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The story of ‘Eat At Home’ has had a fun telling, starting off life as a co-written track on Paul and Linda McCartney’s RAM album. Shortly afterwards, as Wings were forming, the band took a rawer version of the song out on the road with them as part of their impromptu tour of UK universities and then shortly afterwards with ‘Wings Over Europe’, traversing the continent courtesy of their psychedelically painted bus. A few years later and it was turned into a reggae-infused instrumental by Percy “Thrills” Thrillington, whose album has recently been reissued on vinyl.

The original version of ‘Eat At Home’ was recorded for the 1971 album RAM. A rocker that recalls Buddy Holly with hints of Scotty Moore on the guitar and Carl Perkins finger-picking, Paul sings lead with Linda adding back up. A literal reading of the song’s lyrics reveals a paean to the joys of eating at home and in bed (who doesn’t like a lazy night in?).

But the version under the microscope here is its reimagining as a dancehall, sun-kissed brass skank. Percy Thrillngton’s horns sit alongside a Booker T. style organ and, well with the percussion – you can almost smell the rum and coconuts!

The Percy “Thrills” Thrillington album was recorded in 1973 with arrangements by Richard Hewson, who had recently worked with Paul on tracks such as ‘Dear Friend’ and ‘My Love’. Although Percy’s debut was recorded in the early 70s, he would have to wait until 1977 for it to see the light of day, announcing his day-to-day activities via the London Evening Standard newspaper.

Check out ‘Eat At Home’ and let us know your favourite re-imaginings of the RAM album by Percy in the comments below…

On 18th May, Paul will release four 2018 edition catalogue reissues via MPL/Capitol:
NEW, Chaos and Creation in the Backyard, Wings Greatest and Thrillington.

All four titles will be issued in affordable single CD digipak and 180gram black vinyl single LP formats and will be made available for the first time in limited edition 180gram color vinyl pressings. All vinyl LPs will include a download card.







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The photo, posted online this week, shows the Beatles’ sons Sean Lennon and Dhani Harrison on the Thames – 49 years after their fathers took a similar snap.
Lennon captioned the photo: ‘The Thames they are a Changin!’ – a nod to the Bob Dylan song The Times They Are a-Changin’.
The men have both followed in their fathers’ footsteps. Sean, 42, whose godfather is Elton John, has released a string of albums since his first solo album in 1998.He has also played with his mother Yoko Ono’s Plastic Ono Band.
Meanwhile 39-year-old Dhani, who also posted a picture of the pair online, released a solo album last year and has played with stars such as Eric Clapton.


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U.S. Postal Service Announces Updates to the 2018 Stamp Program

The John Lennon commemorative “Forever Stamp” will be issued on September 7th by the United States Postal Service (USPS). The stamps will be issued in a pane of 16, with a design aping a vinyl picture sleeve. The stamps themselves use a famed 1974 photo by legendary rock photographer Bob Gruen, with the photo on the rear using the iconic 1971 Lennon shot of him at his English Tittenhurst Park estate recording “Imagine,” captured by Peter Fordham.

This black-and-white photograph of John seated at his white piano appears on the reverse side of the stamp pane, along with Lennon’s signature and the Music Icons series logo.

Among its stamp subjects for 2018 is former Beatle, John Lennon, as part of the Music Icon series. He joins other stars in the series including Jimi Hendrix, Janis Joplin, Johnny Cash, Elvis Presley, Ray Charles, and Lydia Mendoza.
For the first time, the Postal Service is revealing the full pane for these stamps, featuring a photograph of John Lennon taken by noted rock-and-roll photographer Bob Gruen in August 1974. Taken on the rooftop of Lennon’s Manhattan apartment, the photograph is part of a series of images taken by Gruen during the photo session for Lennon’s 1974 album Walls and Bridges.

The original black-and-white photograph has been treated in gradations of color: from yellow orange to red in the top row, from red to light purple in the second row, from light purple to dark purple in the third row and from dark purple to blue in the bottom row. Lennon’s signature appears at the top of the stamps. “USA,” the peace symbol, and the Forever denomination appear along the bottom.

The stamp pane is designed to resemble a vintage 45 rpm record sleeve. One side of the pane includes the stamps and brief text about Lennon’s legacy, with the image of a sliver of a record seeming to peek out the top of the sleeve.


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Amy Corbin, head of C3 Presesnts’ concert division, has that down when discussing the lineup she booked for this year’s Austin City Limits Music Festival. “Two Rock and Roll Hall of Famers,” she says of Paul McCartney and Metallica, but she’s quick to add: “And it’s a nice balance with Childish Gambino and Arctic Monkeys and Travis Scott and Odesza — there’s literally something for everybody.”
When pressed about McCartney, though, she admits that getting the legendary Beatle was an above-and-beyond coup. Would she call Sir Paul THE biggest act ever booked to play ACL Fest?
“I would,” Corbin replies, without hesitation. “I think even if you look at the ‘Austin City Limits’ television show and its legacy acts, I don’t know of any living musician that can beat Paul McCartney. It certainly is the biggest that we’ve ever booked.”
They’d been after McCartney for years, Corbin confirmed, but the odds went up after they hooked him in 2015 for Lollapalooza, the major Chicago festival that C3 also books. “That was our first, and it was great working with his team. They are the best in the business,” she said. “We knew he would be perfect for ACL.”
Since then, it’s just been a matter of waiting for the stars and schedules to line up. “It mainly comes down to timing,” she said. “Sometimes it takes years of continuing to put that bug in somebody’s ear, like, ‘Hey, we’re still here, we’re still interested.’ And it just so happened that this was our year that the magic happened.”
“I can’t wait to see him performing on that stage with the city skyline in the background,” Corbin said. “And just (playing) hit after hit after hit after hit. It’s going to be special.”


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Olivia Harrison, talks about how George’s collaborations with Indian musicians helped shape her own musical tastes

Among the pioneers who helped to popularise world music, few have done more or had more kudos than George Harrison. In the mid-60s, the Beatles’ guitarist took lessons from Ravi Shankar and introduced the exotic sound of the sitar to Western pop music fans via his songs with the Beatles.

As his wife for 25 years until his death in 2001, Olivia Harrison enjoyed a ringside seat at his collaborations with Shankar and other Indian musicians and they then explored a glorious range of other world music styles together, from Mexican corridos to Bulgarian folk music. Unsurprisingly, George’s influence permeates her playlist selections and her current project, releasing his archive of recordings by some of the greatest Indian musicians of the 20th century.“Being married to George gave me a crash course in Indian music,” she says. “George recorded many great Indian classical musicians, but he never revisited the recordings because he didn’t look back, he just kept moving forward. But I couldn’t sleep if I thought the tapes George made were going to degrade and never be heard. They’re a wonderful legacy.” The archive will be released on the HariSongs imprint, in conjunction with Craft Recordings, a division of Concord Music Group.

Olivia’s first taste of Indian music came when the likes of Shankar, flautist Hariprasad Chaurasia and santoor player Shuvkumar Sharma stayed with Harrison when he was producing the 1974 album Shankar Family & Friends. “Those musicians were the finest exponents of their instruments and it was a divine experience. While they were staying, they did three nights of concerts, which George recorded. The tapes have just been sitting there and that’s what inspired me to do HariSongs,” she says.

Before their release, however, comes the reissue of two important but out-of-print Shankar recordings produced by George, both of which feature on Olivia’s playlist.

‘Raga Manj Khamaj’ was originally released on the album In Concert 1972, which was released on Apple the following year. Featuring a ‘dream team’ of Shankar on sitar, Ali Akbar Khan on sarod and Alla Rakha on tabla, it was recorded at New York’s Philharmonic Hall before Olivia knew Harrison. “I wish could have been there because it’s a great historic moment,” she says. “That was one of Ravi’s favourite ragas. I remember him talking about it.” By the time of her second Shankar choice, ‘Sarve Shaam’ from the 1996 Harrison-produced Chants of India, she had got to know him as a family friend. “You revered Ravi,” she says of the great man. “He carried with him that great tradition, but he was also a very modern man and had a great sense of humour.”

Partly recorded in India and partly at Harrison’s Friar Park home in Henley-on-Thames, Olivia recalls the recording sessions well. “Ravi was very specific about the mantras and how they were recorded and orchestrated and George really wanted people to understand the vibrations of those chants was beneficial to their well-being.”

The track on her playlist is a particularly poignant choice. “At the end of his life George said to me that all he could listen to was ‘Sarve Shaam’,” Olivia remembers. “After all the sounds and sights and tastes you experience over a lifetime, it came down to the purity of ‘Sarve Shaam’.” The piece was also performed as the opening blessing at the Concert for George memorial, held at London’s Albert Hall in 2002.

Two other Indian selections on Olivia’s playlist also carry memories of George. One of U Srinivas’ very first albums, Mandolin Ecstasy, was “one of George’s favourite albums,” she says. “I think he was only 15 or even younger at the time. We went to see him in concert and afterwards George had a chance to inspect his electric mandolin. He had one made just like it and tried to play like Srinivas. He’d have a go at anything.” A track from one of Srinivas’ later albums recorded on Real World features on this issue’s covermount CD.

‘Bhoop Ghara’ from Call of the Valley, recorded in 1967 by Shivkumar Sharma, Hariprasad Chaurasia and slide guitar player Brijbhusan Kabra, was “something George had on our juke box. We played it as a remedy in our home if you were feeling a certain way. Kabra was one of George’s heroes as a slide guitarist, up there with Ry Cooder.”

The Harrisons met Cooder through the American producer Russ Titelman, who also introduced them to another of Olivia’s playlist choices, ‘Kalimankou Denkou’ from the Mystère des Voix Bulgares Vol 1 album, first released on an obscure label in 1975 and a surprise world music hit when re-released on 4AD a decade later. “Russ brought the album with him when he was working with George and we loved it,” Olivia says. When several of the singers on the album, including Yanka Rupkina, were working in London as Trio Bulgarka, the Harrisons invited them to their Friar Park home to give a private concert. “Russ and George stood in the hall and harmonised with them. It was a very reverential experience.”

Although born in Los Angeles, Olivia’s grandparents came from Guanajuato in Mexico. “I grew up with Mexican music and watched Mexican movies and my father played guitar and sang and recorded in the 30s,” she says. In 2016, Olivia presented a Songlines Music Award to the Mexican singer Lila Downs for her album Balas y Chocolate. “I didn’t know much about her until then, but I saw her perform and what a force!” Olivia says. “Last year I brought over a mariachi orchestra and we had a private concert at Friar Park because I got tired of waiting 30 years for someone else to do it. It was my way to let my friends experience that music – which was what George was always trying to do. He wanted people to understand and be moved by the music that he loved.”

Her playlist ends with a unique version of George’s 1968 song ‘While My Guitar Gently Weeps’ by the ukulele player Jake Shimabukuro. She discovered his version when it went viral on YouTube in 2006. It has since received 15 million views. “Lots of people wrote to me or sent me a link saying ‘have you seen this?’ I was really floored by it,” she says. “Jake is a master and I then saw him play it one Christmas in Honolulu with an orchestra and it was beautiful. George wasn’t around to hear Jake’s version but he would have loved it.”

ORDER “IN CONCERT IN 1972” (2018) … H E R E .