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DAVE GROHL LEARNED TO PLAY GUITAR THANKS TO THE BEATLES

By Posted on 0 15

Dave Grohl learned to “play guitar” thanks to The Beatles.

The Foo Fighters frontman was presented with the iconic group’s greatest hits collections, along with a book of their music, by his mother when he was younger, and spent hours honing his skills by playing along to the records.

He said: “That’s really where I learned to play guitar. I would put an album on, find the page with the song, try to play along according to this simple music sheet, almost like I was in a band in my bedroom, trying to follow along with these other players.

“I’d have to remember an arrangement, and changes and tempo and melody. So those two albums were my music teacher when I was young.”


AN ENGLISH TEACHER MIGHT BE RESPONSIBLE FOR CONVINCING THE BAND TO INCLUDE LYRICS IN THE LINER NOTES ON THEIR ALBUMS

By Posted on 0 14

An English teacher in Spain might be responsible for convincing the band to include lyrics in the liner notes on their albums.That teacher’s name was Juan Carrión, and he died this week at 93. He was a huge Beatles fan, and he came up with the idea, which was novel at the time, of using Beatles lyrics to teach English.

“He didn’t always understand what was being said,” says Richard Torne, a reporter in Spain who met with Carrión, years later. Torne says Carrión wrote down what he heard as best he could in a notebook, leaving blank spots for the words he couldn’t decipher.

So, when he heard that John was coming to Spain to film the movie “How I Won the War,” he was determined to meet the singer to ask him to fill in those missing words. “He got it in his head that he was going to seek John out,” Torne says, “and he was going to find out whether or not he’d be willing to help him out with this.” By that point, Lennon was already a huge star. But that didn’t deter Carrión. He took a two-hour bus ride to the city where Lennon was filming and stayed there for a week, even though he didn’t have a lot of money. “He managed to meet a man named Les Anthony who was John Lennon’s bodyguard and chauffeur,” says Torne. “They struck up a very quick friendship, and he started passing on these lyrics sheets to him to give to John Lennon to correct.”

Eventually, he managed to meet John in person, and two men became friends. After that meeting, all Beatles albums, starting with “Sgt. Pepper’s Lonely Hearts Club Band,” included lyrics in their liner notes.


BEATLES FANS TO BID FOR NEW GEORGE SONG

By Posted on 0 , 16

An unreleased track by George Harrison is to be auctioned with a series of previously unseen images of the band.
The 1968 song, Hello Miss Mary Bee, comes on a reel-to-reel tape that also includes alternative recordings of several Beatles hits.
The track, influenced by Indian music, was written for George’s friend Mary Bee and produced at about the time that his first solo album, Wonderwall Music, was released.
It comes with letters from George to Ms Bee while he was in India with his first wife, Pattie Boyd. In one, Boyd wrote that Harrison had “just come into the kitchen singing Mary Bee, Mary Bee about to make a lovely cup of tea”.

RINGO KEEPS PUSHING FORWARD WITH NEW MUSIC ON ‘GIVE MORE LOVE’ ALBUM

By Posted on 0 9

Were Ringo Starr the kind of guy to delve deep into the blues, he might well have taken a stab at Willie Dixon’s classic “I Can’t Quit You Baby,” on his forthcoming album, “Give More Love.”

Perhaps not in the original context of being unable to escape a toxic relationship with a romantic partner, but more a heartfelt expression of his attitude about continuing to play music at age 77.

“I decided at the end of November last year that I’m taking 2017 off,” Starr said from his perch in a regal-looking upholstered chair in the luxury suite of a Beverly Hills hotel where he’d just arrived to handle a few interviews about his new album, which arrives Sept. 15, and the fall tour that will follow close on its heels.

“On the 12th of January, I said ‘Yes’ to the October tour — so that didn’t last long,” he said with a hearty laugh. That new run of shows for Starr and his All-Starr Band opens with an eight-night residency at Planet Hollywood in Las Vegas and continues with nearly a dozen more dates into mid-November.

He won’t be stopping in Southern California this time out because, as he pointed out, “Last year we did a tour in May and June and finished at the Greek on the 2nd of July. After that I did an awesome tour in Japan and Korea — and Thousand Oaks,” he quipped, laughing.

That is yet another manifestation of the undiminished passion he has for writing, recording and performing.

“I only ever wanted to play — that was my aim from 13,” he said. “I worked in factories and on the railway, but I played at night and made decisions that got me where I was. I didn’t know I was going to get there [into the Beatles]. But I knew I wanted to play. So I got into a Liverpool band, then I got into Rory [Storm & the Hurricanes], then I got into the biggest band in the land. “I just always wanted to play, and to play with good people,” he said. “I’m sitting here, at 77, still talking about it. And I’m still playing.”

His passion is immediately evident on “Give More Love,” which opens with high-energy rocker “We’re On the Road Again,” a song he wrote with Toto guitarist Steve Lukather. It expresses a sentiment similar to Willie Nelson’s longtime concert favorite with the similar title, but it’s sonically miles apart.

It allows the band to flex its muscles, and an audience to sing along. “Yes, that is Paul McCartney on bass, and on screams too,” Starr writes in notes accompanying the album. His former band mate also shows up on “Show Me the Way,” his ode to his wife of 37 years, Barbara Bach.

Among numerous other guests on the album are Starr’s brother-in law, guitarist Joe Walsh, and fellow Eagles singer-bassist Timothy B. Schmit, Heartbreakers keyboardist Benmont Tench, saxophonist Edgar Winter, guitarist-producer Jeff Lynne, guitarist Dave Stewart, bassists Nathan East and Don Was, and multi-instrumentalist Greg Leisz.

Although Starr insisted that “I’m not that political,” social and political issues do come to the fore in “Laughable” and “Standing Still.”

The former he wrote with another long-standing English rocker, Peter Frampton, about taking in turbulent events of the world on a daily basis and feeling that “It would be laughable if it wasn’t sad.”

He consciously avoided naming names.

“We all know what’s happening in the world, and we all know what’s happening in this country, because we are English boys who are living here,” Starr said. “Peter wanted to make it more direct, and I said no, because I think everyone understands the sentiment.

“I don’t need to mention [names of] people that may not even be there by the time the song comes out,” he said. “I’m not that political. I can always do it another way and everyone understands.”

“Standing Still,” which he wrote with Gary Burr, addresses the challenge of maintaining any sense of optimism in the face of what can seem like increasingly dour conditions in the world.

“Whoever I’m writing with, it’s directed by me,” he said. “I don’t have to write all the words, but usually the direction is peace and love. For ‘Standing Still,’ it was even when you’re at the bottom of the hill, you’ve got to get up and take that first step.”

The man born Richard Starkey radiates the same sparkle and boyish Liverpudlian charm that helped propel him, McCartney, John Lennon and George Harrison to unprecedented heights shortly after he signed on 55 years ago last month as the fourth pillar of the world’s most popular and influential rock band.

He attributes part of that glow to his vegetarian diet and part to getting sober more than three decades ago after years of alcohol and substance abuse that took the lives of many friends, including fellow drummer Keith Moon and singer Harry Nilsson.

“I have a meditation practice,” he says of his spiritual routine. “I pray to the god of my understanding, and I read spiritual books — day-at-a-time books, things like that that help you get through the day.”

Another major factor in his unflaggingly upbeat outlook is his marriage to Bach, the subject of the glistening rock ballad he also wrote with Lukather, “Show Me the Way.” “After all this time we’ve had to share/The better life I’ve had ’cause your still there/I need to show you just how much I care/There were times It wasn’t always easy, but we got through,” he sings.

One of the things that keeps him coming back to recording, even at a time when fewer and fewer people are buying recorded music, is the surprise factor. These days he serves as his own producer, doing most of the recording at his home studio in Los Angeles, assisted by engineer Bruce Sugar.

By way of illustration, he pointed to the track “King of the Kingdom,” which he wrote with another longtime friend, songwriter, singer, producer, arranger and multi-instrumentalist Van Dyke Parks.

“I had the [basic instrumental] track, and the first verse,” he said. “While we’re writing this song, we got into Haile Selassie, so we go to the Internet to read about Haile Selassie. All the rastas put him on a high pedestal, they consider him the King of the Rastas or the God of the Rastas, and he’s always said ‘No, I’m not.’

“Anyway, suddenly we’re writing the song, and we get the phrase ‘One love, Haile Selassie, ‘ and we put him in the song. So I said, ‘Let’s go all the way, and I sang ‘One love, one heart, Bob Marley always did it for me.’ That’s what’s great about writing. If it’s my record, it can go anywhere I’m open to.”

It also plays out in one of the bonus tracks on the CD edition of the album that doesn’t appear on the vinyl LP version — a reworked recording of his 1972 hit “Back Off Boogaloo,” one of three older songs he revisits. (The others being “Photograph,” his first solo No. 1 hit from 1973, and “Don’t Pass Me By,” the first song he’d written on his own that the Beatles chose to record — for “The Beatles,” a.k.a. “The White Album.”)

It grew out of the housecleaning and archiving process he and Bach have been engaged in for several years.

“We’ve taken a lot of things out of storage and we’re going through it a box at a time, and we found all these reel-to-reel tapes,” he said. “And on a quarter-[track] two-inch tape, we found this version of me singing ‘Back Off Boogaloo’ and it had a great echo on the [rhythm] guitar. I knew it’s me singing, but I couldn’t figure out who the hell is playing guitar? And it was me! So that’s on this record. “We lifted the voice from the track that George (Harrison) produced, so it combines me then, and me now. I did it straight, not with the marching rhythm. Just a sideline for you: That rhythm pattern [on the original recording], George said ‘You should do this,’ ” at which point Starr vocalizes a complex syncopated rhythm. “I said, ‘I can’t do that.’ So I just did it with the snare, and it was great. But it was by accident. So that’s the magic of being in the studio: You don’t know what you’re going to get.”

As to any thoughts of retirement? Starr addressed that unequivocally 10 years ago at the one-year anniversary of Cirque du Soleil’s “The Beatles Love” show in Las Vegas, during an interview with veteran broadcaster Larry King for which he sat side by side with the other surviving Beatle, McCartney.At one point, King suggested to them, “Neither of you has to keep on going — you don’t need it financially.” The man once known as “the funny Beatle” shot back, “Reverse that: You don’t need to do it either. This is what we do. I get asked all the time, ‘You’re still playing?’ Yeah, that’s what I do.”


GEORGE UNRELEASED RECORDING “HELLO MISS MARY BEE” GOING UP FOR AUCTION

By Posted on 0 16

GEORGE HARRISON UNRELEASED RECORDING – of a track entitled “Hello Miss Mary Bee” recorded onto a reel to reel tape which includes other recordings of tracks The Beatles would have been working on at the time. A second reel to reel tape contains a recording of his “Wonderwall” album.

The two tapes come with a collection of correspondence to include postcards sent by George and his wife Patti Boyd to the vendor and a 6 page letter from Patti to the vendor. This incredible recording was made especially for the vendor whose name is “Mary Bee” back in early 1968 and was sent to her by George and Patti along with postcards and other recordings during 1967 & 1968. The song, which is approx 1 minute 40 seconds long, was recorded on an Emidisc Reel 2 Reel tape in 1968 at “Kinfauns” and is very much in the Indian style of the music that he was heavily influenced by and producing around the time of his first studio album “Wonderwall”.

The case of this tape has writing on which reads “Tape to Mary Bee”. The “Wonderwall” tape again has writing on the box which reads “Music from the film Wonderwall for Mary Bee”. The 6 page letter is a great read and has numerous references to the tapes. Patti talks about George working on the “Wonderwall” soundtrack and at one stage says she can’t send a tape of the music but then corrects herself (after speaking to George) to say that “George will tape his music”. She also says that George has “just come into the kitchen singing Mary Bee, Mary Bee about to make a lovely cup of tea”. There are 3 postcards from Patti & George included in the lot which are all addressed to Mary Bee and have been sent from India. The postcards mention where George & Patti have visited, how they are having their first yoga lesson and that she has been thinking of Mary when meditating.

 

On one George has written “Hello Mary – love George”. One of the postcards also starts by asking “Did you get the tapes?”. Tape 1 – Side 1 Contents: Track 1 – Never before heard track “Well Hello Miss Mary Bee”. 1.40 in duration. Track 2 – Beatles Across The Universe – runs from 2.16 to 5.40. Different to released version – faster, differing instrumentation and backing vocals. Recorded 4th Feb 1968. Track 3 – Beatles Inner Light – runs from 5.50 to 8.21 – again different to released version. Instrumental recorded in India during Jan 68. George vocals recorded at same time as Across the Universe in Feb 68. Released 15th March 1968 as b-side to Lady Madonna. Track 4 – Beatles Lady Madonna – runs from 8.27 to 10.41. Same as release. Recorded Feb 68 and released 15th March 1968. Track 5 – Instrumental Indian music – runs from 10.456 to 23.17 Track 6 – Beatles All Together 23.20 to 25.10 and continues on Side 2 from 0.00 to 0.35 Sounds same as released. Recorded May 67′ but not released until Jan 69′. Tape 1 – Side 2 Contents Track 7 – Beatles Christmas Time is Here Again – runs from 00.37 to 6.45 – as per 1967/68 flexi disc release. Recorded May 1967. Track 8 – Beatles Strawberry Fields – runs from 6.49 to 10.49 – same as release. Recorded Nov/Dec 1966. Track 9 onwards – Bob Dylan recordings – from 10.54 to 24.45. Appear to be same as albums/single releases. Includes a letter of provenance from the vendor along with her transcribed lyrics for the song.

 

Estimate: 10,000 GBP – 20,000 GBP