A new letter reveals the reason why the BBC banned The Beatles' psychedelic masterpiece 'A Day In The Life'.
The Fab Four will issue an expanded version of 'Sgt. Peppers Lonely Hearts Club Band' shortly, casting new light on one of the most vital documents of the psychedelic era.
Much mythology has crowded around the album, so it's always nice to uncover a fresh artefact, a new shard of light on such a vaunted release.
The Beatles official Facebook page shared a remarkable letter from the BBC, detailing its reasons for banning 'A Day In The Life'.
It explains: "We cannot avoid coming to the conclusion that the words "I'd love to turn you on", followed by that mounting montage of sound, could have a rather sinister meaning".
The letter continues: "The recording may have been made in innocence and good faith, but we must take account of the interpretation many young people would inevitably put upon it. "Turned on" is a phrase which can be used in many different circumstances, but it is currently much in-vogue in the jargon of drug addicts".
By: Robin Murray
Source: Clash Music
If the Kennedy Center Honors is the venue’s biggest end-of-the-year party, the annual Spring Gala gives it a run for its money for live music.
Last year, a star-studded lineup of musicians — Leslie Odom Jr., Babyface, Valerie Simpson, Mary Wilson and BJ The Chicago Kid — turned out to salute the iconic music of the late Marvin Gaye.
On Monday night, this year’s ceremony delivered “Come Together: A Celebration of John Lennon,” saluting the genius behind so many Beatles hits, as well as a solo career that was tragically cut short.
“You’re wondering if we’re going to get to your favorite John Lennon song: ‘Norwegian Wood,’ ‘Strawberry Fields Forever,’ ‘Power to the People,’ ‘Lucy in the Sky with Diamonds,’ ‘Dear Prudence’? Sorry, we’re not doing any of those. Get over it,” emcee David Duchovny joked. “We would’ve loved to have played them all, but if you wanted to spend that much time sitting in a seat at the Kennedy Center, you’d be over in the Opera House watching ‘Madame Butterfly.’ … Your [butt] thanks us!”
The event kicked off w details
Turner prize-winning artist Jeremy Deller is to stage a haunting tribute to the Beatles’ manager, Brian Epstein, in the run-up to events in Liverpool marking 50 years since the release of the band’s groundbreaking album, Sgt Pepper’s Lonely Hearts Club Band.
The artist, who created the centenary commemoration of the lost soldiers of the Battle of the Somme last year and a controversial re-enactment of the Battle of Orgreave, has designed a series of posters that will go up around the city later this month. They will bear powerful slogans about Epstein’s devotion to the Beatles, some associating his sacrifices with those of a religious martyr.
“Rock music is a belief system, in a way, and Brian Epstein dedicated everything to the Beatles and to their success. His main concern was their well-being,” said Deller. “In terms of its characters and stories, the way we feel about rock’n’roll music since the Beatles is like religion, or at least an alternative belief system.”
When the city’s mayor, Joe Anderson, announced a carnival of arts that will begin on 25 May, the Merseyside statue of the band members – John Lennon, George Harrison, Pa details
It was 36 years ago today (May 7th, 1981) that George Harrison released his tribute to John Lennon, called "All Those Years Ago." The song is notable for being the first record since the Beatles' 1970 breakup to feature all three surviving group members, George Harrison, Paul McCartney, and Ringo Starr.
According to several sources, the song was originally taped the year before for inclusion on Ringo's 1981 Stop And Smell The Roses album. Harrison had written the song with different lyrics for him to sing, with the song's basic track featuring himself on guitar and Ringo on drums. The song was left off the album, and after Lennon's murder in 1980, Harrison revamped the song into a tribute to his late bandmate.
In early 1981, Harrison, Paul and Linda McCartney, and Wings co-founder Denny Laine recorded the song's distinctive backing vocals at Harrison's home studio Friar Park. The vocal sessions were supervised by legendary Beatles producer George Martin and engineer Geoff Emerick, who at the time were recording with McCartney for hisTug Of War album.
Denny Laine who had known the Beatles intimately since touring with them in the mid-'60s while still in the Moody Blues, says that there was no difference b details
We were genuinely excited as we made our way into Tokyo Dome, a 55,000-seat baseball stadium, to see Paul McCartney’s “One on One” tour. That feeling waned a bit as a helpful Japanese ticket attendant led us to our seats… up higher and higher… past the Sherpas and centerfield bleachers… to a pair of seats resting three rows from the top. Oh, well. At least we were facing center stage. And we were there to see Paul McCartney
. An actual Beatle! A bucket list perennial, now safely checked off. Buying tickets from Viagogo — a reliable online vendor — doesn’t guarantee you the best choice of seats, and we just snagged the first ones we found and could afford (somewhere in the neighborhood of $140). We could only drool and imagine how much the front-section seats fetched.
A shuffle of remixed Beatles/Wings/Macca songs played over the loudspeakers before the show started, and it was an opportunity to watch the baseball stadium fill up, leaving only a handful of empty seats. There for a three-night stand, McCartney, at age 74, shows no signs of letting up. When he bounded onstage, amid the opening guitar chime of A Hard Day’s Night, there was that thrill th details
Tom Murray is not surprised to see his photographs turning up on the internet but they are not usually connected with major drugs dealers.
Bury St Edmunds town councillor Tom was a photographer with the Sunday Times Magazine in the 1960s, photographing many stars and top people, including The Beatles.
It seems a collectors set of his 1968 Mad Day Out colour prints of the fab four had appealed to an Irish drug dealer, who had been arrested with 60kg of cocaine so the pictures were auctioned last week in Belfast with other illgotten gains including luxury cars, Rolex watches, horses and Gucci shoes.
Tom said: “I don’t know whether to be flattered or what! He obviously had good taste. He had a complete artist’s proof set, number 11 of 19.”
Tom says individual prints like this have gone for £3,000 to £8,000 but the auction raised about £10,000 for the set of 23. “If someone was clever they should have bought the whole set – you’d never get a set for that now.”
Source: Bury Free Pressdetails
1989 was the year classic rock surged back into the international mainstream.
It was a year that saw Lou Reed release his best album of the ’80s with New York, the Grateful Dead craft their final studio recording with Jerry Garcia with the better-than-you-remember Built to Last, Tom Petty go solo with Full Moon Fever, Billy Joel dropping his final classic LP with Storm Front, Neil Young returning to Reprise with Freedom, Rush bringing back the guitars on their Atlantic Records debut Presto and the Rolling Stones reclaiming their stake as the World’s Greatest Rock ‘n’ Roll Band with the exceptionally underrated Steel Wheels and its subsequent world tour. And, of course, Cycles by the Doobie Brothers.
However, perhaps the greatest record to emerge from the world of AOR in 1989 was Paul McCartney’s Flowers in the Dirt, the latest Macca LP to receive the deluxe-edition treatment as part of the Paul McCartney Archive Collection.
An album that impressively reclaims the artistic credibility that was nearly derailed by his creative output in the mid-’80s, McCartney’s eighth studio album is an absolute pleasure to rediscover today.
During the summer it was released, details
In 1971, early one morning on a Steinway piano on his resplendent Berkshire estate, John Lennon reflected on the seismic uprising of a peaceful counterculture, of united students and workers, which could have scared a thousand kings by reviving the egalitarian ideals of the 1871 Paris commune.
Against this raw new zeitgeist, and against the backdrop of uprising in America, he sung, famously, to the times: “imagine all the people... living life in peace.” Of all the memorable, piquant and mordant comments he made, that one is the one which has most transcended time; everybody is touched by those words with their beauty time can not erase with the bludgeon of her years. They are words worthy of being spelled across the stars.
Moreover, as a form of acknowledgement of the critical influence of the radicals on the febrile atmosphere of protest worldwide, he hailed, in the song’s middle eighth, with an equally breathtaking lyricism: “you may say I’m a dreamer... but I’m not the only one,” paying heed to a fresh generation of activists who had proclaimed an era of permanent struggle, a species of rebellion in which intellectual renegades like John and themselves saw possibilit details
John Lennon is without question one of the greatest musical geniuses ever to live. Whether as a member of The Beatles, a solo artist, or with Yoko Ono, his contribution to popular culture has stretched for decades. But much of his story has been told from the outside looking in by critics and historians. Now, in a new graphic novel from writer Eric Cobeyran and French artist Horne, Lennon will tell the story of his life from his own point of view.
Described as a “true biographical fiction,” Lennon: The New York Years is based on the 2010 novel Lennon by David Foeniknos. The story imagines the late Beatle during his time living in New York City, recounting his life to an unnamed, unseen therapist who lives in his building. As one does when speaking with a therapist, the character of Lennon traces his entire timeline, from his difficult upbringing in Liverpool, to the rise of The Beatles, and through his solo career.
The graphic novel is due out later this month from IDW. As a preview the comic publisher has shared a brand new trailer, which you can watch above. Below, find the cover art and a few interior pages to get an idea of what reading Lennon: The New York Years is like
By: Ben Kay details
In a conference room at the Beverly Hilton, Ringo Starr prepares for an upcoming auction with proceeds going to his non–profit Lotus Foundation. Gary Astridge, The Beatles' drum archivist and gear curator, stands by to answer any obscure questions about Ringo's drum memorabilia on the auction block.
A photo shoot ensues, with a confident yet modest Ringo standing in front of his first Ludwig kit, missing his favorite snare. This would be the last time Ringo would ever see his iconic set.
Someone suggests that Astridge take a photo with Ringo. Ringo cheerfully agrees. Each with one arm around the other, Ringo and Astridge both flash a peace sign with their fingers. Astridge is in this element among his two passions: his favorite drummer and his favorite drummer’s drums.
In some ways, Astridge knows Ringo's drums better than Ringo does. Astridge has been a huge Beatles fan for a long time and has spent decades — and over six figures — researching and investing in Beatles–era drum kits and gear.
When his obsession became a sought–out expertise by way of Ringo Starr himself, Astridge was finally able to solve a mystery that had been eating away at him since just ab details