• Home
  • Post

solobeatles

The website for the book Still the Greatest: The Essential Songs of the Beatles' Solo Careers

Menu

  • About the Book/ Get It Here!
  • About the Book/ Press & Reviews
  • About the Book/ Upcoming Events
  • About the Writer/ Contact
  • Additional Content on Facebook
  • Beatles Albums That Should Have Been
  • Book Excerpts
  • Breaking Beatle News
  • Corrections
  • Facebook
  • George
  • John
  • Links
  • News
  • Paul
  • Playlists
  • Rarities
  • Ringo
  • Sixties Beatles
  • Store
  • Uncategorized
  • Cool Websites

    • Beatle Links
    • Beatlefan Magazine Facebook Site
    • Beatles Blog
    • Beatles Rarity
    • BeatlesNews
    • Endless Rain
    • Fab Four FAQ 2.0 Facebook Site
    • FAB4RADIO.com
    • Fest for Beatles Fans
    • In the Life of … The Beatles

Did the Beatles Get the Idea for Their Rooftop Concert from the Jefferson Airplane?

October 8, 2014 · by solobeatles

On November 1 1968, French director Jean Luc Godard filmed the Airplane playing a set on the roof of Manhattan’s Shuyler Hotel. The shots of passer-bys looking up at the roof recall the climax of Let It Be, which captured the Beatles’ final live performance on the roof of Apple in London on January 30, 1969.

The Airplane are a little more, shall we say, uncouth, with Grace Slick howling, “New York, wake up, you fuckers! Free music! Make some! Free love!”

Earlier in 1968, Godard documented the Rolling Stones making Beggars Banquet in Sympathy for the Devil: One Plus One.

Here are some blogs about the Airplane’s rooftop jam and its similarity to the Beatles’:

http://www.openculture.com/2012/02/jefferson_airplane_wakes_up_new_york_jean-luc_godard_captures_it_1968.html

http://thisaintthesummeroflove.blogspot.com/2012/02/110168-jefferson-airplanes-short-free.html

 

 

 

I’ll Be On 2 Panels at the Fest For Beatles Fans in Los Angeles October 10-12

June 8, 2014 · by solobeatles

If you’re a Beatles fan in L.A. this weekend you can’t miss the Fest for Beatles Fans – it’s like Comic-con for Beatles maniacs!

On Saturday at 2 pm I’ll be talking about STILL THE GREATEST and solo Beatles music with Beatle experts/writers Tom Frangione, Jude Kessler, Steve Marinucci, Kit O’Toole, Wally Podrazik, and Robert Rodriguez.

And on Sunday at 6 pm Tom Frangione and I will look back at all the wild highlights of Ringo’s career both during and after the Beatles in a session promoting my new book WHERE’S RINGO?

I’ll also be part of the MEET THE AUTHORS event on Friday at 5:20.

Otherwise I will be at a table in the marketplace selling my books so stop by!

There are tons of special guests, including Denny Laine, Billy J. Kramer, and Peter Asher, and events going on all weekend. Not to mention an explosion of Beatle merchandise. The link to the schedule is below.

http://www.thefest.com/2014-fests/los-angeles-october-10-12-2014/

BREAKFAST WITH THE BEATLES’ Chris Carter will be broadcasting his show live Sunday morning from the Fest.

And I can’t wait to see Eddie Deezen introduce one of my favorite Beatles movies, I WANNA HOLD YOUR HAND, Saturday at 1 pm.

To see Eddie’s turn as “the greatest Beatles genius in the history of the universe!” check out this clip from Robert Zemeckis’ classic at 1:50 and 3:47.

I hope to see you!

LAX Airport Marriott Hotel

5855 West Century Boulevard

Los Angeles, CA 90045

(310) 641-5700

just two blocks from the Los Angeles airport

 

The Beatles Play for the Queen – My Latest Article in Slate.Com

November 9, 2013 · by solobeatles

When John Lennon informed manager Brian Epstein that he planned to tell the audience of the Queen’s Royal Variety Performance to “rattle their fuckin’ jewelry,” Epstein worried despite himself. He knew even John Lennon would not dare curse before royalty. But then again, there was always the possibility Lennon might somehow sabotage the entire Beatle operation.

Please click here to continue to the article, complete with videos …

http://www.slate.com/blogs/browbeat/2013/11/04/the_beatles_royal_variety_performance_when_john_lennon_told_the_queen_of.html

Where Do I Start With Paul McCartney? My Latest Article in Slate.Com

October 15, 2013 · by solobeatles

To mark the release of Paul McCartney’s new album NEW (out today), Slate.com asked me to come up with his Top 10 solo songs. Impossible to do but I gave it a shot … I’m sure everyone has a completely different list!

http://www.slate.com/blogs/browbeat/2013/10/15/paul_mccartney_best_solo_songs_after_the_beatles_where_to_start_video.html

George Discovers “Got My Mind Set On You” in 1963 – My Latest Article in Slate.Com

September 24, 2013 · by solobeatles

When the Beatles were given the rare luxury of time off in September 1963, John Lennon and his wife Cynthia went to Paris, Paul McCartney and Ringo Starr went to Greece, and George Harrison traveled to Benton, Ill., a coal-mining town of 9,500, to visit his older sister, Louise “Lou” Caldwell. The Beatles were still almost completely unknown in the United States, and Lou, who had moved to southern Illinois with her husband, a mining engineer, was keen to promote them to the Top 40 radio stations in the region.

Please click here to continue to the article, complete with videos …

http://www.slate.com/blogs/browbeat/2013/09/19/george_harrison_s_trip_to_benton_illinois_before_the_british_invasion_a.html

Lennon and Cheap Trick Get Primal on “I’m Losing You”

September 2, 2013 · by solobeatles

http://www.youtube.com/watch?v=lVhj34J18EM

While on vacation in Bermuda during the summer of 1980, Lennon tried to call Yoko Ono but couldn’t get through to her and channeled his frustration into this bluesy rocker.  In the song, he worries that she’s shutting him out because she can’t forget all the bad things he did in the past. Lennon concedes he hurt her but counters that it was long ago and, exasperated, implores her to let go of the negative memories.

When Lennon began recording his next album, Double Fantasy, he chose Jack Douglas for his co-producer.  Douglas engineered Lennon’s Imagine album as well as Who’s Next, worked with Patti Smith, Blue Oyster Cult, and the New York Dolls, and produced three mid-seventies Aerosmith albums, including the seminal Toys in the Attic with “Sweet Emotion,” “Walk This Way,” and the overlooked “No More No More.” As Douglas had produced some of the heaviest rock of the ’70s, he was slightly restless with Lennon’s current middle-of-the-road approach and suggested Lennon try cutting “I’m Losing You” with another up-and-coming band he had produced, Cheap Trick.

When the power pop group made its debut in 1977, Cheap Trick was quickly tagged as the bridge between Beatles melodicism and punk energy with hits like “Surrender” and “I Want You to Want Me.” Guitarist Rick Neilson garnered further attention by always wearing a flipped-up ball cap and hamming it up onstage like one of the Bowery Boys. No less than Beatles producer George Martin was producing their latest album, so Lennon said bring them in. Neilson’s wife had just given birth, but she gave him permission to go to the studio with drummer Bun E. Carlos.

The track became Lennon’s most primitive and edgy since 1970’s Plastic Ono Album. Afterward, Lennon told Carlos he wished Neilson had been around when he did “Cold Turkey,” as Lennon felt Eric Clapton “choked” when he played guitar on that 1969 track.

But Lennon didn’t bring them back for any other songs, and their version didn’t end up on the album. The regular session guys listened to the Cheap Trick version in their headphones and laid down a less gritty version. Some Beatles scholars speculate it was because the cut would have sounded out of place amidst the rest of the glossy album. Others say Ono didn’t like Neilson and Carlos, Lennon thought it sounded too much like “Cold Turkey,” and/or Cheap Trick’s manager asked for too much money.  Another theory is that Lennon was angry when someone leaked news about the sessions to Rolling Stone — he was trying to keep everything secret because he was nervous he might not “have it” after five years of semi-retirement.

The track finally saw the light of day eighteen years later when it was released on the John Lennon Anthology.  Ironically, today the Cheap Trick version sounds more contemporary than the soft rock version Lennon went with.

Cheap Trick later covered “Cold Turkey,” “Day Tripper,” and “Magical Mystery Tour” and were the house band for the Sgt. Pepper fortieth anniversary concert at the Hollywood Bowl.

Still The Greatest Nominated for the ARSC’s Best Research in Recorded Rock Music Award

September 1, 2013 · by solobeatles

Founded in 1966, the Association for Recorded Sound Collections (ARSC). is a nonprofit organization dedicated to the preservation and study of sound recordings in all genres.   Every year the ARSC gives out Awards for Excellence in Historical Recorded Sound Research.

This year Still the Greatest was nominated for Best Research in Recorded Rock Music.  The winner is a great author whom I was fortunate enough to meet at the Fest For Beatles Fans last year — Robert Rodriguez for his book Revolver: How the Beatles Reimagined Rock ‘n ‘ Roll (Backbeat Books).

Also at the Fest last year was another ARSC nominee, Ken Scott, who wrote Abbey Road to Ziggy Stardust: Off-the-record with The Beatles, Bowie, Elton and so much more (Alfred Music Publishing) with Bobby Owsinski.

The other nominees were:

Marc Dolan, Bruce Springsteen and the Promise of Rock ‘n’ Roll (W. W. Norton)

Michael Drewett, Sarah Hill and Kimi Karki, Peter Gabriel, from Genesis to Growing Up (Ashgate)

Mike Markesich, Teen Beat Mayhem! (www.priceless.com)

http://www.arsc-audio.org/awards/finalists.html

The Songs the Beatles Gave Away — My Article Today in Slate.com

April 23, 2013 · by solobeatles

When Lennon and McCartney skipped school to write songs as teenagers, they envisioned themselves becoming a great composing team like Leiber and Stoller or Rodgers and Hammerstein. In 1963 and 1964, they gave their best shot at it, not only writing songs for the Beatles but giving away 16 compositions to other artists, including the Rolling Stones. Half were originally written for themselves, and half they wrote for other artists under Brian Epstein’s management—such as Billy J. Kramer and Cilla Black—or for the pop duo Peter and Gordon.

In the U.K. two of the songs were No. 1s and ten more made it to the Top 40, while in the U.S. one hit the top spot and five more made the Top 40—an impressive record for any songwriting team. It’s true that they abound in puppy love clichés, but they also reveal the composers’ growing sophistication.

Please click here to continue to the article, complete with videos and Spotify playlist:

http://www.slate.com/blogs/browbeat/2013/04/22/the_beatles_give_their_songs_away_the_lennon_mccartney_originals_that_they.html

(Cilla Black pictured with Lennon and McCartney in home page photo)

“Looking For My Life” and the Night George and Olivia Saved Each Other

February 17, 2013 · by solobeatles

http://www.youtube.com/watch?v=SBov2x9L3UQ

Harrison started smoking in 1957 and quit in 1992, but in 1997 he developed a lump on his neck and in his lung. But after undergoing two operations for cancer and radiotherapy, he was doing well. By mid-1999, he had completed most of the demos for his new album Brainwashed, with son Dhani often playing with him.

Then a horrible assault contributed to the cancer’s return. In 1999, thirty-six-year-old Michael Abram kicked his heroin addiction, but ironically that made his schizophrenia worse. His mother tried to get him back on medication, but the bureaucracy of England’s National Board of Health kept putting her off. Abram went through an obsession with Oasis, then switched his focus to the Beatles. As he later told his lawyer, he became convinced they were “witches,” with Harrison in particular being “a witch on a broomstick, who talked in the Devil’s tongue—an alien from Hell.” Perhaps the song he was referring to was “My Sweet Lord,” in which Harrison midway switches from singing “Hallelujah” to singing Hare Krishna chants. Abram believed that Harrison was possessing him, and that it was Abram’s mission from God to kill him.

On December 30, a young female stalker broke into Harrison’s home in Maui and was arrested. The same night in England, Abram went to Harrison’s Friar Park.

The main gates had security cameras, but on other parts of the estate the fence was falling down. At 3:30 a.m., the sound of breaking glass woke Harrison and Olivia. From downstairs, Abram yelled for Harrison. Harrison went to investigate in his pajama bottoms while Olivia called the police. In a scene reminiscent of that year’s box office hit The Sixth Sense, Harrison came face to face with Abram holding a long kitchen knife. Trying to calm Abram and himself, Harrison chanted the Hare Krishna Mantra—probably the words that made Abram believe he was a witch in the first place. Abram attacked.

Harrison later recounted, “I thought I was dying. I vividly remember a deliberate thrust of a knife and I could feel the blood entering my mouth and hear my breath exhaling from the wound.”

Rolling Stones drummer Charlie Watts told the Observer, “I spoke to Ringo about a month after it happened and he told me exactly what went on, and it was horrific. George was stabbed about forty times. It happened outside his bedroom on the landing. He would have been dead if he’d been lying in bed, he wouldn’t have been able to fight. The papers did say that one wound punctured his lung, but a lot of the others were just as horrific. The man was slashing him everywhere. George’s wife hit him again and again on the head with this brass lamp, but he just wouldn’t stop. There was blood everywhere.”

First Olivia hit him with a fireplace poker, then smashed the antique lamp on the head. Olivia later told Katie Couric, “George was coaching me, I have to say. And George was very brave and people don’t know that. Because he had already been injured and he had to jump up and bring him down to stop him from attacking me. You know, he saved my life too.”

Katie Couric: “You saved each other’s lives.”

Olivia Harrison: “Yes, we did. And that was an interesting experience. Because, you know, not a lot of people get tested like that, thank God.”

The lamp knocked Abram out, ending the fifteen-minute assault. The police carried him away. Harrison’s condition was critical for a day, then he was back home. Harrison said to the press, “He wasn’t a burglar and he certainly wasn’t auditioning for the Traveling Wilburys.”

Tom Petty said, “When I heard about it, I sent George a fax, and it just said, ‘Aren’t you glad you married a Mexican girl?’ Olivia really kicked ass. She is a beautiful person.”

Abram was acquitted of attempted murder due to insanity. He was treated then released after nineteen months in 2002.

Harrison got aggressive about finishing the album, and began giving Dhani detailed notes on how he wanted the sound and the artwork. For a while he said he planned to call it The World Is Doomed. Abram had punctured Harrison’s lung, and the cancer returned there. In May 2001, he had an operation at the Mayo Clinic, but it was discovered the cancer had spread to his brain. Harrison went to Switzerland for treatment, continuing to work on the album at a studio there.

In “Looking For My Life,” Harrison sings that he never anticipated that life could explode at any moment, as he’d been enjoying an idyllic existence in his garden for years. When he sighs that we’ve no idea what he’s been through, it’s as if Lennon has survived his shooting and is singing about it. When Harrison asks the Lord to listen to him and help him find his faith again, you know he truly does have something to plead about, like Job.

Featuring just Harrison with his son, Dhani, and producer Jeff Lynne, Lynne steps back and lets the guitars speak for themselves, with just a few deft touches, like giving the chorus’ drums a timpani-like depth for an epic feel.

Ironically, the song was written before the knife attack, perhaps in response to his cancer diagnosis or earlier eras of substance abuse. Still, as he strums intensely with his son, it’s hard to think of anything but that night at the end of 1999 that saw him on the floor soaked in blood next to Abram, finally knocked out by Olivia’s brass lamp.

McCartney Declares War Then Peace On Lennon In “Too Many People” and “Dear Friend”

February 17, 2013 · by solobeatles

No song by McCartney captures the loneliness and anger of the Beatles’ feud as intensely as “Too Many People,” in which all his vitriol spewed out like an infected zit. The lyrics read as the anti-Beatles version of Starr’s “Early 1970.” McCartney is getting pushed around by Lennon going underground and letting himself be a mouthpiece for the Communist party radicals. One of them, Yippie A. J. Weberman, even took a break from harassing Dylan to stage a protest in front of Linda’s father’s Park Avenue residence on Christmas Eve 1970.11 McCartney also slams Lennon for sinking into heroin with Ono, losing weight, and just eating cake, as junkies have a notorious sweet tooth.  Not only was Lennon preachy politically, Harrison was religiously preachy to the max as well. And all of them were trying to grab McCartney’s cake: under the groups’ contract, all the profits of each ex-Beatles’ albums go to the company and then the total is divided among them. (Although, truth be told, Harrison was the biggest seller at the moment, so the set up benefited McCartney in 1971.)

McCartney vows that he’s not going to hold back his feelings anymore, though he did temper the opening line. Originally it was “Yoko took your lucky break and broke it in two,” but he changed “Yoko” to “you.”

The performance opens with a malevolent groan that could either be an effects-treated guitar, a harmonium, or far-off horns. The sense of physical space in the recording conjures the dread of walking into a deserted mausoleum in a horror film, underscoring the “lucky break” taunt. No doubt it is meant to instill the unease in Lennon and Co. that they will never be able to measure up in the future without McCartney. It perfectly captures the eerie foreboding when partners are divorcing, with one wondering privately if he is making a mistake even while trying to scare the other that he will regret it.  When Lennon heard it, did he have an inkling that he would only have one more number one record in his lifetime?

McCartney whips himself into a war dance, dancing around Hugh McCracken’s guitar pyrotechnics with falsetto shrieks and whoops, banging the floor tom drum.

http://www.youtube.com/watch?v=4mprAKT27C0

Lennon would counter on his next album with “How Do You Sleep,” which would also be magnificently played and produced. But it is so overtly about McCartney that its subject can’t be separated from the performance, making it difficult to enjoy beyond the context of Lennon’s character assassination. By being lyrically just vague enough and played within an arresting sound scape, “Too Many People” transcends the backdrop that inspired it.

Ram’s back cover included the subtle snapshot of one beetle screwing another.  The front featured McCartney holding a ram by horns, so for Imagine Lennon inserted a postcard in which he holds a pig by the ears, grinning.  Lennon also continued to be a loose cannon in the press. He sent an open letter to McCartney via the music mag Melody Maker in which he wrote that McCartney had said to him, “‘Ringo and George are going to break you John’ . . . Who’s the guy threatening to ‘finish’ Ringo and Maureen, who was warning me on the phone two weeks ago? Who said he’d ‘get us’ whatever the cost? As I’ve said before—have you ever thought that you might possibly be wrong about something?” He then slagged off McCartney’s father-in-law.

Obviously, fighting with the vicious Lennon in public was like dancing around gasoline with a match. And while Lennon forgot the fact whenever convenient, to McCartney they had been best friends, which was why he had overreacted and botched the whole “dealing with Yoko” thing in the first place.

McCartney began working on the song that would become “Dear Friend” during the Ram sessions. For many critics it was the sole redemption of the Wild Life album. It was the record’s last song, showing the continued primacy of the feud in his life, as “Too Many People” had been the first song on Ram.

The disconsolate piano brings to mind a man walking through a dark cavern, as McCartney faced the precarious decision of whether to up the arms race of mutually assured destruction. His voice strains at the high end of his register, like a guy who has been bullied but knows he must speak up though he’s also afraid. He can’t believe they’ve come so close to the edge, and he’s shocked it all means so much to Lennon. Perhaps he’s referring to the money and how they were forcing McCartney to stay in the company to avoid paying higher taxes. Perhaps he’s referring to Lennon’s need to yell his side of the story through the press at everyone else’s expense.

The song is famously known as a conciliatory make-up song. With surprising honesty, McCartney sings that he’s in love with his friend and wishes him the best with his marriage. But McCartney also asks Lennon if he’s a fool and if he’s afraid, which sounds like a bit of a provocation, even as his voice is timid in the gloom, a passive-aggressive Gemini as always. Probably it was hard for McCartney to be the guy stepping back saying, “I don’t want to fight,” even though he had been the one who started it.

McCartney plays the same ruminating piano chords for almost six minutes, mirroring the emotional obsession he couldn’t shake. But he uses what he learned on the Thrillington instrumental album to sustain interest through a subtle build in accompaniment with forlorn strings and foreboding horns until everything recedes except the quiet, lonely piano, and then it finally stops as well. Wild Life was released in the United Kingdom in November 1971 and in the United States in early December. At some point, McCartney called Lennon, and shortly afterward Lennon sent McCartney a Christmas gift, a bootleg of the group’s audition for Decca Records. A little after Christmas, the McCartneys dropped by Lennon and Ono’s Greenwich Village home, and the former bandmates stopped attacking each other in public. Eventually, the postcard in Imagine was changed to one of Lennon playing the panpipes.

Page 6 of 11 « Previous 1 … 4 5 6 7 8 … 11 Next »
  • Blog at WordPress.com.
Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.
To find out more, including how to control cookies, see here: Cookie Policy
  • Subscribe Subscribed
    • solobeatles
    • Already have a WordPress.com account? Log in now.
    • solobeatles
    • Subscribe Subscribed
    • Sign up
    • Log in
    • Report this content
    • View site in Reader
    • Manage subscriptions
    • Collapse this bar