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
at the bottom of this page


Parlophone DPE. 159, 1964. These two videos were immediately blocked - as I was expecting, after trying to upload just a short burst on an acoustic gramophone some time ago. But I submitted a dispute worded as a kindly request pointing out the rarity of this format and to my surprise, a week or so later the copyright owners, UMC (Universal Music Catalogue) have allowed unrestricted use. If they happen to read this - thank you!



Beatles outdoor mural located on Herbrand Street, London. Photograph by Glen Mordecai.



October 20, 2023

The Best Sounding Beatles Vinyl Ever? | 1983 Australian AUDIO 5 Sgt Pepper's

by Andrew of Parlogram Auctions


In this video we look at and review the most expensive pressing of the Beatles 'Sgt Pepper's Lonely Hearts Club Band' money can buy. Released as a limited edition of 497 copies and only available at the 1983 Hi-Fi Show in Australia, this pressing of their iconic 9167 album is widely recognized as being the best sounding 1960's albums of all time. Copies rarely turn up on the open market today, but we've got one and we'll not only tell you exactly how it sounds but we'll also compare it to the other major audiophile pressings.



Watch Paul McCartney Play The Beatles’ “She’s A Woman” For The First Time In 19 Years

by James Rettig for Stereo Gum


Paul McCartney kicked off the Australian leg of his Got Back tour on Wednesday night in Adelaide at the Adelaide Entertainment Centre. . It was his first show in over a year, since his Glastonbury headlining set in June 2022. He performed a combination of Beatles, Wings, and solo songs, and he broke out the Beatles’ 1964 single “She’s A Woman” for the first time in 19 years. The last time he performed it was also at Glastonbury, but in 2004, when it was part of his summer tour setlist. Watch video below.




October 18, 2023

‘It beats working’: Paul McCartney reflects on songwriting, John Lennon and success on eve of Australian tour
A relaxed former Beatle spoke with fans in an intimate Q&A session during soundcheck in Adelaide

by Walter Marsh for the Guardian



When Paul McCartney first visited Adelaide in June 1964, 350,000 screaming fans lined the streets from the airport to the town hall, in a last-minute addition to the Beatles’ first Australian tour.


A smaller, quieter but no less dedicated crowd was waiting at the Adelaide Entertainment Centre on Tuesday afternoon, before McCartney kicked off his Got Back tour with an intimate – what passes for intimate when you’re an ex-Beatle – show at the 11,000 capacity arena.


At least a few of the fans here were alive back in 1964. “I remember being at school in 1964,” says David Gould, now 74. “All of a sudden there were no girls in class – they all skipped to go see the Beatles.”


Chrissie Weidenhofer, 73, wasn’t one of them: “I went to a girls school and they padlocked the gates. My parents walked down to Anzac Highway to see them drive past. My mother said their hair was so shiny and clean – I never forgave them.”


Chrissie’s here with her granddaughter Madison, both sporting matching tattoos of McCartney’s signature Hofner violin bass.


Eighty-one-year-old Sir Paul casually strolled onstage in a hoodie and jeans. David’s daughter Rachel asked the question that won them a spot in Tuesday’s fan event: how did he feel standing on the Adelaide Town Hall balcony all those years ago?


“I mean it was overwhelming,” he said. “That many people, it was insane. We were just standing there.”


The questions roam from his influences, food preferences, to the friends he’s left behind.


“He was a genius,” he says poignantly of John Lennon, before adding with wry self-deprecation. “I helped.”


Asked what he’d save in a house fire, McCartney pulls out the kind of dopey punchline he or his mop-topped bandmates might have delivered in the press conferences of that 1964 tour.


“I’d probably grab my guitar,” he says. “A piano would be too heavy.”


It’s when asked about songwriting that he gives a simple but revealing answer, that offers some explanation why he’s still at it, on stage and in the studio.


“It’s my hobby,” he says. “If I’ve got a day off I might write a song. Because I love it, that’s all there is to it.


“If I finished playing professionally tomorrow, I’d still do it – it beats working.”


Then, someone hands him that Hofner bass, and he and his band launch into Can’t Buy Me Love.


In the front row, Chrissie leaps to her feet to take it all in – there are no padlocks or parents to stop her this time.



October 16, 2023

Ottawa Beatles Site founder Tony Copple has passed away


It is with a heavy heart that I announce that Ottawa Beatles Site founder Tony Copple has passed away. He was 82-years-old. According to a statement from his wife Laurie-Ann, he "died from complications of pneumonia and mesothelioma on Thanksgiving Monday, October 9, at Etobicoke General Hospital" in Toronto.

Tony founded the Ottawa Beatles Site on the National Capital Freenet during the days of "DOS" (Disk-based Operating Systems − and that's before Windows came along!) I connected with Tony and quickly learned that not only was he big fan of the Beatles, but had many other interests in popular music, i.e. the Beach Boys, David Bowie, etc.

Tony was by profession, a very successful financial planner for the Investors Group who kept tight schedules with his clients. When he retired, he and his wife Laurie- Ann devoted themselves to missionary work in South Africa for a couple of years before coming back to Canada. Though his principal residence is in Ottawa, Tony decided it was in the best interest to support Laurie-Ann by taking care of her aging dad Steve in Toronto. Such generosity!

It is that generosity that reveals the true spirit of Tony Copple and so it should not come as no surprise that he came up with credo that is found on the main index page of the Ottawa Beatles Site which reads as follows:

"Created in the belief
that the Beatles were more than a great band;
they generated an atmosphere for good
throughout the world,
uniting people in many cultures,
and through their timeless music
and the optimistic subjects of their songs,
continue to inspire new generations."

We certainly had a lot of fun in creating this site and it grew into something bigger that garnered the attention of music companies and the media. All in all, it was a pleasurable partnership between Tony and myself. I will truly miss his camaraderie and his technical expertise.

To his wife Laurie-Ann Copple and his immediate family and friends, my sincere condolences on his passing.

John Whelan
Chief Researcher for the Ottawa Beatles Site

Listen to Tony's favourite Beatles song which he claimed to me that got him hooked to their music:


Comments from Alan Chrisman, former proprietor of Get Back Records in Ottawa and close associate contributor to the Ottawa Beatles Site...




October 15, 2023

Ringo Starr will 'Rewind Forward' with new EP
From the Niagara Frontier Publications, Fri, Oct 13th 2023 10:55 pm




Press Release

Today, Ringo Starr’s fourth EP, “Rewind Forward,” is released worldwide on digital, CD and 10-inch vinyl and available for streaming everywhere. Listen here.

The EP features four new songs:

1. “Shadows On The Wall”

2. “Feeling The Sunlight”

3. “Rewind Forward”

4. “Miss Jean”

“Rewind Forward” was written with his engineer, and oft co-writer, Bruce Sugar.

"We've been writing a song now for every EP," Ringo said. “ ‘Rewind Forward’ was just one of those things I say and it made sense in the moment. Like a ‘Hard Days Night’ – I thought, why don’t we just ‘Rewind Forward’? To make sense of it, sometimes it is good to go back and move forward from a place you left off; you don’t ever have to live in the past, but it is good to check it occasionally.”

The other tracks find Ringo collaborating with old and new friends – including longtime All Starr Steve Lukather and his Toto bandmate Joe Williams who wrote the opening track “Shadows on the Wall.”

“I asked Luke for a song – him and Joe Williams – and they put meat on it – so, I wasn’t just getting a basic track I have to add everything to – it has guitar and bass and all I have to do is add my vocals and drums,” Ringo said. “Of course, I always do the drums and sing – it is my EP!”

Paul McCartney wrote “Feeling the Sunlight.”

“We were Facetiming as we sometimes do and I asked him if he had a song or would write one for this EP I am making. A week later, he sent the track over and he’s all over it – which is great – playing EVERYthing,” Ringo said with a laugh, “including the drums! So, we had to take them off – I did the drums and the vocals.”

For the fourth and final track, “Miss Jean,” Ringo collaborated with Mike Campbell of the Heartbreakers.

“We had played together on an Ian Hunter track (which was No. 1 on the Heritage chart – whatever that chart is!), and I’d played on a Tom Petty track. But this was the first song Mike has ever written for me, which I loved,” Ringo said. “I put drums on it and sang it and he put everything else on it – that’s how it works.” That “everything else” also included the work of fellow Heartbreaker and one of Ringo’s dear friends, Benmont Tench.

In addition, the EP features contributions from Joe Walsh, Steve Dudas, Lance Morrison, as well as Matt Bissonnette, Torrance Klein, Weston Wilson, Kip Lennon and Marky Lennon.

All songs were recorded at Ringo’s home studio in Los Angeles (except for “Feeling the Sunlight,” where Paul recorded all his parts in the U.K.).

Today also marks the wrap up of Ringo and his All Starr Band’s Fall tour, which began Sept. 15 at Lake Tahoe Arena, with a special stop in Nashville, where Ringo was inducted into the Musicians Hall of Fame before playing the legendary Ryman. Touring steadily since 1989, this current iteration continued the tradition of playing hits and delighting fans, as well as garnering praise from the press.

More about Ringo Starr

2023 has seen Ringo and his All Starr Band complete a spring and fall tour. This past July 7, Ringo celebrated his birthday with his annual “Peace & Love” celebration in Beverly Hills, where he was joined by family, friends and fans and a musical tribute by Silversun Pickups, Blake Mills and King Tuff – as well as peace and love celebrations in 25 countries around the globe and into the universe via NASA, which spread the message from Barstow, California-based station in the Deep Space Network.

Last year, Ringo released “EP3” on Sept. 16, 2022; and on Nov. 18, 2022, “EP3” was issued on 10-inch vinyl and blue cassette and accompanied with a new music video, “Everyone and Everything.” On Nov. 25, “Ringo Starr and His All Starr Band Live at the Greek 2019” (Roccabella via BFD/The Orchard) was released on Blu-Ray, DVD, CD and a special yellow double-vinyl.

Ringo also toured with his All Starr Band with both spring and fall tour dates. Additionally, Ringo created 500 life-sized “Peace and Love” sculptures of his iconic hand symbol. These were sold exclusively through Julien’s Auctions to benefit the Lotus Foundation.

For more information, visit

− End of press release.

Flashback: Ringo Starr performs a Buddy Holly classic entitled "Think It Over"



October 14, 2023

Ringo Starr's new rockin' video "Miss Jean"



Flashback: "October 11th 1965 - Six singles released from Capitol's Star Line series"




October 13, 2023

John Lennon Wanted To Write With Paul McCartney Again After Beatles Split
by Hugh McIntyre for Forbes



New revelations about John Lennon's desire to rekindle his songwriting partnership with Paul McCartney have emerged, shedding fascinating light on an important period in rock history.


Years after the bitter breakup of The Beatles and the infamous feud that ensued, Lennon apparently expressed a genuine interest in collaborating with his former bandmate again. This surprising bit of news comes from May Pang, who dated Lennon during his temporary separation from Yoko Ono.


Pang shared her story in the new documentary The Lost Weekend: A Love Story, which will be available for fans to buy later this week. The film dives deep into a period of Lennon’s life some call the “Lost Weekend” that is apparently not as well understood as some might have believed. At that point, The Beatles had split, and all the members were doing their own things musically. They had found success, but according to Pang, Lennon was thinking of working with his former songwriting partner again. The Lennon/McCartney songwriting duo may be the most commercially successful of all time.


In a conversation with USA Today to promote the documentary, Pang recalled a pivotal moment that signified Lennon's eagerness to rekindle his creative pairing with the fellow former Beatle. She explained that in January 1975, Paul and Linda McCartney were planning to head to New Orleans to work on a new album. Upon hearing this, Lennon, who had always held an affection for New Orleans, expressed his interest in going to meet them in the city."


A couple of days later, he's tinkling on the guitar, and he goes, 'What do you think if I wrote with Paul again?'" Pang recounted. The mere suggestion was startling to her, as it marked a significant shift from the animosity of their past. "I think it would be great," she responded to Lennon's surprising proposal.


Lennon went even further, suggesting that they should go down to New Orleans together to initiate the collaboration. Pang states that “He really wanted to do that” and she feels that if she’d been able to get him to the city at the right time, “it would have happened.”


While Lennon's aspiration to write with McCartney again never came to fruition, it is a story that hasn’t been told yet—which is rare when it comes to The Beatles. While they never worked together again, Lennon and McCartney did settle their dispute and became friendly again before the former’s murder in 1980.



October 12, 2023

The Benefit Concert For Denny Laine 



Micky Dolenz, Susanna Hoffs Among Stars Taking Part in Benefit Concert for Ex-Wings Member Denny Laine

by Matt Friedlander for American Songwriter


The Monkees’ Micky Dolenz and The Bangles’ Susanna Hoffs will take part in a star-studded charity concert near Los Angeles next month for former Paul McCartney & Wings and Moody Blues member Denny Laine, who has suffered serious health complications after contracting COVID-19 last year.


The show, dubbed The Benefit Concert for Denny Laine, is scheduled for November 27 at the famed Troubadour venue in West Hollywood, California, and tickets can be purchased now at


In addition to Dolenz and Hoffs, the event’s lineup includes ex-Wings members Denny Seiwell and Laurence Juber, Badfinger’s Joey Molland, former Blue Oyster Cult bassist Joe Bouchard, Peter Asher of Peter & Gordon, Jeremy Clyde of Chad & Jeremy, Paul Shaffer, acclaimed session guitarist Albert Lee, and more.


Alex Jules, who is a member of Laine’s backing band and also has toured with The Monkees, is helping to organize the event.


In a recent post on his Facebook page, Jules wrote, “[Denny] has recently been dealing with very serious health challenges and is in need of help. After speaking with his wife, Liz, 2 weeks ago I knew I needed to do something to help him…We’re going to try to make this a wonderful celebration of Denny’s music, which has meant so much to so many of us and now do our part to give back a little bit of the love in his direction.”


Last month, Laine’s wife, Elizabeth Hines, launched a GoFundMe page to help raise money for his medical expenses. On the website, she revealed that for the last few months her husband has “been in and out of the hospital concerning an illness in his lungs that developed after his short bout with COVID last year.”


She added, “He’s had multiple tests, X-rays and scans that are ongoing, along with three surgeries, most recently for a collapsed lung,” and also noted that he was too weak to play guitar.


Hines also reported on Laine’s Facebook page last week that he “had a setback…and was sent to the emergency room for tests for an infection, pneumonia.”


Laine, 78, was the founding lead singer of The Moody Blues and sang the band first major hit, “Go Now,” in 1964. He later joined McCartney’s post-Beatles band Wings and was a member for that group’s entire history, from 1971 to 1981. He also has released a dozen solo albums.


− End of article


When George Harrison played in America before the Beatles

by Andrew from Parlogram Auctions




October 9, 2023

Paul McCartney Celebrates John Lennon's 83rd Birthday: 'Wonderful Friend and Collaborator'
by Marisa Sullivan for People Magazine

Paul McCartney is honoring his late bandmate and friend, John Lennon.


On Monday, the English singer-songwriter paid tribute to the Beatles icon on what would have been his 83rd birthday.


"Celebrating the birthday of my wonderful friend and collaborator, @johnlennon," McCartney, 81, wrote on Instagram, signing off with "Paul," and a black heart emoji.


Alongside the caption, he shared a black-and-white photo of himself on stage with an image of Lennon smiling behind him on a large screen, wearing his signature round spectacles.


The two are known as one of the greatest songwriting duos of all time having penned classic hits such as "Can't Buy Me Love" and "I Want to Hold Your Hand."


Peace activist Lennon died after being shot outside his Manhattan apartment on Dec. 8, 1980, at the age of 40. He left behind his wife, Yoko Ono, and two young sons, Julian Lennon, now 60, and Sean Lennon, 48 — along with millions of mourning fans around the world.


During an interview with SiriusXM's The Beatles Channel in December 2022, McCartney shared the grief he experienced after Lennon's death.


"When John died, it was so difficult," McCartney told host Tom Frangione. "It was difficult for everyone in the world because he was such a loved character and such a crazy guy. He was so special."


He said that Lennon's death hit him so hard, "that I couldn't really talk about it.


"I remember getting home from the studio on the day that we'd heard the news he died and turning the TV on and seeing people say, 'Well, John Lennon was this and what he was was this', " the legend recalled. "It was like, I don't know, I can't be one of those people."


"I can't just go on TV and say what John meant to me," he explained. "It was just too deep. It's just too much."


"I couldn't put it into words," he added.


Lennon shared the same birthday as his son Sean, who re-posted throwback photos from fans on his Instagram Stories on Monday. One touching snap featured the pair blowing out candles together when Sean was a toddler.









Billy J. Kramer watched Ringo Starr and his All Starr Band at the Chicago Theatre!





October 8, 2023


Ringo Starr is in the Rock and Roll Hall of Fame twice, once with a little band you might have heard of, and a second time on his own. He’s been knighted and acted in many films and TV, including as Mr. Conductor on PBS. Now at 83, Starr has a new recording out this month and is on tour. Jeffrey Brown joined him in Los Angeles for our arts and culture series, CANVAS.


Help! (Aka Au Secours!) French Poster Art Top: Ringo Starr Paul McCartney; Bottom. Eleanor Bron George Harrison John Lennon 1965 Movie Poster Masterprint.




October 6, 2023

The Beatles “loved the idea” that Russians secretly listened to their “forbidden” music

"Everyone in Russia goes back to the Beatles period and remembers having to smuggle records"

by Elizabeth Aubrey for New Music Express 


The Beatles “loved the idea” that Russians secretly listened to their “forbidden” music, Paul McCartney has revealed.


The Beatles music, along with other Western artists, was banned from being imported or played in Russia from the 1960s until the 1980s.


Speaking on the McCartney: A Life In Lyrics podcast episode about the band’s famous ‘Back in the U.S.S.R.’ track, McCartney opened up about the ban.


He said: “Everyone in Russia goes back to the Beatles period and remembers having to smuggle records or it was all very you know, little rooms where you could play and you didn’t want people to know.


“You didn’t want the authorities to know that you were listening to this forbidden group, which really, we loved the idea of that – that we were getting smuggled along with Levi’s jeans. This was like true cultural arrival.”



When podcast host poet Paul Muldoon suggested to McCartney that “art is dangerous,” the musician replied: “To some people. We always thought that we were on the right side, that if we were dangerous, we were dangerous to the Russian authorities, and to us that said they’re not that good.


“That was how we felt, and I think it was true to a large extent that they were trying to suppress this Western influence and it goes on…I know there was a period really when you thought ‘oh, it’s all clearing’, but it’s actually the suppression is back big time…God knows what the politics and the realities are behind it at any rate. So for me, it’s kind of nice to just escape into a song like this.”


McCartney recently launched his ‘A Life In Lyrics‘ podcast with the first episode breaking down the creation of The Beatles‘ ‘Eleanor Rigby’.


The 12-part series which is based on the best-selling book, is hosted by the poet Paul Muldoon, who wrote the foreword to The Lyrics: 1956 to the Present, will give listeners an unrivalled opportunity to sit in on conversations between McCartney and Muldoon.


Season one will feature 12 episodes and Season 2 will follow with an additional 12 episodes set for release in February of 2024.


In other Beatles news, Ringo Starr has recently said that the “final” Beatles song – which has been made with help from AI –  “should have been out already”.


− End of article


Added bonus feature researched by the Ottawa Beatles Site: X-RAY AUDIO documentary (with English subtitles) with commentary from Russian super Beatle fan the late Nikolai Ivanovich "Koyla" Vasin




October 3, 2023

Concert Alert! Anoushka Shankar, daughter of Ravi Shankar to perform at the Southam Hall of the National Arts Centre in Ottawa on October 11, 2023





To read a list of Anoushka Shankar’s accomplishments is to read many life stories in one: masterful sitarist; film composer; impassioned activist; the youngest and first female recipient of a British House of Commons Shield; the first Indian musician to perform live or to serve as presenter at the Grammy Awards with nine nominations under her belt, and the first Indian woman to be nominated; one of the first five female composers to have been added onto the UK A-level music syllabus.  
Anoushka began studying the sitar - and Indian classical music - from the age of 9 under the intensive tutelage of her father, Pandit Ravi Shankar: a master of the instrument, and a figure without whom 20th Century music would quite simply not have been what it was. After making her professional debut at thirteen, she began touring worldwide alongside her father then embarked on a successful touring career when she was 18, becoming known for her virtuosic yet emotional playing style, unusual instrumentation, and precise rhythmic interplay.   
In Fall 2023 Anoushka Shankar brings to North America a new quintet of musicians, with whom she has carved out a new, multifaceted and dynamic sound. The quintet, representing the very best of the thriving London music scene, comprises of clarinetist Arun Ghosh, drummer-composer Sarathy Korwar, Carnatic percussionist Pirashanna Thevarajah, and bassist Tom Farmer, each of whom are startlingly-talented solo artists in their own right. 


Date: Wednesday, October 11, 2023

Time of concert: 8:00 p.m.

Where: Southam Hall, National Arts Centre, Ottawa



September 29, 2023

Starr on ‘Rewind Forward,’ writing country music, the AI-assisted final Beatles track and more

by Maria Sherman for the Associated Press


(AP Photo/Chris Pizzello)


LOS ANGELES (AP) — There are rock stars, and then there is Ringo Starr — drummer for the Beatles, award-winning soloist, photographer, narrator, actor, activist. To call him prolific would almost shortchange his accomplishments. But it also feels right.


“Rewind Forward,” out October 13, is his fourth extended play release in three years.


“I’ve loved EPs since they first came out in the ’60s,” he says of the format. “And then I heard the kids are making EPs and thought, ‘That’s good!’”


The title is a classic “Ringoism,” as John Lennon used to refer to his malapropisms, an unusual phrase ripped from the same mind that came up with “A Hard Day’s Night” and “Tomorrow Never Knows.”


Assigning profundity to it came later. “I think it means that, you know, you’re sitting still for a while. You rewind and you find out ‘I was a much better person then,’ or ‘this was working for me better then,’ he says. You don’t have to ever live in the past, but just check it occasionally.”


“Of course, I’m making all this up,” he jokes.


Starr got a little help from his friends on the four track EP, a collection of life-affirming songs co-penned by Starr’s engineer frequent co-writer Bruce Sugar, Steve Lukather of the All Starr Band, Toto’s Joe Williams, Benmont Tench and Mike Campbell of Tom Petty’s Heartbreakers, and many more.


“Feeling the Sunlight” was written by Beatle Paul McCartney, who Starr says he “FaceTimes twice a month” and hangs out with whenever he is in London, or McCartney is in LA.


“When he sent the track, he’d actually done the drums, so we had to take them off,” he says, laughing.


If there is a thematic throughline to “Rewind Forward,” or any of Starr’s solo work, it’s a kind of unrelenting optimism — that even in the most troubling circumstances, peace and love will see you through.


It’s that spirit that has kept him moving forward. He’s currently embarked on a fall tour, which began September 17th in Ontario, California, and ends next month in Thackerville, Oklahoma. It’s a feat for a veteran performer when so many bands are embarking on farewell tours.


“A lot of people have said ‘That’s the last gig!’ And I say it after every tour and our children and my wife are fed up with me. ‘Oh, you said that last time,’” he jokes. And yet, he continues to hit the road because he simply loves it: “I get everything I need.”


More short collections are on the horizon, too. (“Right now, I’m EP crazy,” he says.) The next one is founded in country music. While attending a poetry reading by Olivia Harrison, late Beatle George Harrison’s widow, Starr ran into “T-Bone” Burnett. They decided to work together. Starr thought he’d get a pop number, but Burnett instead sent him a country song. “He actually opened the door,” he says. “So, I thought, ‘Why don’t we do that, too? A country one.’”


Recently, Starr collaborated with McCartney on Dolly Parton’s cover of the Beatles’ “Let It Be.” (“It’s good to be a part of it,” he says, adding that it required no convincing. “I’m easy.”)


In June, news broke that a final Beatles recording would soon become available, created using artificial intelligence technology to extricate John Lennon’s voice from a piano demo — the same method used to separate the Beatles’ voices from background sounds during the making of director Peter Jackson’s 2021 documentary series, “The Beatles: Get Back.”


There was some confusion — and potentially fear — around the use of AI. “The rumors were that we just made it up,” he says of Lennon’s contributions to the forthcoming track. “Like we would do that anyway.”


“This is the last track, ever, that you’ll get the four Beatles on the track. John, Paul, George, and Ringo,” he says.


When asked when it will be released, he says, “It should’ve been out already.”


And if it’s the Beatles you’re hungry for, there’s always their immense discography to dive into. Or all eight hours of “Get Back,” which its ineffable access the biggest band in history, and its most intimate moments: like the scene that shows Starr beginning to write “Octopus’s Garden,” and Harrison coming in to assist.


Harrison had left the band; Starr was in Sardinia on Peter Sellers’ yacht when the captain told him octopuses have gardens — they collect stones and shiny objects. He had his guitar — “I play three chords, that’s about it,” he says — and starting writing.


In his view, the documentary allows viewers to see exactly what came next — and the magic of being a Beatle.


“It was a great time of my life. Being a Beatle was great,” he says. “I had three brothers, I’m an only child, and that’s life.”




September 27, 2023

‘Yer Blues’: The Story Behind The Song

As dark and heavy as any song in The Beatles’ canon, ‘Yer Blues’ demanded an intensity to match – and found it in a cramped Abbey Road storage room.

by Paul McGuinness for uDiscovermusic 




“While we were recording The White Album, we ended up being more of a band again,” Ringo Starr would reflect, “and that’s what I always love. I love being in a band.” Increasingly over the previous few albums, The Beatles’ recordings had been crafted, layer upon layer of sound painstakingly assembled, rather than performed live in the studio as their earliest records had been. But for The White Album, they consciously set out to return to playing the songs as a band, getting closer and closer musically – and, in the case of John Lennon’s “Yer Blues,” physically.


By their own admission, The Beatles had started out playing heavy rock. “But when it was put down on the early records, there was never enough bass in it, the guitar solo never came through, because we didn’t know about recording then,” John explained shortly after The White Album’s release. “We sounded more like us on this record. We rid ourselves of the self-consciousness bit, so we were doing what we were doing earlier on, but with a better knowledge of the technique of recording. Quite a few of the tracks are just straight takes of us playing.” 


Writing the song


“Yer Blues” is one of the many White Album songs written in India in spring 1968. And while their stay there was an exercise in serenity for many, John was going through something of personal crisis. His marriage to Cynthia was drawing to a close, and his relationship with Yoko Ono was just on the cusp: “The funny thing about the camp was that although it was very beautiful and I was meditating about eight hours a day, I was writing the most miserable songs on earth. In ‘Yer Blues,’ when I wrote, ‘I’m so lonely I want to die,’ I’m not kidding. That’s how I felt. Up there trying to reach God and feeling suicidal.”


The Esher demo of “Yer Blues,” recorded shortly after The Beatles all regrouped back in England, offers no warning of the ferociousness that would overtake the song by the time it was complete, with acoustic guitars playing traditional blues licks.


Stylistically, “Yer Blues” could be seen as either a nod to, or a parody of, the current boom of heavy blues bands, such as Cream, Big Brother And The Holding Company, and Canned Heat. John’s clever lyrical twists, however, lifted it well beyond pastiche. For example, rather than use the old blues cliché “Black cat crossed my path,” John sang, “Black cloud crossed my mind,” continuing, “Blue mist round my soul/Feel so suicidal/Even hate my rock’n’roll.” This was as dark and heavy a song as any in The Beatles’ catalogue, and demanded an intensity of performance to match.


The recording


Engineer Ken Scott recalls how, during a session for the then-unreleased George Harrison song “Not Guilty,” he joked with John about how The Beatles were always trying to find new ways to affect their sound: “Originally with EMI they only had two four-tracks. These particular four-tracks were really large, so they kept them in two small rooms, both next door to Number Two control room… So I stood up next to John, and as a joke, I said, ‘God, the way you guys are going, you’re gonna want to record in there now,’ pointing to one of these two rooms. John just sort of looked over there and didn’t say anything. A little later on we were gonna start a new song called ‘Yer Blues’, and John turns around and says, ‘I wanna record it in there,’ and he points to the room I’d been joking about. We had to fit them into this ridiculously small room. If one of them had suddenly swung his guitar around, he would’ve hit someone in the head.”


Capturing the song across September 13, 14, and 20 1968, The Beatles hoped that playing in such a confined space would help recreate the feel of the stage at the Cavern in Liverpool. “We liked being in close contact with each other,” said Paul. “We felt it added to the power of our music, and it did.”


And how. Scott was surprised by how much separation they managed to achieve in such a cramped space, simply by turning the amplifiers to face the wall. Paul’s bass is throbbing and heavy, Ringo’s drums sound as meaty as anywhere on the album, the guitars howl on the verge of feeding back, and John’s vocal is as torn up as any of his wildest rock’n’roll performances. So pleased with the outcome was John that it was one of two numbers he performed with The Dirty Mac at The Rolling Stones’ Rock’n’Roll Circus in December, playing it again in September 1969 at the Toronto Rock And Roll Revival festival.




September 25, 2023

Beatles legend Ringo Starr, 83, is honoured with a Legacy Award at the Musicians Hall of Fame ceremony in Nashville

by Chikamso Chukwuenyem For Mailonline


Beatles legend Ringo Starr was honoured with a Legacy Award at the Musicians Hall of Fame ceremony in Nashville, Tennessee, on Sunday night.

The singer, 83, was inducted as an inaugural recipient of the Joe Chambers Musicians Legacy Award at Musicians Hall of Fame and Museum.


Ringo flashed up a peace sign, reminiscent of his catchphrase 'peace and love', as he posed at the podium in his signature dark sunglasses and two hooped earrings. 


He wore a dark blue jacket with horizontal stripes and black skinny jeans with a pair of white trainers with red and black detailing.


Joe Chambers, whom the award is named after, was a Nashville musician and a co-founder of the Museum.  


Ringo released his 20th and most recent solo album, What's My Name, in 2019. 


It featured two of his former bandmates: John Lennon, as Ringo sang a cover of his song, and Paul McCartney who contributed musically. 


The three men, along with George Harrison, rose to fame as members of iconic rock band The Beatles.


Although they formed in 1960, drummer Ringo was the last to join in 1962, and the group would go on to become the best-selling music act of all time.


Ringo replaced drummer Pete Best who is affectionately referred to as 'the fifth Beatle'. 


Ringo and his fellow bandmates received MBEs in 1965, to enormous backlash from the general public.


Soon-to-be Prime Minister Harold Wilson said that decorating the Beatles 'made a mockery of everything this country stands for.'


John Lennon famously returned his MBE in 1969.


Ringo has been married to actress Barbara Bach for over 40 years and they celebrated his 83rd birthday together in July.


He has no children with Barbara, but three with first wife Maureen Cox, whom he divorced in 1975. She passed away after a battle with leukaemia in 1994. 

September 21, 2023
Rosali – “Stuck Inside A Cloud” (George Harrison Cover)
by Chris Deville for StereoGum

In recent years the North Carolina singer songwriter Rosali Middleman has quietly been earning a place of reverence in certain corners of the underground. That rise has now led her to the venerable Merge Records, who’ll release her latest album as Rosali next year. But first, she’s beginning her relationship with Merge by covering “Stuck Inside A Cloud” from George Harrison’s posthumous album Brainwashed.

Rosali’s statement on the signing and the cover:


I’m so honored and excited to join the Merge family and to share our cover of George Harrison’s “Stuck Inside a Cloud.” Written as he was dying from cancer, the song appeared on his posthumous album, Brainwashed. It’s a questioning, honest song that’s full of grace, seemingly about living the strange awareness of his deteriorating health and the meaning of our existence. Produced by my longtime collaborator and bandmate James Schroeder, we gave the cover a dreamy synth-pop treatment reminiscent of Julee Cruise and Broadcast. Recorded in the early months of the pandemic, the song feels all the more relevant as we continue to confront the death and confusion of that time. I hope you enjoy it, and I can’t wait to share my new songs.

Rosali’s got the range. Earlier this month, she released Variable Happiness, an album of experimental guitar music under her Edsel Axle guise, through the Worried Songs label. You can hear that below along with “Stuck Inside A Cloud.”

September 20, 2023
George Introduces Hare Krishna

from the Beatles Monthly Book, Issue 75


September 19, 2023

by Klaus Voormann

September 18, 2023

Ringo Starr & Peter Sellers were pals. So much so, that in October 1968 Ringo ran off a tape for Sellers containing some rough mixes of some of the track they were working on for the White Album. Twenty years later through my work, I helped his son Michael sell the tape at auction after which it became one of The Beatles best known bootlegs. In this video, I'll tell you the full story of this tape, its contents, sale and about the tragedy of Peter Seller's son. N.B. This video does not contain any content from the tape or tell you where to find it or listen to it.

The Beatles In Dallas Texas, September 18, 1964

The Beatles stayed at the Cabana Motor Hotel in Dallas Texas.

September 16, 2023
"Paul McCartney at Home" from the January 1968 edition of Hit Parader


"Back In Brazil" with Paul McCartney from his double-album release "Egypt Station"


Ringo Starr drums on Nils Lofgren's "Ain't The Truth Enough" (Official Music Video)

September 15, 2023
Flashback to 1970: Paul McCartney's "Maybe I'm Amazed" is #6 spot on "CKLW BIG 30" radio in Windsor Ontario


We have found another example where Paul's "Maybe I'm Amazed" charted by popular airplay without ever being released as a single from his first solo album "McCartney." The other example is from CFRA in Ottawa hit parade from around
the same time frame in 1970.

September 14, 2023
Paul McCartney confesses what The Beatles failed to realise about Elvis Presley at first
by George Simpson for the Express


Growing up in later 1950s Liverpool, The Beatles were profoundly influenced by Elvis Presley.


John Lennon was taken aback by Heartbreak Hotel and famously said: “Before Elvis there was nothing.”


Little did the Fab Four know that just over a decade later and The King would be covering their tracks at his live shows.


In fact, the five men who make up the two most successful music acts in history met only once back in 1965, when Elvis invited The Beatles to hang out at his LA home.


And now Sir Paul McCartney has revealed in a new interview something the band failed to realise about The King at first.


Promoting his personal photographs on display at the National Gallery in London, Macca was asked by Christie’s about being influenced by others: “You were aware of many of the movements in contemporary photography happening all around you. Your friend Jurgen Vollmer was working as an assistant to the great William Klein.


“You knew the work of Henri Cartier-Bresson. Do you think their work consciously affected you as you made images on those trips?”


McCartney then went on to speak of Elvis.


McCartney shared: “When you’re young, you get excited by new and interesting things. I still do, but when you’re a teenager or in your 20s, you’re so driven and you soak up everything. It’s formative. But at that age, you don’t necessarily know how the things you enjoy fit into a wider narrative.


“With Elvis, for example, it took a while before we realised how important the influence of Sister Rosetta Tharpe or Jimmie Rodgers had been on him. You would just see Elvis and think, ‘Wow! I love this!’ And you would get excited and inspired by it.


“It’s the same with photography. We didn’t appreciate at the time how important photographers like Klein or Cartier-Bresson were to the story of the artform, we just thought their work was interesting.”

September 13, 2023
New Edinburgh plaque to mark street John Lennon visited every summer as a boy
The plaque has been created to celebrate late former Beatle John Lennon's frequent visits to the capital's Murrayfield area as a boy during the school holidays.
By , Nostalgia Editor for edinburghlive

LONDON - CIRCA 1963: Singer and guitarist John Lennon of the rock and roll band "The Beatles" poses for a portrait wearing a suit in circa 1963 in London, England.

(Photo by Cyrus Andrews/Michael Ochs Archives/Getty Images)

John Lennon spent many summers at Ormidale Terrace in the 1950s.

The plaque will recognise John Lennon's links to the street. Picture: Submitted.


A new plaque is set to be unveiled in a leafy Edinburgh suburb to celebrate the area's fascinating links with music icon John Lennon.


The proposed plaque, which is to be positioned at the foot of midale Terrace in Murrayfield, will inform locals and tourists alike that the late former Beatle was a frequent visitor to the street in his youth.


It will include details on the time the young Lennon spent there, as well as a couplet from the Beatles song All You Need Is Love.


The memorial is the brainchild of Community Councillor Pete Gregson, who hopes to have it erected in conjunction with an official event early next year. It's part of a wider project by Murrayfield Community Council to erect plaques celebrating features and famous faces connected with the area.


John Lennon enjoyed many a summer as a youngster living with his aunt and uncle at their home at 15 Ormidale Terrace throughout the late 1940s and early 1950s.


He would return to the house as a Beatle in the 1960s, with his cousin, Stan Parkes, claiming he penned a Beatles track there in the cupboard under the stairs.


Speaking to Edinburgh Live, Community Councillor Pete Gregson, says the idea for a plaque had first been mooted a number of years ago, but there had been opposition from the current owner of the property where Lennon once stayed.


Now, rather than make the address a shrine to Fab Four fanatics, Pete says the dedicated, which is is currently in production with local engraver Capital Trophies, will instead be fixed to a wall at the foot of the street.

Pete Gregson said: "It's taken a long time to get this thing done. I first learned about the John Lennon connection about six years ago, but the lady living at the house on Ormidale Terrace never wanted anything to do with it.

"We've decided now to put the plaque at the foot of the street. There will be just enough space for people to stand back and view it without being run over by the No.31 bus!"


Pete Gregson, who is a self-confessed Beatles fan, said there will be a special event to accompany the plaque's unveiling, which has been pencilled in for early 2024.


He added: "It will probably be ready in a month, but we'll hold off the unveiling until we've got an event to go along with it. Maybe that could be a Beatles tribute band or a special guest - we don't know yet.


"The reason behind this was to highlight the local links of someone who was very special and made a positive contribution to the world through their music and ideas.


"It's quite something to grow up around here and discover that someone like John Lennon spent almost every summer in the next street."


The inscription on the John Lennon plaque, jointly written by Pete Gregson and fellow community councillor Dave Dawson, will read: "John Lennon visited Ormidale Terrace regularly until the age of 17 in 1957 to visit his aunt and cousin; he often performed for the family on his aunt's piano. The cupboard under the stairs was where he penned Beatles song Rain, the 1966 B-side to Paperback Writer.


"His long summers here ranked among his happiest childhood memories, describing Edinburgh as one of his favourite cities, enjoying the Festival, the Tattoo and the rugby at Murrayfield. He even brought Yoko Ono here in 1969."


In the late 1970s, John Lennon confessed his love for Edinburgh in a series of private tapes recorded at his home in New York City.


The Imagine and Jealous Guy singer even reportedly told his half-sister Julia Baird that he wished to one day purchase the property at Ormidale Terrace and use it once more as a holiday home - a plan that would never come to fruition. 


September 12, 2023
The Alice Cooper song John Lennon thought Paul McCartney should sing
by Tyler Golsen for Far Out

Photo credit: Far Out

For all of his shock rock bonafides, Alice Cooper kept most of his influences to old-school rock and rollers. While theatricality was a major part of Cooper’s stage persona, his songwriting had its basis in the classic songs of the 1960s, the same ones that convinced Cooper to begin playing music. No band could possibly compete with the magnitude of The Beatles, and Cooper learned some important lessons from the Fab Four.


“When you think of great songwriting, nobody was better. McCartney and Lennon just did such great songs,” Cooper wrote in a feature for Louder Sound. “When I think of The Beatles, I always think of early Beatles. Take any song, and it’s like the perfect three-minute song, and I think anyone in the world would love to have written any one of them. ‘She Loves You’ is a good rock song.”


Beginning in the 1970s, Cooper became a member of the infamous Los Angeles drinking club “The Hollywood Vampires”. Cooper dubbed himself “president” of the club, which also included Keith Moon, Harry Nilsson, and Mickey Dolenz. Ringo Starr was a member of the club, and John Lennon was considered to be as well whenever he was in town. For Cooper, it was a dream to connect with Lennon.


“In the prime of Alice Cooper, we were getting all this publicity, and I think John understood and really did like the idea that we were so controversial, that we were banned and that we couldn’t care less what Mary Whitehouse said,” Cooper said. “And he liked the songs.”


During one of their hangouts, Lennon picked out one particular single from the Alice Cooper band as a personal favourite. ‘Elected’ from the band’s 1972 album Billion Dollar Babies was released to coincide with the 1972 presidential election cycle. In it, Cooper proclaims his desire to be elected president, poking fun at the race between Richard Nixon and George McGovern.


“When ‘Elected’ came out, that to [Lennon] was like a great poke in the eye to all politics,” Cooper wrote. “He came to listen to the record at the office in New York, and he kept bringing people in, like, ‘You’ve gotta hear this record!’ One time, he’s walking out, and I’m walking in. ‘Hey John, how are you doing?’ ‘Hey, Alice! Great record.’ Then he says: ‘Paul would have done it better.’ And I went: ‘Well, of course he would – he’s Paul McCartney!’ The fact that he loved the record was a big deal.”


Check out ‘Elected’ down below.

How America fell for the Beatles in aftermath of JFK assassination
By Russell Leadbetter for the Herald


On January 1, 1963 the Beatles were four young men, so anonymous that no-one knew who they were when they landed at London airport on a flight from Hamburg.


By the end of the year, everything had changed. The Fab Four - John Lennon, Paul McCartney, George Harrison and Ringo Starr - were a cultural phenomenon. Everyone wanted a piece of them. As the year progressed, the screams of their fans drowned out the music


When Beatle-style haircuts made young men "look like morons"


An astonishing run of hit singles - Please Please Me, From Me to You, She Loves You, I Want to Hold Your Hand - rocketed them to the top of the charts. They also had two chart-topping albums (Please Please Me, and With The Beatles) and two best-selling EPs. There had been four tours of the UK, including, in January, gigs in Dingwall and Aberdeen, amongst other places.


In the course of 1963 the Beatles played 287 live shows, made 49 appearances on radio and 35 on TV, and even guested on a Royal Variety Performance. They had Britain at their feet. Would America be next?


The intriguing story of how the Fabs did finally crack the world's biggest and most lucrative market is narrated by author and former Evening Times journalist Ken McNab in his new book, Shake It Up, Baby!, which tells, month by month, the story of that tumultuous year.


The fact that their entry route into America in 1964 - groundbreaking appearances on the Ed Sullivan Show, accompanied by staggering amounts of hero-worship and equally astonishing record sales - is tied in with the assassination of President John F Kennedy, makes the story even more compelling.


Alexander Kendrick, the London correspondent of the American broadcast channel, CBS, had interviewed the Beatles for a profile at the beginning of the month, in Bournemouth.


McNab writes: "Kendrick, in almost funereal tones, said he was speaking from 'Beatleland, formerly known as Great Britain', and unapologetically felt compelled to spell out the band's name to distinguish them from the arthropods more commonly found in soil.


"... Kendrick began: 'Besides being merely the latest objects of adolescent adulation and culturally the modern manifestation of compulsive singing and dancing, The Beatles are said by sociologists to have a deeper meaning. Some say they are the authentic voice of the proletariat. Some say they are the authentic heart of Britain in revolt against the American cult of pop singers represented by Elvis Presley and his long line of British imitators...'"


His light-hearted profile included a brief, grainy filmed interview, and footage of Beatles fan club workers sifting through piles of mail.


McNab writes that the segment was shown on The CBS Morning News, with Mike Wallace, on November 22.


"It was on the station's rolling news schedule to be repeated throughout the day. But by the time the fateful news started coming in from Dallas, The Beatles had been dropped, shunted into the TV equivalent of the Dead Letter Office - seemingly forever - as the station's famous anchor, Walter Cronkite, eventually told a stunned nation their president was dead.


That same day in Britain, the band's second album, With The Beatles, went on sale, but the news was of course overshadowed by reports of JFK's assassination.


And that could have been that, at least for the Beatles in America.


But then, on December 10, fate took a hand. America was still in mourning for Kennedy. US newspapers were also reporting the escalation of the Vietnam War, and racial tensions in the segregated American South.


"The problem for Cronkite ... was clear; when do you turn the page? When it the right time to move on? And how do you find any shafts of light amid such darkness?


All you need is Durness: John Lennon and a remote Scots village


"Abruptly, in one of those inexplicable moments, his mind drifted back to November 22 ... and he suddenly pulled from the depths of his memory a small feature made by the CBS London bureau about an obscure pop group whose music was creating bedlam in Britain ..."The three-minute film, he recalled, included interviews with all four members of the group and also captured the frenetic scenes that were now part and parcel of every show they ever played", McNab continues.

Cronkite took the view that the Beatles were not a musical phenomenon. He later said: "The phenomenon was a social one, of these rather tawdry guys, we thought at the time, with their long hair and this crazy singing of theirs". Despite his reservations, he added Kendrick's segment to the early evening news schedule.


When it was screened, it utterly mesmerised a fifteen-year-old Maryland schoolgirl named Marsha Albert.


"It wasn't so much what I had seen, it's what I had heard", she would recall. "They had a scene where they played a clip of 'She Loves You' and I thought that was a great song ... I couldn't get it out of my mind and I wanted to hear more".

That night she wrote a letter to her favourite radio DJ, Carroll James, at the Washington-based station WWDC, asking why music like the Beatles was not available on American radio. Curious, he asked an air-stewardess friend to bring him a Beatles record when she next flew to London. By December 17, James had a 45rpm single of I Want to Hold Your Hand, one of perhaps only two copies in the States.

Like Marsha, he was stunned by what he heard. He rang her and said that if she could make it to WWDC she could introduce the single's debut on his show. She arrived at the station and announced to its listeners: "Ladies and gentlemen, for the first time on the air in the United States, here are The Beatles singing 'I Want to Hold Your Hand'."


The public's response was overwhelming. Before long, the single was on heavy rotation on WWDC. James made a private taped copy of the song and sent it to DJ friends in other cities, from where other copies were made and forwarded to other DJs.


In the meantime, Capitol Records, in America, had been arguing with the Beatles' British label, EMI, over Capitol's refusal to license the group's music. Eventually, Capitol agreed, on December 4, to put resources behind a Beatles campaign in America for 1964.


Sir Paul McCartney on his new book of lost Beatles photos


The plans included a January 13 release of I Want to Hold Your Hand, but, recognising the record's sheer popularity thanks to the combined efforts of Marsha and James, they brought it forward to December 26. As it happened, millions of American teens had Christmas cash gifts burning holes in their pockets. Once they heard the single, they flocked to buy it.

The stage was set for the Beatles invasion of the States in February 1964. "Their lives were never the same again", McNab said this week. "America fell in love with them in a way that no-one could have foreseen.

"Their press conferences after they landed in the States were a masterclass in impish humour and brazen defiance. And their performances on the Ed Sullivan Show were watched by an estimated 73 million Americans - among them two teenagers, Bruce Springsteen and Tom Petty, whose own lives would be forever altered by what they saw".


As for the record that Carroll James played on December 17, he gifted it to Marsha Albert. She has it to this day.


* Shake It Up, Baby! The Rise of Beatlemania and the Mayhem of 1963 (Birlinn, £22) is now on sale.

September 11, 2023
Mother Nature's Son - The Beatles - Full Instrumental Recreation (4K)
by Michael Sokil

The Top Secret 1965 Solo Paul McCartney Beatles Album That Never Was
by Andrew from Parlogram Auctions

September 10, 2023
Poetic rendition of Rishikesh’s Beatles Cafe in Blank Verse poetic style
by The Times of India

Patrons at the Beatles Cafe


Food and poetry converge as they both savour the richness of life’s experiences; one through the palate, the other through the soul’s words. Each dish and stanza bears the
flavours of culture, memory, and the human journey. Take a look at the poetic interpretation of Beatles Cafe’s popular dishes in free verse poetic style.

Salsa Rosa Pasta


In Salsa Rosa Pasta, a crimson swirl of zest,

Dancing with tomatoes, in culinary finesse.


Masala Tea


Masala Tea, a fragrant and spiced embrace,

Warming the heart, in each aromatic trace.


Fresh Vegetable and Cheese Burger


Fresh Vegetable and Cheese Burger, a savoury delight,

Layers of flavours, nestled ‘neath the bun’s white.


Gordon Ramsay’s Hot Bananas


Gordon Ramsay’s Hot Bananas, a fiery fusion grand,

Bananas ablaze, in caramel’s sweet command.


Exceedingly Vegan Pizza


Exceedingly Vegan Pizza, a modern, wholesome treasure,

Plant-based wonders, on dough’s tender measure.


Rice Flat Noodles


Rice Flat Noodles, a culinary journey unfolds,

Wok-tossed with secrets, in a tale yet untold.

Blank verse poetry is unrhymed verse composed of lines with a consistent meter, often in iambic pentameter. It provides the structured rhythm of traditional verse without the constraint of rhyme schemes, allowing for a more natural and flowing expression of ideas and emotions. This versatile form has been used by renowned playwrights and poets for centuries, lending itself well to both dramatic monologues and reflective narratives.

 From the vantage point of The Beatles Cafe.

September 9, 2023
John Lennon’s Long-Lost Patek Philippe 2499 Has Been Found, Phillips Watch Exec Claims
Has one of the great watch mysteries finally been solved?
by Cait Bazemore for Robb Report

On Thursday, Phillips executive Arthur Touchot announced on his Instagram that one of the great mysteries plaguing the watch world has been solved: John Lennon’s long-lost Patek Philippe Ref. 2499 Perpetual Calendar Chronograph has been found.


Over the years, there have been a number of significant watches that have mysteriously disappeared, including the Speedmaster Buzz Aldrin wore during the first lunar landing and Pablo Picasso’s JLC Triple Calendar. Then, you have a few success stories of found watches: Marlon Brando’s Rolex GMT Master from Apocalypse Now, and Paul Newman’s Rolex Daytona Ref. 6239, which went on to become the most expensive vintage wristwatch ever to sell at auction, hammering down for $17.7 million in 2017. Now, it seems we could have another happy ending on our hands for John Lennon’s 2499.


The Patek was gifted to Lennon by his wife Yoko Ono for his 40th birthday just two months before his assassination in 1980. Only two photos exist of the Beatles singer wearing the watch, and shortly after his untimely death, the 2499 went missing. Over four decades later, the watch finally seems to have resurfaced.


While Touchot just brought this news to light on Thursday, it seems the 2499 was discovered years prior and has been kept under wraps thanks to an ongoing court battle. Currently, the timepiece is in the possession of lawyers for an Italian collector who purchased the Patek from a now-defunct German auction house for CHF 600,000 (around $672,000), according to official legal documents from a Geneva court. In 2014, the collector sought to pursue the watch’s provenance, which prompted contact with Ono and spurred a still-ongoing battle over its ownership. The watch was believed to have been stolen by Ono’s former driver years ago, and in June, a Geneva court ruled that Ono is the rightful owner of the piece. The collector has appealed the ruling, according to the court documents.


As this story unfolds, we will continue to update you on the latest details regarding this rare and historically significant timepiece. As of writing, Arthur Touchot and Yoko Ono’s lawyer had not responded to Robb Report‘s request for comment.


September 8, 2023
‘All This and World War II’: The Beatles Movie Nobody Asked For, Nobody Saw and Nobody Remembers
Pulled from theaters almost as quickly as it was released in 1976, this bizarre experimental documentary pairs an all-star selection of Beatles covers with images of WWII.
by Keith Phipps for Reveal

In the early 1970s, Russ Regan had a dream. In this dream, the music of the Beatles accompanied scenes from World War II. For most people, having such a dream would be the end of the story, but then most people aren’t longtime music executives in charge of 20th Century Records, a record label owned by Fox. 


“I dreamt it, actually wrote it all down. I woke up in the middle of the night, wrote these different things down,” Regan told Ear Candy Mag in 2005, “and we made a sort of a documentary movie about World War II with the Beatles’ music.” Thus, Regan’s dream became a reality, first as a four-sided album filled with Beatles covers, then as a film released in theaters in November of 1976, where it was received so harshly it was pulled from theaters after two weeks and never spoken of again.


Well, almost never spoken of anyway. While it seems like nearly every offshoot of the Beatles enjoys some kind of following, All This and World War II has languished in obscurity with little call for the vault containing it to be opened. It’s rarely screened and has never been (legitimately) released on any home video format. Its soundtrack includes contributions from Elton John, Peter Gabriel, The Bee Gees, Tina Turner, The Four Seasons, The Brothers Johnson, Jeff Lynne and many others—some of them previously recorded but many cut especially for the film—but is essentially only encountered by those thumbing through old LPs who pause and wonder, “Wait: What is this?”


So what is it? As one of those record store browsers, I’d been curious for years—an interest also stirred by a Dissolve piece by our friend Noel Murray—and curiosity finally got the better of me after hearing Elton John’s (pretty terrific) 1974 version of “Lucy in the Sky with Diamonds” on the radio.* This required a trip to a site that hosts otherwise unavailable rare films. (I won’t name it, but it’s easy to find and not hard to get lost in.) It also required a lot of patience to watch from beginning to end. Put bluntly, All This and World War II is one of the most appalling miscalculations I’ve ever seen, a bad idea stretched to a torturous 83-minute running time.


Though bad from start to finish, the film’s worst moments come early. A clip of Charlie Chan (Sidney Toler) skeptically receiving the news of Neville Chamberlain’s “Peace in our time” declaration in the 1939 film City in Darkness gives way to acover of “Magical Mystery Tour” by ’70s soft-rock giants Ambrosia.  Accompanying the song: footage of swastika banners, German soldiers marching in formation, and a climactic appearance from a smiling Adolf Hitler, by implication the organizer of the “mystery tour” that was World War II.


If there are meaningful, or at least not appallingly literal-minded, connections to be made between World War II and the music of the Beatles, All This and World War II never finds them. A Bee Gees cover of “Golden Slumbers” accompanies footage of Londoners sleeping in the Underground during the Blitz. Leo Sayer performs “Let it Be” to images of American Nazi collaborators being arrested and (in an iffy bit of parallelism) Japanese-Americans being shipped to internment camps. As the tide of the war turns, Status Quo performs “Getting Better.” Hitler makes several more appearances. Early in the film he’s accompanied by Helen Reddy’s “Fool on the Hill.” In its later moments, Rod Stewart’s version of “Get Back” becomes a taunt as his fortunes turn.


The best that can be said about the film is that it might have been worse. There’s no footage of the Holocaust, which in another World War II doc would seem like erasure but here comes as a blessed relief. And though it seems like we’ll be spared any references to Hiroshima or Nagasaki, the film’s finale (set, of course, to “The End”) ends on a mushroom cloud. In a separate interview with Ear Candy, researcher Joe Adamson mentions that at one point Christopher Guest, Bill Murray and Brian Doyle-Murray, then virtual unknowns associated with National Lampoon, were brought in as potential contributors. That this came to nothing is probably for the best. A comedic take on the project could only have gone to even more questionable places.



Some of the music is quite good. I don’t think I’ve heard Bryan Ferry’s “She’s Leaving Home” or Peter Gabriel’s “Strawberry Fields Forever” anywhere else. They don’t come close to redeeming the movie, however. When the film arrived at Pearl Harbor, I found myself thinking, “Oh no! There’s a lot of war left to cover!”


Critics at the time largely rejected the film, though few as harshly as Desmond Ryan in the Philadelphia Inquirer, whose review called the film “a juxtaposition of the century’s most traumatic experience with Beatles tunes [that] leave the impression of someone playing a kazoo at Beethoven’s funeral.” In the Los Angeles Times Kevin Thomas called it “a tasteless, even offensive attempt to get some more mileage out of some Beatles standards and some wartime Fox MovieTone News footage.” They weren’t out of step with the masses who stayed away.


Which raises the question: Who was this supposed to be for anyway? Speaking to UPI, soundtrack producer Lou Reizner claimed it had noble intentions. “It would have been easy to take the music of the era and dub it to match the action on screen. But we’d have lost the young audience. We want all age groups to see this picture because we think it makes a statement about the absurdity of war. It is the definitive anti-war film.” 


Though the film—which is bloodless and largely avoids any combat scenes apart from aerial dogfights—was rated G, its other potential audience seemed to be the midnight movie crowd who could gaze on the juxtaposition of Lennon and McCartney and Roosevelt and Churchill with stoned wonder. They didn’t turn out either.


More tellingly, they, and other connoisseurs of cinematic oddities, never found it later, either. Released in an era when every movie with an aura of weirdness seemed destined to pick up some kind of following, All This and World War II has remained a cult film in search of cult.** In some ways, the weirdest thing about the film is that a project filled with songs from the most popular band of the 20th century, one that featured John Lennon and Paul McCartney could leave such a tiny footprint. But, despite so many indicators to the contrary, it does exist. And take it from me: that’s all you need to know.


* John’s recording predates the movie, but Regan signed him when he was an up-and-coming star, so it probably wasn’t much trouble to secure it.

** Call it the first entry in The Reveal’s No Cult Canon.

September 7, 2023
John Woloschuk, Dee Long, Terry Draper of Klaatu discuss the recording aspects of their third album "Sir Army Suit"

Backgrounder from Wikipedia:


Klaatu has variously been described by critics and journalists as progressive rock, psychedelic pop, pop rock, space rock and progressive pop.


The band's combination of pop and progressive/art rock has often been compared to the Beatles, the guitar-rock of Queen, the electronic music of Wendy Carlos, the light pop sound of 10cc, and the orchestrated ballads of the Moody Blues. British music magazine Shindig! praised the band's "otherworldly brand of progressive pop". Publications such as Pitchfork have described the group as the "Canadian Beatles".

Juicy Luicy was the second track on side one of the Sir Army Suit album.

September 6, 2023
‘Hundreds contact appeal in 24 hours’ to help find missing McCartney guitar
by Charlotte McLaughlin, PA Senior Entertainment Reporter

Hundreds of people have got in touch over the space of 24 hours to help find Sir Paul McCartney’s bass guitar after it went missing more than 50 years ago, appeal organisers have said.


The Lost Bass Project claims the instrument is “a national treasure” and a piece of “modern social cultural history” as the first bass bought by Sir Paul that was manufactured by Hofner.


Nick Wass from Hofner – the brand former Beatle Sir Paul continues to use in his performances – is behind the appeal alongside husband and wife team, Scott and Naomi Jones.

A detail from an replica of Sir Paul McCartney’s original Hofner bass guitar which shows the
brand’s name written vertically down the guitar (Guncotton Guitars/PA)


Sir Paul has previously approached Hofner about finding the bass and his office is being kept updated by the group, Mr Jones told the PA news agency.


Since launching the project yesterday, Mr Jones said on Sunday: “We are dealing with hundreds of emails and we’ve already picked out two (emails) in particular, because we know it instantly marries up with something that was known before.


“We didn’t expect to get necessarily thousands of super-hot leads instantly … what I’m anticipating is that people who know something will probably just sort of reflect on what they know and then come forward at some point.”


When asked about the details of the leads, the 56-year-old said he could not give an individual’s name, who has been mentioned by “different people”, but they had connections to the UK and America.


Mr Jones, a journalist who investigated the death of The Rolling Stones guitarist Brian Jones, added: “The name (has) cropped up a few times now, because it’s disconnected and it’s coming from a range of sources. Obviously, things like that stand out.


“It’s all still possible but it’s a much stronger feeling you’ve got about a piece of evidence like that if it’s being effectively supported by totally independent and unconnected people.”


The former BBC employee, who worked at the broadcaster in documentaries and current affairs, said the last official sighting of the instrument in January 1969 was at No 3 Savile Row in London, where The Beatles had a studio.


The bass had been purchased for £30 in Hamburg, Germany, in 1961 by Sir Paul and was used during his time with The Beatles.


Mr Jones said: “It’s very rare that we’re not seeing (Sir Paul) playing (one of) his old Hofners.


“What’s uber special about this one, the one that’s gone missing was (it’s) the first one … that’s the one that he bought in Hamburg, that’s the one he played in the clubs in Hamburg … (and) in Liverpool (and at) the first recordings at Abbey Road.


“That’s why it’s so important to him (Sir Paul) to see this thing again, to see this guitar again, because it was the first one.”


Mr Jones also said that the bass could be with someone who “innocently” owns it “without realising what they’ve got”.


“It’s worth looking at the John Lennon acoustic guitar that he used to write I Want To Hold Your Hand,” he said.


“That guitar was stolen from a Beatles Christmas show in Finsbury Park in 1963 but it turned up 51 years later in America and somebody bought that guitar for innocently for 175 dollars.”


If the Lost Bass Project finds the instrument it will be returned to Sir Paul, the organisers have said.


The bass is described as being left-handed, having a three-part sunburst colour, two pickups mounted in one solid block of black wood and a removed mother of pearl pick guard.

− End of article.

How The Beatles CANCELLED Their Own Album | The Story of The SESSIONS LP
by Andrew of Parlogram Auctions

Flashback to the Beatles Press Conference 29 August 1965

September 4, 2023
"I Don't Like All This Dribblin' Pop-Opera-Jazz. I Like POP Records" - John Lennon
Culled from Hit Parader magazine, February 1972

September 3, 2023
New York Times Bestseller “The Fifth Beatle: The Brian Epstein Story” Returns With A New Edition Just In Time For The Tenth Anniversary
By Carlos Morales for Comic Watch

The story of the Beatles like you’ve never heard it!


Dark Horse Books presents a new edition of the Eisner, Harvey, and Lambda Literary Award-winning graphic novel, The Fifth Beatle, in The Fifth Beatle: The Brian Epstein Story (Anniversary Edition), written by Vivek J. Tiwary, illustrated and colored by Andrew C. Robinson and Kyle Baker, and lettered by Steve Dutro.


The Fifth Beatle recounts the true story of visionary Beatles manager Brian Epstein—who engineered Beatlemania, guiding the Beatles from basement gigs to unprecedented international stardom while wrestling with personal demons and the trappings of massive ambition and success. An inspiring human story about chasing your dreams, The Fifth Beatle also reveals an important, unsung chapter in the Beatles’ history.


The anniversary edition features a new cover by Christopher Brunner and Rico Renzi, a new introduction by legendary music manager Kelly Curtis (Pearl Jam), an accompanying musical soundtrack/playlist curated by writer Vivek J. Tiwary, and an expanded sketchbook section including Christopher Brunner and Rico Renzi’s comments on the new cover. The edition also includes the original introductions from Billy J. Kramer and Andrew Loog Oldham.


Praise for The Fifth Beatle: The Brian Epstein Story: “Abounds with emotional moments . . . Filled with vibrant images.” — The New York Times


“The Fifth Beatle, with its heightened graphic artistry, brings to life Brian Epstein’s singular contribution not just to the Beatles, but to pop culture as a whole…this intimate portrait of a man as lonely as he was beloved, perfectly captures what it means to believe in something big.” — Baz Luhrman (Elvis, Moulin Rouge!)


“Writer Vivek J. Tiwary, and artists Andrew Robinson and Kyle Baker, captured the soaring thrill of music with comic book art in their Brian Epstein epic The Fifth Beatle. It’s a must-have for any Fab Four or comics fan that brings an era of music history to life so vividly.” — Kevin Smith (Clerks, Chasing Amy)

The Fifth Beatle is my favorite kind of true story—an ordinary person who changes the world while inspiring others. Brian Epstein…discovered, managed, and steered the Beatles from a basement club in Liverpool to worldwide superstardom and influence, all while overcoming personal, political, and societal obstacles. It’s a story for anyone who needs to be reminded of the power that comes with dreaming big dreams.” — Brad Meltzer (Ordinary People Change the World series, Identity Crisis)

“A wonderfully eccentric telling of one of the great unsung architects of 20th Century culture, with luminous art by two modern masters of the field.” — Warren Ellis (Gun Machine, Red)

“Reveals an unexpected side of the Beatles’ manager and renders the Beatles’ story in a fresh, sophisticated way—full of poetic variation and surprising delicacy.” — Dave Marsh (Born To Run: The Bruce Springsteen Story, The Beatles’ Second Album)

“10/10 . . . Brilliant in every aspect.” — IGN’s Best Graphic Novel, 2013

“Heartbreaking, exhilarating and unexpected . . . A complete triumph.”
— The Hollywood Reporter

Ottawa Beatles Site Footnote: The anniversary edition will be released on November 21, 2023.

September 2, 2023
Flashback: "Elephant's Memory − Lennon Changed Their Life"
by Harold Tribune for Hit Parader, November 1972 edition.

September 1, 2023
A new book by David Hepworth: "The inside story of the world's most famous studio"
Article by RNZ

When EMI opened Abbey Road studios in 1931 it was the world's first full-service recording studio. It's now the last remaining such studio in the world, says music writer David Hepworth.

The studio and its interior are heritage-listed, as is the famous zebra crossing which the Beatles strode across on their 1969 album of the same name.

Hepworth documents the 90-plus year history of the studio in Abbey Road: The Inside Story of the World's Most Famous Recording Studio.

The famous Beatles cover was almost dashed off, he tells Jesse Mulligan.

“The story was that as it was going to be the last album, they wanted to call it Everest. And they wanted to go and have a picture taken at the top of Everest, but that was never going to happen.

“And so, they said, 'instead, let's just go out on the zebra crossing', and they crossed the zebra three times. And I think took a total of six pictures and only one was usable.

“And that was very much it, kind of a dashed-off cover idea. But it ended up being the most memorable album cover of all time.

”Prior to the studio's opening in 1931 the recording world was much different, Hepworth says.

“People had recorded in concert halls, in churches, in hotel rooms, whatever. Whereas this was the first time that anybody had done this, that a company had done this.

“And then loads of other companies followed in his footsteps over the years and you saw Decca record studios and had CBS in New York and so forth.

“And then slowly, as recording has changed over the last 30 years, I suppose, those studios are pretty much all closed. And so, Abbey Road has gone from being the first recording studio in the world to being arguably the last recording studio in the world.”

Hepworth says he wanted to explore the idea of records in the book as opposed to songs.

“I think people tend to talk about records and songs as though they're kind of interchangeable terms and I don't think they are.

“I think a record is a different thing, a record has qualities that a piece of music alone doesn't have; a record has a kind of atmosphere, it has a drama, it can have gravitas, you can have all these kind of qualities, because it's cinematic in many senses.

“Because what people are trying to do with records is make you feel something.”

Abbey Road opened as a place to record orchestras and big bands, along with smaller studios for piano recitals.

"In studio 2, which was kind of the dance band studio in the 30s and 40s, that's the place that The Beatles subsequently came into in 1962. And that's the place that is still the most hallowed ground, I suppose to this day.”
The big studio is still used for orchestral work, he says.

Two big technological changes coincided with Abbey Road being built in the pre-war years, he says.

“The electrical microphone, which comes along in the 30s and that changes the way that singers sing, so you get Bing Crosby in the United States, you get Al Bowlly in the United Kingdom.

“And what these people are doing is singing very confidentially. They're singing into your ear. They're not projecting it.

“A very different form of singing from what have been around in the ‘20s, and so forth. People used to sing through megaphones, effectively.”

The other significant technological breakthrough was tape, he says.

“Just after the war, as a consequence of captured German technology, was recording on to tape, because prior to that it had been done direct to disk.

“And if you recorded on tape, you could edit.

"And you can hear that at its best in the early days in the ‘50s. Lots of legendary comedy records; The Goons and Peter Sellers, Flanders and Swann and all these things  were all made at Abbey Road, very often under the supervision of a chap called George Martin.”

Martin honed his sound effects chops working on these comedy cuts, Hepworth says.

“He realised that the work wasn't finished when the artist left the studio, very often you carried on after you did things with it, you could add instruments, you can edit things, you could put sound effects on and so forth.

“And so, I often think that the true antecedent of Sergeant Pepper is Peter Sellers’ Songs for Swingin’ Sellers.

“He created sound pictures just out of what was available in the studio.”

The studio was also a microcosm of the British class system, says Hepworth.

“The chaps who swept the studios wore brown coats, the chaps who delivered the microphones and the equipment wore white coats.

“The engineers wore sports jackets and flannels and ties, unless they were working at the weekend, and then they were allowed to not bother with the tie.

“So, it was very much, in many senses, it was like an old-fashioned school in lots of ways. And I think it still is in an odd way... what was amazed me is you step into the studio where The Beatles did all this stuff, and there's parquet floor. It's like a school gymnasium from the 1950s.”

Despite  the stuffy, public school atmosphere, magic happened at Abbey Road, Hepworth says.

“George Martin, was a trained musician and guys like Ken Townsend and loads of others, who are kind of what you might call boffins, who would come up from the cellar with a soldering iron in their top pocket and would work out a way to wire up this thing to that thing, to try some mad scheme that had never been tried before.

“Ken Townsend invented, famously, electronic double tracking, just so that John Lennon, who hated his own voice, didn't have to go and repeat or double track it himself.

“He came up with it with this thing, which George Martin explained to him in terms of, it's like flanging, which was an old joke from the Goons record.

“And that sound is still referred to as flanging by recording engineers in studios all over the world.”

Ottawa Beatles Site Footnote: Abbey Road: The Inside Story of the World's Most Famous Recording Studio is published by Simon & Schuster

August 30, 2023
John Lennon Does The Weather - 1975 Philadelphia TV


Badfinger Tribute Album Pays Homage to Tragic ’70s Icon, Supports Mental Health Services
by Dan McCue for the Well news services
Note: this article has been edited by the Ottawa Beatles Site for historical purposes

WASHINGTON — To those of a certain age, the music of Badfinger is an indelible part of their having grown up in the 1970s.


From 1970 through 1972 their string of hits, almost all of them driving rock ballads written by lead vocalist and guitarist Pete Ham, made them one of the most popular bands on earth.


Harry Nilsson plucked the band’s “Without You” from their 1970 “No Dice” album. His version of the song, written by Ham and Badfinger bassist Tom Evans, pushed their work into the stratosphere of success.


Since that time the song has been recorded more than 180 times, and 24 years later Nilsson’s smash became a number one hit all over again for Mariah Carey. In 2021, Rolling Stone included “Without You” in its compendium of the 500 greatest songs of all time.


But behind all the apparent success, a tragedy of epic proportions was unfolding, one that would forever cast Badfinger as perhaps the most star-crossed band of the rock era and cast a spotlight on how little was done to bolster the mental health of very young and very talented artists.


The reality was, in every aspect but writing songs and performing, every apparent break the band had was a portent to a nightmare.


Discovered by an inexperienced band manager named Bill Collins, the group originally known as The Iveys, was whisked to London from their native Wales, and immediately set up shop in his townhouse, honing the songs they hoped would land them a record deal.


To make some spending money in the meantime, Collins booked the band to play London’s Marquee Club, inviting the city’s music industry bigwigs to come see them. Among these was Mal Evans, the longtime Beatle roadie, who was now serving as an A&R man at their newly minted Apple Records.


With Evans’ enthusiastic support, The Iveys were soon signed to the label, but the individual Beatles, who at that point had a hand in nearly everything Apple did, said they didn’t hear a hit single in the batch of songs The Iveys had written and urged the band to keep trying.


In the meantime, the Beatles were beginning their long breakup, essentially a war of attrition pitting John Lennon, George Harrison and Ringo Starr against Paul McCartney. As part of the fallout, the Lennon-Harrison-Starr trifecta began pushing back at McCartney’s song offerings.


One of these, “Come and Get It,” had originally been written for a McCartney movie project, “The Magic Christian.” However, he soon began to think it was too good to be “thrown away” in a movie and brought it to the other Beatles. They rejected it, in part, because they interpreted his actions in the most negative light at the time. In their view, he was offering them a song he didn’t consider good enough for the movie.


McCartney, completely polished demo in hand, immediately offered the song to Badfinger with himself acting as their producer. The only proviso was that they play the song exactly as he did on the demo.


“This is a hit,” he assured them. Who were they, now named Badfinger, to argue with him? And McCartney did prove correct, the record reaching the top 10 in both the United Kingdom and the United States.


The problem was it also hung an albatross around their necks that would last throughout their active career — though fans and critics loved them, there was also a feeling that the band was little more than a Beatle knockoff.


Like most bands, Badfinger’s early contracts were hardly advantageous to them, but a common tradeoff at the time was that you allowed yourself to be a little ripped off for the sake of establishing an ultimately lucrative career.


In Badfinger’s case, their subsequent contracts and the legal hassles that stemmed from them went from bad to devastating. 


As their records rose up the charts, the desire to get to America and tour to capitalize on their success was intense. It was then that they fell into the clutches of a business manager named Stan Polley.



According to Dan Matovina, author of “Without You: The Tragic Story of Badfinger,” Polley, a one-time attorney, had taken to preying on young musical acts and songwriters by promising them all they’d need to take care of was “their art” and he would handle everything else.


In Badfinger’s case, the contracts they signed with Polley left them destitute, while he and others enjoyed the fruits of their success.


Despite their living in abject poverty while their records raced up the charts, the band soldiered on, unwilling to admit or believe they’d been duped.


Pete Ham, always the most sensitive member of the band, began to show growing signs of mental illness as the months went on, among other things, putting lit cigarettes out on his arms and hands.


Things grew even more dire in late 1974, when Ham learned his girlfriend, Anne Herriot, was expecting a child. Determined to make a home for his new family, he overdrew his meager bank account to buy a home, promising to make everything straight with the bank once an expected cash advance from Badfinger’s new record company, Warner Brothers Records, was sent to him.


The advance vanished, and on the night of April 23, 1975, Ham received a call from the United States telling him that all his money had disappeared.


Later that night he met Tom Evans for drinks at the White Hart Pub in Surrey. While there, the two tried to make sense of the situation while drinking heavily.


Dropping Ham off at home at about 3 a.m., Evans believed his friend and bandmate had rebounded a bit, but one thing nagged at him as he drove away.


Ham had slapped the hood of Evans’ car and said, “Goodbye.”


“He never says, ‘Goodbye,’” Evans thought as he drove on. “He always says, ‘Good night.’”


Hours later, Ham was found hanging from a rope in the garage studio next to his home. In a suicide note addressed to Herriot, he said in part, “Anne, I love you. … I will not be allowed to love and trust everybody. This is better. Pete.”


As a postscript, he added, “Stan Polley is a soulless bastard. I will take him with me.”


Ham was cremated, his ashes spread in the memorial gardens at the Morriston Crematorium, Swansea, Wales. His daughter Petera was born one month after his death.


Badfinger tried to continue, but was beset by legal battles with Polley, a slew of other band contracts, and intra-band conflicts over money. So tangled was the mess that most of the royalties owed the individual band members were withheld by the numerous parties involved, not to be fully paid out for more than a decade.


Evans, unable to get over Ham’s death, hanged himself in his garden on Nov. 19, 1983, at the age of 36. The previous night he got into a heated argument with former Badfinger member bandmate Joey Molland, over royalties for the song “Without You.” 


Though the band’s story is tragic — drummer Michael Gibbins also died young, of a brain aneurysm in October 2005 — Badfinger continues to have a remarkable afterlife.


The band’s “Baby Blue” experienced a resurgence of popularity in 2013 when it was featured during the closing scene of the “Breaking Bad” series finale. In the weeks that followed, it became a top-selling song on iTunes.


On top of that, the band continues to be a fixture of several SiriusXM channels, including its 70s on 7, and Little Steven’s Underground Garage.


But for fans of Pete Ham, perhaps the sweetest turnabout of all was the release, earlier this summer, of “Shine On: A Tribute to Pete Ham” released by the Y&T Music record label.


For Rich Ulloa, the founder of the record label, the creation of the album was almost literally the fulfillment of a lifelong dream.


“Oh I’ve been a fan of Badfinger for as long as I can remember,” Ulloa told The Well News last week. “I got to see them play live twice, in 1972 and 1973, and as much as I loved Badfinger, it was always Pete Ham whose music drew me in,” he said.


“I mean, I bought all of their albums, and while Joey Molland is great and Tommy Evans is amazing, there’s just something about Pete’s work that I felt so connected to,” Ulloa said. 


“I loved his voice. He’s like my all-time favorite musician — though I’m not saying he’s the best; I’m also a Beatles fanatic and a Bob Dylan fanatic — but Pete Ham just drew me in. … His particular body of work really speaks to me.”


At the same time, Ulloa said he was obviously drawn to Ham’s tragic story, finding that the more he read about the late musician, the more he liked him.


“He was the ultimate team player throughout all of their difficulties, and at the same time, he was, like, a reluctant rock star … all he wanted was to be able to write and have a career,” he explained.


Ulloa said, like most fans he learned of Ham’s suicide almost by accident. He’d just taken out a subscription for Rolling Stone magazine, and a small blurb announcing Ham’s death was in the first issue he received.


“I couldn’t believe it,” he said, the shock still palpable in his voice more than four decades later.


“And it was just a little blurb, not even on the front page, because while Badfinger had been huge, Pete wasn’t a household name like Jimi Hendrix or Janis Joplin were when they died,” Ulloa said. 


“I read about what happened two weeks after the fact and I was just crushed,” he added.


By the time he was 26, Ulloa had opened his first record store, Yesterday and Today Records, eventually expanding it into a small chain. Among the artists who frequented the store was The Mavericks, a country band that happened to be based in Miami, Florida.


“I became a huge fan of The Mavericks and I’m friends with their manager, so I said, ‘Why don’t we put out record, and maybe it will get a major label?’” Ulloa said.


“Lo and behold, we put out a record and the next thing we knew they were signed to MCA Records. Then I found another artist that I loved, Mary Karlzen, and after we worked with her, she got signed to Atlantic. So all of a sudden our tiny little record label had a little momentum and since then we’ve put out something like 42 releases, a few of them tribute albums like the one for Pete Ham.”  


Ulloa said the idea for a Pete Ham tribute album first occurred to him about 20 years ago, a time when he felt he lacked the resources and industry contacts to pull it off. “Then about two or three years ago, I said to myself, ‘If I’m going to do it, I better get down to it.’ And it took me two years to finish the project.”  


Ulloa’s concept was to press a single compact disc containing somewhere between 15 and 18 songs, “but momentum grew after the project started and I decided, ‘You know what, I’m going to go all the way and take every song Pete ever wrote and make it a double CD.’


“It took a lot of time,” he said. “I had to have contact with every artist, and dealing with each artist requires a lot of emails and phone calls and such to get them involved.


“And then, because of the way it came together with most of the artists sending me their finished recordings, there was a lot of mixing involved. Plus, a couple of artists recorded songs that weren’t up to the quality I needed, so I had to find alternate artists on a couple songs. 


“So that was a lot of work, but at the same time, I wasn’t in a hurry. For the most part I was relying on the artists because they were all recording the songs on their own and giving me the finished master. The exceptions were the six or seven artists on the album that I’d worked with previously. In those cases, I was actually more directly involved in the studio.”


In the press release for the album, all net profits from which will go to Mental Health America of Southeast Florida, Stan Lynch, drummer for Tom Petty and the Heartbreakers, described working on the album as a searing learning experience.


Lynch, who contributed to three tracks on “Shine On,” said, “The more I learned about Badfinger, the more upset it made me, because they were so rich with promise.


“It’s not just a cautionary tale — it’s truly heartbreaking,” he added.


It’s appropriate then that the two-CD set opens with “No More,” a song long considered one of two audio suicide notes Ham recorded as demos shortly before taking his own life.


Here, it’s performed by Mary Lee Kortes, a longtime favorite of fans of Vin Scelsa’s much-missed “Idiot’s Delight” radio show, with an assist from the great Eric Ambel on guitar.


Together they turn Ham’s pensive meditation into a walloping roots-rock inflected alt-country track, setting the stage for much of what follows.


Dan Baird, formerly of the Georgia Satellites, follows with a raucous “I Can’t Take It” with his new band The Chefs, while Shelby Lynne turns “Day After Day” into a gently swaying but full-throated declaration of love and devotion.


“No Matter What” is also the only tune that shows up twice on the album, the second version, by The Speaker Wars, getting an assist from Indian vocalist Susmita Datta, who reimagines the classic power ballad as a psychedelic Hindustani dream.


Other highlights include Mic Harrison and the High Score’s rocking rendition of “Meanwhile Back at the Ranch,”  Wreckless Eric and Amy Rigby’s moving “Midnight Caller,” and Melanie’s heartbroken turn on “Without You.” 


Additional noteworthy tracks are performed by Dennis Diken of The Smithereens, Mary Karlzen and Diane Ward.


Describing how he matched artists to songs, Ulloa said the process was “a balancing act.”


“For about half the songs, I definitely had a specific song in mind of the artist, and for most of the rest, I had maybe two songs in mind,” he said. 


“The other thing is, you want to have the greatest quality recordings you can get, but you also want to have some artists with name recognition that will also help bring attention to the project,” Ulloa continued.


“People like Shelby Lynne and Dan Baird are high-profile artists and it was great to get them on board. At the same time, they were really, really into it,” he said. “I’ve known her producer, Ben Peeler, who was one of the founding members of The Mavericks, for over 30 years, and I reached out to him and asked if she’d do ‘Day after Day,’ and his response was, ‘She’d love to do it.’


“Stan Lynch because … I have a longtime friend, Bill DeYoung, who has written liner notes for Rhino Records and many major label releases, and when I told him about this project, he said, ‘Well, do you know Stan?’ And I said, I wish I did.


“Well, Bill said, ‘I’ve talked to him and he’s a huge Badfinger fan.’ So he introduced us via email and Stan got back to me immediately and was just very excited to be involved. He said he’d just been listening to Badfinger and learning what a tragic story it was.


“The Speaker Wars is his new band, and he put me in touch with their singer and together they picked “No Matter What” … this was very early on in the project.


“Then Stan said, ‘Would you be interested in having Dan Baird on the album?’ And I was like, ‘Are you kidding me?’ So every artist that appears on this tribute has a story attached to them,” he said.


Ulloa said of all the artists on the tribute album only two were largely unfamiliar with Badfinger’s music before they got involved in the project.


“The first was the Sweet Lizzy Project, a band from Cuba that relocated to Nashville five years ago. The lead vocalist had heard “Without You,” but that was the extent of their knowledge of Badfinger. They do “Perfection” on the album and did a great job with it.


“Similarly, Amanda Green, a pianist I’ve worked with before, also was unfamiliar with much of Badfinger’s work, but she threw herself into learning “Name of the Game,” practicing the song for a month before we brought her into the studio. And again, it came out great, so I was very happy,” he said.


The album has already sold out its first pressing and is now into its second. Several tracks from “Shine On” have also been picked up by SiriusXM radio, appearing across six stations and counting as this article goes to press.


Ulloa, who was in New Orleans, Louisiana, for a speaking engagement when he spoke to The Well News, could hardly contain his excitement about the project and the success it is enjoying.


Asked if he could sum up his feelings for Badfinger all these years later in a single sentence, Ulloa struggled.


“You know that power chord right at the beginning of “Baby Blue”? That still has the same effect on me as it did then. But that’s Joey Molland, whose contribution to Badfinger and where they were headed — he joined with their second album — cannot be understated,” he said.


“As for Pete Ham … well, I love songs. I’m all about melody and songwriting. But I also like music with power as well. And his music had all of that,” he continued.


“The first time I saw them play live they were opening for The Doors — this was after Jim Morrison died and they tried to carry on without him — and Badfinger just rocked the house. Oh my God, they were amazing,” he said. “The Doors were great, but Badfinger just came on stage with such an attitude. It was a great rock and roll show.


“The second time I saw them, six months later, they were headlining with The Chambers Brothers opening up, and I remember Pete playing piano for three or four songs and my being mesmerized by his performance. I was seeing my hero at the top of his game and I couldn’t believe it. And that was the beginning, really, of my being a lifelong fan. The music of Badfinger never left me. 


“To this day, if I see a video of the band on YouTube featuring Pete Ham, I still get chills and goosebumps, even after all these years,” Ulloa said.


Dan can be reached at and @DanMcCue

− End of article.

BMG To Reissue George Harrison Catalogue Starting 8 September 2023
by Paul Cashmere for

The long out of print solo catalogue of George Harrison will start to be released on Dark Horse Records via BMG from 8 September, 2023.


The initial release will include 5 titles on CD and 10 on vinyl.


The first edition of releases are:


Living In The Material World (2006 remaster) (released 1973)
Electronic Sound (released 1969)
Dark Horse (2014 remaster) (released 1974)
Extra Texture (2014 remaster) (released 1975)
George Harrison (2004 remaster) (released 1979)


Wonderwall Music (released 1968)
Electronic Sound (released 1969)
Extra Texture (released 1975)
Thirty Three & 1/3 (released 1976)
George Harrison (released 1979)
Somewhere In England (released 1981)
Gone Troppo (released 1982)
Cloud Nine (released 1987)
Live In Japan (released 1992)
Brainwashed (released 2002)
Dark Horse (released 1974)
Living In The Material World (2014 remaster) (released 1973)


The only missing studio album in the studio album is the classic ‘All Things Must Pass’, which was reissued as a box set through EMI/Universal in 2021.


The 1992 live album ‘Live in Japan’ is included in the BMG reissues. ‘Concert for Bangla Desh’, owned by Sony Music, has not.


EMI’s 1976 compilation ‘The Best of George Harrison’ has not been included nor have ‘Best of Dark Horse 1976-1989’ (1989, on Warner Music), ‘Let It Roll Songs by George Harrison’ (2009 on Capitol/EMI) and ‘Early Takes: Volume 1’ (2012 on Universal).


George Harrison founded the Dark Horse Records label in 1974 as Apple was winding down. The label gave George the vehicle to continue his solo career on his own terms and also sign acts to the label that aligned with his philosophy. George’s first two signing where Ravi Shankar and Splinter. Albums by those and others have been filtering through BMG since January 2020.


Dark Horse is now run by George’s son Dhani. The label recently signed Cat Stevens and Billy Idol as well as back catalogues from Leon Russell and Joe Strummer.

August 29, 2023
Paul McCartney & Ringo Starr Achieve a Beatles Chart First, Thanks to Dolly Parton
The trio's update of The Beatles' "Let It Be" debuts on multiple surveys, following its Hot Trending Songs entrance.
By Jim Asker, Gary Trust for Billboard

Thanks to Dolly Parton, The Beatles’ legendary chart history has added a first.


Parton’s version of The Beatles’ classic “Let It Be” – featuring Paul McCartney and Ringo Starr – arrives at No. 2 on Rock Digital Song Sales, No. 15 on Country Digital Song Sales and No. 22 on the all-genre Digital Song Sales chart (all dated Sept. 2), with 3,000 downloads sold Aug. 18-24, according to Luminate. A week earlier, it debuted at No. 3 on the Hot Trending Songs chart, powered by X.


The Fab Three’s song is set to be on Parton’s 30-song album Rockstar, due Nov. 17. The Beatles’ original led the Billboard Hot 100 for two weeks in 1970.


Notably, the remake is the first song on which McCartney and Starr – or any of the four Beatles, including the late George Harrison and John Lennon – have shared credited billing with one another on an entry on a Billboard songs chart outside the group.


The closest such occurrence previously: McCartney and Starr both received credit on Give My Regards to Broad Street, which hit No. 17 on Top Videocassettes Sales and No. 30 on Top Videocassettes Rentals in 1985. (Both charts were shuttered in 2010.) The film stars McCartney and Starr, among others, depicting a fictional day in McCartney’s life. The soundtrack, credited solely to McCartney, and on which Starr plays drums on multiple songs, hit No. 21 on the Billboard 200.


While “Let It Be” is the first hit crediting two Beatles by name on a Billboard songs chart, the members have collaborated on prior projects outside the group, which disbanded in 1970 (with Harrison, McCartney and Starr having updated archived tracks by the late Lennon for The Beatles’ Anthology series in 1995-96, with its three editions all hitting No. 1 on the Billboard 200).


Starr played drums on several tracks on Harrison’s solo album All Things Must Pass, which ruled the Billboard 200 for seven weeks in 1971. Musicians in that era often contributed their skills without seeking official credit (and both subsequently stated in interviews that they didn’t recall who played on which tracks on the set).


Starr also worked with Harrison on the latter’s album Cloud Nine, including on “Got My Mind Set on You,” which led the Hot 100 in 1988, marking the most recent No. 1 by a solo Beatle.

Starr and McCartney have also appeared on each other’s LPs through the years, beyond Broad Street. Starr played drums on McCartney’s “Take It Away,”
which reached No. 10 on the Hot 100 in 1982, while McCartney joined Starr as recently as 2021, on Starr’s song “Here’s to the Nights,” from his EP Zoom In

Both McCartney, 81, and Starr, 83, have busy schedules. Starr resumes touring with his All Starr Band Sept. 15 in Lake Tahoe, Nev., and will release the four-song EP Rewind Forward on Oct. 13. McCartney’s Got Back Tour heads to Australia on Oct. 18.

Plus, McCartney has revealed a forthcoming Beatles track. “Can’t say too much at this stage but to be clear, nothing has been artificially or synthetically
created,” he teased in June. “It’s all real and we all play on it. We cleaned up some existing recordings – a process which has gone on for years.”

Making for even more star power on the new “Let It Be” cover, Mick Fleetwood, of Fleetwood Mac, provides percussion and Peter Frampton plays guitar.

− End of article



August 28, 2023
Kenneth Womack seeks to ‘set the record straight’ with book about Beatles associate Mal Evans
By Rosemary Parrillo for NJArts.Net

Kenneth Womack grew up in Kingwood, Texas, a small development north of oil-and-gas-rich Houston, where you were either a Shell Guy or an Exxon Guy. It turned out Womack was a Beatles Guy. And that’s how the whole thing got started.


It was 1977 and Womack was 11 years old when an episode of the cartoon series “The Beatles” unexpectedly replaced his favorite morning TV show, “New Zoo Revue.” “It was what I watched while I ate breakfast, so I was annoyed. The (Beatles) cartoon was pretty terrible, really. But the music was amazing. Different from anything else.”


It was as if a light suddenly turned on, he says. And more than four decades later, that light is still shining.


Womack, 57, of West Long Branch, is a professional Beatles scholar, one of only a few in the world. As a music historian and professor at Monmouth University, he teaches literature, creative writing and popular music. One of the courses is an introduction to The Beatles. And should someone raise an eyebrow about the scholarship in that, he is quick to point out The Beatles course is actually art appreciation.


“What people come to understand pretty quickly is that of all the art objects of the 1960s, and maybe the 20th century, The Beatles will last,” he said. “The arc of their experience and artistic growth is unparalleled. The span is less than seven years. They have this remarkable trajectory from ‘Love Me Do’ to Abbey Road, then it’s sayonara. No one has done that. Shakespeare didn’t do that. James Joyce didn’t do that.”


And the professor should know. He also holds a Ph.D. in 20th Century British Literature.


Womack’s journey from the Lone Star State to the Garden State was a bit of a long and winding road, with a stop, from 1997 to 2015, at Penn State University, where he earned tenure and boldly decided that The Beatles belong in the pantheon of 20th Century British literature.


So he began teaching the Beatles course and putting together anthologies of Beatles-related essays for the world’s best university presses. “In the academic world, it’s how you generate respect, because all of these are peer-reviewed. I like to think I’m doing my own small part to help construct a space for The Beatles in the academy.”


His recent books include “John Lennon 1980: The Last Days in the Life” (2020), “Solid State: The Story of Abbey Road and the End of the Beatles” (2019) and a two-volume biography on Beatles producer George Martin, “Maximum Volume” (2017) and “Sound Pictures” (2018).


In a few months, Womack will release perhaps his most ambitious and surprising book of all, a much-anticipated biography of Mal Evans, The Beatles’ longtime personal assistant, roadie and fixer.


“Living the Beatles Legend: The Untold Story of Mal Evans” (Dey Street Books, 592 pp.) will be a “warts and all” examination of Evans’ life, which was spent just a round-the-clock heartbeat away from the four most famous and sought-after pop culture figures of the ‘60s.


With the blessing of Evans’ children, Gary and Julie, who allowed unlimited access to their father’s manuscripts, journals, diaries and memorabilia, Womack conducted an exhaustive examination of Evans’ life, research he calls “great fun, forensically.” The book, scheduled for release on Nov. 14, charts the roadie’s journey from the early Cavern Club days in Liverpool to his tragic death in 1976, following a confrontation with Los Angeles police.


“Gary keeps saying I’ve shown him things about his father that he didn’t know,” said Womack. “It’s true. I didn’t know them, either. I just had to go out and get them, find the people.”


And what Womack found during more than 200 interviews surprised him.


“We have this vision of Mal as an offish blue-collar fellow with a big dumb look on his face,” said Womack. “But he was not any of those things. He was a success story in his family before he met The Beatles. He was the first person to have a mortgage, his own home. He was the first person to have a car. He had a real job as a telecommunications engineer with the British post office. He was going places.


“And to make things even more interesting, he was very social. He could be very shy because he was big (6-foot-3). But he also learned, as people of height sometimes do, you have to learn some tricks to be able to negotiate the world. He learned how to be social and a great conversationalist and I think it was that combination that made him interesting to George Harrison and the other Beatles.”


Womack said he discovered that most of what has been written about Evans is wrong.


“You go to his Wikipedia entry and about two-thirds of it is incorrect,” he said. “It’s absolutely revelatory. At the very least, there are great moments of heartbreak and whimsy that Beatles fans and music lovers are going to love. But at the same time, I will be correcting some of the timeline, helping people understand how things took place, what happened. I’m really setting the record straight. It’s an amazing detective story.”


Evans was just 40 years old when he was killed during a domestic incident at his home in Los Angeles, after pointing a weapon at police. The gun turned out to be an air rifle.


Womack describes the story of how Evans’ life spiraled at the end as complex and contradictory.


“All of his worlds were colliding, and he couldn’t handle it, though a lot of things were going right for Mal. From a layman’s perspective, it seemed more things were going right than wrong. He had written a memoir. He had produced a Top 5 hit with Badfinger’s ‘No Matter What.’ He had a song on Ringo’s album in 1973 that created some wealth, a steady income. He had achieved many things and he was on the precipice of new and even more exciting things.” The song recorded by Starr, by the way, was “You and Me (Babe),” co-written with George Harrison.


But it all came to a sudden, tragic end, leaving the memoir unpublished and his prodigious cultural legacy left to the fading memories of aging friends and associates.

Womack hopes his book, illustrated with 100 photos, will reignite the excitement of being in the Beatle maelstrom. After all, Mal Evans was a real-time witness to every high and low, every bit of hysteria and insanity, every recording studio argument and brilliant musical discovery. He also contributed to the band, musically, with credits on everything from “You Won’t See Me” (organ) to “Being for the Benefit of Mr. Kite” (harmonica) and “Maxwell’s Silver Hammer” (anvil).


“Mal played on 20-plus songs,” said Womack. “They’re Beatles songs! I mean, if you were a classical musician you had to have some pedigree to be on a Beatles song, or George Martin wouldn’t let you through the door. Most of those guys were from the Royal Philharmonic. And yet they trusted Mal to play on their records, which easily was the most important thing in the world to them.”


Throughout his years with The Beatles, Evans meticulously wrote it all down. “Mal was an obsessive note-taker,” Womack said. “We have several hundred thousands of his words from various manuscripts and diaries. Once you’ve spent time with him, as I have the last couple of years, you find he’s a very different guy than expected.


“It was Ringo who told Mal to tell the truth in whatever he wrote, and Mal did — about himself. He didn’t take that to mean do a tell-all about (The Beatles). Mal took that to mean, ‘I’m going to represent who I am in a very real way.’ I was very surprised about that. I didn’t expect his level of brute honesty. He lived a big life, often badly, and often really, really well.”


If there is a major takeaway from looking through the scattered glass of Evans’ upside down/right-side-up life, it’s the value of service.


“I think the important part about the Mal story is understanding how important folks like Mal are in the world. They’re stewards in a lot of ways. They’re stewards of their own ambitions and desires. There’s no doubt about that. But they’re also serving something that’s bigger than them, and it was fun learning about when Mal recognized that that’s what was happening.”


Come fall, Womack will be back in the classroom, awaiting the release of “Living the Beatles Legend.” On Monday evenings, he will continue introducing Monmouth students to the rich musical and cultural history of the British Invasion’s greatest conquering heroes.


And whether students are taking the Beatles course because they’ve always loved the Fab Four, have just discovered them, or are simply looking for a course to fill out their schedule, Womack’s primary goal, as always, will be “teaching them how to be critical thinkers. That’s the secret weapon.”


For more on Womack and his books, visit

August 27, 2023
Just three left in Band on the Run album cover after Michael Parkinson's death
Fifty years ago an imaginary band of celebrity convicts would be turned into one of rock'n'roll's most memorable album covers. But while only three now remain alive, the
photographer Clive Arrowsmith says the iconic shoot feels like yesterday.
By Peter Roberston for the Express

Paul McCartney’s recent tribute tweet to Michael Parkinson included the cover of the classic album Band On The Run by his group Wings, as the late chat show host was one
of nine famous faces pictured on it.

But the passing of Parky meant only Macca, his then bandmate Denny Laine and the boxer John Conteh now survive.


Those who went before were Paul’s first wife Linda, actors James Coburn and Christopher Lee, broadcaster Clement Freud and entertainer Kenny Lynch.

The picture of this celebrity “band on the run” caught in a giant spotlight was taken on October 28 1973 by top snapper Clive Arrowsmith, who says it doesn’t seem like 50 years ago.


“It feels like no time at all. I’m always in the moment because I’m a Tibetan Buddhist and a Zen practitioner."


When asked about the loss of yet another VIP from his iconic picture, he replies: “In the business of rock’n’roll and fashion, everybody fades away. Time is the great devourer of talent and beauty, and death the great leveller of everything.

You just have to seize the moment.” Born and raised in North Wales, Clive was studying painting and design in Queensferry, near Liverpool, when he met Paul. Back then he was in the pre-Beatles band The Quarrymen, with John Lennon and George Harrison.


“They had a squat in an old Victorian mansion opposite the (Anglican) cathedral and I used to go to Liverpool because of the music.”


Going on to gain a degree at Kingston College Of Art, Clive then began taking photos while working as a graphic designer for Rediffusion TV, art directing, with his friend Arnold Swartsman their pioneering pop show Ready Steady Go! on which The Beatles appeared three times.


Paul formed Wings with Linda and Denny in 1971, a year after The Beatles broke up. Their third and most successful album, Band On The Run, was released on December 7 1973, topping the charts in the UK, US, Canada and Australia.


Clive recalls: “Paul asked me to do the album cover because I was taking photos for various magazines and Linda liked my work. We chatted about doing it against a wall with everybody caught in a spotlight like in an old James Cagney film.


“We used a big flat wall at Osterley Park – of course they wouldn’t let us shoot at Strangeways. I hired an old Post Office van and a spotlight, and used a megaphone.


“Paul knew all the celebrities and invited them along. The reason they’re all holding on to each other is that there was a bit of a party. James Coburn brought champagne and some were a bit stoned. They were having a wonderful time, all dressed in convict uniforms.


“I remember Michael Parkinson being quite sober about it all. The rest of them were crazed out as it were with funny expressions, and they would not stop moving. It wasn’t an easy shoot to do.


As an inexperienced photographer I was deeply concerned it wasn’t going to work and scared to death, til I got the transparencies back from the laboratory.


“Out of three rolls of film I only got four frames where they were all reasonably sharp.” Clive was embarrassed by the colour of the spotlit area. “I apologised to Paul for the golden yellow, explaining I’d used the wrong type of film.


He wrote me a note saying ‘Don’t worry Clive. It was great. I really enjoyed it. Lots of love, Paul’ with a little doodle. I’ve got that in my archive.”

Clive also got a fee of “about £1,000, which was outrageous at the time”. Paul continued to hire Clive for other shoots –including Wings’ At The Speed Of Sound album (1976) and Paul’s ninth solo album Off The Ground (1993).


But they haven’t been in touch for 25 years because, as Clive points out, “he’s a busy guy.” However, Clive was close to George Harrison who died in 2001. “I used to visit him at home in Henley. He was my dear friend.


He stopped me drinking and got me together, and for a while I followed the Hindu path. And then I met my Tibetan teacher and became a Buddhist.”


Despite being a 70-something grandfather, Clive also remains a busy guy, currently working on four new books of his photographs and exhibiting in Paris, Palm Beach, Brazilia and Malmo.


Although that photo, like the album, became a classic, Clive prefers ones he took of Elton John hugging Phil Collins, David Bowie emerging from shadows, and the then Prince Charles standing in his garden at Highgrove.


The likes of LS Lowry, Raquel Welch, Carrie Fisher, Meryl Streep, Roald Dahl, and The Dalai Lama have also posed for him.


So what does Clive, himself a keen guitarist and lyricist, think when he looks at the Band On The Run picture now? Quick as a flash, he says: “Thank God I got it right!”

August 26, 2023
From sorting fan mail to seeing Abbey Road being made: my life as a teenage Beatles employee

by Merle Frimark for the Guardian

Merle Frimark was already a huge fan of the Fab Four when she started working for them. Here she recalls being in the room as they put the finishing touches on Come Together – and reveals her unseen snaps of her encounter


Merle Frimark at John's desk in the London Apple Corps office, July 1969

On the afternoon of 23 July 1969, I was a nervous 18-year-old American on my way to EMI Recording Studios on Abbey Road in St John’s Wood. Inside, the Beatles were putting the finishing touches on the song Come Together, which would end up on Abbey Road. An endless stream of pilgrims would soon arrive at the pedestrian crossing on the cover, and the studios would be renamed to match.

As I entered, I heard voices and wailing guitars. Their assistant Mal Evans greeted me and put me at ease. John, Paul, George and Ringo were scattered around the studio. The place was bustling, with crew setting up, moving equipment and microphones, placing towels over the drum heads. Then came the introduction. The boys – as everyone seemed to refer to them – were reminded that I was from the New York office. They all smiled; I felt warmly welcomed. Then they got down to business. Not wanting to be intrusive, I took some candid photos; I was by no means a professional photographer, and this is the first time they’ve been published.

How did I get here? Two years earlier, I was a young fearless teen growing up in Queens, New York, who wanted to be Grace Slick of Jefferson Airplane. I had been to both Beatles concerts at Shea Stadium in 1965 and 1966, and was totally enamoured the minute their songs began playing on the radio and their now historic February 1964 appearance on The Ed Sullivan Show. Mine and so many other lives changed forever in that moment.

In high school, I heard the Beatles had an office in Manhattan. I took the subway to the office building in the heart of Times Square and took the elevator to the 18th floor. The sign on the door read Beatles (USA) Limited and Nemperor Artists, Ltd. I knocked and went inside. “Hi, are you here to be interviewed?” asked the woman at reception and I immediately said yes, having no idea what I would be interviewed for.

They were looking for teens to help sort the sacks of fan mail and hired me immediately. Each day after school I would hop on the subway and go to the office, and after graduating high school in 1968, they offered me a full-time job. I will never forget the excitement the day the demo of Back in the USSR arrived in the office before it was released – we were all so thrilled and played it immediately, over and over, blasting it out.

In July 1969, I paid to take a two-week vacation to London. I spent time in the Savile Row HQ of Apple Corps, with fans waiting outside for a glimpse of any Beatle that might pop in. I watched the moon landing on a small black and white TV at the office alongside Donovan.

Then Derek Taylor, the Beatles’ press officer and a great mentor to me, arranged for me to go to EMI Studios, and in I wandered. Bearded George, dressed in blue jeans and matching shirt sat atop the organ; John in all white, with beard and beads, sat in front of the drum kit area; Paul was dressed casually in a white T-shirt and barefoot, constantly moving around the studio, with Ringo in bright red trousers at his drums. George Martin was there too, checking just about everything.

As they began to rehearse sections of Come Together, Paul seemed to be taking the lead. At certain points he would stop, suggesting “it’s four beats, Ringo,” and walk over for a pow-wow: “All good.” Paul and George harmonised together as George worked on his wailing guitar solos. John ran his fingers along the neck of his guitar as he tuned up.

"It's four beats, Ringo." Paul McCartney with George Harrison and Mal Evans.

Paul was the most animated that day; John was rather quiet as he had recently returned to the studio following a car accident in Scotland. I brought some white flowers for him and he placed one on the amp next to him. George remained rather pensive, while Ringo had great patience and calm.

I continued to tiptoe around. Trying to take it all in, listen to what they were playing while being invisible. I made eye contact with John and Paul a few times. I remained cool and smiled. Time stood still.

It was time to leave. I waved goodbye and ventured out and down those famed steps. At that time, I had no idea what was to come: Within a year the band would split up.

In 1970, with the breakup imminent, I left the New York office (though I remain in touch with my former office mates to this day). Fate continued to shine on me, as my maternal grandfather predicted. A Russian immigrant and musician in the early 1900s, he would tell fortunes and read tea leaves, and my mother asked him if her very active little girl would be a musician. He replied: “No, she’ll be involved in show business, but behind the scenes.” Not wanting to influence me, my mother hadn’t told me this. I then took a job at one of the city’s top theatrical PR firms, working on the original Broadway production of the musical Hair and more – the start of a successful career in entertainment marketing and PR.

Later, in August 1980 while biking in Central Park, I happened upon John sitting on a bench with his baby son, Sean. I approached, said hello and chatted for a bit. He was so very happy. Four months later he was gone. What a privilege and honour to have come together with him and his bandmates for that brief, momentous time in history.

August 25, 2023
Watch: Ringo Starr's drummer Gregg Bissonette breaks down his favourite Beatles drum beats and fills
by Stuart Williams for Music Radar

The All-Starrs drummer and session titan tips his hat to his boss

Gregg Bissonette has not only lived the drummer’s dream, with a long and successful career as a sideman to huge names such as David Lee Roth, Andy Summers, Steve Lukather, Joe Satriani and more, but he continues to live it by fulfilling the role as his favourite drummer’s drummer in Ringo Starr’s All-Starr band.


Bissonette — a musical sponge who is known for his ability to authentically turn his hand to pretty much any style of music thrown in his direction — has backed Ringo since performing double-drums with the former-Beatle in 2003, and recently took to YouTube with a 20-minute video explaining why Ringo is his favourite drummer.


“Who would have known — I sure wouldn’t have known — that in 2003 I would start getting to play double drums with Ringo!” he reflects at the start of the video. “I’ve learned so much getting to play double drums with him. I’ve got this bird’s-eye view and i can see his bass drum, and his hands so well. 


"My goal is to lock in with my favourite drummer. He’s my favourite drummer for many reasons. He’s got the most amazing swing to his playing, he’s got the most amazing dynamics.”


Gregg goes on to highlight some examples, pinpointing the iconic beat and various sextuplet, double-stopped and flam fills from Ticket to Ride. 


He continues by exploring Ringo’s floor-tom-riding groove from She Loves You, his hypnotic beat from Tomorrow Never Knows (including the Anthology II version), and recounts how Ringo once demonstrated the correct way to play TNK without breaking the flow of the ride cymbal.


Key to Ringo’s ‘song-drummer’ style is his awareness of the vocals and melody, and Bissonette uses Drive My Car as an example of Ringo’s attention to these details, demonstrating how he mirrors the rhythm of the vocal melody.


Also included in Bissonette’s breakdown are In My Life, Here Comes the Sun, Come Together (complete with tea-towels) and his “favourite eight bars in music”, Ringo’s solo from The End. It’s an interesting insight from a world-class drummer who has had the opportunity to study one of the most revered drummers of all time, up close for two decades.


Ringo Starr releases a new video: "Rewind Forward"

From Yesterday's Papers: John Lennon Reviews the singles of December 1964

August 22, 2023
Ringo Starr Announces ‘Rewind Forward’ As Fourth Release In His EP Series

The title track will be out on streaming and download services on August 25, and the EP includes a song written by Paul McCartney.

by Paul Sexton for


Ringo Starr has announced details of the fourth in his ongoing series of EPs, to be titled Rewind Forward. It will be released on October 13, digitally, on cassette, CD, and 10” vinyl, and includes a song written by Paul McCartney.


The title track will be out on streaming and download services on Friday (25), and the EP features “Shadows On The Wall,” “Feeling The Sunlight,” “Rewind Forward,” and “Miss Jean. Explains Ringo: “‘Rewind Forward’ was something I said out of the blue – it’s just one of those lines like a Hard Day‘s Night. It just came to me.


“But it doesn’t really make sense,” he goes on. “I was trying to explain it to myself and the best I can tell you about what it means is: sometimes when you want to go forward you have to go back first.”


Starr wrote “Rewind Forward” with his engineer and frequent co-writer Bruce Sugar, of whom the beloved former Beatle said: “We’ve been writing a song now for every EP.” For the rest of the new EP, he collaborates with old and new friends, including his longtime friend in the All Starr Band, Steve Lukather, and his Toto bandmate Joe Williams who wrote “Shadows on the Wall.”


McCartney wrote “Feeling the Sunlight” on the EP,  and the final track, “Miss Jean,” was written by Benmont Tench and Mike Campbell from the Heartbreakers with British rock hero Ian Hunter, himself a former member of the All Starr Band. The EP also features contributions by Joe Walsh, Steve Dudas, Lance Morrison, Matt Bissonnette, Torrance Klein, Weston Wilson, Kip Lennon, and Marky Lennon. All of the songs were recorded at Starr’s home studio in Los Angeles with the exception of “Feeling the Sunlight,” which was largely cut in the UK.


Ringo and his All Starr band will begin their fall tour on September 17 at Toyota Arena in Ontario, CA. They’ll be playing shows in the southwest, midwest, and southeast United States before concluding the itinerary on October 13 in Thackerville, OK.


Pre-order Ringo Starr’s new song “Rewind Forward,” which is released on August 25.

Album Review: "Road" - Alice Cooper
by Michael Gallucci for Ultimate Classic Rock

On 2021's Detroit Stories, Alice Cooper paid tribute to his birthplace, as well as his self-made legend, with some older songs from that city: "Our Love Will Change the World" by Outrageous Cherry, MC5's "Sister Anne" and Bob Cooper on 1971's Love It to Death, is even more attuned.

And like Detroit Stories, Road tells a personal tale. While the earlier album served as a road map to Cooper's influences and early professional years, his 29th LP is more audio chronicle. "I know you’re looking for a real good time / So let me introduce you to a friend of mine," he sings in the opening "I'm Alice." "I’m Alice, I’m the master of madness, the sultan of surprise." The surprises, in truth, are scarce; Road travels some well-worn territory, but the muscle moving it forward is the key to this highway.

It's no accident the album plays like a concert. "Top hat, cane, house lights, intro tape – it's time," he declares on "Welcome to the Show," recalling the invitation he issued in 1975 on his first record with the namesake band, Welcome to My Nightmare. Other titles bear out Road's concept: "Rules of the Road," "Road Rats Forever," "100 More Miles," a cover of the Who's "Magic Bus," complete with a drum solo and album-ending audience cheers.

The band gives the songs fitting and additional snap, especially the three guitarists up front, Ryan Roxie, Tommy Henriksen and Nita Strauss. Check out the slippery riff by guest guitarist Tom Morello on "White Line Frankenstein" and the way Cooper coils his voice around "I'm Alice" and "All Over the World." When he breaks from the theme – "Go Away" is about a nagging woman, the winking "Big Boots" has nothing to do with footwear – Road drags. But as Cooper sings on "All Over the World," "We're always louder than hell, and we're harder than rock." More than half a century since his debut, he's still backing up that statement.

− End of article.

Additional Information culled from Youtube and posted to the Ottawa Beatles Site:

Tracklisting (2LP):
Side A:

1. I’m Alice

2. Welcome To The Show

3. All Over The World

Side B:

4. Dead Don’t Dance

5. Go Away

6. White Line Frankenstein

Side C:

7. Big Boots

8. Rules Of The Road

9. The Big Goodbye

Side D:

10. Road Rats Forever

11. Baby Please Don’t Go

12. 100 More Miles

13. Magic Bus

Tracklisting (DVD):
1. Feed My Frankenstein (Live at Hellfest)

2. No More Mr. Nice Guy (Live at Hellfest)

3. Bed Of Nails (Live at Hellfest)

4. Hey Stoopid (Live at Hellfest)

5. Fallen In Love (Live at Hellfest)

6. Go Man Go (Live at Hellfest)

7. Guitar Solo by Nita Strauss (Live at Hellfest)

8. Roses On White Lace (Live at Hellfest)

9. I’m Eighteen (Live at Hellfest)

10. Poison (Live at Hellfest)

11. Billion Dollar Babies (Live at Hellfest)

12. The Black Widow Jam (Live at Hellfest)

13. Steven (Live at Hellfest)

14. Dead Babies (Live at Hellfest)

15. I Love The Dead (Live at Hellfest)

16. Escape (Live at Hellfest)

17. School’s Out (Live at Hellfest)

August 21, 2023
Another Hard Day's Night!


August 20, 2023
The Incredible Story of The Beatles Greatest 45 | She Loves You
by Andrew from Parlogram Auctions

She Loves You was the UK's biggest selling 45 in the UK in the 1960's and August 23rd sees the 60th anniversary of its release. In this video we dive deep into all aspects of this incredible record including; how it was written, recorded and received by the establishment musc press and fans. We also examine its sound and find out about how the song was edited together from multiple sources and why the original master tape went missing. You won't find a more comprehensive investigation of this record anywhere else!


Beatles Historian Bruce Spizer to release a new book on The Beatles

The following information is culled from

AI-Created Art Isn’t Copyrightable, Judge Says in Ruling That Could Give Hollywood Studios Pause
A federal judge on Friday upheld a finding from the U.S. Copyright Office that a piece of art created by AI is not open to protection.
by Winston Cho for the Hollywood Reporter

More than 100 days into the writers strike, fears have kept mounting over the possibility of studios deploying generative artificial intelligence to completely pen scripts. But
intellectual property law has long said that copyrights are only granted to works created by humans, and that doesn’t look like it’s changing anytime soon.

A federal judge on Friday upheld a finding from the U.S. Copyright Office that a piece of art created by AI is not open to protection. The ruling was delivered in an order
turning down Stephen Thaler’s bid challenging the government’s position refusing to register works made by AI. Copyright law has “never stretched so far” to “protect works
generated by new forms of technology operating absent any guiding human hand,” U.S. District Judge Beryl Howell found.

The opinion stressed, “Human authorship is a bedrock requirement.”

The push for protection of works created by AI has been spearheaded by Thaler, chief executive of neural network firm Imagination Engines. In 2018, he listed an AI system, the Creativity Machine, as the sole creator of an artwork called A Recent Entrance to Paradise, which was described as “autonomously created by a computer algorithm running on a machine.” The Copyright Office denied the application on the grounds that “the nexus between the human mind and creative expression” is a crucial element of protection.


Thaler, who listed himself as the owner of the copyright under the work-for-hire doctrine, sued in a lawsuit contesting the denial and the office’s human authorship requirement. He argued that AI should be acknowledged “as an author where it otherwise meets authorship criteria,” with any ownership vesting in the machine’s owner. His complaint argued that the office’s refusal was “arbitrary, capricious, an abuse of discretion and not in accordance with the law” in violation of the Administrative Procedure Act, which provides for judicial review of agency actions. The question presented in the suit was whether a work generated solely by a computer falls under the protection of copyright law.


“In the absence of any human involvement in the creation of the work, the clear and straightforward answer is the one given by the Register: No,” Howell wrote.


U.S. copyright law, she underscored, “protects only works of human creation” and is “designed to adapt with the times.” There’s been a consistent understanding that human creativity is “at the core of copyrightability, even as that human creativity is channeled through new tools or into new media,” the ruling stated.


While cameras generated a mechanical reproduction of a scene, she explained that they do so only after a human develops a “mental conception” of the photo, which is a product of decisions like where the subject stands, arrangements and lighting, among other choices.


“Human involvement in, and ultimate creative control over, the work at issue was key to the conclusion that the new type of work fell within the bounds of copyright,” Howell wrote.

Various courts have reached the same conclusion. In one of the leading cases on copyright authorship, Burrow-Giles Lithographic Company v. Sarony, the Supreme Court held that there was “no doubt” that protection can be extended to photographs as long as “they are representative of original intellectual conceptions of the author.” The justices exclusively referred to such authors as human, describing them as a class of “persons” and a copyright as the “right of a man to the production of his own genius or intellect.”

In another case, the a federal appeals court said that a photo captured by a monkey can’t be granted a copyright since animals don’t qualify for protection, though the suit was decided on other grounds. Howell cited the ruling in her decision. “Plaintiff can point to no case in which a court has recognized copyright in a work originating with a non-human,” the order, which granted summary judgment in favor of the copyright office, stated.

The judge also explored the purpose of copyright law, which she said is to encourage “human individuals to engage in” creation. Copyrights and patents, she said, were
conceived as “forms of property that the government was established to protect, and it was understood that recognizing exclusive rights in that property would further the
public good by incentivizing individuals to create and invent.” The ruling continued, “The act of human creation — and how to best encourage human individuals to engag that
creation, and thereby promote science and the useful arts — was thus central to American copyright from its very inception.” Copyright law wasn’t designed to reach
nonhuman actors, Howell said.

The order was delivered as courts weigh the legality of AI companies training their systems on copyrighted works. The suits, filed by artists and artists in California federal court, allege copyright infringement and could result in the firms having to destroy their large language models.


In March, the copyright office affirmed that most works generated by AI aren’t copyrightable but clarified that AI-assisted materials qualify for protection in certain instances. An application for a work created with the help of AI can support a copyright claim if a human “selected or arranged” it in a “sufficiently creative way that the resulting work constitutes an original work of authorship,” it said.

− End of article.

by Murray Stassin for Music Business Worldwide

Spatial Audio is quickly evolving from an audiophile pursuit to a mainstream audio format.

Stereo, which delivers audio from two channels to mainly create a left or right-directional sense of where the music is being played from, replaced Mono as the dominant format around the late sixties to early seventies.

Audio has evolved yet again since then, with Dolby Surround becoming a mass market phenomenon with the rise of high-end home cinema.

In music, Spatial Audio (powered by Dolby Atmos technology for example) delivers a more immersive experience than Stereo, and sounds like the different parts of a recording are coming from all directions around the listener.

“People who listen to a decent Dolby Atmos mix for the very first time are often blown away by this new listening experience,” says Matthias Stalter, founder and CEO of ThreeDee Music, a company that specializes in Spatial Audio production.

“Even skeptics have to admit how much more vivid and natural music sounds in 3D formats,” Stalter adds. “There are more and more products launched that are capable of Dolby Atmos, from mobile devices to sound bars up to car entertainment systems and many more.”

“This market is rapidly growing and it is foreseeable that music in 3D has the potential to replace Stereo just as Stereo did with Mono almost 50 years ago.”

One of the clearest signs of Spatial Audio’s potential mass-market adoption arrived in 2021 when Apple Music rolled out this format with support for Dolby Atmos, free for all of its subscribers.

The platform revealed in January this year that more than 80% of its worldwide subscriber base listened to Spatial Audio in 2022.

As interest in the format increases, and the market for Dolby-Atmos-supported technology grows, so too has the need for studios that specialize in producing music in Spatial Audio.

ThreeDee Music was launched by Stalter in 2021. He was previously based at London’s iconic Abbey Road Studios, where he was one of only two full-time in-house producers with their own production suites (the other being Giles Martin, son of Beatles producer Sir George Martin).

Stalter says he started to recognize Spatial Audio’s potential in the music business. He claims that “it was obvious” that, just as Stereo replaced Mono after it was introduced, “it would only be a question of time until Spatial Audio would become the new standard”.

At the same time, he realized that the production of music for 3D formats was still in its infancy. “Achieving the same standards of quality for those formats as for Stereo would be a challenge for an industry that had not yet spent the time on developing suitable processes and techniques for producing music in Spatial Audio,” he says.

Stalter explains that he decided “to become one of the pioneers in this field” and get a head start on developing methods, tools, and techniques for music production for Spatial Audio from writing and arranging, to recording, mixing, and mastering.

ThreeDee Music now serves as a consultant on new audio formats, and the company also offers services from recording to mixing and mastering in a way specifically optimized for music in 3D.

The company operates from certified studios, one in London, and the other in Munich, Germany.  “For our studios, top-of-the-line recording and mixing equipment has been selected – from the analog as well as the digital realm, and for both 3D and Stereo,” says Stalter.

In addition to Stalter as CEO, ThreeDee Music’s team (of which there are 10 members in total) includes Studio Manager and Chief Mixing Engineer, Christoph Thiers, and Gregor Stöckl, the company’s Head of Key Account Management, who is a former Head of Marketing for Domestic at Warner Music Central Europe, and prior to that a Managing Director of Virgin Records in Germany.

ThreeDee recently signed a deal with Universal Music Germany for the GSA area for Dolby Atmos mixes across a large number of the company’s frontline releases, but also part of its back catalog.

Stalter notes that a “major part” of ThreeDee Music’s latest work stems from the deal it signed with Universal Music in Germany. He adds that the company has mixed more than 250 tracks in Spatial Audio over the past couple of months.

A major development at ThreeDee Music in recent months is the company’s own ‘ThreeDee PRO’ app Version II.

The app lets B2B users, currently around 500 of them, listen to and approve their Dolby Atmos material remotely. Stalter explains that the app is designed for iOS and uses Apple’s own “binauralizer” to play back Dolby Atmos material from their clients’ iPhones/iPads.

The company says that its ThreeDee PRO app gives its clients the “crucial and unique possibility to listen, compare and approve Spatial Audio mixes exactly how they will sound on Apple Music, Amazon Music and Tidal after release”.

Looking to the future of the Spatial Audio space, Stalter stresses that “Dolby Atmos is not just a gimmick”.

“Music in 3D has the potential to replace Stereo,” he adds.

Here, Stalter gives us his predictions for the Spatial Audio business, and explains how ThreeDee Music is situated in the sector…


ThreeDee Music has had a huge head start as a pioneer in the Spatial Audio business. When Dolby Atmos started to emerge as the potential future standard format – after the announcement from Apple back in 2021, that they have implemented this format (especially for headphones) on their Apple Music platform – many have tried to jump on the bandwagon and add Dolby Atmos mixing to their own studio services, or even opened new studio spaces that they declared as Dolby Atmos mixing studios.

However, the quality of the results can vary dramatically. There are plenty of studios that deliver decent results, but there are also some that have yet to develop their services to the full potential that music in 3D can offer. If you don’t have years of experience in Spatial Audio production, you will not even be able to scratch the surface of what Dolby Atmos is capable of doing.

However we have mixed hundreds of tracks with our own holistic approach to Spatial Audio production, which includes several unique methods that put us way ahead of the competition. In some cases we are also involved in the writing and arranging process of the material to make optimal use of the whole three-dimensional acoustic space. During the recording phase, we apply novel processes and various techniques that we have developed specifically to capture signals optimized for Spatial Audio production.


During the mixing stage, we use the acoustic canvas of the space provided by Dolby Atmos to really make the songs work in this particular format. Dolby Atmos is not just a gimmick to play with, where you position and move things in space, just because you can. The creative possibilities of the format need to be understood, just like they had to be learned and understood when Stereo was introduced back in the day. Our very early adoption of the format did give us a head start in this process that does set us apart.

We are also able to provide unparalleled excellence in a very short time frame. Our fast turnaround times stem from efficient processes which we plan to scale up further within the next few months to be completely prepared for the growing number of clients we will take on in the very near future. This is an important aspect in our industry, where things need to be completed at very short notice, to extremely tight deadlines.

Mercedes-Benz for example is continuously working on optimizing their in-car entertainment – this will become even more apparent and meaningful as self-driving cars are most definitely where our future is heading, giving the passenger more time to relax and enjoy all the entertainment on offer in these new vehicles.

Listening to music in Dolby Atmos has been fully integrated into this new generation of cars and we will be in the very privileged position soon of having our own showcase car, to demonstrate these productions in said environment to our clients, where our productions of their music can be fully approved and enjoyed in the comfort of a Mercedes-Benz.

We are also in constant and continuous contact with Dolby UK and Germany and there is mutual feedback on the development and use of the Atmos format.


The motivation for developing ThreeDee PRO was to offer our clients a convenient solution to audition their music in 3D formats prior to release. There is currently no other solution for music creators to receive their music via a simple download code straight to a dedicated app for checking their Spatial Audio material and comparing it with Stereo mixes from their iPhone/iPad with supported headphones.

With the free ThreeDee PRO app, we provide this option for our clients at zero cost. So it’s about the simplicity of the feedback process, the ease of use and the speed of communication – and thus the economic efficiency. Our clients really like it and the app is quickly gaining popularity. Currently, we have around 500 active B2B users (artists, producers, A&Rs, product managers, record labels, etc.) and the number keeps growing constantly.


Recently we have finalized the Dolby Atmos version of Moby’s new album Resound NYC. Most of the artists we work with have come to us through the recommendation of their individual labels or managers, as well as the usual business introductions.

We also do generate interest through word of mouth which has thus proven to be a successful process and our clients are always extremely happy with the results we deliver. A very revealing key performance indicator is the rate of revisions that a producer/mixer receives from artists; having sent hundreds of tracks to our clients, we are looking at a revision rate lower than 2%! This is absolutely outstanding and shows the excellence of quality we are aiming for.


Originally, surround formats were developed for multi-speaker setups. 3D takes these surround formats a step further by adding a third axis as an additional direction. But these setups always have the potential to create phase issues and the results might ruin a mix. It takes quite some skill and experience to maneuver through this. Nowadays, most consumers of Spatial Audio listen to music over headphones, and translating the sound to this playback system can also be a challenge.

It becomes even more complicated since the “binauralizers”, which enable the effect of immersion to be created through only two earplugs, are under continuous development to achieve a better sounding, a more “natural” experience for the listener. That means algorithms are changing, and therefore the sound of the material being played back is changing accordingly. Here we are again at the forefront of the development because of our feedback about binauralizer related topics to Dolby. This continuous exchange helps us make our Dolby Atmos productions sound excellent in all iterations of the platform and thus future-proof.


Binauralizers” for the playback of music in Dolby Atmos over headphones also need to add certain components like reverberation or equalization that not every musical style or sound benefits from. The aforementioned problems will also arise when translated to other devices that are Dolby Atmos capable, like sound-bars for home theaters. Cars have their own acoustic properties that need to be accounted for – here again, our business relationships with direct contacts at Mercedes-Benz, Dolby and Apple are a big plus for our clients.

Especially for back catalog material – if there are no single tracks or stems available – we have dedicated state-of-the-art AI tools that can extract single stems from Stereo or even Mono mixes, which we can then isolate and use to create an actual Spatial Audio mix. We can do this very convincingly as we have experimented a lot with various technologies and taken old tracks from the middle of the 20th century, separated them into isolated stems and created Dolby Atmos mixes that we played to a broad range of test listeners. Those were often not able to tell the difference between these mixes and current Dolby Atmos productions. Even though some studios already offer de-mix services, I believe we have an edge over the competition with our proprietary technology, delivering better quality at a lower price point. As good as it is now, it can be expected that this AI technology will make significant further progress in the upcoming years.


The first common misconception is that Spatial Audio is just some technical gimmick. Many are treating the format like it is the latest fad only and throw their music into the ring just for the sake of it. Or they create a bad mix where they route a few signals onto different surround configuration outputs and call it 3D, while it is actually far from being a real piece of Spatial Audio.

Or treating it like a toy and playing around with it, without having a concept of what has to be achieved from an artistic point of view. I’ve heard mixes where sound elements have been placed at inappropriate positions in the surround field or have even been moved in a way that just does not make much sense musically. That is simply not how it works – as everything else in a musical context, positions, movements, etc. need to have a purpose and serve the music itself, instead of the mix just being a means to demonstrate what a cool new technological gadget you’ve just discovered.

Also, this kind of approach to mixing in Dolby Atmos has sadly created some misconceptions among listeners. There are plenty of people who listened to such tracks – partly by well-known artists – and rightfully decided that the specific song sounds better in Stereo and instantly discarded the format. These hastily emerged misconceptions need to be corrected, not in the least by releasing and exposing listeners to excellent music in 3D where the format supports not only the artistic and creative vision but also the purpose which in turn brings the experience and enjoyment to a whole new level.


There definitely is a strange paradox around our business: Music plays a major role in our lives. We could hardly live without it, and in each decade we often connect important events with certain songs – and probably “the soundtrack of our youth”, whatever music we grew up with, also shaped our character and the way we look at the world. In other words: Music is vital. But at the same time, people do not want to pay for it and show little monetary appreciation for something that is this important to them. To help solve these issues, not the consumer, but the industry needs to be approached, and as many ideas as possible should be put forward to remedy the situation in some way. Change is definitely needed.


Nobody ever doubts or undervalues the amount of effort and hard work a Lawyer, Doctor or Teacher puts into their work, and ultimately based on these facts, nobody would usually put [these professions’] monetary worth into doubt or undervalue it. However, when it comes to music, everything has to be cheap or even free. Unfortunately, even inside the industry, a bad attitude exists towards the value of music.

Artists don’t want to pay much for studio time anymore, club owners don’t want to pay bands for gigs anymore, and so it goes on. Whoever creates good art delivers an important contribution to our lives and wellbeing and deserves to be paid fairly. Don’t get me wrong, we know that not everybody’s dream can come true. I am talking about those artists who put their effort in, make the necessary sacrifices and above all are truly good at what they do. They deserve to be paid far more than what is currently on offer. We need to rediscover the huge contribution of each individual artist and ultimately the worth of music in our personal lives.

I totally agree with what Merck Mercuriadis, founder and CEO of Hipgnosis Songs, said [in an interview by Vikas Shah, published on February 27, 2019 in Thought Economics]:

[Mercuriadis] said: “I have always believed that hit songs and music, art in general, has real value to it. What people don’t really recognise is that when a song becomes a proven song, the earnings pattern to it becomes very predictable and reliable, and is therefore investable. And these songs are as valuable as gold, or oil.”

We don’t get anything for free at the gas station or the jewelers, do we? And so therefore, it begs the question, why should it be any different at the “digital record store”.Music Business Worldwide

− End of article.

John Lennon photos on display by May Pang, the star’s former girlfriend
by KSTP television


May Pang, the former girlfriend of John Lennon during what’s known as the “Lost Weekend” era, joins in studio to share photographs from the time she spent with Lennon. May’s photos are on display in a free exhibition at Aloft Hotel in Minneapolis.

August 19, 2023
Dolly Parton Releases Powerful Rendition of Beatles Classic 'Let It Be': Listen
The track also features Paul McCartney, Ringo Starr, Peter Frampton and Mick Fleetwood

by Ilana Kaplan for People Magazine

Dolly Parton is continuing to rock out this year.

On Friday, the Rock & Roll Hall of Fame inductee shared the latest single from her forthcoming Rockstar album, a powerful cover of The Beatles' 1970 hit "Let It Be."

For her rendition, Parton enlisted musical titans Paul McCartney, Ringo Starr, Peter Frampton and Mick Fleetwood to make the track truly her own.

“Well, does it get any better than singing “Let It Be” with Paul McCartney who wrote the song? Not only that, he played piano!" Parton, 77, wrote in a statement.

She continued, "Well, it did get even better when Ringo Starr joined in on drums, Peter Frampton on guitar and Mick Fleetwood playing percussion. I mean, seriously, how
much better does it get? Thanks guys!”

Parton has already shared three tracks from the album with two originals — "Bygones (ft. Rob Halford), which hit No. 1 on the Billboard Rock Digital Songs chart and
"World on Fire," which also sat atop the Billboard Rock Digital Songs chart the month of its release — as well as "Magic Man" (Carl Version) (ft. Ann Wilson)," a cover of
the 1975 Heart classic.

Back in May, the "9 to 5" singer announced her first-ever rock album, Rockstar. The 30-song record will include nine original songs and 20 iconic covers.

"I'm so excited to finally present my first Rock and Roll album Rockstar! I am very honored and privileged to have worked with some of the greatest iconic singers and musicians of all time and to be able to sing all the iconic songs throughout the album was a joy beyond measure," the icon said in a press release.

She added, "I hope everybody enjoys the album as much as I've enjoyed putting it together!"

The album features collaborations with megastars like Miley Cyrus, Sheryl Crow, Lizzo, Elton John, Chris Stapleton, Stevie Nicks, Sting, John Fogerty and more.

The album will mark Parton's latest project since Run, Rose, Run, which she released in March of last year.

Last November, Parton told PEOPLE that she wanted to create a rock album not only for herself, but for her husband of 57 years, Carl Thomas Dean, a lifelong rock fan. She
was inducted into the 2022 class of the Rock & Roll Hall of Fame back in November, too.

"I'm doing the rock 'n' roll album because of him," she said. "I had often thought about doing a rock 'n' roll album for him with his favorite songs. And so when this all came
about, I decided that I am gonna go ahead and do it. … It was just the perfect storm. OK, it's time."

Rockstar will be released Nov. 17.

− End of article.

From Paul McCartney's Official Facebook pages...

August 18, 2023
After run with rock legends, Tucson woman got back to where she once belonged
by Henry Brean for

Outside of the Beatles themselves, Chris O’Dell was one of the first people in the world to learn the lyrics to “Get Back.”


The Tucson woman couldn’t help but take the song a little personally.


“When I read, ‘Jo Jo left his home in Tucson, Arizona … get back, get back to where you once belonged,’ I thought, ‘They're trying to get rid of me,’” O’Dell said last week from her townhouse on the city’s north side.


The 22-year-old Palo Verde High School graduate was working for the Beatles in London in early 1969, when they were recording “Let It Be,” the last studio album they would release as a band. 


Then a secretary at Apple Records, she had come in on the weekend to help out around the studio, so the band’s long-time road manager and personal assistant, Mal Evans, asked her to type up some lyrics from the sessions.



It was the beginning of a crazy, drug-fueled run through the record industry that would place her alongside some of the world’s biggest rock stars at key moments in music history.


O’Dell chronicled her charmed, sometimes painful rock 'n’ roll career in the 2009 memoir “Miss O’Dell: Hard Days and Long Nights with the Beatles, the Stones, Bob Dylan and Eric Clapton.”


Now she is getting a rare chance to rewatch moments from her past, thanks to “The Beatles: Get Back,” the three-part documentary series now streaming on Disney+ about the band’s final recording session together.


“It just moved me right back there. I was back there,” O’Dell said of the documentary. “There’s your life, 52 years later, and it looks like it only happened yesterday.”


On the rooftop


O’Dell pops up several times in director Peter Jackson’s restored footage from 1969.


In Part 2 of the series, she briefly appears on screen with Mal Evans. Then in Part 3, she can be seen lying on the floor of the recording studio with Linda McCartney and later in numerous shots taken during the Beatles’ famous rooftop concert, Jan. 30, 1969, at the Apple offices on London’s Savile Row.


She’s the one sitting under the chimney with the blond bob, three seats down from Yoko, watching maybe the most famous rock concert in history — the world’s biggest band playing its last live show ever.


“The songs weren't new to me because I'd heard them in the studio, but it was really exciting to be there and to be watching,” O’Dell said.

Also, she added, “it was freezing cold.”


O’Dell only worked at Apple from 1968 until 1970, but she made a career’s worth of contacts and a lifetime’s worth of memories in just over two years. Once, for example, she flew on a helicopter to hand-deliver harmonicas to Bob Dylan for his 1969 comeback show on England’s Isle of Wight.


In retrospect, O’Dell said, drugs may have influenced her initial reaction to “Get Back.”


“I was high. I used to get so paranoid,” she said with a laugh.


O’Dell did indeed leave her home in Tucson, Arizona, but it was music — not grass — that drew her to California in 1966.


Bored with life in the sleepy Old Pueblo, she decided to drop out of beauty school and use the rest of her tuition money to move to Los Angeles, where the members of a band called the Plymouth Rockers had offered her a place to stay.


She arrived in L.A. at 19 years old with a fake ID she had received in downtown Tucson.


Meet the Beatles


A series of menial jobs with record labels and music promoters quickly followed, which eventually landed her a meeting with Derek Taylor, the famed press officer for the Beatles.


The two became fast friends, and he soon asked her to come to London with him to work at Apple Corps Ltd., the band’s new multimedia company.


She said she was reluctant at first, but she was convinced to go by her roommate at the time, an aspiring actress by the name of Teri Garr.


O’Dell sold her record collection, gave up her car and bought a plane ticket to England with money her parents gave her after cashing in her life insurance policy.


She started work at Apple in May 1968, and within a week she had been introduced to John Lennon, Paul McCartney and George Harrison.


Ringo Starr Pays Tribute to Robbie Robertson

Joni Mitchell Pays Tribute to Robbie Robertson

August 9, 2023
John Lennon: "Somebody let off a firecracker onstage and every one of us looked at each other,
because each thought it was the other that had been shot. It was that bad.”
– Why The Beatles retired from the stage

by Neil Crossley for Music Radar

How death threats, disillusionment and the very real threat of onstage electrocution all fuelled The Fab Four’s decision to stop playing live…



At 9:27pm on 29 August 1966, the four members of The Beatles walked on stage at Candlestick Park in San Francisco to play their last ever show in front of a paying audience. It was a cold, windy evening and fog shrouded the stadium, which was home to the San Francisco Giants. The Beatles were running late and the backstage area was rammed. 


“The dressing room was chaos,” the show’s compère, disc jockey ‘Emperor’ Gene Nelson of KYA 1260AM, said in Keith Badman’s The Beatles Off The Record. "There were loads of people there. The press tried to get passes for their kids and the singer Joan Baez was in there. Any local celebrity, who was in town, was in the dressing room. They were having a party."


The show was the last of 18 concerts on a 13-date tour of North America, with the band playing two gigs on some dates. The Beatles recognised the significance of the Candlestick Park concert and took steps to capture the moment. 


"Before one of the last numbers, we set up this camera on an amplifier," recalled George Harrison in The Beatles Off The Record, "Ringo came off the drums, and we stood with our backs to the audience and posed for a photograph, because we knew that was the last show."


The decision to stop playing live was the culmination of a year in which their fame had taken a deeply malevolent turn. Protests, violence and death threats now impinged on their lives. 


The problems began on 29 July 1966, when an interview with John Lennon by UK journalist Maureen Cleave was republished in US teen magazine Datebook. "Christianity will go," declared Lennon. "It will vanish and shrink… We're more popular than Jesus now; I don't know which will go first – rock 'n' roll or Christianity."


The comments provoked outrage among far right religious groups. Over 30 radio stations banned The Beatles from the airwaves and some stations in the Deep South staged mass burnings of Beatles records. The controversy spread to Mexico, Spain and South Africa, and the Vatican denounced Lennon’s comments. 


Brian Epstein flew to New York and hastily arranged a press conference at the Astor Tower Hotel in Chicago. According to Steve Turner’s book, Beatles ‘66: The Revolutionary Year, Lennon broke down in tears in front of Epstein and the band’s press officer Tony Barrow, while preparing to meet the reporters. 


“It had got dangerous,” recalled Paul McCartney in Ron Howard’s 2016 documentary Eight Days A Week – The Touring Years. “And we were threatened. We knew we weren't being blasphemous, we weren’t anti-Jesus. In fact, we all had pretty religious upbringings, really, but you do see John as sort of a broken man, ‘cause he realised, he had to apologise. It was gonna be the only thing that would stop this. He's longing to break out of it, and do a joke, but he knows he can’t.”


For The Beatles, it was the beginning of an increasingly volatile period. At the end of June, after shows in Munich, Essen and their old stomping ground Hamburg, The Beatles flew to Japan, where they played five nights at the Nippon Budokan in Tokyo, a venue normally reserved for martial arts. They received death threats from far right groups who felt the venue’s spiritual status had been violated. 

But the troubles really started when they played two shows in the Philippines on 4 July 1966. After one of two shows at the Rizal Memorial football stadium in Manila, they
unwittingly failed to attend a breakfast reception on 5 July hosted for them by the president’s wife, Imelda Marcos. 

“We put the TV on, and there was a horrific TV show of Madame Marcos screaming, ‘They’ve let me down!’” recalled Ringo Starr in the 1995 documentary project The
Beatles Anthology. “There were all these shots with the cameraman focusing on empty plates and up into the little kids' faces, all crying because the Beatles hadn’t
turned up.”

When road manager Mal Evans went down to the hotel reception, he found that all security and support from staff had been withdrawn, as had the police escort to whisk them to the airport. Epstein was forced to phone ahead and plead with the pilot of their KLM flight to delay take-off. 


A process of intimidation, instigated by Marcos officials, hampered them all the way. Taxi drivers suddenly seemed to forget how to get to the airport. 


When they did get there, all the escalators were turned off and The Beatles and Evans were jostled, punched and kicked. Once on board the plane, Paul McCartney recalled that “we were all kissing the seats”. After a stop-off in India, the Beatles returned to Heathrow on 8 July and spoke of their experience in an interview with ITN. 


“We got pushed around from one corner of the lounge to another, you know,” said McCartney. “And so they started knocking over our road managers and things, and everyone was falling all over the place.”


Ringo later described their ordeal in Manila as “the most frightening thing that's ever happened to me”.


The events in the Philippines prompted The Beatles to privately question Brian Epstein’s management of their tours. When told that Epstein was booking a tour for 1967, Lennon and Harrison said that the 1966 one would be their last. 


When asked by ITN what was next on the band’s schedule, George Harrison quipped: “We’re going to have a couple of weeks to recuperate before we go and get beaten up by the Americans.”


The 1966 US tour began with two shows in Chicago on 12 August. Ticket sales were noticeably down on the previous year. Sales for their return to Shea Stadium were down to 45,000, which was 10,000 less than on their 1964 tour. At Candlestick Park, only 25,000 tickets were sold for the 42,500 capacity stadium, leaving whole sections of seating empty. 


The drop in ticket sales was partially attributed to the fallout from Lennon’s ‘We’re more popular than Jesus now’ comment. This was fresh in people’s minds when the band played two shows at the Mid-South Coliseum in Memphis on 19 August 1966. 


The radio boycotts, record burning and protests were still taking place. Six members of the Klu Klux Klan picketed outside the venue, dressed in full robes. In the middle of playing If I Needed Someone, an incident occurred that would help galvanise their decision to stop touring.  


“There had been threats to shoot us, the Klan were burning Beatle records outside and a lot of the crew-cut kids were joining in with them,” recalled John Lennon in 1974. “Somebody let off a firecracker onstage and every one of us – I think it’s on film – looked at each other, because each thought it was the other that had been shot. It was that bad.”


The tour was riddled with other mishaps. At Busch Memorial Stadium in St Louis on 21 August, heavy rain resulted in the band playing beneath a makeshift corrugated iron shelter. 


“It felt like the worst little gig we’d ever played at even before we’d started as a band,” said Paul McCartney in the 1995 documentary series The Beatles Anthology. “We were having to worry about the rain getting in the amps and this took us right back to the Cavern days – it was worse than those early days… 


“After the gig I remember us getting in a big, empty steel-lined wagon, like a removal van… We were sliding around trying to hold on to something, and at that moment everyone said, ‘Oh, this bloody touring lark – I’ve had it up to here, man’."


Until that moment, McCartney had been the one band member urging the others to keep playing live. "I’d been trying to say, ‘Ah, touring’s good and it keeps us sharp. We need touring, and musicians need to play. Keep music live’. I had held on to that attitude when there were doubts, but finally I agreed with them."


There was another reason to stop touring. The PA systems at venues such as Candlestick Park were little more than speaker address systems for announcing scores to the crowds attending baseball games. They were shrill, trebly and woefully inadequate for bands. 


Another factor was that The Beatles were increasingly unable to emulate the recordings they created in the studio. By the 1966 US tour, Paperback Writer was the only song from their latest album Revolver to make it into the set. Much of the set consisted of dated 12-bar covers such as Rock And Roll Music and Long Tall Sally, that they had been playing since the Cavern days. 


As The Beatles walked on stage on 29 August 1966, only Ringo had lingering doubts about stopping touring. “There was a big talk at Candlestick Park that this had to end,” he recalled. “John wanted to give up more than the others. He felt that he’d had enough. I never felt 100 per cent certain until we got back to London.”


After the show, the Beatles were rushed to the airport in an armoured car. They flew from San Francisco to Los Angeles, arriving at 12:50 am. At one point during the flight, Harrison was heard to say: “That’s it, then. I’m not a Beatle anymore.”


Harrison had been the first to tire of Beatlemania. In a quote from Martin Scorsese’s 2011 documentary George Harrison: Living In The Material World, George expanded on the group’s decision. 


“We’d been through every race riot, and every city we went to there was some kind of a jam going on, and police control, and people threatening to do this and that ... and [us] being confined to a little room or a plane or a car. We all had each other to dilute the stress, and the sense of humour was very important ... But there was a point where enough was enough.”

August 8, 2023
The Beatles Are Remixing & Releasing The Red & Blue Albums! No Rubber Soul?
by Michael Noland for The Bottom Line

Hey everyone!

In tonight's video I not only discuss what to expect with the upcoming September remix and re-release of The Beatles Red & Bud albums, but I also discuss how this
really affects any upcoming remix of the Rubber Soul album by The Beatles as well!

Will this be connected to the new Beatles single due out in September as well? Will that mean that Real Love & Free as a Bird by The Beatles will be included? And what
else will be included on the remixes?

Well, all these and many more questions are addressed in tonight’s video!

And as usual if you enjoy tonight's video, please consider giving it a Thumbs-Up as that helps the YouTube algorithm better identify the channel to a larger audience!

If you haven’t subscribed to the channel as of yet, just hit that subscribe to ‘The Tribe’ button, and then tap that Top-Bell Icon, and you’ll be notified of all my future


The Forgotten Beatles Box Set & Why You Should Own It
by Andrew of Parlogram Auctions

The original Beatles CDs have never been popular with audiophiles but in 1992, before the curse of noise reduction took hold, EMI produced the best and most authentic
sounding set of Beatles music on CD to date - the CD EP Collection. In this video we look at why this set sounds so good and even present some clips for you to judge for
yourself. Let us know what you think in the comments.

Paul McCartney says 'magic' of using AI to perform live alongside John Lennon leaves him
'overcome' with emotion: 'It feels very real'

By Marta Jary for The Daily Mail Australia

Paul McCartney has shared how 'magic' technology allows him to perform alongside late Beatles bandmate John Lennon


Developed by director Peter Jackson on the Get Back documentary, the AI (Artificial Intelligence) trick isolates Lennon's vocals from famous recordings so that they can be played back on stage. 


'It's one of my favourite bits in the show now,' the 81-year-old told The Daily Telegraph on Saturday. 


Paul added that the experience is 'very emotional' for him but he 'loves it'.  


'It was hard to hold your emotions back actually. You could just get overcome,' the singer said. 


'Because it was the magic – it was my buddy, who's been dead a long time, and here he was, back, and I'm working with him again. And even though it's sort of mechanical trickery, it feels very real.'


At the Glastonbury festival in 2022, McCartney performed I've Got A Feeling, a song originally recorded during the Beatles' famous 1969 rooftop concert in London.


He sang along with a track of John Lennon's voice that had been extracted from an old demo tape using artificial intelligence, matched to historic vision of the concert.


McCartney told BBC Radio 4's Today program that AI is 'something that we're all sort of tackling at the moment'.


'When Peter Jackson did the film (The Beatles) Get Back, where it was us making the Let It Be album, he was able to extricate John's voice from a ropey little bit of cassette and a piano,'' he said.


'He could separate them with AI, he'd tell the machine 'That's a voice, this is a guitar, lose the guitar'.


'We were able to take John's voice and get it pure through this AI, so then we could mix the record as you would do.'


Lennon was fatally shot on December 8, 1980, by gunman Mark Chapman as he and his wife Yoko Ono returned to their home in the Dakota Building overlooking New York's Central Park. 


Paul is set to play his first concert Down Under in six years.


On Tuesday, the Beatles legend announced he will performing shows across Australia in the spring.


The tour will kick off in Adelaide on October 18, the city that saw 350,000 people line the streets when The Beatles first visited Australia in 1964. 


He will then move on to Melbourne on October 21, before heading on to Newcastle on October 24 and Sydney on October 27. 


The tour will wrap up with a show in Brisbane on November 1 before moving on to the Gold Coast on November 4. 


McCartney said he has amazing memories of his previous visits.


'Our last trip was so much fun,' he said in a statement.


'We had such an incredible time. Each show was a party, so we know this is going to be incredibly special. Australia, we are going to rock! I can't wait to see you.'


McCartney's last tour in Australia in 2017 was a series of epic three-hour shows that saw him beat the likes of Ed Sheeran to win a Helpmann Award for Best International Contemporary Concert.


Tickets go on sale August 11, with pre-sale starting on August 9.


Paul McCartney Got Back Australian tour dates 2023 


Adelaide Entertainment Centre, October 18


Melbourne, Marvel Stadium, October 21


Newcastle, McDonald Jones Stadium, October 24


Sydney, Allianz Stadium, October 27


Brisbane, Suncorp Stadium, November 1


Gold Coast, Heritage Bank Stadium, November 4

August 7, 2023
Tribute to Neil Aspinall: The Beatles' Guardian Angel
by Alan Chrisman for

August 6, 2023
Flashback: "Beatles museum with record-breaking 8,500 pieces of memorabilia opens… in Buenos Aires"
by the Daily Mail

Youtube write-up:

The pioneer and most popular English rock band, The Beatles, have their own museum in the City of Buenos Aires. It is the first Latin American museum of The Beatles and is located in The Cavern, in Paseo La Plaza. The Beatle Museum of Buenos Aires is the result of the efforts of Rodolfo Vázquez, the world's largest collector of Beatles memorabilia, recognized by the Guinness Book of Records in 2001 and 2011.

The Argentinean's personal collection exceeds 9,000 pieces and, according to him, the museum serves to satisfy his own need to have everything on display and take it out of its boxes and trunks so that the public can get to know the band a little better.

The entire collection is not exhibited, but only 20% of it, but it is rotated to show new objects to visitors. While we walk through it, some of their classics are playing in the background at all times.


There are many locations synonymous with The Beatles - Abbey Road, Strawberry Fields or even the USSR - but Argentina has never been one of them. Until now.


Despite the fact that the band never played in Argentina, an obsessive fan has put his country on the Beatlemania map.


Following the examples of museums in the band's native Liverpool and their early haunt Hamburg, a third major collection has opened to the public in Buenos Aires.


It includes a brick from The Cavern Club, a check for £11 signed by Ringo Starr and even a box of condoms branded with the names of John Lennon and Yoko Ono.


The eclectic collection is the work of self-confessed obsessive Rodolfo Vazquez, a 53-year-old accountant who became a fan at the age of 10 when he got their album Rubber Soul.


Since then he has collected everything he possibly can related to the Fab Four and has amassed more than 8,500 items. 



In 2001 he was recognised by Guinness World Records as having the planet's largest collection, with a hoard of 5,612 items.But his haul has kept growing and his museum, which opened this month on Avenue Corrientes in a touristy area of Buenos Aires, is only able to hold a quarter of it.


'The idea is to show my collection permanently,' said Vazquez. 


In a year I would like to rotate the items on display with others from my collection.


'Otherwise all of it would be closed into boxes and trunks without anyone being able to enjoy them.'


The museums in Liverpool and England may have more significant items on display, while private collections such as those of Julian Lennon - John's son - have more intimate pieces, but the Argentinean museum stands out for its sheer weight of numbers.


Vazquez claims he doesn't know the total value of his private collection, which includes record covers, autographs, toys, original pictures, concert programs, and cups and plates with Beatle images.


There are objects for all tastes: a Beatles wig that says it adjusts to any head size, and signed pictures of the four musicians.


His most prized object include 64 boxes of chewing gum in the form of miniature albums that allude to the 16 Beatles records and four music boxes with figures of John Lennon, Paul McCartney, George Harrison and Ringo Starr.


Vazquez even has certified copies of the quartet's birth certificates.


In one display case, there's a brick – one of about 5,000 pulled from the demolition in 1983 of the original Cavern Club.


There's also a hunk of the stage of Hamburg's Star Club, a strip club where the musicians worked as the house band, at that point with Pete Best as drummer.


Alongside that is a pair of drumsticks signed by Best, who was replaced by Ringo Star in 1962.


There's even a piece of the floor of Strawberry Fields, a Salvation Army orphanage near Lennon's boyhood home whose name inspired the 1967 psychedelic rock tune Strawberry Fields Forever.


And Vazquez continues to accumulating objects, either buying or trading for them with other collectors around the world.


'In Britain and Spain I found many fans,' he said.


'By mail I've received things from Japan, Britain and Brazil, and I'm still doing it.'


His Beatles obsession isn't limited to his museum either.


Each year, Vazquez organizes a Beatle Week, in which cover bands from around Latin America compete to be named the best imitators. The winners travel to a Liverpool music festival.


Many such bands play in Vazquez's bar named in honour of The Cavern Club, the Liverpool nightclub where the band got its start.


But nearly 2,000 people have visited since the museum opened on January 3 and Vazquez says he is aiming for some special items that would complete his life's work.


'What I am missing is to shake hands with Paul McCartney and Ringo Starr, hug them and chat with them a little bit,' he said.


'It is what would complete me and I would be the happiest collector on earth.'

August 5, 2023
Money can't buy me love: Beatles super fan to sell his massive memorabilia collection
by Craig Allen for ABC News Australia

Dallas Atkins has been collecting Beatles memorabilia since 1968, now he's decided it's time for his collection to find a new home.

If you want it, here it is, come and get it.


A Canberra Beatles collector is preparing to sell his massive assortment of memorabilia after talks with an Australian museum fell through.


Dallas Atkins was a young boy when he discovered The Beatles, and just in the nick of time too – within months of buying his first vinyl, the band had broken up.


But even 53 years after John, Paul, George, and Ringo parted ways, Beatle mania shows no sign of dying.


Over the past five decades, Mr Atkins has amassed one of Australia's largest collection of Fab Four memorabilia, from bizarre souvenirs right up to original autographs from band members.


Dallas Atkins plans to sell all of the Beatles memorabilia in his extensive collection, which is one of the largest in Australia.(ABC News: Ian Cutmore)


"As I was growing up at primary school The Beatles cartoons were on national TV – I just loved the music," Mr Atkins said.


"And eventually I found out they were a real band, and not just some TV made-up thing.


"That made me delve more into Beatles music, and I started collecting the EPs, then there were more albums to collect, and then there's lunch boxes, and dolls, and toys."


And as Mr Atkins discovered, there was a massive online fan community trading in everything from The Beatles' beginnings as The Quarrymen, right up to Get Back – and the solo careers that followed.


A lot of Beatles memorabilia was made before the band's brand was copyrighted, meaning any company could put the Beatles name or image on anything they wanted.(ABC News: Craig Allen)


Many items came from an era before the brand was protected by copyright, so companies worldwide would do all they could to cash in on the lads from Liverpool.


"Really in the 60s, anything they could put The Beatles name on [they did put it on]," Mr Atkins said.


"A lot of companies made a lot of money out of The Beatles, except The Beatles."


Over the years he scoured op shops and online Beatles forums, buying up anything and everything that took his fancy.


Mr Atkins's prized possession is the autographs of Paul McCartney and George Harrison.


The prize of Dallas Atkins's collection, George Harrison and Paul McCartney's signatures.
(ABC News: Ian Cutmore)

They were originally signed for a reporter who interviewed the band in 1964 – and who lost the signatures of Ringo Starr and John Lennon in the intervening decades.


The collection also includes vinyl records, 8-track cartridges, toys and wigs still in their original 1960s packaging, and Beatles-branded bubble bath and talc powder.


He bought up complete sets of 1960s Beatles magazines, handmade fan-wear, lunch boxes, and blow-up caricature dolls.


Some of the memorabilia is in mint condition – like an unworn pair of Beatles stockings – while other items have degraded down the decades. After all, many were made for a quick buck, not as valuable collectibles.


When Mr Atkins moved to Canberra from country New South Wales several years ago, his collection was relegated to a mountain of packing boxes.


The 61-year-old musician says it's time to pass it on to other passionate fans.


Dallas Atkins hopes the whole memorabilia collection can be kept together, either in a museum or with another super fan.(ABC News: Ian Cutmore)


"The [Sydney] Powerhouse Museum showed interest – but I got a call saying that they're going a different direction, and then left me a bit high and dry about what to do with it," he said.


"I'm still hoping that some museum might say yes, or someone will come along and say 'I'd like to buy the whole lot', and we can negotiate a plan.


"Otherwise I have to start selling things off singly.


"The process is going to be sad – it's going to be hard packing things up and sending them off overseas or wherever."


As to how many individual items Mr Atkins actually holds? He says, pick a number.


"I gave up years ago to try and work that out.


"You just open a folder and there's probably 200 items in that one folder.


"Lots of thousands of items, rare items."


Dallas Atkins says he has long since stopped trying to count how many items of Beatles memorabilia he has. (ABC News: Craig Allen)


The Guinness Book of Records names Argentina's Rodolfo Vazquez as the world's most obsessive Beatles collector – with 7,700 items of memorabilia.


But surely Mr Atkins is in that league – at least, for now.


Mr Atkins says he's been called "crazy" over the overwhelming extent of his collection – a collection so huge that he has no chance of being able to display more than a fraction of it in his Canberra apartment.


"I've been called crazy – and some people would say I'm crazy to sell it," Mr Atkins says.


"But there is a time where we all have to decide what to do with our collections – you could pass it on to the family, but if they haven't got the passion, it may be passed on to the tip."


Dallas Atkins has decided not to attempt to give his collection to Paul McCartney.(ABC News: Craig Allen


With news that McCartney is touring Australia again later this year – at the age of 81 – Mr Atkins has ruled out trying to offload his collection to the recording superstar.


Even if an estimated value of $80,000 would mean nothing to the former Beatle.


"He could just pick up a stick or leaf or an old piece of paper off the ground, sign 'Paul McCartney' on it, and sell it for a million bucks."


And, chances are, McCartney has little interest in a tin of Beatles talcum powder, a dress made out of an old curtain, or a pair of Beatles stockings.


Mr Atkins says he'll be listing his items on social media but still hopes to keep his collection intact and negotiate with a single buyer.

August 4, 2023
Article culled from

The final song for The Beatles is definitely on the way. Penn Jillette of comedy duo Penn & Teller has heard the song and talked about it in his recent Podcast.


Penn Jillette releases a Podcast episode every Sunday about what he did in the previous week. This particular week he had visited London, went to Abbey Road Studios, and was treated to an advance hearing of the new Beatles song by producer Giles Martin himself, so the source if 100%.


Penn Jillette of Penn & Teller has confirmed he has heard what we suspect is called ‘Now and Then’. At no stage in Penn’s podcast does he refer to the song by name but it is assumed that the John Lennon song ‘Now and Then’, rejected for the mid 90s Anthology series is the song he is talking about.


Jillette has dropped even bigger info. He said Giles was working on remastering the Beatles compilation ‘1962-1966’ (Red Album) and ‘1967-1970’ (Blue Album). It is therefore assumed that the Red and Blue albums will be reissued in expanded form this September or October with what is also assumed ‘Now and Then’ added, and for the sake of the argument, lets also assume the two new song that made Anthology ‘Free As A Bird’ and ‘Real Love’ will be there too.


In his podcast, Penn says “There was a recording. The last recording that Paul McCartney did not make money off. There was John Lennon playing piano and singing while watching TV. The TV is loud and John is playing the piano and singing. Paul had this is the 80s when they were doing all Anthology stuff (ed. Anthology was actually the 90s) and Paul got every engineer in the world to try and take out the TV and they all tried and they all failed. Giles (Martin) said to the people on ‘Get Back’ “can you take out the TV on this?” and they said “yeah” and sent them John Lennon from three mics, voice and the TV all separate. So they now have a verse and chorus of John Lennon. In the 80s (ed. It was the 90s) Paul played the track to George and George played some guitar over it so they have that.


“‘Now and Then’ will also feature a chord from an outtake of ‘Because’. “They took that chord, changed the key”, Penn added.



An expanded ‘Red’ and ‘Blue’ would also potentially include the songs from Past Masters 1 and 2 not on the album and, if this is the next Beatles box set’, lets also assume it will include the B-sides as well as the A-sides.


If this is where The Beatles next release is heading the 1962-1966 and 1967-1970 dates become obsolete. 1962-2023 maybe? But that leaves more inactive years in-between that active years. If the release happens in September, we should expect an announcement in coming weeks. The Beatles usually announce a project six weeks out from release.


The Beatles have traditionally only released one box set a year since the first box featuring ‘Sgt Peppers Lonely Hearts Club Band’ in 2017. A ‘Red’ and ‘Blue’ box will most likely mean that the 2023 Beatles event will be only that, which makes an expanded ‘Rubber Soul’ (the anticipated 2023 release) unlikely.


Solo reissues from Paul McCartney, John Lennon and George Harrison have also gone quiet this year. While McCartney, Lennon and Harrison catalogues have been actively worked on, the Ringo Starr back catalogue has gone untouched so far.


Paul McCartney spoke with Australia’s ABC 7:30 program this week.


August 3, 2023
Sir Paul McCartney ramping up for his Australian "Got Back Tour"

“I’ve got so many amazing memories of my time in Australia over the years. Our last trip was so much fun. We had such an incredible time. Each show was a party, so we know this is going to be incredibly special. Australia we are going to rock! I can’t wait to see you.” - Paul

Wednesday 18 October - Adelaide - Entertainment Centre
Saturday 21 October - Melbourne - Marvel Stadium
⁠Tuesday 24 October - Newcastle - McDonald Jones Stadium
⁠Friday 27 October - Sydney - Allianz Stadium
⁠Wednesday 1 November - Brisbane - Suncorp Stadium
⁠Saturday 4 November - Gold Coast - Heritage Bank Stadium

After all these years, "And I Love Her" is still a Paul McCartney signature classic from the Beatles movie "A Hard Day's Night"

August 2, 2023

Article culled from

Beatles fans are on standby for the announcement of an expanded ‘1962-1966’ (The Red Album) and ‘1967-1970’ (The Blue Album).


The speculation for the reissues is that the initial 2LP/CD editions will each be expanded to triple album sets and contain for unreleased song ‘Now and Then’.


‘Now and Then’ was abandoned during the construction of the 1995 Anthology series of albums. It was the third of three songs but not used because at the time, technology wasn’t available to clean up the original John Lennon to a presentable stage like the other two songs ‘Free As A Bird’ and ‘Real Love’.


‘Free As A Bird’ was released on Anthology 1 in November 1995. ‘Real Love’ followed on ‘Anthology 2’ in March 1996.


‘Now and Then’ was meant to be included on ‘Anthology 3’ but the three Beatles Paul McCartney, George Harrison and Ringo Starr were not confident what they had to work with at the time could be achieved with the raw demo. Now nearly 30 years later, new technology developed by Sir Peter Jackson and used for the ‘Get Back’ movie makes it possible to separate every sound into its own channel. The technology was used for the recent ‘Revolver’ reissue and well as The Beach Boys new ‘Pet Sounds’ remaster.


The release of the ‘Red’ and ‘Blue’ albums creates a diversion in the Beatles reissue road. I would imagine a slight change to take into consideration 1962 – 2023 might be appropriate.


In 2017 The Beatles released the first of the expanded albums box sets with ‘Sgt Pepper’s Lonely Hearts Club Band’. Next came ‘The Beatles’ (The White Album’) in 2018, ‘Abbey Road’ in 2019, ‘Let It Be’ in 2021 (delayed to coincide with the release of the ‘Get Back’ movie because of the 2020 covid year) and then ‘Revolver’ in 2022.


When the releases went back to 1966’s ‘Revolver’ after the 1967, 1968, 1969 and 1970 releases it was expected that The 2023 Beatles release would be with ‘Rubber Soul’ or a hybrid ‘Yellow Submarine/Magical Mystery Tour’. However, producer Giles Martin has said that because of the frequency and thirst for Beatles releases during the early days of Beatlemania, nearly everything recorded has been released.


Paul McCartney has confirmed a 2023 release for ‘Now and Then’ and also insists it will be the final Beatles song.


A release for ‘Red’ and ‘Blue’ is expected in September 2023. An official announcement is expected in August.


The Beatles 1962-1966 (The Red Album) Track Listing:


1. Love Me Do
2. Please Please Me
3. From Me To You
4. She Loves You
5. I Want To Hold Your Hand
6. All My Loving
7. Can’t Buy Me Love
8. A Hard Day’s Night
9. And I Love Her
10. Eight Days A Week
11. I Feel Fine
12. Ticket To Ride
13. Yesterday


1. Help!
2. You’ve Got To Hide Your Love Away
3. We Can Work It Out
4. Day Tripper
5. Drive My Car
6. Norwegian Wood (This Bird Has Flown)
7. Nowhere Man
8. Michelle
9. In My Life
10. Girl
11. Paperback Writer
12. Eleanor Rigby
13. Yellow Submarine


1. Strawberry Fields Forever
2. Penny Lane
3. Sgt. Pepper’s Lonely Hearts Club Band
4. With a Little Help From My Friends
5. Lucy In the Sky With Diamonds
6. A Day In the Life
7. All You Need Is Love
8. I Am the Walrus
9. Hello, Goodbye
10. The Fool On the Hill
11. Magical Mystery Tour
12. Lady Madonna
13. Hey Jude
14. Revolution


1. Back In the U.S.S.R.
2. While My Guitar Gently Weeps
3. Ob-La-Di, Ob-La-Da
4. Get Back
5. Don’t Let Me Down
6. The Ballad of John & Yoko
7. Old Brown Shoe
8. Here Comes the Sun
9. Come Together
10. Something
11. Octopus’s Garden
12. Let It Be
13. Across the Universe
14. The Long and Winding Road


The Beatles Best Compilation & Is A New One Coming?

by Andrew of Parlogram Auctions


Since 1966, there have been many compilation albums in The Beatles' discography. But there hasn't been a new one for 23 years! In this video, we look at all of their official compilations, one-by-one and also talk about the possibility of a brand new one. All that PLUS what Peter Jackson is really up to with the Hamburg recordings.

New Single Sessions
by Mal Evans and Neil Aspinall


August 1, 2023
After Steven Spielberg And Paul McCartney Were Spotted At Oppenheimer Screening,
I Learned They've Been Friends For Decades, And I'm So Here For It
by Sarah El-Mahmoud for Cinemablend

But did they see Barbie, too?


Now, I’ve heard before that our world is smaller than one would think, but I never cease to be amazed by the kinds of pairings the universe brings together. The latest being Steven Spielberg and Paul McCartney, who were spotted on Monday seeing Oppenheimer together in New York. That may sound odd on the surface though, as I’ve come to learn, the iconic filmmaker and songwriter actually go back decades! And I'm so here for this celebrity friendship! 


It blows my mind to know that 76-year-old Jurassic Park helmer and 81-year-old Beatles frontman just casually hang out. Both are living legends who have absolutely altered pop culture and, thus, the world as we know it owes both a great deal of thanks for their bodies of work. The pair were photographed together (via People) in the Hamptons this week, where they were checking out Christopher Nolan’s historical drama together. On that note, I later learned they have a pretty interesting history together. 


Steven Spielberg and Paul McCartney have apparently known each other for some time, as their chummy interactions date all the way back to the ‘80s. It was during that specific decade that the "Coming Up" singer approached the Jaws director to ask for advice about making a movie revolving around his band’s career. Can you imagine if Spielberg did (or does) helm a Beatles biopic? It does feel like the rock band deserves the Bohemian Rhapsody treatment. 


Another fun tidbit from the pair's relationship surfaced in December 2022, when the Oscar-winning filmmaker appear on BBC Sounds while promoting his latest movie, The Fablemans. He spoke about how a song from The Beatles factored into a memorable moment from his life, saying this: 



"I was a freshman in college and there was a girl I liked a lot and she would agree to let me take her out to dinner or to a jazz club or out to a movie but she would never ever ever let me kiss her. And, we were coming back from some place and we pulled into the big parking lot by the dorms on the college campus at Long Beach and “Michelle” came on. I think we heard it for the first time together on the radio. And, the melody is just heart-achingly beautiful and I look over at her and she’s got tears in her eyes — just before the song was over she jumps over on my side of the car and starts kissing me. When I got to know Paul a number of years ago, when Paul and I met and became friends, that was one of the first stories I ever told him. I had a chance to tell Paul McCartney that story.



It's definitely intriguing when public figures -- especially ones that hail from different creative backgrounds -- meet up and ultimately become friends. While so many of us engage in parasocial relationships with the great artists of our time, Steven Spielberg was once able to tell Paul McCartney that “Michelle” starting playing while he was dating a college girlfriend. How sweet is his story about how a first kiss was initiated by one of the Beatles classic tunes? Now, I can't help but wonder what those two talk about on a regular basis.


And then there’s the fact that they were two of the many moviegoers who saw one of the biggest 2023 new movie releases of the year. I do wonder if they also went for the ever popular "Barbenheimer" double feature, which is in its second week. Both Oppenheimer and Barbie boasted some wild stats after first seven days in theaters. Regardless of whether they took in both feature films, my heart feels a little bit fuller knowing these famous gents connect over cinema. 

The MonaLisa Twins release their cover version of "She Loves You" on Youtube

Interview: Klaus Voormann Discusses His Lifelong Musical and Artistic Association with The Beatles
by Alan Di Perna for Guitar World

From a chance encounter with the Beatles in Hamburg, he forged a friendship and musical partnership with John Lennon that lasted two decades. In a rare and
extensive interview, Klaus Voormann provides an intimate look into Lennon's solo career and artistry.

Klaus Voormann holds a special and uniquely privileged place in the story of John Lennon and the Beatles. He befriended the Beatles several years before their rise to fame, when they were still a struggling bar band performing in Hamburg, Germany.


A German-born musician and visual artist, Voormann made significant contributions to the Beatles’ image and look. After the band split up, he went on to play bass on numerous solo albums by John Lennon, George Harrison and Ringo Starr, essentially stepping into the instrumental role once filled by Paul McCartney.

“But I never looked at it that way,” he says. “When I was first asked to play with John, I couldn’t believe it. It was just mind blowing. But as soon as it came down to the
actual playing, this great happiness came into my heart. The whole thing was like a dream, like it wasn’t really happening. From then on I never thought, Oh, how fantastic
I am, I played with these famous people. That was out of my mind. I never thought of it. They were my friends. They wanted me to play because they liked my playing.
I was lucky to be in that situation. That’s all I can say about it.”

Soft-spoken and gentle in manner, Voormann is the ideal sideman: unassuming, unfailingly upbeat and focused on his work with characteristically Teutonic seriousness and sincerity. These qualities have served him well in his contributions to not only ex-Beatle solo albums but also many other hit records and legendary recordings. He’s on Lou Reed’s Transformer, Carly Simon’s “You’re So Vain,” Randy Newman’s “Short People” and Manfred Mann’s 1968 hit recording of Bob Dylan’s “The Mighty Quinn” (on bass and flute). Not to mention discs by B.B. King, Harry Nilsson, Jerry Lee Lewis, Howlin’ Wolf, Leon Russell, James Taylor, Peter Frampton and many others.


The fortunate trajectory of Voormann’s life and career was set in motion one evening in Hamburg in 1960. Walking off an argument with his girlfriend at the time, Astrid Kirchherr, he ventured down a street in Hamburg’s red-light district, the Reeperbahn, a precinct crowded with rowdy bars, strip joints and prostitutes in shop windows soliciting passersby. Voormann heard a sound that stopped him in his tracks outside a bar called the Kaiserkeller.


“Through a window I heard rock and roll music being played live,” he recalls. “It was the very first time that I’d heard live rock and roll music, and it turned out it was the Beatles, although I didn’t know that at that moment. The second band that was on that night was Rory Storm and the Hurricanes with Ringo Starr on drums. When I went into the club, that was the band I saw first. I thought they were great, especially Ringo. And after they played, the Beatles came up onstage. It was absolutely amazing. I’d never seen or heard anything like that in my life.”


At the time, the Beatles lineup consisted of John Lennon, Paul McCartney and George Harrison all on guitars, with an art school friend of Lennon’s named Stu Sutcliffe on bass and fellow Liverpudlian Pete Best on drums. The Beatles were a copy band in those days, recently arrived in Germany from Liverpool and cranking out a lively repertoire of Fifties rock and roll songs by artists like Little Richard, Elvis Presley, Jerry Lee Lewis, Chuck Berry, Fats Domino and others, mixed with a smattering of standards and sappy ballads.


Prompted by Kaiserkeller owner Bruno Koschmider, they’d developed an aggressive style of stage performance gauged to catch the attention of the bar’s roughhouse clientele. And they’d learned to keep the music pounding even as drunken fistfights and all manner of grievous bodily harm broke out on the dance floor.


It was all a bit overwhelming, but profoundly appealing for Voormann, a quiet and sensitive young guy who’d already begun to make a way for himself as a commercial illustrator. On these visits to the Kaiserkeller, he started to bring along his artsy, bohemian circle of friends, including the aforementioned girlfriend Astrid Kirchherr, a stylish, blonde photographer and clothing designer, as well as another photographer, Jürgen Vollmer.


Collectively they were known as the “exis,” a take-off on the French existentialists who, inspired by the work of writers like Albert Camus, Jean Paul Sartre and Simone de Beauvoir, had fashioned a kind of bleak chic from a philosophy regarding life as essentially meaningless and absurd. Voormann’s crowd dressed mainly in black suede, velvet or leather, men and women alike wearing a kind of unisex hairstyle that Kirchherr had pioneered.


In contrast, the Beatles at the time were sporting a Fifties greaser, or Teddy Boy, look, with tight trousers, pointed “winklepicker” shoes, and hair slicked back on the sides and cascading forward in a pompadour that hung dramatically over the forehead. It was a more working-class aesthetic. Yet the Beatles and the “exis” shared one very important quality: they were outsiders, two distinct yet similarly alienated subcultures that just had to get together. And Voormann forged the first link.


“The first Beatle I talked to was John,” he says. “One night at the club, my friends said, ‘Come on Klaus, you can talk some English. Go and talk to the band. We have to make contact somehow.’ So I took a record cover I had designed for a Ventures song called ‘Walk Don’t Run.’ I went up to John and showed him that. And he said, ‘Go show that to Stuart. He’s the artistic one in the band.’ So he pushed it off, like, ‘I’m a rock and roller now. I’m not doing art anymore.’ ”


Sutcliffe and Voormann became fast friends, despite the fact that the Beatles’ then-bassist became the new man in Kirchherr’s life, handily ousting Voormann. As if in recompense, Sutcliffe bestowed what proved to be a very valuable gift on his German friend.


“One night I came into the Top 10 Club in Hamburg, where the Beatles were playing,” Voormann recalls. “Suddenly Stu just handed me his bass. I had never had a bass guitar in my hands. He said, ‘Come on, you play now.’ And the rest of the band said, ‘Yes, come up onstage.’ I said, ‘No I can’t do that. I’m scared.’ So I sat in front of the stage, took a chair, put it in front of the stage and started playing the bass. I’d tinkled around on a guitar a little, but really I had no idea. I knew fourths, what the strings were. And then the first song was counted in. It was a Fats Domino number, ‘I’m in Love Again.’ And that’s the first time I ever had a bass guitar in my hands.”


The episode would prove a harbinger of things to come. Shortly thereafter, Sutcliffe left the Beatles, remaining in Germany to live with Kirchherr and pursue his vocation as a painter. McCartney, of course, took on the job of playing bass with the Beatles, and Sutcliffe sold his Höfner model 333 bass to Voormann. “He wanted to buy paints,” Voormann says. “He didn’t want to play anymore. So he needed money.”


The Höfner bass that Sutcliffe initially encouraged Voormann to play, and eventually sold to him, set Voormann on a road that would bring him onstage and into the recording studio with some of the most celebrated musical artists of the 20th century and beyond.


Voormann is also the first man to have sported the legendary Beatles haircut. The style had been originated by Kirchherr, again in emulation of French bohemians. She did her own hair that way, and then Voormann’s—a daring subversion of fashion as a signifier of gender distinction. Today, it’s impossible to convey how radical it was for a man to comb his hair forward in bangs and let it grow over his ears. Stu Sutcliffe was the first member of the Beatles to embrace the look, requesting that Kirchherr style his hair in the same way she had done Voormann’s. One by one, the other Beatles—except for Pete Best—summoned the courage to follow suit. When Best was fired and Ringo Starr took his place, the new drummer likewise let Kirchherr cut his locks.


This German hairstyle—along with Italian boots and close-fitting suits with colorless jackets—was part of the look that Brian Epstein fashioned around the Beatles when he took on their management in 1962. Much to the chagrin of the Beatles, their hairstyle and clothing were almost as much a factor as the music in their phenomenal ascent to worldwide fame in late 1963 and 1964. This is something that would come to frustrate Lennon greatly.


The Beatles didn’t forget their German friends once they achieved worldwide fame. Around 1964, Harrison and Starr invited Voormann to move to London. They even put him up in a London apartment they shared as Voormann got a start in Britain’s capital, landing a job at an ad agency. He found that fame had not altered his friends to any great degree.


“They stayed very much the same,” he says. “It’s only the circumstances they were now in that made them live a different way. And of course John was married by then [to his first wife, the former Cynthia Powell]. John was always very nice. He was very subdued. When he was private, he wasn’t so outgoing. But of course he was very funny and could express himself really well. By ’64 they were starting to become aware that every word they said would be picked up by the media and judged by the public. And of course that eventually got John in trouble.”


Beatlemania put serious constraints on all the Beatles, impinging on their private lives by seriously restricting their ability to travel and go out in public for fear of being mobbed. But, as Voormann observed, stardom seemed particularly taxing for Lennon. “Of all of them, I think John was the most unhappy, mainly because he constantly had to do stuff. He had concerts to perform and obligations to fulfill, and he didn’t like that. George was also unhappy, but in a different way. He didn’t like the public. That’s what people don’t really know. George didn’t really enjoy being in front of the people.”


Lennon particularly hated the performance turn in which he and McCartney or Harrison would stand face-to-face in front of a mic and wiggle their heads as they sang one of their trademark “ooooo” falsetto backing vocals. “When you see him doing it on the videos, you can see he’s really making a joke of it,” Voormann says. “John felt sad that there was a crowd out there that reacted to little stupid gestures in such a way. He didn’t like the power that he got being a Beatle. It wasn’t till he met Yoko that he learned how to use that power to try to do something good in the world.”


Voormann soon had made his own foray into the pop group scene as one third of the trio Paddy, Klaus and Gibson, which was managed by the Beatles’ own Brian Epstein. Beatles trivia buffs may recall that Paddy, Klaus and Gibson were the group that Lennon and Harrison went to hear on the very first evening they dropped acid, in 1965, although Voormann doesn’t recall many details from that evening.


While Voormann’s musical career was underway, he found time to accept an offer from Lennon to create the cover art for the Beatles’ landmark Revolver album in 1966. “John called me and said, ‘How about doing an album cover?’ ” Voormann recalls. “‘Why don’t you come to the studio, listen to the music, then go home and see if you have an idea. And if you have a good idea, you got the job. If not, you don’t have the job.’ So I went to the studio and everybody was there. I listened to the songs, and I was floored. It was so amazing. You simply can’t imagine what it was like at that time in pop music to go so far out there and do a song like ‘Tomorrow Never Knows’ with all kinds of tape loops and wild sounds.


“But everybody was worried that this was not the right material to approach their fans with. And that was my problem in doing the cover art. I went home and racked my brains: What can I do that is somehow leading into the future but still is something that the normal fan goes for? I made some different sketches and showed them to the band. The one with the hair and the little figures was in there as a sketch. Everybody loved that one. I loved that one too, and I knew they would go for it. I was happy because I had the job and I could do the cover.”


In his unofficial role as the Beatles’ art advisor, it was Voormann who recommended Swedish director Peter Goldman to create the supremely trippy video for the Beatles’ masterpiece “Strawberry Fields Forever.” Voormann remembers the shoot, which took place at Knole Park, outside London, as one of several occasions on which Lennon confided to him his unhappiness in his marriage and career.


“John was not in good shape. He was very unhappy. He was living in Weybridge at the time [his house outside London] and he didn’t like to be with Cynthia, his wife. The whole situation, the whole setup—he didn’t enjoy it. I mean, he was always frustrated. Till Yoko came along, John was frustrated. He was very sarcastic, very funny, like a clown sometimes, but he was always frustrated.”


As Voormann notes, deliverance for Lennon came in the form of Japanese avant-garde artist Yoko Ono. The couple first met in 1966 and were married in 1969, shortly after John’s divorce from Cynthia was finalized. John and Yoko embarked on a series of high-visibility Bed-Ins for Peace and other public happenings that combined politics and avant-garde art.


Voormann was drawn into this exciting new world of Lennon’s in September 1969 when he was asked to join the guitarist for a gig at the Rock and Roll Revival Concert in Toronto. On a whim, Lennon had decided to accept a last-minute offer to share a bill with the rock and roll heroes of his youth: Bo Diddley, Little Richard and Jerry Lee Lewis. Lennon hastily assembled a band 24 hours before the show, calling on Eric Clapton—with whom he’d recently performed on the Rolling Stones Rock and Roll Circus TV special—Voormann and drummer Alan White, who would later go on to be a member of Yes. The group would appear under the name Plastic Ono Band, a moniker Lennon and Ono had come up with for their projects and which had first appeared on the couple’s 1969 single “Give Peace a Chance.”


“John asked me if I would do it, and I paused because I couldn’t believe what he was saying,” Voormann recalls. “He would always get very uptight when you were not immediately like, ‘Yeah, that’s great! Sure I’ll do it!’ I paused a little and said, ‘You’ll have to explain this a little to me. I have no idea what the Plastic Ono Band is. Is that Yoko’s band? Do we have to go naked onstage or what?’ I had no idea in my mind. Suddenly it was not John Lennon; it was the Plastic Ono Band, so I knew it had something to do with Yoko. And he explained to me, ‘I want to go in the studio and record together, and I want the band to play. Eric said yes already. How about you?’ I said, ‘Okay, I’ll do it.’”


The hastily convened ensemble rehearsed acoustically on the plane from London to Toronto. This was to be the first live rock concert Lennon had performed in about three years, and his first without the Beatles. Backstage, bravado gave way to stage fright. “John was very, very nervous,” Voormann says. “He had no idea what was coming. He’d never played with Alan White before. We hadn’t really rehearsed. So as we were walking to the stage, he said, ‘Hang on, boys, hang on!’ And he went in the corner and vomited. Okay, it was partly the drugs he was taking, but partly it was stage fright.”


Of Lennon’s decision to perform the show, Voormann says, “In one way, he was saying, ‘Oh fuck it, let’s do it. It’s fun.’ But suddenly he realized, ‘My God, I’m John Lennon. I was with the Beatles and now I’m going out there with a band—no rehearsal, no nothing. Just play some old rock numbers. Is that really the thing to do?’ But he pulled it through, somehow.”


It’s interesting to compare the Toronto performance of Lennon’s song “Cold Turkey” with the studio version, recorded less than two weeks later. In that short time, what had been little more than a sketch evolved into a chilling, stark arrangement that masterfully reflects Lennon’s harrowing lyrical account of his recent, painful withdrawal from heroin addiction.


“I was very frustrated on the plane from London to Toronto because I knew we couldn’t do justice to the song with no real rehearsal,” Voormann says. “I thought, Shit, what a great song. We really have to rehearse this properly and make something of it. But when we went onstage, we just played the chords. It was silly. It was just spur of the moment.”


But Lennon, Clapton, Voormann and White got their opportunity to hone the arrangement over the course of 26 takes of the studio version. “We tried several things,” Voormann says. “And when I came up with that bass line that you hear on the record, and the guitar answered, that was it. Suddenly it was haunting. It somehow had this cold atmosphere. We actually doubled my bass part. When you put on headphones, you can really hear it. You hear these slight fluctuations, because I actually played the part twice; it wasn’t automatically doubled. It makes the part a little disquieting. It doesn’t really feel good. It was supposed to be like that.”


Like much of Lennon’s early solo work, “Cold Turkey” is remarkable for its sparse, dry, minimal feel. Only a small part of what was laid down on tape made it to the final mix. “John and Eric played so many guitar parts,” Voormann recalls. “The whole 24-track tape was just filled with guitars all over the place. Till in the end they decided on the two guitar parts you hear in the final mix, and it was fine.”


Voormann recalls that the chemistry between Lennon and Clapton was very positive. “I would say that Eric felt like a servant to John, because he loved John so much. Eric did not behave like a star or anything. He was just a good guitar player. That’s the way he acted. So they got along really well.”


The late Sixties had given rise to the “supergroup” phenomenon—all-star ensembles featuring top players from multiple legendary bands. Clapton himself had been part of two such super-groups, Cream and Blind Faith. The Lennon-Clapton combination seemed full of potential: one of the hottest guitarists of the day, together with one of the era’s foremost songwriters and frontmen. But this was never to reach fruition. Lennon and Clapton went their separate ways soon after the “Cold Turkey" session. “Eric had his own thing,” Voormann says. “I don’t think he would have stayed on. The whole thing fell apart pretty soon. It wasn’t like, ‘We are the band. We stay together.’ It wasn’t organized, anyway. ‘Nobody around us was saying, ‘Oh, you’re the band now.’ And I never thought that that would happen either.”


It was, by design, a very minimal ensemble that joined Lennon in the studio for his revolutionary first solo album, Plastic Ono Band, in 1970. The disc reflects the encounter Lennon had recently had with psychiatrist Arthur Janov’s Primal Scream therapy, making it the treatment’s aural equivalent. Listeners hear him stripping away all the defense mechanisms and coping strategies that get us all from one day to the next, confronting his deepest and most painful psychological issues head-on. And for the most part, it was recorded with just a small, intimate circle of players: Lennon on guitar and piano, Voormann on bass and Ringo Starr on drums. The history between the three men went all the way back to Hamburg, and the result was a deep, intuitive connection.


“John simply felt that those songs were very immediate and spontaneous, and we wanted the recording to be just as spontaneous,” Voormann says. “We all know there are lots of mistakes on it. But Ringo and John together are amazing. I just played along with them, and it was great. We fitted together really well. I’d never played with Ringo before. And very little with John.”


"Well Well Well" from John Lennon's first solo album: The Plastic Ono Band


Also present as coproducers were Yoko Ono and Phil Spector, the notoriously temperamental architect of classic mid-Sixties “wall of sound” hits by the Ronettes, Righteous Brothers, Ike & Tina Turner and others. Spector had stepped into a production role with the Beatles just as the group was disintegrating and remained in place as producer of Lennon’s early solo work. Despite Spector’s reputation as an eccentric and hothead, Voormann says the producer was exceptionally well behaved during the making of Plastic Ono Band and its 1971 successor, Imagine.


“Phil was very subdued and cooperative,” he says. “He was helping a lot. He listened to what Yoko was saying. He never had a fight or disagreement with Yoko. They got on really well with one another. He was really listening and making a great sound. Look, I’ve seen Phil get crazy and all that. But during John’s sessions maybe there was too much admiration on Phil’s part. He was not going to do the wall of sound. He was not going to go crazy. He just did the job and did it well. He was really loving all the songs. Sitting at the piano, he knew all of John’s songs. He learned them all.”


The affable Voormann has always enjoyed a good relationship with Yoko Ono as well. “I always got on with Yoko,” he says. “She’s very sensitive. You wouldn’t believe it. I remember once in Berlin I met her. I came over. I had other things to do and was maybe a bit preoccupied or disturbed or whatever. And years later, she was still saying, ‘Klaus, you were not nice to me that time in Berlin.’ She doesn’t forget those things. And sometimes she can be very abrupt and very hard. Makes people feel bad. But in another way she’s the loveliest person you could imagine. She’s very inspiring, very excitable and enthusiastic about things.”


For Lennon’s landmark Imagine album, the scene of recording shifted to a studio the artist had put together at Tittenhurst Park, the idyllic home outside London that he and Ono shared. “It wasn’t a huge house like George had, with 80 or 90 rooms,” Voormann recalls. “It was just two floors, upstairs and downstairs, and not many rooms. The studio was really small. It was just a bedroom. It was John’s bedroom made into a studio. I think he and Yoko slept upstairs. But it was a beautiful place. The guy who originally owned or built the house knew all about trees. He knew exactly where the water was coming and which type of tree would do well in each part of the property. So it was a really great park, beautiful. I don’t know what it’s like now. No idea.”


Lennon worked with a larger group of players than he had on Plastic Ono Band. Voormann was once again on bass. But this time, the great rock session pianist Nicky Hopkins, who played with the Who and the Rolling Stones, was on hand to lend his inimitable touch to several tracks, including the ragtime-flavored “Crippled Inside,” Lennon’s scathing put-down of bigots, conformist and sundry other uncool types. George Harrison played guitar on Lennon’s bitter, anti-McCartney diatribe, “How Do You Sleep?” and drummers Alan White, Jim Keltner and Jim Gordon (fresh from Derek & the Dominos) contributed to various tracks. A string section, the Flux Fiddlers, was overdubbed onto some songs. With characteristic self-deprecation, Lennon would later dismiss the album’s production as “candy-coated.” But Voormann, like many others, disagrees with this assessment.


“With some songs the big production really works,” he says. “ ‘Jealous Guy’ was a great song even before they put strings and other things on it. I love the way we all played on that. John’s singing is great. But some of the songs on that album would not have come off as good if we had tried to do them just as a trio—‘Crippled Inside,’ for example. That’s one where I played upright bass, only I had no idea how to do slap bass. So Alan White came up and said, ‘Okay, I’m going to play the drumsticks on the bass string. You just hold the notes.’ So we did that while Jim Keltner played the drums.”


Voormann remembers Lennon as a disciplined and organized—yet generous and open-minded—session leader. “John had all the songs ready to go. He’d give us a lyric sheet with the text of the song written in big letters, about half an inch high. He’d go to the piano or take the guitar and play us the song. And he’d tell us, ‘Here it goes to F#.’ So we wrote the chords underneath the words. He played it once, we’d rehearse maybe two times, and then we recorded. John would never tell me what to play. I always played what I wanted, and he accepted it.”


Voormann worked less with Lennon after he and Ono moved to New York in 1971. But he did witness some of Lennon’s notorious mid-Seventies Lost Weekend, when the rock star separated from Ono and went on a protracted drunken binge in L.A. with fellow elbow-bending celebrity musicians Keith Moon, Harry Nilsson and Ringo Starr. “Everybody knows that Harry and John were totally gone,” Voormann says. “Didn’t have a clue where they were most of the time. But that was when my first son was on the way, and I was spending a lot of time with his mother. So I was really doing other things.”


Which is perhaps why Voormann did not actually play on the disastrous first set of sessions for Lennon’s Rock ’n’ Roll album in Los Angeles. Lennon had agreed to record an album of classic Fifties rock and roll songs to settle a legal dispute with legal publisher Morris Levy. But the album sessions with Phil Spector fell apart amidst scenes of drunkenness and gunplay. Finally, Spector absconded with the master tapes.


“If it was a song that John wrote, he would know exactly what he wanted to do,” Voormann says. “But in this case they said, ‘Let’s take an old rock and roll song, and you do it, John.’ And I think he couldn’t handle that for some reason. Maybe it was because he was flipping out or whatever it was. But for some reason he couldn’t handle it. So they gave up.”


Lennon returned to New York in 1974 and started to get his life back together. Voormann joined him for the making of the Walls and Bridges album released that same year. Not one of Lennon’s greatest efforts, the album is mired in a production aesthetic that all too vividly evokes pastel polyester leisure suit Seventies jive. (Lennon produced the album himself.) The sound and style seem ill suited to Lennon’s angst-laden lyrics born of his unhappiness at being separated from Ono. Still, the unlikely juxtaposition did produce Lennon’s only number-one hit as a solo artist, the duet with Elton John, “Whatever Gets You Through the Night.”


Voormann loyally declares Walls and Bridges “a really underrated LP. There are some great songs on there. You see, the atmosphere in the studio was very similar to the making of Imagine. John was sitting there playing the guitar. We would listen to the songs. But maybe that’s just my perception. I’m always so focused on the feel, the guitar playing and what the drummer is doing that I might not notice anything else that might be going on in the studio. I just want to do a good job.”


The bassist recalls helping come up with the idea for the slow orchestral interludes in “#9 Dream,” one of the better Walls and Bridges tracks. “John played the song for me and said, ‘I don’t know, there’s something missing. The song doesn’t feel quite finished.’ I sort of said, ‘It’s a very dreamy song. What if John stops and there’s some kind of melodic part?’ That’s what he did, and the song’s great.”


Shortly thereafter, Voormann joined Lennon in finishing up the troubled Rock ’n’ Roll project, which was released in 1975. “We went up to Morris Levy’s house in upstate New York and rehearsed with Jim Keltner, Jesse Ed Davis and all these people who are on the album. It was a really good rehearsal, and we were able to get the album done.”


Voormann’s playing career with Lennon ended as it had begun—with the Fifties rock and roll classics that had shaped both men’s destinies. Shortly after Rock ’n’ Roll was released, Lennon reunited with Ono and went into a period of retirement, withdrawing from the music business to concentrate on raising his son Sean. The last time Voormann saw his old friend was at Lennon and Ono’s home in the Dakota apartment building in Manhattan.


“I have photos of that visit,” he says. “Sean was already five years old, maybe even older. I went to see them in the Dakota and we had a great time. I went in the kitchen and John was baking bread and cooking rice. He showed me how to cook rice. We were just hanging out in the kitchen. He was playing a little guitar and Yoko was doing some sushi. So it was really family-like. John said to me, ‘Klaus, I’m so relieved. I don’t have to do any more recording. I don’t have any record deals.’ He was happy he didn’t have any of those obligations. Although he still picked up the guitar.”


Of course Lennon did return to recording and public life in 1980 with the release of Double Fantasy. And the question that haunts every Lennon fan is whether John would still be alive today if he hadn’t gone public once again, attracting the attention of a homicidal psychopath. In the time since Lennon’s passing, Voormann has remained friendly with Ono, who helps Voormann and his wife, Christine, in their charity work to benefit the Native American Lakota people of South Dakota. He even joined Ono, Clapton, Keltner and others in a Plastic Ono Band reunion concert in January 2010 at the Brooklyn Academy of Music. Klaus Voormann treasures his memories of his longtime friend. And, like everyone else, he treasures the music.


“John’s great strength was his ability to put into words feelings that so many people can relate to,” Voormann says. “Not many people, if any, can write songs like that. Who can find words like that? John even invented his own words. And he had a message to put across. That makes beautiful songs.”

Rain - The Beatles - Full Instrumental Recreation and Isolated bass is also featured

performed by Michael Sokil

Well this one wasn't easy! This is easily one of the most technically challenging and intricate tracks ever released by the Beatles. It features a lead guitar in an open tuning (thanks Ryan and Sam for the tip!), Ringo's insane kitchen-sink drumming, one of Paul's greatest basslines, a slowed-down backing track, backwards vocals. The boys put almost everything they could into this track. Hard to believe it was only a B-side! I put more effort into studying this than any other track. Ringo's drumming, Paul's bassline AND the lead guitar are recreated note-for-note. Studying this was made much easier thanks to the Revolver remix, which included a remarkably clear backing track (and led to several incredibly clear isolated tracks widely available on YouTube).  As with most Beatles tunes, this is an incredible, incredible performance. No two verses are alike on ANY instrument (except maybe the rhythm guitar). Paul and Ringo are geniuses.  Also, even the little quirks are great! Paul kinda flubs the introductory bassline, the entire band plays a weird extra half-measure or so in the second verse, the entine tune slows's just madness everywhere. And it works!  I'll add more here soon! Probably releasing more isolated tracks, too. Let me know what you think!

 Full Instrumental Recreation

 Isolated Bass

Canadian Beatles Albums and Paul White's "Sizzle Sheets"





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