14

Number of songs the band wrote and rehearsed during the making of the project

 

42

Length, in minutes, of the Beatles’ final live concert—on the roof of Apple Records in London. It’s shown in its entirety during

the last of Get Back’s episodes, which debut over three straight nights

 

60

Hours of never-before-seen footage the series is culled from

 

150

Hours of unheard audio that, like the video, has been painstakingly restored

 

The Beatles: Get Back, Premiere, Thursday, November 25, Disney+

 

This is an excerpt from TV Guide Magazine’s 2021 Fall Preview issue. For more inside scoop on the new fall TV

season, pick up the issue, on newsstands now.

 

─ End of article ─

The Ottawa Beatles Site Retrogroove: Real women playing real music: Fanny doing a cover of "Hey Bulldog"

 




September 9, 2021
‘I was a hypocrite on the make’: unheard John Lennon interviews up for auction

Newly discovered tapes feature 91 minutes of fascinating discussion about Lennon’s favourite Beatles songs,

his ardent love for Yoko Ono and being ‘possessed’ by fame

by Ben Beaumont-Thomas for the Guardian

 

 

A fascinating cache of mostly unheard interview tapes with John Lennon is up for auction this month, offering an insight

into topics including his favourite Beatles songs, his love for Yoko Ono, the corrupting power of fame and his feelings of

hypocrisy over initially accepting an MBE.

 

The 91 minutes of recordings and interviews were conducted by a Canadian journalist, Ken Zeilig, on three occasions in 1969

and 1970, as the Beatles were beginning to fracture.

 

Only around five minutes of them have been aired before, in a TV broadcast in the late 1980s. Zeilig died in 1990, but the

tapes have only recently been discovered by his family. They are estimated to sell for between £20,000 and £30,000.

On the greatest Beatles songs, Lennon says on the recordings: “I’m prejudiced, I like my own, you know. [laughs] I like

Revolution #9” – the freeform sonic experiment at the climax of The White Album. Asked to name more, he picks I Am the

Walrus, Strawberry Fields Forever, A Day in the Life and Rain.

 

He says the Beatles were influenced by the composers Karlheinz Stockhausen and John Cage – “it influenced our music, and
then other people’s music” – but plays down the significance of the group. “People said the Beatles created a whole new
way of life and thinking. Well, we didn’t, we were part of it. If there was a big wave in the ocean which was the movement,
we were on the front of the wave. But we were not the movement itself.”

 

Lennon is interviewed alongside Ono, who he had married in March 1969, and speaks with great tenderness of his love for

her. Ono, he says, “recultivated the natural John Lennon … that had been lost in the Beatles thing, in the worldwide thing,

and all that. [And] made me myself.” He longs to die at “exactly the same minute” as her, “otherwise, even if it’s three

minutes later, it’s gonna be hell. I couldn’t bear three minutes of it.”


On love itself, he says: “It has its storms to go through, and snow, but you have to protect it. It’s like a pet cat … [love

has to be] nurtured like a very sensitive animal, because that’s what it is.”


Lennon and Ono had recently staged a pair of peace protests, in beds in Montreal and Amsterdam hotel rooms, against the

Vietnam war. Speaking to Zeilig, Lennon gives his reasoning for protesting rather than giving financial aid: “People will

probably say: ‘Why didn’t you give rice?’ and our answer is, we are trying to prevent cancer and not cure it after it’s

happened. If we have enough money we will do both, we will try and do both. But we really believe in prevention rather than

cure."


He explains why he returned his MBE in 1969: “A protest against Britain’s involvement in Biafra and Nigeria, and about

Britain’s backing of the United States morally and verbally in Vietnam. I had to write three letters: one to the Queen, one to
[prime minister] Harold Wilson, and one to the … something of the Chancellery.”

Zeilig asks him why he originally accepted and Lennon replies: “Well, I was a hypocrite, and I was on the make … if you get

a medal for killing, you should certainly get a medal for singing, and keeping Britain’s economics in good nick.”


Lennon describes fame in dark terms, comparing himself to a pilgrim that is constantly tempted: “We became possessed by a

spirit of people adoring us … having all that energy that people gave to us … we lose the way.” He is also disparaging of

music critics: “The critic can never be the artist and so never understand what is going on. He can only hope, he can only

sort of judge it … people are wasting their time writing about music. I mean who are they writing it for?”


The imminent end of the Beatles, who broke up in mid-1970, is presaged when he is asked for their future plans. “The

Beatles never made plans after they stopped touring,” Lennon says. “Plans were always made for them. And once there was

nobody making plans for us, we didn’t want any plans, so we don’t make them.”


The auction takes place on 28 September. Paul Fairweather, of Omega Auctions in Merseyside, said: “John’s witty insight

and proclamations are vintage Lennon and there is much in here that will greatly excite Beatles fans. They are a hugely

important find.”


This week also marks the 50th anniversary of Lennon’s song Imagine, first released on 9 September 1971. The occasion is

being celebrated with the lyric “imagine all the people living life in peace” being projected on landmarks around the world,

including St Paul’s Cathedral in London, the Berlin Wall, and in New York’s Times Square.


Ono, 88, said: “John would have loved this. Imagine embodied what we believed together at the time. We are still together

now and we still believe this. The sentiment is just as important now as when it was written and released 50 years ago.”


A limited edition vinyl version of the Imagine album is being released this week, featuring outtakes including the original demo

of the title track.

 

─ End of article ─

The Ottawa Beatles Site presents: direct from Ontario "Studio 1954 The Reflections" cover of "One After 909".
Enjoy!




Sue Laver: Keyboards, Vocals, acoustic guitars, tambourine
Vladimir Antunovic: Drums, vocals, electric guitar
What a great train tune!



September 6, 2021
Harry Nilsson released a 45 on Mercury Records in 1963 under the pseudonym as 'Johnny Niles' that
revealed his pop genius talents on a song called "Donna, I Understand"
 

‘Who Is Harry Nilsson?’
by Benjamin H. Smith for Decider
This February 8, 2019 article has been edited down for brevity sake... 

In the late ’60s and early ’70s, Harry Nilsson was one of pop music’s premier singers and songwriters. He wrote hit songs for

The Monkees and Three Dog Night, had hit records of his own (ironically, often covers of other people’s songs), and was

named by two of out of four Beatles as their favorite American artist. Unfortunately, he later became just as well known for

his prodigious drug and alcohol intake, and being John Lennon’s partner in crime during his early ’70s “Lost Weekend,” when

he was briefly separated from Yoko Ono. Though still adored by his old drinking buddies at the time of his death, he was

mostly removed from the music industry and is surprisingly unknown regardless of his ’70s fame.

 


John Lennon with Harry Nilsson holding lithographs of the "Pussy Cats" LP covers. The album was produced by John Lennon
during John's "Lost Weekend" period.

 

Despite his doughy features and angelic light blonde hair, Nilsson grew up as hard as they come on the mean streets of pre-

gentrification Brooklyn. His father abandoned the family when he was a toddler, an event which left lingering psychic scars,

and his mother struggled with alcoholism and poverty. According to cousin Doug Hoefer, as a teenager Nilsson once robbed

a liquor store to help his family make the rent. When told by his uncle they could no longer afford to feed and house him, he

made his way to Los Angeles, which he called “a great improvement.”

 

On the West Coast, Nilsson honed his singing and songwriting chops while working a day job at a bank. He began hustling

songs to music publishers, some of which were recorded by The Monkees, before landing a recording contract as an artist.

As both a writer and vocalist, Nilsson had a gift for melodies, praised in the documentary by the likes of Randy Newman and

Beach Boy Brian Wilson. His lyrics could be alternately playful, melancholy or caustic, and his vocals had a warmth and

clarity which drew you in and made you marvel at their innate beauty. Though his music is at times overpoweringly melodic,

the depth of feeling in his singing and the complicated emotions his lyrics conveyed gave his best songs a weight and power

most pop music of the era usually lacks.

 

While Nilsson’s early albums earned him acclaim and the admiration of The Beatles, who sang his praises in interviews, his

version of Fred Neil’s “Everybody’s Talkin'” made him a star after it was featured in the 1969 film Midnight Cowboy. 1970 saw

the release of The Point!, a song cycle which was turned into a popular animated children’s special and featured the hit

single “Me and My Arrow.” The following year saw his biggest success yet; the album Nilsson Schmilsson, which featured

three Top 40 singles, including his a cover of Badfinger’s “Without You,” which won a Grammy Award for “Best Male Pop

Vocal” and was the biggest hit of his career.


Like a million other musicians, before and since, success brought out the worst in Nilsson. Already carrying huge
psychological baggage from the traumas of his childhood, he became adversarial with producers and management and
seemed to expend most of his effort being the life of the party. Friends recount tales of benders that lasted days, powered
by mountains of cocaine and inhuman amounts of brandy and cognac. He blew out his voice during sessions with John
Lennon, which many feel never fully recovered, and was later bought out of his recording contract with RCA.

If there is a bright spot in Nilsson’s life, it seems to be his 1976 marriage to third wife Una O’ Keeffe. He would remain
devoted to her until his death, and they would raise six children together. While his final years saw him briefly bankrupt,
friends says before his death he was back on his feet financially and as happy as they had ever seen him. Nilsson died of
heart failure in 1994 at the age of 52.


Perrry Botkin discovers Harry Nilsson. The late Botkin was a Grammy-winning composer
whose work appeared on hit shows like ”Happy Days,“ ”Laverne & Shirley,“ ”Mork & Mindy“
and ”The Smothers Brothers Show.“



September 2, 2021
50th Anniversary Edition of the "Imagine" album to be released




August 30, 2021
Ottawa Beatles Site Retrogroove: "I'm The Greatest" by Ringo Starr

 

Personnel:

Drums: Ringo Starr
Piano and Harmony Vocal: John Lennon
Guitars: George Harrison
Bass: Klaus Voormann
Organ: Billy Preston
Producer: Richard Perry
Composer: John Lennon


Heart Guitarist Nancy Wilson Speaks on How Her Hero Paul McCartney Treated Her When They Met, Remembers John Lennon
From Ultimate Guitar.com


During an appearance on The Mistress Carrie Podcast, Heart guitarist Nancy Wilson talked about her musical hero, The
Beatles icon Paul McCartney.

When asked, "Did you ever get a chance to actually talk to any of The Beatles as a peer?", Nancy replied (transcribed by
UG):

"I got to talk to Paul about three different times before his couple shows that I went to see. One was with Wings, and then

it was his newer band, the Paul McCartney Show I guess.

 

"And he's exactly the guy you want him to be. He's really generous and sweet, and there's no pretense with Paul

McCartney, he's just a good person, and he's kind of upbeat guy.

 

"For all the stuff that he's had to live through, that's pretty impressive to me. Losing John [Lennon], losing Linda along the

way, and continuing to just push forward with his optimism and his beautiful talent...

 

"And the new album he just did [2020's 'McCartney III'] is really cool, and he's really, and then we just saw this incredible

documentary with [producer] Rick Rubin...

 

"Even if you know The Beatles very well, again, it's another masterclass in melody and structure, songwriting, singing it,

playing it. All this stuff he's done so well, he's the master.

 

"As a songwriting team, that was one of the things Paul talks about quite frequently in his interviews, John's cynicism and

temper, and balance out his positive melodic thing that he was so good at. 

 

"And so John would kind of put the darkness into the lightness and create the art. Darkness and light.

 

"John Lennon's father was a little 'ne'er-do-well,' and he was always missing and a tad of a sailor guy. John had a lot of

pain, and both John and Paul had lost their moms in the teenage years of their lives.

 

"So they had lots to connect to, but I think with Paul, his family had a much more happy-go-lucky and musical, and

supportive, and John's was more of a lonely kid with a chip on his shoulder, so that really rounded out the equation of the

two artists."

 

Do you still have the first guitar you ever played?

"No, it was such a piece of rubbish, I got rid of it, I gave it away or something. Should've burnt it because it was

unplayable, there was no baring of the F chord, you could never manage to do on that guitar.

 

"The bridge was not fixed down, so it was going out of tune all the time, so I moved the bridge a little just to try to keep it

more in tune as I've played it.

 

"But I learned how to get strong on that guitar because it was so terrible, it was like a piece of plywood with a pipe for a

neck."




August 28, 2021
Ottawa garage band "The Meadow" belts out "Oh Darling" turning it into a local top-ten hit 


The Meadow (sometimes known as "Mythical Meadow") was a band from Ottawa, Canada. This cover version actually made
the #10 spot on Ottawa radio "CFRA Best 580 Sellers" list on March 7, 1970. They previously recorded material composed by
Les Emmerson (from "Five Man Electrical Band" fame whom had a hit with "Signs"; "I'm A Stranger Here" and "Absolutely
Right") "You've Got That Lovin Look"
https://www.discogs.com/A-Mythical-Meadow-Youve-Got-That-Lovin-Look-I-Am-The-Sun/release/7969340



August 27, 2021
The Unheard ‘Let It Be’: An Exclusive Guide to the Beatles’ New Expanded Classic
The new special edition box set will shed fresh light on the Beatles’ misunderstood masterpiece. Here are the 10
most revelatory moments

by Bob Sheffield for Rolling Stone


Of all the Beatles’ classic albums, Let It Be is the one with the most daunting reputation. We’re all used to hearing it as their
break-up album. The one where the Fabs fall apart. The one they began as a back-to-basics rebirth, until it became their
tombstone. The messy film soundtrack that arrived in May 1970, just as the band was breaking up. The one Phil Spector
took over. Their darkest, most divisive music. But that’s never been the whole story. This is also the album with classics like
“Let It Be,” “Across the Universe,” “Get Back,” and “Two of Us.” Let It Be always raises the question: How did John, Paul,
George, and Ringo make such uplifting music in their hour of darkness?

That’s the fascinating mystery behind Let It Be — and it’s about to get more fascinating. Rolling Stone took a one-on-one
exclusive tour of the new Special Edition of Let It Be, which drops on October 15th. It’s a crucial box set that finally places
this wildly misunderstood music in the Beatles’ story.  For the full report: continue reading...






August 26, 2021
Giles Martin: The Beatles’ ‘Love’ ‘Is their show, really’
by John Katsilometes Las Vegas Review-Journal


Surviving Beatles Paul McCartney and Ringo Starr are knighted. But it is Giles Martin who lords over the band’s peerless

music catalogue.

 

Even so, the man in command of all those classic recordings shows not a hint of ego. Martin talks humbly and freely about

the songs originally produced by his dad, George Martin, who is also a “Sir.”

 

When the younger Martin casually mentions, “I spoke with Paul this morning, actually … ,” he doesn’t bother with a surname.

This Paul is McCartney, the rock legend. In Martin’s life, Paul is a family friend, too. The two chatted earlier this month

about the relaunch of “Love” at The Mirage. The show sprouts anew Thursday night, ending its 17-month “intermission,” as

the company calls it.

 

Martin has remastered all the music for the show, and stopped through a couple weeks ago to check on the sound system,

and to give a lift to the cast and crew. He also hung for a chat inside the theater, visiting Vegas for the first time since

 

March 2020. Highlights of our time together:

 

Johnny Kats: Since you just talked to Paul, what does he have to say about the show?

Giles Martin: He is just so proud of the fact that his legacy, or their legacy, continues on. We built this place where people
come and enjoy the music. I think at some point, all people of all generations come here.

Kats: Paul is still asking you about the quality of the show?

Martin: It’s funny, I said, “So, we had a tech run-through last night, and he goes, “How was it?” And I said, “Well, there’s a
couple things I need to iron out, but I’ve got to go to L.A.” And he said, “You’re going to go to L.A. and iron out all the
problems?” And I went, “No, no, I’m going to go to L.A. to do another thing.” He’s like, “Right. You’re working on something
else …” I had to say to him, “I’m here looking at the show.” And he goes, “Good. Good. Make sure it’s good.” Because it’s his
music, and it’s his show. It’s their show, really.”

Kats: With the “Love” show, you’ve become a caretaker for the Beatles’ legacy, at least in terms of live, ticketed
performances. Huge responsibility, right?

Martin: Well, I don’t personally — there are very, very good people around us that have a lot of work in this. But yeah,
looking back, 15 years, there was a huge risk in doing this show. The guys who work with me here were asking me about
this last night, and I was saying, “In all honestly, there was a risk that opening a Beatles show in Vegas would be seen as
something that was, I don’t know, cheesy.”

Kats: But it’s been a beautiful show.

Martin: For The Beatles legacy, “Love” has a great impurity and great intent. When it opened, it had such an amazing
response from everyone. It still has such an amazing response. It’s become this thing that is part of the Beatles.

Kats: You’re involved in the updated “Let It Be” documentary by Peter Jackson, “Get Back,” coming in November. Have you
seen the final cut of that?

Martin: I have, yeah. It’s great. The thing about Peter Jackson is, he is very good, and so is the team around him. I’m

working on the sound restoration and video restoration, and it’s like being there with the band. It’s really fascinating. It’s

really compelling viewing, seeing how they react to each other.


Kats: You have seen it all, too, right?

Martin: I’ve been through 52 hours of dialogue and video, and then I see something or hear something like, when Paul opens
“Love” with, “We’re doing a live show,” which is from “Let It Be.” You suddenly realize, “Of course, it is him.” I think it’s
going to blow people’s minds, watching it.

Kats: You’d once told me that, if I remember it right, the “Let it Be” sessions were not entirely a sad moment in the Beatles’
career.

Martin: “Let It Be” is seen as the break-up album, but people get it wrong because it was the last album that came out,
but it was actually done in January 1969. In February, they were recording “I Want You (She’s So Heavy),” which is in the
“Love” show, and then they went on to do “Abbey Road.” So, sorry, if they were breaking up they didn’t do a very good job
of it (laughs).

Kats: There was some tension, though, right?

Martin: They were breaking up when it was released (in 1970). I mean, listen, George (Harrison) did walk out halfway
through, but Ringo walked out during the “White Album,” you know, because Paul and John (Lennon) were quite intense to
be honest with you, and the two of them got sidelined.

Kats: The “Love” soundscape CD has been out for quite a while. Is there an idea that you might remake that, or do a part
two, a sequel or something related?

Martin: I think I’ll do a sequel. The CD was hugely successful, but I was so nervous because my dad had made all the

Beatles stuff for his son and got the job of chopping it up. I thought I would get lynched for it and I kind of wanted that

creation to exist in this space. I was nervous about it going out of this space because I didn’t think it would make much

sense. But then it came out, and it was really well received. People love it.

 

Kats: It couldn’t have been anybody else who could do the music for “Love,” when you think about it, you know? It had to

be you.

 

Martin: Yeah. I suppose so. On the other side, I remember when Apple signed the deal with Cirque, saying they were going

to go ahead with this show. I was in New York. I spoke to a friend of mine who is a producer and said, “Oh, my God, I’m

going to do The Beatles. I’m not sure I want to do The Beatles, because if I do The Beatles, that’s what I’ll be known for

doing.” And he goes, “Well, if you don’t want to do it, I’ll do it.” I was like, “OK, maybe I should do it after all.” (Laughs)

 

Kats: We had a chance to talk 10 years ago, with your dad, at the fifth anniversary of “Love.” It was a great moment. How

do you feel now about your involvement in his original work?

 

Martin: Well, you know, I have a huge personal link to the show. I think my dad was 79 when I started working on the show

… he was kind of an old man, and we started working on the show way before Cirque did. The way we worked is, I said

maybe we can just chop the music to create a collage of sound. I planned to get The Beatles to do a concert they never

played. That was the original idea. Dad was not well at the time, he was actually having an operation. I went into that

hospital room and played him the opening of the show, and he liked it.

 

Kats: Did he have concerns about how it would be received?

 

Martin: He was just worried that I was going to upset The Beatles, in fact. But Paul was happy.

 

Kats: I remember you being together a lot because of “Love.”

 

Martin: Yeah, that opened the door to us then spending a long time together. I would work in the studio, and he would

come in like on a Thursday or Friday and I would go through all the tapes with him. I’d go through and ask him questions,

and then we would go to lunch together and we spent so much time together as a father and son. It’s almost like Benjamin

Button, you know. We lived our lives in reverse, to a certain degree.

 

Kats: He died around the 10th anniversary, yes, during the show’s refresh period.

 

Martin: We spent quite a long time persuading people we wanted to refresh of the show. My dad fell ill in January, the year

before we did the refresh. I remember I couldn’t come out, because my dad was dying. People were hamstrung because I

wasn’t here. I realized I had to come out. My dad’s doctor said he might make another month, or three weeks. My dad said,

“You should go. You have to go.” I went home, and he died about 10 days later, after we did the 10th-anniversary

(refresh).

 

Kats: That is amazing.

 

Martin: It was such an important bond for the two of us. It was way more important for me than the show itself, because

we spent so much time together. I got the chance to go through his work, and to do something truly creative with his work,

that he loved, that people hear now. It’s like I was proving my worth to him. It was an amazing time.

 

Kats: When you were working with your dad, did he leave you with anything in these sessions that you take with you, like

pearls of wisdom?

 

Martin: The thing about my dad is, he just taught me to be strong, never accept second best, and also to be humble. To

be kind to people, and to respect everyone, not because of who they are but the fact that they’re all human beings. That

was the most important thing, because my dad was a very kind and nice man. Musically, of course, he taught me a lot. But

the most important thing is he taught me was to be compassionate and kind.




August 25, 2021
Ottawa Beatles Site Retrogroove: "Come And Get It" by Paul McCartney and the Hollywood Vampires;
Badfinger's hit version of "Come And Get It" moves up to #22 on Ottawa's "CFRA Best 580 Sellers" for
the week of March 7, 1970

COME AND GET IT

 

Composed originally by McCartney in 1969 during The Beatles'
Abbey Road album sessions, it was later given to Apple band
Badfinger.

 

This version is taken from the Hollywood Vampires album
(Alice Cooper, Joe Perry and Johnny Depp supergroup), which
features McCartney on lead vocals, piano and bass, and
drummer Abe Laboriel, Jr.

The footage is from the behind the scenes session.


 
 



August 24, 2021
Charlie Watts, drummer for the Rolling Stones, peacefully passes away at 80
Rest In Peace Charlie!

Rolling Stones drummer Charlie Watts dies at age 80
by the Associated Press

LONDON (AP) — Charlie Watts, the self-effacing and unshakeable Rolling Stones drummer who helped anchor one of rock’s

greatest rhythms sections and used his “day job” to support his enduring love of jazz, has died, according to his publicist.

He was 80.


Bernard Doherty said Tuesday that Watts “passed away peacefully in a London hospital earlier today surrounded by his

family.”

“Charlie was a cherished husband, father and grandfather and also as a member of The Rolling Stones one of the greatest

drummers of his generation,” Doherty said.


Watts had announced he would not tour with the Stones in 2021 because of an undefined health issue.


The quiet, elegantly dressed Watts was often ranked with Keith Moon, Ginger Baker and a handful of others as a premier

rock drummer, respected worldwide for his muscular, swinging style as the band rose from its scruffy beginnings to

international superstardom. He joined the Stones early in 1963 and remained over the next 60 years, ranked just behind Mick

Jagger and Keith Richards as the group’s longest lasting and most essential member.


The Stones began, Watts said, “as white blokes from England playing Black American music” but quickly evolved their own

distinctive sound. Watts was a jazz drummer in his early years and never lost his affinity for the music he first loved,

heading his own jazz band and taking on numerous other side projects.


A classic Stones song like “Brown Sugar” and “Start Me Up” often began with a hard guitar riff from Richards, with Watts

following closely behind, and Wyman, as the bassist liked to say, “fattening the sound.” Watts’ speed, power and time

keeping were never better showcased than during the concert documentary, “Shine a Light,” when director Martin Scorsese

filmed “Jumpin’ Jack Flash” from where he drummed toward the back of the stage.

 


And about 3 hours ago, this is what Paul McCartney and Ringo Starr had to say about Charlie Watts
 



August 23, 2021
She’s leaving home: The Beatles’ harpist has died
by Norman Lebrecht for Slipped Disc

 


We have been notified of the death of Sheila Bromberg, the London orchestral musician who play harp on ‘She’s Leaving
Home’.

Sheila was 92.

After studies at the Royal College of Music, she played harp in the Royal Philharmonic Orchestra, the Philharmonia, the
London Philharmonic, Royal Liverpool Philharmonic, Bournemouth Symphony and the BBC Concert Orchestra. Aside from the
Beatles she recorded with The Beatles, The Bee Gees and Bing Crosby.

Watch [a] video...to hear her explain how she remoulded the Beatles’ song.


Ottawa Beatles Site editorial: And then there is this cute little story that Sheila Bromberg revealed May 3, 2011:
"It's been a harp day's night"
by Tom Jennings for the Oxford Mail


WORKING with Beatles legend Paul McCartney may be a dream come true for most musicians.

But a harpist from Chipping Norton said working on Sgt Pepper’s Lonely Hearts Club Band had truly been a hard day’s

night.

 

Sheila Bromberg, of Rock Hill, played on She’s Leaving Home, but said working with Sir Paul had been a nightmare.

 

February 9 marked the 50th anniversary of the band’s first gig, in the now world famous Cavern club, Liverpool.

 

At that time, Mrs Bromberg worked as a session musician in London and was regarded as one of the best harpists in

the country.

 

During the 50s, 60s and early 70s she worked with stars from Frank Sinatra and Dusty Springfield, to Morecambe and

Wise and Rolf Harris.

 

But in 1967 she received a call from a ‘fixer’ – a middleman between producers and session musicians – for a three-hour

recording. She did not know who it was for.

 

The now 82-year-old said: “He asked if I was free from 9pm to midnight, but I had been working since 8am that morning

and really didn’t want to go.

 

“Unfortunately, I did a lot of work for that particular person and didn’t want to say no because otherwise they would

choose someone else next time, and you don’t want that.”

 

She arrived early and began tuning her harp, when she suddenly became aware of someone standing behind her.

 

It was Paul McCartney and Mrs Bromberg was about to become the first woman musician to play on a Beatles album.

 

He briefly asked about the music she was playing, before disappearing to the control booth. For the next three hours

McCartney had Mrs Bromberg and the other session musicians play the same piece over and over.

 

Mrs Bromberg said: “After every take he would say: ‘No I don’t want that, I want something... err...’”

 

She said the musicians became more and more frustrated as the night wore on, until, at midnight, the orchestra’s

leader stood up and said they were leaving.

 

McCartney responded: “Well, I suppose that’s that then.”

 

Mum-of-two Mrs Bromberg said: “Thinking back, I’m really proud to be part of it, but at the time I could have wrung his

neck.

 

“He didn’t know what he wanted, which was very annoying, but when you listen to the album you realise what he really

wanted – and that was the album.”

 

Sgt Pepper’s is widely regarded as one of the greatest albums of all time and spent 27 weeks at the top of the UK chart.

 

Mrs Bromberg, who now teaches the harp, said: “I feel very grateful to have been chosen to have been on it.

 

“And I feel very proud that that piece of work has given such a tremendous amount of pleasure to everyone.

 

“But what amazes me, of all the music I’ve performed in, I’m noted for four bars of music. I found that a little bit bizarre.”




August 20, 2021
This week in history: The Beatles rock out at Comiskey Park
Fans exploded with excitement as The Beatles took to the stage at Comiskey Park on Aug. 20, 1965. Here’s a look
back at that unforgettable concert.
by Alison Martin for the Chicago Sun Times

 

As published in the Chicago Daily News, sister publication of the Chicago Sun-Times:

 

Every rock band has its die-hard fans, but few fans could match the fervor, excitement and utter devotion that

Chicago’s Beatles worshippers showed when the band arrived for a Comiskey Park concert in 1965.

 

Just one year earlier, Beatlemania arrived in the U.S. in February 1964 when the Fab Four — John Lennon,

Paul McCartney, Ringo Starr and George Harrison — performed on “The Ed Sullivan Show.” More than 73 million people

across more than 23 million households tuned into the show, according to Mark Lewisohn, author of “The Complete

Beatles Chronicle: The Definitive Day-By-Day Guide To the Beatles’ Entire Career.”

 

Whatever it was about the band — the music, that long hair, the accents — teenagers, especially girls, became

obsessed with the lads from Liverpool.

 

Now for this performance on Aug. 20, 1965, the Chicago Daily News sent reporter Betty Flynn to follow the band and

document the Beatlemania taking of the teens of Chicago.

 

“In just 24 hours,” Flynn wrote, “the Beatles tore through Chicago, shattering many teenage hearts, shredding some

adult nerves, and, apparently, enjoying every minute of it.”

 

Thronged by fans at every step, the Beatles left the O’Hare Sahara Inn at 2:50 p.m. by sneaking out a side corridor

and into a station wagon parked in an alley, Flynn reported. “Outside, the police told the girls, some of whom had

waited since 4 a.m., the demigods had left.”

 

The Beatles performed at the International Amphitheater the previous year, and none of that enthusiasm had waned.

At Comiskey Park, fans went wild when the band, “wearing khaki army-like jackets, [raced] onto their stage atop

second base,” the reporter observed.

 

“I can’t believe it, George, I love you, George, oh George,” Flynn heard one blonde fan “with glasses and a bad

complexion” shriek with a voice “already sounding sandpaperish.”

 

Flynn mentioned only one song the Beatles played, “Ticket to Ride.” Instead, she focused on the ecstasy going on in

the crowd.

 

“Every movement brings another shriek of pain, of joy, of frustration,” she wrote. “Paul rocks back and forth, brisk and

steady, then switches to a knees-up-and-down movement. Suddenly, he lifts the end of his guitar twice, quickly, into

the air. There is madness in the stands.”

 

Later at a press conference between shows, McCartney answered most of the questions, Flynn said. Someone asked:

How was the Chicago security? “It was so good this year we couldn’t get our friends in,” McCartney joked.

 

Another asked what would happen when the band’s fame fades. “We’ve no idea ... it doesn’t matter though,” McCartney

answered.

 

Did they mind when their fans kept screaming during performances? “We’ve proved we can be heard over the screaming,”

McCartney said. “The people paid to get in. Who are we to say what they should do when they get in?”

 

Then one reporter asked Starr directly, “Why doesn’t Ringo smile?”

 

“It’s just the face,” he said seriously. “I’m quite happy inside.”




August 18, 2021
Leonard Cohen's problem with The Beatles
by Far Out
Leonard Cohen enjoyed a considerably different swinging ’60s to The Beatles. Still, they both enjoyed the same
excesses that the decade had on offer, yet their trajectories couldn’t have been pointing in more opposite directions.

While The Fab Four were intent from their teenage years in becoming musical sensations, Leonard Cohen had an
unconventional school of thought and an even more peculiar start to his life as a serenading singer. Cohen was 33
when he decided to plunge into musicianship; he became unconvinced with his life as a poet and felt like the potency
of his message within the written word was being lost. After seeking pastures new, everything fell into place for him,
and his musings spread internationally.

With that in mind, Cohen made a leap of faith, left his revered poetry career behind and, instead, channelled his
talents into songwriting. His debut album, Songs Of Leonard Cohen, arrived in 1967 while The Beatles were at the
peak of their powers, and the folkie wasn’t in the business of chasing the hit parade.

When The Fab Four rose to fame in the early ’60s, they weren’t trying to persuade grown men in their late twenties
like Cohen, and he struggled to enjoy their must, but eventually, he appreciated their celestial talent. “I’m interested
in things that contribute to my survival,” he later reflected to The New Yorker. “I had girlfriends who really irritated
me by their devotion to the Beatles. “I didn’t begrudge them their interest, and there were songs like ‘Hey Jude’ that
I could appreciate. But they didn’t seem to be essential to the kind of nourishment that I craved.”

Cohen’s remarks are reasonable, and it’s understandable why an esteemed poet couldn’t get on board with those
early Beatles records. He required something filled with meaning and something that would correspond with him on
an obscenely deep level. 

Fascinatingly, his attitude towards the group in 1967 on the CBC radio documentary, How The Beatles Changed The
World, doesn’t reflect the aforementioned comment. Cohen spoke in superlative terms about the group: “I find the
[Beatles music] all speak to me, and they speak to a part of me that seems very perishable,” he said. “Sometimes I feel
like it has perished, and what they are speaking is an elegy.”

When asked to name a specific song he likes by the group, Cohen couldn’t quite manage the task. Although he did
explain, that’s because he doesn’t own a record player but enjoys everything he’s heard when he listens to The Beatles
at a friend’s house. The mercurial artist then recites some lyrics to ‘Tomorrow Never Knows’ despite not knowing the
song title and describes the track as “very, very beautiful”.

The host then asked Cohen if he thinks the Liverpool band are poets, to which he states they’ve done enough to be
heralded with that tag. “They are dealing with some essence, and handling it in a state of grace, certainly they are
poets,” the Canadian elucidated.

Despite not necessarily being caught up in Beatlemania, Cohen could respect and appreciate The Beatles’ wider
significant cultural impact, even if their songs didn’t provide him with the “nourishment he craved”. Vitally, he
understood the vital importance of The Fab Four, even if he had to seek elsewhere for stimulation. 



August 17, 2021
George Harrison All Things Must Pass 50th Anniversary Gnome Garden, Duke of York Square, King's Road,
London, UK.




August 13, 2021
Ringo Starr releases a new pop video entitled "Let's Change The World"

From Ringo's Official Facebook pages






August 12, 2021
‘Rock & Roll Revival’: Music Doc In The Works That Tells Story Of Toronto Festival Featuring Fabled John Lennon
Performance That Led To The End Of The Beatles
An exclusive by Peter White for Deadline

Summer of Soul isn’t the only documentary
about a lesser-known music festival that has
historical significance.

Deadline understands that a film is in the works
about the Toronto Rock & Roll Revival, which is
best known for a rare solo performance by
John Lennon, the first for the Plastic Ono Band,
during his final days as a Beatle.

Rock & Roll Revival (w/t) is directed by
Ron Chapman (The Poet of Havana) and will
tell the story of the Toronto event in
September 1969, held the same year as
Woodstock and Harlem Cultural Festival.

The one-day music festival at the University
of Toronto’s 20,000-seat Varsity Stadium was
put together by young renegade promoter
John Brower with artists including Chuck Berry,
Little Richard, Jerry Lee Lewis, Bo Diddley,
Gene Vincent, The Doors and Alice Cooper.

However, with dismal ticket sales, the concert
almost was canceled before Brower invited
Lennon and he said yes.

Lennon had been in the studio with The Beatles
putting together the Abbey Road album and
he didn’t have a band for his two solo albums
so he got together a group consisting of Eric
Clapton, Yoko Ono, Yes drummer Alan White
and bass player Klaus Voorman, who designed
the artwork for the Revolver record.

Lennon reportedly was nervous about the show
and is thought to have tried to back out.
Concertgoers in Toronto also didn’t believe he
would appear, and it wasn’t until Lennon and
YYoko Ono boarded a flight and were escorted
to the stadium by the Vagabonds Motorcycle
Club that all the tickets sold out.

Lennon, Ono and the band played songs
including a cover of “Blue Suede Shoes,” as
well as “Dizzy Miss Lizzy,” The Beatles’
“Yer Blues” and a new song “Cold Turkey” as
well as Ono’s “Don’t Worry Kyoko (Mummy’s
Only Looking for A Hand in the Snow).”

It’s thought that after Lennon returned to
London is when he decided to leave
The Beatles.

 

The doc will use rare cinematic archive that includes unreleased concert footage from D.A. Pennebaker’s original 16mm film, and a narrative primarily told through the eyes of those who were there.

 

Pennebaker, arguably best known for the Bob Dylan documentary Don’t Look Back and Monterey Pop, used some of the footage in his film Sweet Toronto.

 

Pennebaker Hegedus Films is exec producing the project, which is produced by Vancouver’s Screen Siren Pictures, Toronto’s Chapman Productions, Paris’ Films A Cinq. Trish Dolman, Sally Blake and Ron Chapman produce the doc, which is written by Phyllis Ellis.

 

Production kicked off this month on the 90-minute film. It will shoot in Toronto, Los Angeles, New York, London and Berlin, ready for a spring release touring the festival circuit.

 

It will air on Crave in Canada and Arte in France and Germany.




August 11, 2021
Prestigious rankings for the "All Things Must Pass 50th Anniversary Edition" culled from the official
George Harrison Facebook pages





August 10, 2021
George Harrison’s ‘All Things Must Pass’ hits a milestone
by Mark Kennedy for AP news


NEW YORK (AP) — George Harrison’s landmark album “All Things Must Pass” is celebrating its belated 50th anniversary
and the former Beatles’ son thinks a new remixed collection might make the perfect post-pandemic soundtrack.

“I think that the message of this record is more ready to be received now than it was when it first came out,” said
Dhani Harrison. “The message is clearer and now it’s sonically clearer. This is a really important bit of music.”

The original collection was audacious for its time — the first triple studio album in rock history, a virtual flurry of vinyl.
The anniversary editions out this week make that look quaint, containing eight LPs (or five CDs) plus a Blu-ray audio disc,
with the remixed album, demos, outtakes and jams.


There are reprinted archival notes, track annotations, photos and memorabilia. The most expensive edition comes in its
own wooden crate, complete with figurines of the famous garden gnomes featured on the album cover. But first is the
music, which Rolling Stone lists among the 500 greatest albums of all time.

“We’re not trying to make it sound modern,” said triple Grammy Award-winning engineer Paul Hicks. “I’m not trying to put
any sort of stamp on it. We are very respectful to the mixes that were there and follow them as much as possible.”

The skeleton of “All Things Must Pass” was recorded over two days in late May 1970. On May 26, Harrison record 15 songs
backed by Ringo Starr and his longtime friend, bassist Klaus Voormann. The next day, he played an additional 15 songs for
co-producer Phil Spector on just an acoustic guitar.


The original 23-track album — complete with hits “Isn’t It a Pity,” “What Is Life” and “My Sweet Lord” — has been remixed
for the anniversary editions from Capitol/UMe and are now augmented with 47 demos and outtakes, 42 of them previously
unreleased.

The 1970 session tapes produced 25 hours of music, including several songs that didn’t make the album like “Cosmic Empire,”
“Going Down To Golders Green,” “Dehra Dun,” “Sour Milk Sea,” and “Mother Divine.”

Dhani Harrison and Hicks started work on the anniversary editions five years ago, re-digitizing and listening to every song
and every take made during the sessions. It was an ever deeper dive than the 30th and 40th anniversary reissues. Hicks
calls the new work “forensic.”


They emerged from the vault with some 110 different songs and Harrison and his team had to decide how to present what
he’d found. He recalled once listening to a Beach Boys box set that had 10 versions of every song and didn’t want to go
that route.

Instead, he wanted to bring the listener into the recording process to hear how the songs had evolved. “What we were
looking for was the ones that really stood out and that really screamed something new,” said Harrison.

Listeners familiar with the album track “Let It Down” — a dynamic tune that got the Spector Wall of Sound treatment and
resembles a James Bond theme — may be stunned to hear the stripped down, heartfelt acoustic demo version Harrison
recorded on Day 2.


There’s a slowed-down version of “Isn’t It a Pity” that’s even sadder than the album version, and a sublime version of “Art
of Dying” that’s arguably better than the final. Some songs got sped up and some got slower during the process, potentially
blowing the mind of anyone who thought the final versions were somehow the only way to play them.

“Once you hear it, you can’t unhear it. It does change the way you hear the whole record forever. But it doesn’t ruin the
experience of knowing the record,” said Harrison.

A very human George Harrison — who died at age 58 in 2001 — can also be heard in the mix. He’s captured asking for
orange juice — while playing a very cool version of “Get Back.” His “Going Down to Golders Green” is Harrison doing his very
best Elvis impression, a real treat. There’s also Harrison’s recording of “It’s Johnny’s Birthday,” a gift to mark John Lennon’s
30th birthday.


The demos reveal the origin of a very rootsy “Woman Don’t You Cry For Me,” which would become the opening track of his
1976 album, “Thirty Three & 1/3.” And during the 14th take of “Isn’t It a Pity,” a fed-up artist goes off-script to instead
sing: “Isn’t it a pain/Why we do so many takes?”

Harrison and Hicks have dubbed Disc 5, which contains session outtakes and jams, the “party disc.” “We wanted to show
that the guys were having fun,” said Hicks. “It’s emotionally a very heavy album. It touches on a lot of deep subjects. So
we really wanted to show a lighter side to some of the content.”

Harrison collected quite a roster of musicians to help him on “All Things Must Pass,” including Eric Clapton, Bob Dylan, Ringo
Starr, Billy Preston, Delaney and Bonnie Bramlett, Pete Drake and even a young Phil Collins (whose bongo work never made
the album).


“It was a pretty mean squad of people that he recruited, you know what I mean? Like, he wasn’t messing around with this
record,” said Harrison.

The younger Harrison also investigated stories behind the songs, like the album opener, “I’d Have You Any Time.” He learned
that Clapton struggled at times to play Harrison’s notes. “It was incredible to hear Eric say how hard it was because that’s a
guy that doesn’t find playing guitar very hard.”

The “All Things Must Pass” recording sessions began just six weeks after the April 1970 announcement of The Beatles’
break-up and the younger Harrison notes that his father was going through a lot during that time: In addition to the band’s
break-up, he lost his mother and he was also leaving a lover.

“It’s a family time capsule and there’s so much love in it,” said Dhani Harrison. “He was brave to do this when he did it. It’s
lightning in a bottle. I don’t think that those conditions come around maybe once in a lifetime for an artist.”



August 8, 2021
PREVIEW: Something About George - The George Harrison Story - Two performances on September 12th,
Liverpool Theatre Festival
By Peter Grant, theatre critic for Wirral Globe


HERE comes a play about Beatle George Harrison, writes Globe arts correspondent Peter Grant.

The 'Quiet Beatle' will be celebrated at the Liverpool Theatre Festival in September.

Something About George – The George Harrison Story is not a tribute show but it does pay tribute to the much-loved
and missed icon who had so many other strings to his bow from film producer to global philanthropy.

The 75-minute production, which closes the ten day festival, features Beatle classics as well solo ouput including
My Sweet Lord, Something and hits from the Traveling Wilburys catalogue.

It stars Liverpool-born West End performer, musician, director Daniel Taylor as George. He will be joined on stage by
keyboard player Ben Gladwin and Jon Fellowes on lead guitar.

Blood Brothers star Daniel trained at Webber Douglas Academy Of Dramatic Art in London.

 

He has also produced, directed, and performed acclaimed Shaskespeare productions at Liverpool's Epstein Theatre.

 

It is not the first time Daniel has played a Beatle. He has previously portrayed John Lennon in the award-winning

Lennon Through A Glass Onion.

 

Speaking in his home-grown Liverpool accent he said: “I’m thrilled being able to tell George Harrison’s story, especially

his journey after those heady days in the Fab Four. For me, The Beatles are the greatest band that ever lived. After

all his achievements, George is still one of the most underrated songwriters that has ever lived.

 

“As someone who writes and performs their own songs, and I have done since I was just 12-years-old – and it’s all

because of the inspiration of songs like Here Comes The Sun, and While My Guitar Gentle Weeps.

 

''Working on the show, I have been astounded with George’s post Beatles journey and the life that followed, and the

music he went on to create.”

 

The premiere is written by Jon Fellowes, who co-produces shows alongside Liverpool-born singer-songwriter Gary

Edward Jones and theatre producer Bill Elms, who is also the Artistic Director of Liverpool Theatre Festival.

 

It is hoped the show will be developed further into a full-scale production with plans to tour the UK. Liverpool

Theatre Festival 2021 features mainstream and established acts, artists, and shows. It will adhere to any Covid-19

and Government guidelines required at the time. Other Festival shows are: 2Gorgeous4U (September 1);

The Last Five Years (September 3); Everybody’s Talking About Musicals (September 4); Electric Dreams (September 5);

OOpera Beneath The Stars (September 9); Broken Biscuits (September 10); Laughterhouse Comedy (September 11)

and Something About George - The George Harrison Story (September 12 - two performances).

 

www.liverpooltheatrefestival.com




August 7, 2021
All Things Must Pass Gnome Installation from August 6 to August 20

From the George Harrison Facebook page...

London: You’re Invited to the All Things Must Pass Gnome Installation to honour George’s ‘All Things Must Pass 50th
Anniversary’. Make your way to Duke York Square, Kings Road, Chelsea to recreate the iconic album cover, featuring
George in his garden with friends. This stunning public, living art installation is by renowned British florist Ruth Davis
of All For Love London. Share your photos and videos to celebrate George’s masterpiece with the hashtag #ATMP50.







August 6, 2021
To help celebrate the new remastered release of the "All Things Must Pass" album,
here is "Awaiting On You All"; "Wah-Wah" and "Beware of Darkness"









August 5, 2021
The unmaking of a Beatle: George Harrison’s widow and son on the legacy of ‘All Things Must Pass’
by Tim Greiving for the Los Angeles Times

All things must pass, but George Harrison is forever.

 

The late singer-songwriter released his three-LP solo album, an explosion of pent-up musical energy after the dissolution of the Beatles, 50 years ago. Well, 51 — but much like the Olympics, Harrison’s estate is calling for a do-over of 2020. And a vast new box set celebrating the album’s anniversary, on sale Friday, only proves that the quietest Beatle arguably had the most to say.

 

“These are very introspective songs,” said Olivia Harrison, the musician’s widow, on a Zoom call from England. “And joyous, too. And brave, I think. Brave for the honesty of how he was feeling. Because you can’t write these things unless you’re feeling them or you’re understanding them. So they’re very raw.”

 

Harrison died from lung cancer in 2001, at age 58, shortly after overseeing a 30th anniversary set of “All Things Must Pass.” Bearing earnest spiritualism, indelible melodies and a fascinating fusion of English rock, Indian and American southern styles, the album hits just as hard after a half-century as it did at the dawning of the Age of Aquarius. Its multicultural unity comes as a pleasant shock in our time of inflamed division, and Harrison’s introspective lyrics and Zen wisdom — “Sunrise doesn’t last all morning, a cloudburst doesn’t last all day” — are a balm in this late stage of a global pandemic.

 

“It doesn’t feel like this is going to pass, but it will,” said Olivia, 73. “And I think it’s good to be reminded.”

 

The extra year proved beneficial for Dhani Harrison, George’s son, who guided the project — along with his frequent collaborator Paul Hicks — of remixing and unearthing unheard materials for the “mega” anniversary set. Manufacturing and shipping delays affected the vinyl edition, which includes eight LPs. The younger Harrison, 43, also oversaw the artwork and liner notes, featuring a trove of quotes, photos and scrapbook materials, and even the design of replica figurines of his father and the reclining gnomes from the original album cover.

 

“I’ve kind of been in charge of all that myself,” Dhani Harrison said by phone from England, where he was stuck during the pandemic, making an album of his own. “I used to work as a designer, so this is one of my passion things. I’ve devoted my year to doing ‘All Things Must Pass’ and building the next five years of what we’re working on with G.H.”

 

Dhani and Hicks spent two years plumbing and remixing all 18 reels from the summer 1970 sessions at Abbey Road. Thanks to modern technology, the new mixes of classics like “My Sweet Lord” and “Isn’t It a Pity” spotlight formerly buried instruments and elevate Harrison’s voice above the famous “wall of sound” created by the late producer Phil Spector. 

 

Olivia, who represents Harrison in Beatles business at Apple Corps Limited, was wary about that at first, “but actually they were right,” she said, citing her husband’s stated belief — from his introduction to the 30th-anniversary remastering — that these songs “can continue to outlive the style in which they were recorded.”

 

“There were things that were smothered in there,” she admitted. “He said, ‘I’d like to liberate some of the songs from the big production. That seemed appropriate at the time.’ So I think Paul and Dhani have been very balanced in how they’ve liberated some of them. You still have the power behind it, but I think George is more present — and very intimate. Much more intimate than it was before. You feel a connection with him.”

 

Dhani’s ears perked up at discoveries such as the synthesizers in “Isn’t It a Pity,” which were previously inaudible “just due to the clarity and the reverb and the digital compression on the remaster from 2001,” he said. “I thought there were tracks that we just had muted, but they were in there. The sonic soup in the middle was fogging it up. And then, suddenly, once you hear it you can’t unhear it. It was like rediscovering it again. It was kind of the same feeling I had when they did the remaster of ‘Sgt. Pepper’s.’”

 

Some of the alternate songs and outtakes from the sessions have been leaked over the years, but are now available in radically higher quality. There’s a slower version of “Isn’t It a Pity” that Dhani called a “heartbreaker,” and what sounds to him like “an Allman Brothers version of ‘Run of the Mill.’” Early iterations of “Cosmic Empire” and “Down to the River (Rocking Chair Jam),” which wouldn’t appear on official records until many years later, were first captured in 1970. A “party disc” includes Harrison jamming with his musicians and doing punny versions of his serious lyrics.

 

“A lot of the laughing and the outtakes and the little bits of noise between the tapes, I’d never heard before,” said Dhani. “And that’s just priceless. It gives you shivers when you hear someone talking and it just sounds like they’re in the other room.”

 

George Harrison, shyly strumming and harmonizing behind the competitive wattage of John Lennon and Paul McCartney, had been tending to a whole garden of his songs from 1966 through ’69. Many were auditioned and workshopped as Beatles songs but didn’t make the cut, and Harrison gave away the rejected “My Sweet Lord” and “All Things Must Pass” to his friend Billy Preston. “Isn’t It a Pity” was written in 1966 and almost made it onto the “Revolver” and “Let It Be” albums, but instead sat in darkness.

 

When the Beatles split up, the 27-year-old Harrison went to Woodstock, N.Y., and jammed with The Band and Bob Dylan in May 1970. Then he took that energy and his merry band of friends — including Preston, Ringo Starr, Eric Clapton and the group that would become Derek and the Dominos — into Studio Three at Abbey Road and poured his heart out.

 

“All Things Must Pass” went to No. 1 on the Billboard album chart after it came out in November 1970, and was nominated for album of the year at the Grammys. It outsold all of his fellow Beatles’ solo albums.

 


An earlier photo of Dhani, Olivia and George Harrison.

 

It outshone them all as well. Perhaps because it contains an entire universe, the body and soul of a deep thinker pondering relationships between humans as well as with the divine. Harrison wasn’t just deep, he was open. Who else would have seamlessly stirred the Black gospel tradition with Hare Krishna mantras into the No. 1 charting earworm “My Sweet Lord”?

 

“And he got sued for it!” Olivia said, laughing — referring to the messy 1976 lawsuit in which a judge ultimately ruled that Harrison “subconsciously” copied “He’s So Fine” by the Chiffons. “He wasn’t trying to steal anybody’s song,” Olivia said.

 

Musically, the album has the looseness of a live jam band — a very good jam band — but also the tightness of carefully crafted songwriting by a late bloomer chomping at the bit. Even the other musicians were a kind of extension of Harrison, something that was recently reaffirmed for his wife.

 

“When I put the needle down on the first record, and I hear that introduction to ‘I’d Have You Anytime,’ I’m in for the whole album,” Olivia said. “I always just thought, ah, Eric [Clapton] — so beautiful, so perfect. Dhani was talking to Eric, and Eric said, ‘You know, your dad told me what to play. He wanted me to bend this note like three times. It was really hard, but he just told me what to play.’ And I thought: Yes, because when I hear those few notes, it’s so simple, it’s so George.”

 

Olivia, sitting in the “cottage industry” based in Henley-on-Thames where she and Dhani created the new set, showed off the slightly tattered copy of “All Things Must Pass” that she bought in Los Angeles in 1970, four years before she met her husband. She remembered making her friends give it their undivided attention.

 

“It really had a profound effect on me,” she said, recalling how she used to tell Harrison about her favorite songs on the album. “He would be surprised that I loved ‘Let it Down.’ ‘Really? John didn’t like that song.’ And I thought: Well, I love it.”

 

Listening to the album 50 years on, Olivia has come to appreciate its strong country vibes even more. The backing band included several players from Tennessee and Texas — singer Bobby Whitlock, trumpeter Jim Price — with Pete Drake playing pedal steel guitar on the Dylan-influenced “Behind That Locked Door.” When Norah Jones asked to cover it at L.A.’s George Fest in 2014, she told Olivia: “Well, because it sounds so country.”

 

Angel Olsen covered “Beware of Darkness” last fall. Lorde recently said “All Things Must Pass” has the best album cover in history. And Post Malone’s song “Stay” was inspired by Harrison. Clearly, the kids are still listening.

 

Olivia said she hopes to commemorate the 50th anniversary of “The Concert for Bangladesh,” as well as eventually release other never-before-heard songs by Harrison. Last year, Dhani and his manager David Zonshine resurrected George’s record label, Dark Horse, with a focus on reissuing selections from the label’s catalog (Ravi Shankar was one Dark Horse signing) as well as titles from other artists, including Joe Strummer.

 

2021 is a bountiful year for Beatles lovers. Peter Jackson’s six-hour documentary “Get Back,” which focuses on the group in 1969 and ’70, will drop on Disney+ in November. “McCartney 3, 2 ,1” is streaming on Hulu, and Harrison’s music was featured in the Apple TV+ docuseries “1971: The Year That Music Changed Everything.”

 

Olivia believes that legacy wasn’t really something her husband thought about. He knew this album “meant things to people,” she said. “He knew it helped people in their lives — people wrote to him, they told him. And he said, ‘Even if it’s one person, even if it helps somebody, then that’s great.’ But he wasn’t concerned about how he would be remembered.

 

“Not that he didn’t want to be remembered,” she added, “but he didn’t expect to be remembered. Which I always thought was impossible.”




August 4, 2021
To help prevent Covid 19, Sir Paul McCartney urges everyone to get vaccinated

From Facebook...




August 2, 2021
Giving pieces a chance: The incredible rock music collection hidden for decades
For years, late music journalist Ritchie Yorke’s incredible music collection sat out of sight in a suburban Brisbane home. Now,
it will have a public home with the National Sound and Film Archive.
by Tony Moore for the Brisbane Times


Minnie Yorke at her Brisbane home last month. Photo credit: Dan Peled

For decades, in a modest postwar house on a quiet suburban Brisbane street, one of the world’s most remarkable collections
of music memorabilia was tucked away in boxes, out of sight and unknown to the public.

A black hat gifted by Jimi Hendrix, a rare unreleased recording of Aretha Franklin and an early, preview pressing of Let It Be
— a gift from a Beatle, no less.


A rare preview pressing of the Beatles’ Let It Be, a gift from John Lennon to Brisbane music journalist Ritchie Yorke.
Photo credit: Dan Peled

This collection of thousands of rare recordings, notes, letters, interviews, books, pre-release singles and albums was
gathered over five decades by late Brisbane music journalist Ritchie Yorke.

Surely worth far more than the modest address that housed it, the collection of thousands of historical treasures was, until

recently, in search of a more secure home. That search ended last week, when the National Film and Sound Archive in

Canberra took possession of the collection, dashing hopes it would remain in Brisbane.

 

Before that, however, Yorke’s widow Minnie invited this masthead into her home to see the collection as Ritchie left it when

 he died in 2017.

 

Minnie Yorke describes her late husband as a “music nutter” and a “hoardaculturalist”. 

 

“He has collected ticket stubs from every show, backstage passes, press releases, all sorts of T-shirts and promotional

materials from record companies,” she says.

 


Minnie Yorke at home, which until recently housed a truly remarkable music collection. Photo credit: Dan Peled

“Then we also have vinyl in amongst all of that. We also have every interview he has ever done; there is a transcribed
copy, and a handwritten story, then a typed copy and a printed story.

“Fifty-five years. That is a lot of stuff.”

It sure is.

During an interview about the hit film Almost Famous, director and writer Cameron Crowe, himself a former music journalist
with Rolling Stone, reportedly told Yorke: “I should be interviewing you.”

Yorke was a close friend and confidant of John Lennon and Yoko Ono, bonding with the ex-Beatle over their troubled
relationships with their fathers, who shared the same name, Alfred.

There was also their shared love of rhythm and blues.

That famous Montreal Bed-in for Peace? Yorke was there, sitting on the floor right by Lennon’s right elbow.


Ritchie Yorke with notebook (left) beside John Lennon and Yoko Ono in 1969. Photo credit: Gerry Deiter supplied courtesy of Joan Athey.

“They both loved the old R’n’B music. You know John just loved old R’n’B music,” Minnie Yorke says.

Long after Lennon’s death, Ono stayed in touch with Yorke, who she playfully called an enemy of the Blue Meanies, the bad
guys from the Beatles’ Yellow Submarine animated movie.


“People will still say to this bloody day that Yoko broke up the Beatles,” she says. “That is bullshit. That is absolute bullshit.

 

“In Ritchie’s mind, with Yoko being a performance artist, that allowed John to understand that his magnetic charisma and

 the power of the Beatles and the position they were in, John was to speak for good and not for evil.

 

“So that was the birth of the peace movement.”

 

The collection includes dozens of recorded interviews with John and Yoko, along with personal notes and letters from the

couple, many of which were used in Yorke’s 2015 book, Christ You Know It Ain’t Easy: John and Yoko’s Battle for Peace, for

which Ono wrote the foreword.

 


Minnie Yorke with a signed and dedicated Life With the Lions album by John Lennon and Yoko Ono. Photo credit: Dan Peled

Some selected pieces, such as original newspaper front pages and Red China posters, are touring Canada with Ono’s peace
exhibition, Growing Freedom, marking 50 years since the War is Over peace campaign.

There is a black jumpsuit, one of two bought by Lennon in 1969 to wear during peace protest interviews in Toronto, which
Lennon gifted to Yorke for “peace services rendered”.

Yorke wore the jumpsuit in 1969 while he protested the Vietnam War on John and Yoko’s behalf, on the border between
Hong Kong and mainland China, with Canadian rockabilly star Ronnie Hawkins.


Ritchie Yorke (left) and Ronnie Hawkins on the China-Hong Kong border in 1969.

Yorke arranged a protest at the mainland China and Hong Kong border at the Lok Ma Chau village, where the Chinese could
read “War is Over” posters in English and Chinese.

The stunt took peace to the newspaper front pages, exactly as planned.

Yorke and Lennon remained close friends until the Beatle was murdered in 1980.

But Yorke’s huge collection goes well beyond John and Yoko.

It traces the earliest days of Australian pop music in the 1960s to the emergence of the supergroups of the 1970s and
1980s, then back to Brisbane’s glory days of live music.


Journalist Ritchie Yorke’s rich collection will now be housed in Canberra.

There’s a black hat with a red band and small black feather, a gift from Jimi Hendrix.

“Jimi was busted going into Canada trying to play a show for 27,000 people the next day,” Minnie Yorke says.

“Ritchie stood as a character witness for him and Jimi gave him his hat.”


Jimi Hendrix gave his hat to Yorke as a thank you. Photo credit: Dan Peled

There are colourful clothes and shoes from London’s hip Carnaby Street in the mid-1960s, posters, master tapes, notebooks,
audio and video recordings and film.

“We’ve got film of Ritchie playing tennis with Van Morrison,” Minnie says.

“There is a letter from Van Morrison saying, ‘Get a f---ing haircut’. Ritchie loved telling that story.

“There is also an acetate of Aretha Franklin doing Eleanor Rigby with horns. He was in the studio when that was recorded
and that was a very, very powerful moment in his life.”

Closer to home, Yorke was always an evangelist for music.

In 1963, he was sacked from a Toowoomba radio station for playing Stevie Wonder eight times in a row, against
management’s directive that “n----- music” not be played on air. Management had to break down the door to exact that
punishment.


A signed white label test pressing of Led Zeppelin’s debut album. Photo credit: Dan Peled

There’s a cassette of Regurgitator songs before the Unit album was released in 1997 and a signed poster from the
Go-Betweens, with messages from songwriters Robert Forster and Grant McLennan.

The collection also includes goblets, records and memorabilia from Tom Jones, rare recordings from Van Morrison, Aretha
Franklin, Phil Spector, Delaney and Bonnie, Led Zeppelin and the Allman Brothers Band.

There are gifted gold records from Dire Straits — Yorke was a DJ in Canada in 1978 and was the first to play their first
album in Canada and the US — and from Procol Harum for linking them with a symphony orchestra for a top 10 live concert
recording.

After many years, Minnie has finally achieved what her husband wanted, a safe place for his collection that can be
accessed by the world.

“Amen, Ritchie would say,” she says. “Amen.”

The search for the collection’s new home ended when the Canberra-based National Film and Sound Archive heard a 1969
recording of Yorke interviewing Lennon.

A representative phoned Minnie in Brisbane asking for information.

She told them a little of the breadth of the other recordings and interviews Yorke had collected over five decades and within
days an archivist travelled to Brisbane.

“They got the big picture,” she says. “They understand that Ritchie was a powerful force in the history of popular music in
Australia and around the world.

“Now they have invited Ritchie to be a national treasure. That means Ritchie will be recognised in the history books, where
he belongs.”

Archive curator Thorsten Kaeding describes Yorke as an “amazing Australian journalist and broadcaster”.

“Starting his career in Queensland, his love of music and enterprising spirit took him to England, Canada and finally back
home to Australia,” he says.

“Along the way he became one of our most significant music critics and friend to some of the most important artists in
popular music.

“The NFSA is delighted to be working together with Minnie Yorke to help celebrate Ritchie’s life and career.”

Over the past month the collection has been shifted to storage for travel to Canberra, where it will be digitised, catalogued
and linked with other museums and exhibition spaces.

Minnie Yorke has mixed emotions about Ritchie’s collection leaving the city in which he was born and died, but she wants to
keep the collection together.

“He was a very humble man and the Brisbane people in this town overall didn’t really understand the gravitas of his career
and legacy,” she says.

“As much as it might be a bit disappointing, I think we’ve gone to the next level by going to Canberra.”

The State Library of Queensland wanted to “cherry-pick” Yorke’s work in the state.

“But by taking it to Canberra, it goes national and is kept in its entirety,” she says.

“They are looking at the collection right from the beginning all the way to the end.”



August 1, 2021
Watch New Video For George Harrison’s Unreleased Take Of ‘Isn’t It A Pity’
The extensively expanded, Super Deluxe Edition box set of ‘All Things Must Pass’ is released on Capitol/UMe
on August 6.
by Paul Sexton for Udiscovermusic

Another previously unreleased outtake from the recording sessions for George Harrison’s unforgettable 1970 triple album
All Things Must Pass has been released today (30).

Accompanied by a new animated video directed by Alan Bibby and Jonny Kofoed of the New Zealand-based creative house,
Assembly, it’s Take 27 of one of the album’s enduring highlights, “Isn’t It A Pity.” The extensively expanded, Super Deluxe
Edition box set of All Things Must Pass is released on Capitol/UMe on August 6.

The evocative video adopts a painterly style with themes that address such themes as the clockwork inevitability of time.
It captures the reflective spirit of the song via a collage of quintessentially English imagery subverted by nature. The
alternative recording is one of 17 outtakes that will feature in the box set. “Isn’t It A Pity” featured twice on the original
album in markedly different versions, and is presented in the new release in three additional, unreleased incarnations, the
original studio demo and two outtakes.


The demo gives the listener an insight into how well developed the song was even at an early stage. The atmospheric
Take 27 has a character all of it own, providing a window into Harrison’s creative process and the various experiments
he made with arrangements and instrumentation in his attempts to perfect the song. The take is closer in spirit to
Version 2 on the original album, taking the song at a slightly slower pace and with a simple, exquisite arrangement.

The 50th anniversary box set edition of All Things Must Pass has already been given an enthusiastic seal of approval by
both Uncut and Mojo magazines. Uncut gave it a 10/10 review, noting: “This new mix updates [Harrison’s] finest work for
today, in greater detail than ever before, while still managing to retain the atmosphere that binds these 106 minutes
together.”

Mojo wrote: “The original mix’s misty distance has gone, replaced with a clarity and definition that Harrison and Spector
didn’t achieve (or seek) the first time around. Previously, one had to, like Spector during the playbacks, turn it up very
loud to get the full effect. Not anymore. These mixes come to you."

 

 

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