Wednesday, November 29, 2006
Saturday, November 25, 2006
I received this message from the official Beatles website www.thebeatles.com
This week the new album LOVE was launched worldwide, and we have created a new microsite at thebeatles.com for its release.
You can find out more about the album, enjoy previews of the tracks, video clips, download screensavers, wallpapers and more. We will be adding new features including a radio documentary, and more audio and video items over the weeks to come.
Thursday, November 23, 2006
Article from Teenworld, December 1964
The Quiet Beatle’s making some predictions. Wanna listen in now?
There comes a time in everyone’s life when he thinks about what he’ll be doing ‘five years from now’. When George Harrison, The Quiet Beatle, started to think about his future, he let us in on a few secrets. And we at TEEN WORLD knew you’d want to be the first to hear about George’s future plans. So here they are – the ‘bare’ facts, the ‘naked’ truth.
Of course, the first thing George considered was his love life. There is a certain girl who seems to be on George’s mind a lot – 18 year-old Pattie Boyd. Pattie’s in The Beatles’ first flick, ‘A Hard Day’s Night’. She has long, straight blonde hair and looks a lot like Jane Asher and Cynthia ‘Beatle’ Lennon. But George told us he doesn’t believe in ‘going steady’.
We asked George if Pattie might be THE girl to share his future.
“I don’t have any serious plans in the immediate future with any girl,” George confided. “Sure, I’ll get married one day…but right now, I can’t picture myself ‘playing house’.”
That brought up another of George’s ideas. One day, he’d love to own his own home, something like the one his folks live in. He described it as “a place to put my feet up and feel ‘comfy’”. George explained that a summer home is in the picture too. One near the shore.
Besides owning his own home, George hopes to buy a car that he can drive very fast.
“I’ve always loved driving fast cars,” he said, “but never had time for it. And now that I’m a Beatle, I certainly don’t have the time!”
However, George thinks he will have time in the near future to write more songs, the way John and Paul do! (That’s his ‘secret desire’.)
Naturally, everyone’s already heard of another of George’s future plans – to design a brand new type of guitar.
“I have a whole collection of Spanish guitars now,” George confided. “But I don’t have the time to take lessons from a teacher and seriously study this great instrument. So I’ll just have to wait. I hope not too long.”
By this time, George was a bit out of breath with so many ideas for the future. But he insisted on telling us about his biggest dream. As soon as he has a chance – and we doubt that will be in the very near future – he plans to take a long trip through the United States for about a year or so.
“Before we came to America as a group I took a fab trip alone. I drove up to Cape Cod in a rented car. I rode the subway in New York till I found myself in Brooklyn. And what do I find in the neighborhood of the subway station – a supermarket! I couldn’t believe my eyes when I saw these people wheeling their shopping carts through the ‘check-out’ aisles, spending forty and fifty dollars on food! And they just looked like ordinary working people too!”
As you can see it’s the everyday life in America that fascinates the ‘Quiet Beatle’. We hope his wish will come true – to see America again, as a celebrity or as an ordinary traveller.
In the meantime, George has been writing a daily column for an English newspaper! We hear he’s really gear! In fact, who knows? If he’s still interested in writing in the future, you might read one of his articles in TEEN WORLD!
Whatever George Harrison finally decides to do, we are sure his TW fans will be among the very first to know!
Tuesday, November 21, 2006
The Beatles are outselling Oasis and U2 in the race to top this week's album chart.
Thirty-six years after they split, the band are heading for number one again.
Their Love album, soundtrack to the Las Vegas show based on their music, is just ahead of nearest rival Stop The Clocks by Oasis.
But there are only 200 copies in it and Oasis could overtake them before the week is out, according to music chain HMV.
U2's 18 Songs is in third place.
HMV dubbed today "Super Monday" as the three bands release their greatest hits compilations.
Westlife are also in the running with their Love Album.
The four groups are expected to sell well over a million copies between them during the next few weeks as they battle it out to be the best-selling album in the run-up to Christmas.
"Based on initial sales, it looks like first day honours may just go to The Beatles, which comes as no surprise given the nature of their fanbase," said HMV's Gennaro Castaldo.
"But it may be that Oasis will sell more over the week to go to number one, while U2 and Westlife will aim to shift more copies over the Christmas period as a whole."
By Sherna Noah
A psychedelic jacket made for John Lennon in 1967 is expected to fetch a mind-blowing £45,000 at auction.
It has Rolling Stones connections as well as a Beatles link as it was handpainted by Mick Jagger's brother Chris. But even that will be dwarfed by the £100,000 expected for a rare guitar played by George Harrison.
George owned the Australian-built Maton MS500 Mastersound in 1963.
And Lennon's "favourite" grey shirt is expected to sell for more than £8,000.
The star gave the shirt to a girl fan in 1963 to keep her warm after she spilled a drink on her dress.
He told her it was his favourite but said: "You keep it."
The items are among 300 lots at a pop auction at Air Studios in London on November 30.
The 1960s art space where John Lennon first met Yoko Ono was revived yesterday (20 Nov 06) with the unveiling of a new exhibition at London gallery Riflemaker. Mayfair conceptual art space Indica was financially backed by Lennon's Beatles bandmate Sir Paul McCartney and run by Marianne Faithfull's then husband John Dunbar.
Indica was open between 1965 and 1967, and Lennon met Ono there in November 1966 when the Japanese artist had an exhibition on display. The Riflemaker Becomes Indica exhibition will display works by Ono, Julio Le Parc and Mark Boyle.
Sunday, November 19, 2006
Saturday, November 18, 2006
Bob Purvis and Billy Elliot, from South Shields in the North-East of England, launched their musical career in the 1970s with their band Splinter and were soon enjoying worldwide success – with the help of Mal Evans and George Harrison.
During the 70s:
* They made 6 albums and toured the world, including the US and Japan.
* They appeared on music shows Top Of The Pops and The Old Grey Whistle Test.
* Their biggest hit in Britain, "Costafine Town", was also a success throughout the world.
* They toured with Cher, The Kinks, Hot Chocolate and Leo Sayer.
"As a kid I followed the Beatles, the Stones and other 60s groups," says Bob Purvis. "One day I caught the ferry to North Shields and bought my first guitar on Borough Bank. In fact, by the time I was 21, I’d had about 40 guitars...Our first band was called Stoneblind and then we changed it to Half-Breed."
"Mal Evans, formerly associated with the Beatles, had heard our tapes and came North to see the band. But he was mainly interested in Billy and myself. He invited Billy to sing the lead vocal on "God Save Oz" for the Oz trials."
"God Save Oz" was written by John Lennon and Yoko Ono to raise money for the underground Oz Magazine. Billy recorded the song under the name "Bill Elliott and The Elastic Oz Band" and it was released as a single by Apple.
Bob went to London and stayed with Mal. He was offered a deal with producer Tony Visconti and worked with members of Badfinger. He wrote the song "Lonely Man" for the film "Little Malcolm and his Struggle Against The Eunuchs".
“At that time Mal Evans was my manager and he got us involved with George Harrison, who after listening to our stuff, offered to produce an album for us.”
Splinter were then signed to George’s Dark Horse label.
“George was brilliant. He made us feel at home and it was awesome working with a legend.”
The album was called "The Place I Love" and George himself played guitar on many of the tracks. They worked on the album with him for about 17 months. Organist Billy Preston and bass player Klaus Voorman, friends of the Beatles, also appeared on the album.
George used many names for his various appearances on the album, such as Hari Georgeson, P Producer and Jai Raj Harsein. He also supplied vocals and keyboards.
"The Place I Love" was a big success for Splinter and the accompanying single, "Costafine Town", made the US charts.
This article is © singmyheart.blogspot.com. Bob’s quotes are taken from "Rock On The Tyne".
Friday, November 17, 2006
Interview appeared in FLIP, Feb 1970
Get back Lennon and McCartney. Stand up George Harrison and tell FLIP how you’ve become The Most Improved Beatle of 1969. How you’re beginning to rival John and Paul as a prolific and creative songwriter. And where you see your own future now that Paul’s got his own composing to think about, Ringo became a movie star, and John got wrapped up with the Plastic Ono Band. – Keith Altham
“I’m twice the writer I was when we did ‘Revolver’. Simply, I just know how to do it better now because I do it more often. I’m writing songs day and night – I can’t stop. And I want to record them myself, like ‘Something’, because I figure that if I’m gonna sing I might as well sing my own songs.
“The reason I feel impelled to write now is that I believe you can say more in two or three minutes of a song than you can say in any way else in ten years. Add the music and there’s more feeling. More truth.
“Not that everything I do has to be some big message thing – because music should be fun. Like the other week, when I decided to sit down and do a number just for the exercise.
“I didn’t have any idea about its construction before I wrote it…and yet I knew it was there, and that it was country and western. Really, it’s just the process of bringing it out.
“Like Donovan said once, songs are there, all around. All you have to do is reach out and capture one.
“Think of all the beautiful music that ever was written; all the beautiful music that’s being written and all the beautiful music that will be written. It’s like past, present and future itself.
“There’re a lot of people saying nice things about ‘Something’, like it’s the best thing I’ve ever written, and I must admit it’s a great encouragement.
“It took me a long time to get into the way it’s flowing now, though. I guess it was about a year ago that I first started feeling something inside and it became like I felt the whole universe was made of music. I started to notice the things people said, the phrase, the rhythm of it, and I’d suddenly say, ‘hey, that’s a song’ and rush away and write it.
“Anybody can do anything if they put their mind to it. And I did, and I’m going to level with you about the reason why.
“The real reason was that after a certain time, I got thinking well, if John and Paul can write songs…if they can write songs…then why not me? The trouble with me is that sometimes I hang back. I don’t push. It takes something to set me into motion, like the first number I ever wrote I did because I was ill in bed and I had nothing better to do. I thought well, I’ll write something, and I did, and it wasn’t very good – it was ‘Don’t Bother Me’. But it was a start.
“Getting going on something like that took a bit of time, as I kept forgetting to do it. It’s like brushing your teeth. If you’ve never done it before, it’ll take you time to get into the habit.
“Another thing, and let’s face it, is that if you follow Paul and John’s earlier songs, they just weren’t as good. And I’ve been like that…from bad to better, to better still.
“I’ve got about 40 songs stacked up and I think they’re really good. Some of them I wrote about three years ago and I kept them hidden because I reckoned they were too far out. One was called ‘The Art of Dying’. But I’m going to record it.
“Another hang-up I always had, and one that held back my development as a composer was the bit of going into a studio and saying: ‘Look, fellers, I’ve got a song here and I’d like to play it and see how you feel’.
“It was always inhibiting, standing there with your guitar, trying to get them to get with it on the first time of playing, and they’re standing there saying, ‘Yeah, yeah’, and you’ve got the feeling they’d rather be somewhere else. I’d be standing there visualizing it, hearing the whole thing in my head, finished…but it’s always embarrassing having to rely on somebody else’s imagination.
“I was inhibited by having to go through that self-inflicted ‘audition’ thing with the other Beatles, and there were lots of song I’d decide to hold back because I didn’t reckon they’d go for them.
“It was shyness on my part, and in a way, I also had this hang-up that I hated to ‘compete’ with John and Paul. The standard of my work had to be good because they were so acclaimed.
“There was, of course, the other consideration that I didn’t want to inflict crap upon the other Beatles just because I wrote it. And I wouldn’t want them to inflict crap upon me just because they wrote it.
“Maybe now it’s just that I’m more cocky than before. Now, I don’t care if the other Beatles don’t like my work. Mind you, I still take the easy way out if I can. I pick out the nice tunes, the ones I think they’ll get first time. I did that for the ‘Abbey Road’ album. Like that track called ‘Here Comes The Sun’…the reason I put that forward, rather than that other song, was only because I knew they’d be able to hear basically how it went without any trouble.
“As far as ‘who-gets-what’ on a Beatles album, sometimes it’s a matter of personalities, as to who gets how many songs included. And who’s gonna push the hardest.
“Sometimes I just shrug and sit back and wait until somebody would like to do one of my tunes. What I’ll have to do, and I’ll do it soon, is get out an album of my own songs. Because at the rate I’m writing at the moment – and the rate I’m getting them recorded – it’ll be ten years before they see the light of day.
“And by then I’ll have written more…and more…and more.”
George talks about The Beatles Anthology in 1995...
You’ve been sitting round, rummaging through your own life. Did anything surprise you?
What surprised me was there was actually a lot of footage around that we’d never seen. I mean, that we’d never seen. Because everybody’s made their documentaries about the Beatles and everybody must have gone fishing for footage. But there were a lot of interesting things I didn’t see before.
You, Paul and Ringo have all been interviewed specially for the film – John comes to us via the archives…
In a way he’s lucky because he doesn’t have to talk about it now and so you have pictures of him when he was youthful, whereas we are all now in our fifties, so that’s a bit of a bonus for him.
When you recall something twenty-five years later, it doesn’t have the same energy to it as it did in those days and in some ways I would have preferred to have found some interviews that I did a long time ago.
How was the film put together?
Well, Neil Aspinall had strung together all the footage that we’d filmed of ourselves or that we owned of ourselves or whatever he could get hold of, newsreel, and put into a chronological order that was the basis for the programme. It was tentatively titled ‘The Long and Winding Road’ but that was back in 1971 when people had had enough and we’d had enough of all that.How did it feel, sitting back and watching yourself?
There are some old interviews, one of the earliest interviews we did – it must have been 1963 – and part of it’s used in the Anthology. Every time I look at it I think it looks as through I’d had my brain removed before I did the interview.
But even in 1963 you see them talking about John Lennon, Paul McCartney, Ringo Starr and George Harrison and you just feel as if it’s somebody else. Throughout all this madness I see it as somebody else. I’m not really Beatle George – sorry to disappoint you. I mean there is much more to me than the Beatle George. And I don’t really go round thinking that I’m in the Beatles…
Are you wiser for the whole Beatles experience?
Well, a little bit more wise, but I think in a way the human condition contains wisdom.
There’s a mirror, but the mirror has layers of dust and dirt on it so you don’t get to know about the wisdom until you figure out how to clean the mirror.
Every human soul is potentially divine: the goal is to manifest that divinity. And it’s a bit of a trick to do it. There’s an underlying reality that we must discover and I think the blessing is the realisation that there is actually something that exists other than our daily mundane life.
What do you think was the emotional trade-off between you and the fans?
The fans gave, the record companies gave, the media gave, but we gave our nervous systems. We were the ones that were hounded day and night, regardless of where we were or what country we were in and it was a nervous system thing. That’s why when we went to India in 1968, that was such a great thing, because it was to get rid of stress and people don’t think of that.What do you think was the essence of the Beatles’ appeal?
There was an honesty that we had, a very simple, naïve honesty and I think that had a lot to do with where we came from as well… I can’t illustrate that but I just know the people up there have a sense of humour to live in a place like that, and you know everybody who comes out of Liverpool thinks they’re a comedian and we were no exception.
And it was that which kept us going, got us through a lot of bad times. I think we must have been pretty tough, because I’ve heard of people cracking up and having nervous breakdowns with not even a fraction of what we went through.
When did it start to get stressful?
The thing is, it became so big that the novelty started to wear off until it became a pain in the neck. Really it was just like a ball and chain; you couldn’t go anywhere.
I had a car without blacked out windows, and I suppose it was like having a light on my head. There was a period in the 60s when it was almost like we did have a light on our heads.
“There they are, the Beatles!”
You couldn’t sneak anywhere. It became terrible. It made you just stay home, just visit your close friends and everything you said or did was in the next morning’s newspaper. It wasn’t much fun.
Was it ever dangerous?
There were occasions when we were supposed to jump in the car to go and make our escapes and the cars got jumped on and the roofs were squashed down to the seats. And all kinds of horror started happening, like when we were in Canada. The French were having an argument with the British or something, and so they decided that when we came to Montreal, somebody was going to shoot Ringo! Our nervous system was taking a real beating.
And there was a pilot I met in the 70s who said, “George, don’t you remember me? I’m the pilot from the American Flyers Electra plane that we did the tours on.”
He said: “You’d never believe that plane! It was just full of bullet holes – the tail, the wings, everything – just full of bullet holes.”
And I said, “How come?”
He said: “Just jealous fellows who’d be waiting around, knowing that the Beatles would be arriving at such-and-such a time. They’d all be there trying to shoot the plane."
There were people who were supposed to be psychic who were saying, “Oh yes. The Beatles are going to die in a plane crash on September 14.” On September 14 we’d have to get on our plane and see if she was right…
How unfinished was Free As A Bird?
John never completed the middle, and also if you hear the original version you know that John plays very different chord changes in it as well. Historically what we’d say would be, “Hang on. I’m not sure about that chord there, why don’t we try this chord here?” So we took the liberty of doing that: of beefing the song up a bit with some different chord changes and some different arrangements, and we finished the lyrics. We actually produced the song and put John into it.Does it sound like a Beatles song?
It does now. When you say it sounds like the Beatles some people may expect it to sound like ’65 or ’68. It’s very similar to Abbey Road in some respects, because it has the voicing, the backing vocals like Because. But the whole technical thing that has taken place between 1969 and 1995 is such that, you know, it sounds more like now.
Was it very emotional listening to John?
Maybe I’m peculiar but to me he isn’t dead. When I never saw him for years before he died I thought, “Oh well, he’s living in New York and I just haven’t seen him in a while.” It’s kind of still like that. Ok, the physical body falls off, but the soul lives on, we’re going to meet again. It was a terrible thing that his death occurred and it made me feel terrible at the time, but in retrospect life is just shadows, we are just shadows on this sunny wall and that’s all it is.
I miss John in as much as we could have a good laugh and also, I think he was a good balance. I miss him in the context of the band because he wouldn’t take any shit and I think that aspect’s missing now, so in some ways I feel that I’m trying to make up for that aspect of John, because I don’t like to take much shit either. What I mean by that is, I want truth. John was good at that.
Is it possible, with Anthology to paint a complete picture?
Well, there’s a way of twisting history – because if you find a roll of film in the cupboard, that’s going in the documentary. I may have been doing something far more important on the same day, but because I didn’t film it, it’s no longer important. I think it’s shown me that all history must be rubbish, because if even we can’t tell our story – and we’re still alive - God help the Romans, or Alexander the Great or … anyone!
What does the future hold?
The Beatles will go on and on, on those records and films and videos and books and whatever, and in people’s memories. It’s become it’s own thing now. And the Beatles, I think, exist without us.
I think that’s the thing: we can carry on being individuals. Beatle George was a suit or a shirt that I once wore, and the only problem is, for the rest of my life people are going to look at that shirt and mistake it for me.
From Q magazine 1995
The December 1964 issue of Datebook magazine published the Beatles' replies to letters from their fans. Here are some of George's answers:
Me and my friend Doris have seen you on stage and on the telly in shows and on the news too. You always seem to be having jokes with one another. Don’t you think you would make good comedians if you tried? I bet you’d get lots of laughs. Do you plan the funny things you say or do you just make them up on the spur of the moment? I bet you make a funny answer to this letter, if you ever read it, that is. – Peggy and Doris
If we ever read your letter we will try to make a funny answer. I showed it to John and asked him to write something funny and he said try it on Paul. I showed it to Paul and he said show it to Ringo and Ringo said he wasn’t a comedian but a tragic figure and would rather say something sad. Anyway, cutting out the joking, we like ourselves as we are and don’t particularly want to be comedians but will always have a go if are ever pleaded with.
What does Ringo do with his feet while he’s playing on stage? – Monica Carney
In hot weather he takes them off and leaves them in the wing where it’s nice and cool. At other times he does other things like (1) using them to hang his shoes and socks on, (2) using them to kick other Beatles if they annoy him, (3) using them to cover up little holes in the stage for us if there’s a draught. Oh yes – sometimes he also uses them on stage to push the bass drum pedal!
Can anyone tell me how to strangle a jelly? - Brenda
Well, as I was saying to Paul as he stepped out of that frying pan I think we should…how to strangle a what??? Well, first of all you have to wait until there’s a full moon to make sure the jelly is full-grown. Then tie a knot firmly round the moon and pull hard. The jelly will think you’re such a blooming idiot that it will strangle itself laughing. As I was saying to Paul, “who are those men in the big white coats coming towards us?”
Thursday, November 16, 2006
Surviving former Beatles Sir Paul McCartney and Ringo Starr look set to reunite to celebrate their home city Liverpool's status of European Capital Of Culture in 2007.
McCartney has already been approached to perform at the opening ceremony - and now organisers want Starr to take part too. A source reveals, "It's already expected that Sir Paul will be involved but to get Ringo to join him on stage would be the icing on the cake.
"It would certainly be a massive coup and quite emotional for people of a certain age to see the two surviving Beatles performing together in their home city for the first time since the mid-sixties."
Wednesday, November 15, 2006
Saturday, November 11, 2006
The Culture Show announces the top ten greatest British living icons - as nominated entirely by the public - on 11 November on BBC Two at 7.10pm.
Sir Paul McCartney is among the 10 famous faces to be shortlisted for the nation's top living icon honour. Only three women appear - singer Kate Bush, fashion designer Dame Vivienne Westwood and model Kate Moss.
Other names vying for the top position are Sir David Attenborough, playwright Alan Bennett, actors Sir Michael Caine and Stephen Fry, and singers David Bowie and Morrissey.
Viewers of the BBC Two programme The Culture Show can vote for the winner, to be announced on 16 December.
Portraits of the top three contenders will be displayed in both the National Portrait Gallery and at the National Gallery in Edinburgh.
For more information and to vote, go to:
Friday, November 10, 2006
11/09/2006 5:00 PM, Yahoo! Music
A spectacular Beatles tribute is set to be the highlight of next week's U.K. Music Hall Of Fame, it has been announced.
Razorlight's Johnny Borrell, Queen's Roger Taylor, Corinne Bailey Rae, and Jose Gonzalez will apparently form a supergroup at the event, which takes place at London's Alexander Palace.
George Martin, who is to be inducted at the ceremony, will conduct a 31-piece orchestra, as the group play "Golden Slumbers," "Carry That Weight," and "The End" from Abbey Road.
Prince also joins Brian Wilson, Dusty Springfield, Led Zeppelin, Rod Stewart, Bon Jovi, and James Brown as the 2006 inductees. The 2006 U.K. Music Hall Of Fame takes place on November 14.
UPDATE: 17 November 2006
See a video clip of this performance here
Wednesday, November 08, 2006
Last month we asked: Which of John Lennon's wives/girlfriends do you like best?
The results were:
A new poll is now available in the sidebar to the right of this page. As you'll see, this month's poll is inspired by the title of the new Beatles album "Love"!
(Tuesday November 07, 2006 11:27 AM)
Footage from the last ever gig by The Beatles is to be screened on British TV this month, it has been confirmed.
The group played their final ever official concert at Candlestick Park in San Francisco in August 29, 1966, and documentary maker Barry Hood shot some of the show.
His footage includes the band's road crew setting-up and fans arriving for the landmark concert and suggests their touring was "chaotic and amateurish".
Hood explained: "There was a row between the equipment manager and the field manager who was frightened that the equipment van was going to ruin the baseball pitch."
Speaking about the broadcast, a spokesman for the BBC commented: "This is the first time it has been shown. It shows how The Beatles' tours were quite amateurish and chaotic."
Friday, November 03, 2006
Wednesday, November 01, 2006
Singer George Michael is to lend the piano on which John Lennon composed Imagine to an anti-war exhibition in the United States.
It's being organised by his partner Kenny Goss at the Goss Gallery in Dallas.
The singer bought the piano - which is an upright model and not the white, grand piano seen in the video for Imagine - at an auction in October 2000 for more than $2 million.
It has never left the UK before.
We decided to do it in Dallas, because what better place is there to reiterate how important peace is?" Goss told Reuters.
"Dallas is George Bush's home. It's a great place to remind people how important it is that we find peace."