Beatlesnytt.se

  • Föreningen
    • Styrelsen
    • Medlemssidor
      • Artikelarkiv
        • Artikelarkiv 2012
        • Artikelarkiv 2013
        • Artikelarkiv 2014
        • Artikelarkiv 2015
        • Artikelarkiv 2016
        • Artikelarkiv 2017
        • Artikelarkiv 2018
        • Artikelarkiv 2019
    • Till salu
  • BIC Evenemang
    • Kalender
    • Beatle Day 2020 – cancelled
    • Beatlesresa 2020 – cancelled
  • Bli medlem
  • Kontakta oss

The Beatles – ’Get Back’ German Style!

Posted on 7 mars, 2021 by Artillio Bergholtz Posted in Musik/Skivutgivningar, Nyheter .

Nedanstående version av Get Back är en av ett flertal versioner av Get Back som The Beatles spelade in, inklusive repetitionsinspelningar m.m. Den här versionen sägs vara inspelad i London 1969 under inspelningarna av filmen Let It Be. Den här lite råa versionen är dessutom på tyska och lite franska på slutet. Den har hittills inte varit officiellt utgiven. Men den kanske kommer med på Let It Be-boxen i höst?

Så här är texten på tyska – på ett ungefär:

Geh weg! (raus!) , Geh weg! (raus!)
Geh weg! (raus!) nach einer Nacht, nach Haus
Geh weg, geh raus
Geh raus nach irgendeinem Haus
Geht rasch? nach Haus
Ja, Jacki
Ja, geh weg Jacki
Das war nicht so gut!

Geh weg! Geh weg!
Geh raus nach deinem, deinem Haus
Geh weg! Geht raus!
Geht raus nach irgendeinem Haus!
Geht raus nach deinem Haus!
Ja, das ist gut Jacki
Und sauber? gut, ja!

Und Loretta Martin denkt, sie war ein Freundlich,
ja aber das wär’ nicht um sonst,
So sie sagt nach Bill, you be mein Häuptling
Ah dies’ bleib’ ich gar nicht d’rum
Geh raus, geh raus
Geht raus nach deinem mundigen Haus!
Geht raus, geht raus
Geht raus nach deinem freundlich Haus!
Geh raus, Melinda!
Geh raus nach deinem Haus! Ja!
Vielen Dank für die Blumen.

(French lyrics) … … plus … faire le tour du bar …
Plutôt, plutôt, plutôt …
Plutôt nach deinem Hirn.

Ah, dein, ah, ey.

The Beatles – Detta hände den 7 mars 1964

Posted on 7 mars, 2021 by Artillio Bergholtz Posted in Nyheter .

The Beatles fotosession

The Beatles på en av plattformarna vid the Acton Station. Ringo Starr till vänster, George Harrison i fonden längst bak, Paul McCartney och John Lennon. Foto: David Hearn.

David Hearn berättar:
Getting all four to pose was an almost impossible task. When I took this picture, the process of filming was going on. I was standing behind the movie camera. I didn’t talk to the guys, so I didn’t make any noise, and, accordingly, didn’t interfere with the filming. The composition of the shot again uses the technique that Dick Lester came up with – creating an intriguing image.

David Hearn:
Only Ringo seemed to be completely satisfied with the whole process.

Ringo Starr. Foto: David Hearn.

David Hearn: It seemed that Paul and John were somewhat distant from Ringo and George. They definitely thought they were the brain of all the action. In fact, John was an intellectual, with his eccentricity and sharp mind. He could be very soulful, but he also directed the filming process. If he says ”jump”, you will jump.

Paul McCartney och John Lennon. Foto: David Hearn.

David Hearn:
I really needed John’s shot, so I asked him to pose after the day’s shooting. Even though he was very cooperative, he didn’t realize that it took a photographer time to set up a camera and then take a few shots to get the perfect result. All the Beatles had to be very hasty because they weren’t standing there waiting for you. I only had a second to take the picture.

John Lennon. Foto: David Hearn.

Den här dagen gav Brian Epstein en intervju för BBC-programmet Frankly Speaking (Ärligt talat). Intervjuaren var tv-presentatören Bill Grundy, Intervjun kom sedan att sändas den 23 mars 1964.

Den rätt långa men intressanta intervjun kan ni ta del av nedan.

Bill Grundy: Mr. Epstein, the Beatles have eclipsed all the other artists you work with or for whom you work. How big is your empire now?

Brian Epstein: We have seven performers. I call them performers because five of them are groups and two are soloists. This [group] Billy J. Kramer & The Dakotas, which is its own entity, its supportive group Gerry & The Pacemakers, Tommy Quickly, The Fourmost, Cilla Black and Sounds Incorporated.

Bill Grundy: How about the administrative staff to support all of this?

Brian Epstein: Well, it changes a little because we just moved to London and we are recruiting new employees, but only about twenty-five people.

Bill Grundy: How big is an empire in terms of money? Everyone read about the somewhat startling figure of how much the Beatles made last year for their record company. What is the turnover of this empire?

Brian Epstein: I can’t answer that question for you, I really don’t know. For this reason, let me remind you that the companies with which these performers work, with whom they have signed contracts, have been operating only since June 1962.

Bill Grundy: The newspapers accuse you of being ”Mister 25 percent.” If the turnover is as large as you calculated, then this means a very large income for you. This is essentially a lot for the entertainment industry, is this a high percentage?

Brian Epstein: It isn’t. This is not the case, and the 25 percent profit margin in this business is not that fantastic because my personal expenses associated with managing the artists are pretty fantastic too.

Bill Grundy: What are these costs?

Brian Epstein: Well, for flights, to America, or when I fly to America to find out the situation, secure orders and so on and so forth, then I pay from my own funds. If I negotiate the Beatles with, say, the Ed Sullivan show, he’ll pay the guys and possibly their road managers, but I don’t expect him to pay me because I don’t necessarily follow them wherever they go. So wherever I go, I have to pay my own expenses, and all of this is from that 25 percent. On top of that, of course, out of that 25 percent, we arrange all of their photos for them, arrange transportation, and you can imagine all those phone calls that we make on behalf of, say, the Beatles, which, in a way, spread to the whole world.

Bill Grundy: Huge phone bills.

Brian Epstein: Terrible, yes.

Bill Grundy : It seems to be a rather unusual world for a young man like you. How did you get into it? Where did you start?

Brian Epstein: I started by being the head of the recording business in a family business, and, as it happens, I was the director. We were asked, or was I asked, one boy asked for a Beatles record. Our record policy is that we keep track of every order, and I started to find out because I didn’t know anything about this band. It wasn’t until a week or two later that he told me that they were a Liverpool group. For some reason I thought they were from Germany. Basically, he told me that this is a Liverpool band and that they actually came back from Germany and that they were playing in a club called The Cave, about a hundred yards from my office. I arranged to go where I saw them during the afternoon performance. At the time, it was quite shocking to go down to this dark, damp and smoky basement in the middle of the day and see crowds and crowds of teenagers watching the performance of four young people on stage. They were, say, in rather shabby clothes, in their best outfit, or, I would say, in their most attractive outfit – black leather jackets and jeans, of course, long hair, and a rather unkempt stage manner, not realizing this horror and not caring how they looked. I think they were more concerned with how they sounded. I think they still care more about how they sound. Of course, now they are realizing the importance of how they look, because, as you know, television and all that.

Bill Grundy: The change in their appearance, is it because of you? Did you make them dress that way and everything else?

Brian Epstein: I would say it was the result of the efforts of all five of us, not me. In the beginning, I encouraged them to give up leather jackets and jeans, and after a short time I did not allow them to appear in jeans. After this step, I made them wear sweaters on stage, and then, very reluctantly, they finally agreed to the costumes. In my opinion, it was for one of their first, say, major performances. I’m not sure they didn’t wear their first costumes to broadcast BBC in front of an audience.

Bill Grundy: The Beatle collar suits are actually German style jackets. I first saw them in Germany a few years ago. Did the guys decide to choose suits of this cut, or did you?

Brian Epstein: They are, actually, with a lot of my approval. I decided at the time that it was a great design. He quickly became, in some way, something, to some extent, hackneyed and short-lived interest for them. But the first time they found it for themselves, I think the idea came from France, Pierre Cardin.

Bill Grundy: That day you went to The Cave for the first time and saw the Beatles there. Have you talked to them?

Brian Epstein: Yes. I got to know them.

Bill Grundy: Did you notice their talent, did you see something in them, did you immediately sign a contract with them?

Brian Epstein: Oh no, no. I’ve never done this with any of the artists. In fact, before meeting them for the first time, I walked around them for almost a week or so. And then, we agreed, we found the basis for an agreement that they didn’t actually sign, and I actually didn’t start doing anything for deductions from their money, which, anyway, was very small. Approximately four months. In fact, our first meeting we had, our first business meeting took place in my store. It was a very long start, which was pretty funny actually. Three of the guys arrived at the appointed time at four o’clock. I was very busy ordering records for Christmas, and … Paul didn’t show up at all for at least 45 minutes, and it pissed me off a little. I thought this was our first meeting, that they wanted to do something to manage their activities and all that, and I asked one of the guys to come to the phone and call him. He came back and said: ”He just got up and washes in the bath.” So I kind of, you know, yelled a little about it, and I thought it was undeniably very outrageous. How can he be so late for an important event.And George simply replied in their characteristic form: ”Well, he may be late, but he is very clean.”

Bill Grundy: You picked these guys who are at the top of every possible list right now. Why? How were they different?

Brian Epstein: I really liked them. I immediately liked the sound that I heard. I heard them sounding even before I met them. I think this is important because I think you should always remember that people actually hear their sound and they like it even before they even meet them. They are significant, but I immediately liked what I heard, and I thought that this is something that many people will really like. They were fresh, they were sincere, and they had what, in my opinion, was something like … personal charm and, such a terrible and vague term – the professionalism of a star.

Bill Grundy: Their sincerity, will it stay fresh? Or, really, it will be destroyed by time and those external influences to which it is exposed?

Brian Epstein: Definitely not. I think they will actually go in a different direction, they will become more sincere and even less fake. They are not fake at all, but … I think they know about this natural … personal charm inherent in them.

Bill Grundy: I was interested in one thought that you made when you first saw The Beatles, that they didn’t seem to have any idea of ​​the stage production, which implies that you have some knowledge or feeling. Did you have such training?

Brian Epstein: Yes, I studied at RADA for eighteen months before leaving, or, one might say, returning to the family business ( note – RADA – Royal Academy of Dramatic Art – Royal Academy of Dramatic Art, one of the most famous drama schools in the world and also one of the oldest drama schools in the UK).

Bill Grundy: Now let’s take a closer look at your education. Let’s talk about your family to put it all in context. What kind of family is this, your family?

Brian Epstein: Middle class, maybe a little higher. The retail stores that my grandfather set up in the old days are mostly furniture stores. When I graduated from high school, at sixteen, I had an aspiration to become a fashion designer and also an actor, but my family was not very keen on this, and I allowed myself to lean towards this business. I think I wanted to leave school more than anything else, because I didn’t really like it there.

Bill Grundy: What school was that?

Brian Epstein: Rekin College, Shropshire. After being in the family business, I studied at a furniture company for about six months, then returned to the family business and became interested in demonstration and advertising. In fact, we opened a store especially for me to design the interior, which interested me to some extent. But by the time I was 21, I still felt a bit of a yearning for acting and stage and the like. I remember one time talking to an actor that I admired, I kind of admired his ideas and all that, and I said, you know, ”I feel so old.” ”What do you mean? You are only 21, ”he said.” You can go to RheeDeA. ” I thought yes, I could. After that I decided to go through the audition, which passed, and the director of R-A.D.-A. quite quickly allowed me to be received. But I think that by this time I was too involved in business to be a student. And I didn’t like being a student at all. And when the opportunity arose to rejoin the family in the family business, the record attracted me very much, because, and it still is, I believe that I still have some fascination with the theater and the stage. I decided that this would be the best for me and I actually liked it. I have found that I enjoy working with gramophone records, both classical and pop.

Bill Grundy: When you were in school, what kind of music were you interested in? Were you interested in music then?

Brian Epstein: Yes, I was taught to play the violin, and I was very interested in classical music. In Liverpool, I often went to concerts. I didn’t have a lot of time for pop music until I got into the record business. I mean his trade side. I have often attended and watched pop concerts, radio and television coverage, and the like.

Bill Grundy : Did your musical preferences make you feel like the music you are doing now is worth it? In other words, I mean, do you think contemporary pop music is good music?

Brian Epstein : I don’t know if it’s good music, but anyway it’s art.

Bill Grundy: One of the art forms. Are you raising her so high?

Brian Epstein : Yes, yes.

Bill Grundy: Do you know enough about music to understand contemporary musical composition, arrangement, or songs?

Brian Epstein: I don’t understand music, but I do know about it. I think I understand if this or that song, composition, sound is a hit.

Bill Grundy: Is there someone in the recording studio with whom you can possibly disagree on what should come out?

Brian Epstein: George Martin is the Beatles and many of my other artist’s record managers, but we work together very well and luckily we work very closely on what we record. As soon as the issue of name and so on is resolved, the rest remains with him. I attend a lot of recording sessions and stuff, and I talk about what I think of the different recordings and which sides should be released, but he does the records. I am a person who has nothing to do with technology at all.

Bill Grundy: Do you get along well with most people?

Brian Epstein: Overall, yes. Obviously, people get along well with other people, except when they don’t like them.

Bill Grundy: Do you compromise yourself to get along well with people?

Brian Epstein: Yes.

Bill Grundy: In this particular business, in the world of impresario, you still think of yourself as an alien fish in this very unusual sea. Do you get along well with the impresario with whom you have to communicate?

Brian Epstein: Overall yes, I guess. They may have quite a bit of jealousy. I know this, so I think it depends on me to try to compensate for this envy personally. It is definitely not good for other people to feel this way. If I were jealous of someone who did something that delighted me and that I wanted to do myself, then I would feel intense envy and almost annoyance if he was somewhat unpleasant to me. But if he was a good guy, or, say, always friendly and polite, and I would be pleased to talk to him and all that, then I would just envy him with a sense of admiration and joy.

Bill Grundy: Could you say that your relationship with your artists is atypical?

Brian Epstein: I think so. I think they are quite personal, considering that I play the role of both a manager and an agent. Many pop musicians have a manager and an agent who, by the way, are paid their own interest.

Bill Grundy: Then how much satisfaction do you get from leadership? How do you get out of all this?

Brian Epstein: A lot of things … Artist development. To some extent, I suppose, there must be something in the artist’s real trust, which is very pleasant in a way, and … in their boundless devotion. I also really like my artists as people. I think they are all great people, and that’s what I mean. Recently they wrote about me that maybe I like the best company of my artists, and I think that this is a pretty correct observation, actually. It was written in the context that I have little social life and that I spend most of my time with my artists.

Bill Grundy: Well, other than a vague sense of satisfaction, do you have any specific handling that really pleases you? Have you had any real satisfaction in any aspect of management lately?

Brian Epstein: Well, it’s always gratifying when a record hits the charts or a record becomes number one. This is a strong feeling. A simple thing, really, but the feeling is strong. Because the artist was right, you were right, the record manager was right. The song was right, the artist was right, and it was recorded properly, and everyone feels that everyone’s work is suddenly useful. It’s like winning a race. It’s not just a record, an artist and a song become number one, but a lot happens when a successful record becomes number one. The artist suddenly becomes significant, he becomes desirable everywhere, because this record looks like it will become number one in other parts of the world. The record in the charts means a lot to the artist, on this day and time.

Bill Grundy: In the preliminary planning of that trip to America, was there a huge amount? When did you start thinking about this, for example?

Brian Epstein: Well, obviously, the idea of ​​America in connection with the Beatles came up a long time ago because I always thought, I was always quite sure that the Beatles would be successful there. We were all rather excited about it, because we released records there, but nothing happened. And I decided to go there and look around and find out why. Try to get a feel for the American market. I also took one of my artists, Billy J. Kramer, with me to do some promotional work there, which was a good idea in my opinion. Both [with the Beatles] were relevant enough. Looking back and analyzing what happened, I think it was all very simple. My answer to the boys when I arrived was this. I didn’t think we made a record that would fit the American market. But I actually thought, after listening to a lot of American pop music, which was popular at the time, that I Want To Hold Your Hand , which was just about to come out, was suitable. Plus the fact that a lot of information came from the British press, from the Royal Variety Show, from the Palladium and London scenes. Beatlemania, as it has been called in general. There was a lot of interest at that stage, and it was the best time for the release of ”I want to hold your hand.”

Bill Grundy: The timing seems to have been right. Was this American trip so successful because it was well timed, or something else?

Brian Epstein: I think it helped, quite … I can’t say that I guess the timing, because I knew it would be right, but it was the way it happened. Performing at a specific point in time on those two Ed Sullivan shows couldn’t be more faithful. The records were at the top, they were at the top for several weeks, and they were still at the top. And it worked, in fact.

Bill Grundy: There is one more undertaking in store at the moment, and again it might be the right time. Are you making a movie?

Brian Epstein: Yes.

Bill Grundy: Was it a conscious, deliberate decision, or did someone convince you to do it?

Brian Epstein: Well, naturally we had offers to do a movie since the guys had big hits. We didn’t like many of these suggestions, and I started to worry because, without a doubt, films are important. And I think the Beatles will be very good at films. What actually started this film, I think, was Alan Owen’s idea … because the Beatles were as passionate about it as I was. I think he is an excellent writer and the right person for this film.

Bill Grundy: Are you involved in the production of your film?

Brian Epstein: A little, yes, as a consultant. But I took over the production of the film with Gerry & The Pacemakers.

Bill Grundy: Aren’t you afraid to go into new areas, into high tech areas like this, without a lot of knowledge or experience?

Brian Epstein: No, because everyone learns quite a lot by observing.

Bill Grundy: How long, looking into the future, will this ongoing Beatles hype last?

Brian Epstein: It seems to me that at the present time, in general, there is a slight change in the general trend. But I don’t really believe in pop trends. I mean, Cilla Black managed to do something with, say, ”Mercy Sound”, beat or something like that?

Bill Grundy: What are these minor signs, changes that you are finding in pop music at the moment?

Brian Epstein: I think the hard beat, the throbbing beat, goes away. Its popularity is declining. It seems to me that there is a more refined kind of sound, quite pleasant, I suppose, quite good, and also with good harmony.

Bill Grundy: Like?

Brian Epstein: Well, aside from who I have any relationship with, I would say The Searchers is a very good example of what I mean. This is the sound that will come in the next few months. I think this is a very good band, actually.

Bill Grundy: The Sound of Mercy. This expression, as I understand it, you do not like. It was, of course, invented by the press because of the crop of bands that appeared in the Liverpool area …

Brian Epstein: I think they made it a landmark to have a lead.

Bill Grundy: The Liverpool area seems to have given some strength to the movement, but you yourself have now moved to London. It’s not a mistake?

Brian Epstein: It’s a sad fact. In fact, I moved very reluctantly because I like Liverpool and I love these people. Obviously, maybe I owe a lot to this city, but the problem is that it was almost impossible to organize my life and make it better for the artists when I was moving between Liverpool and London, so to speak. There is so much to do in London. Artists play a lot in London, record records in London and so on and so forth … so … I guess it was forced. Not that I was terribly unhappy about it. In a way, this is sad, I suppose. But this does not mean that we think less about Liverpool, or we want to be less in Liverpool. My home is in Liverpool, and I intend to return there whenever possible.

Bill Grundy: But it can affect your ability to identify talent, right? If you came from the Liverpool area, where did so many bands start?

Brian Epstein: Yes, it worries me a little because I have been among the dance halls and clubs much more than I am now, because I have been involved in difficult business conferences all the time. But with this awareness I will try to avoid being aloof from all this, because this is the part of the business that I like. I’d rather go to the dance hall and watch groups and people during the evening, rather than sit at a hearty dinner discussing something that probably won’t work out one way or another.

Bill Grundy: It’s beat management, artist management, what does a manager do for an artist, say the Beatles? Four bright guys, as they say, why can’t they cope with such things themselves?

Brian Epstein: Well, it didn’t bother them anyway, the way it is now. But, do you mean now, or two and a half years ago?

Bill Grundy: Well, let’s look at them on two different occasions. Two and a half years ago, could they have reached where they are today without your help?

Brian Epstein: No, I don’t think they would care. They played clubbing in Liverpool and had a good time. But I do not think that they would have bothered to do anything, and they would not have been able to show efforts in the right direction, because young, inexperienced people from the point of view of business, do not represent themselves well and correctly, say, their place etc. In addition, each one consulted them on a variety of issues. You do their commercial business, but the degree of involvement or effort you can put into an artist depends to some extent on, I would say, the personal relationship between the manager and the artist. I do a lot for all of them, but this is because there is a strong kind of personal connection.

Bill Grundy: Let’s take a look at the Beatles now. The position in which they are now. Do they really need a manager for further development?

Brian Epstein: I would say that they need a manager even more than ever before, because now there is so much work that we call leadership, say, the Beatles, that they cannot do it for themselves.

Bill Grundy: Do they need you as a manager, or have they already reached the level where someone else who knows the technical side can manage them?

Brian Epstein: I don’t think anyone can control them because I don’t think the Beatles will be subordinate to anyone else.

Bill Grundy: Is this the personal relationship you have with them?

Brian Epstein: I don’t know if I should say this, but I think it is.

Bill Grundy: Do you get great satisfaction from the sense of power that can give you running this organization?

Brian Epstein: No, and I don’t really feel it, because … I suppose you could say that controlling people is a powerful thing, but I don’t think about it. I don’t even try to do this. I just don’t do it.

Bill Grundy: In your opinion, you are a very good businessman?

Brian Epstein: Good enough. As a businessman, good enough. I have a business and possibly a practical business brain. But I’m not a genius.

Bill Grundy: What are your shortcomings? Why aren’t you better than you seem to think yourself?

Brian Epstein: I’m probably, say, taking ideas a little too seriously, not the finance underlying ideas.

Bill Grundy: Don’t you think that the story with RDA has somehow unsettled you, out of pure business?

Brian Epstein: No, I think it was very good, although I didn’t like being a student, but it was very good. I’ve learned a lot. It was actually pretty interesting. I thought about this a lot, and realized acting, RDA, about six months after leaving RDA.

Bill Grundy: Were you a good actor?

Brian Epstein: Not at the time. I would like to think what could have been.

Bill Grundy : Did that leave you with a dislike for theater or a real taste for it?

Brian Epstein: Real taste for theater.

Bill Grundy: Real theater?

Brian Epstein: Yes, that’s right. I would like to do so much and, dare I say, participate in the play. Play directly.

Bill Grundy: What kind of productions?

Brian Epstein: Perhaps something from Chekhov. Or modern drama.

Bill Grundy: Which playwright?

Brian Epstein: I don’t know. Osborne. Someone who is famous.

Bill Grundy: You came into this business from the most unusual conditions and circumstances. Mr. Epstein, with you and those with whom you work, a huge number of events have happened over the past two and a half years. Can you imagine a different way of life from today?

Brian Epstein: No, definitely not. I would like to improve in the work that I do, which I look forward to, with joy, in the movies, in the shows, and possibly in the dramatic part, but by far this is the work that I enjoy the most.

Bill Grundy: And never go back to the family business?

Brian Epstein: I don’t think so.

___________________________________________

Geoff Dunbar om tillkomsten av videon ’When Winter Comes’

Posted on 6 mars, 2021 by Artillio Bergholtz Posted in Film/Video, Musik/Skivutgivningar, Nyheter, Paul McCartney .
Denna bild har ett alt-attribut som är tomt. Dess filnamn är image-223.png

Tecknaren Geoff Dunbar och hans medarbetare berättar om arbetet bakom framställandet av musikvideon When Winter Comes från Paul McCartneys album McCartney III. Här får vi storyn från idéstadiet via streckteckningar till digital akvarellmålning!

The Beatles – Detta hände den 6 mars 1964

Posted on 6 mars, 2021 by Artillio Bergholtz Posted in Film/Video, Nyheter .

Filminspelning av ’A Hard Day’s Night’ fortsätter

Detta var den femte inspelningsdagen av The Beatles debutfilm A Hard Day’s Night.

I likhet med de tre senaste inspelningsdagarna. gick beatlarna denna fredag ombord på tåget på Acton Main Line Station i västra London, för att fortsätta att filma tågscener för den tidigare delen i filmen. Under dagen gick tåget mellan London och Newton Abbot i landskapet Devon.

Ringo Starr, Astrid Kirchherr och John Lennon i tågkupén.
John Lennon tar del av en av dagens nyhetstidningar. Foto: Astrid Kirchherr.
Även George Harrison vill följa med vad som händer i världen. Foto: Astrid Kirchherr.
Paul McCartney passade på att plugga repliker från filmmanuskriptet.

Pattie Boyd berättar att hon vet inte vad det var som hände, men hon och George Harrison hamnade alltid bredvid varandra vid lunchbordet ombord på tåget.

George Harrison och hans blivande fru Pattie Boyd vid matbordet ombord på tåget.
George Harrison och Pattie Boyd diskuterar kanske framtida gemensamma planer . . ?
Wilfrid Brambell som spelar Paul McCartneys farfar John McCartney och Paul McCartney som spelar sig själv i något som gör John glad och Paul lite bister, tycks det.
Pattie Boyd verkar verkligen trivas i George Harrisons sällskap.

Pattie Boyd berättar:
I almost died when George asked me out on a date. My first reaction was, ”How cool, how I like him, he’s so cute.” And then it pierced me: “But, my God, he’s the Beatle. One of the Beatles asks me for a date! ” I don’t remember exactly what I said, but I must have mumbled something like agreement, because I, Patti Boyd, are dating my beloved Beatle, George Harrison. Fortunately, the shock passed quickly, and I realized that I think of George as George.

John Lennon/Plastic Ono Band Super Deluxe Set

Posted on 5 mars, 2021 by Artillio Bergholtz Posted in John Lennon, Musik/Skivutgivningar, Nyheter .
Denna bild har ett alt-attribut som är tomt. Dess filnamn är image-217.png

John Lennon/Plastic Ono Band Super Deluxe Set släpps fredagen den 16 april 2021.

John Lennon/Plastic Ono Band Super Deluxe Set.
Pris cirka 1 000 kronor.

John Lennon/Plastic Ono Band 6CD+2blu-ray box set

CD1: THE ULTIMATE MIXES
1 Mother
2 Hold On
3 I Found Out
4 Working Class Hero
5 Isolation
6 Remember
7 Love
8 Well Well Well
9 Look At Me
10 God
11 My Mummy’s Dead
12 Give Peace A Chance
13 Cold Turkey
14 Instant Karma! (We All Shine On)

CD2: THE ULTIMATE MIXES/THE OUT-TAKES
1 Mother/Take 61
2 Hold On/Take 2
3 I Found Out/Take 1
4 Working Class Hero/Take 1
5 Isolation/Take 23
6 Remember/Rehearsal 1
7 Love/Take 6
8 Well Well Well/Take 2
9 Look At Me/Take 2
10 God/Take 27
11 My Mummy’s Dead/Take 2
12 Give Peace A Chance/Take 2
13 Cold Turkey/Take 1
14 Instant Karma! (We All Shine On)/Take 5

CD3: THE ELEMENTS MIXES
1 Mother
2 Hold On
3 I Found Out
4 Working Class Hero
5 Isolation
6 Remember
7 Love
8 Well Well Well
9 Look At Me
10 God
11 My Mummy’s Dead
12 Give Peace A Chance
13 Cold Turkey
14 Instant Karma! (We All Shine On)

CD4: THE RAW STUDIO MIXES
1 Mother/Take 64
2 Hold On/Take 32
3 I Found Out/Take 3 Extended
4 Working Class Hero/Take 9
5 Isolation/Take 29
6 Remember/Take 13
7 Love/Take 37
8 Well Well Well/Take 4 Extended
9 Look At Me/Take 9
10 God/Take 42
11 My Mummy’s Dead/Take 1
12 Give Peace A Chance/Take 4 Extended
13 Cold Turkey/Take 2
14 Instant Karma! (We All Shine On)/Take 10
15 Mother/Take 91
16 I Found Out/Take 7
17 God/Take 1

CD5: THE EVOLUTION DOCUMENTARY
1 Mother
2 Hold On
3 I Found Out
4 Working Class Hero
5 Isolation
6 Remember
7 Love
8 Well Well Well
9 Look At Me
10 God
11 My Mummy’s Dead

CD6: THE JAMS & THE DEMOS
1 Johnny B. Goode (Jam)
2 Ain’t That A Shame (Jam)
3 Hold On (1) (Jam)
4 Hold On (2) (Jam)
5 Glad All Over (Jam)
6 Be Faithful To Me (Jam)
7 Send Me Some Lovin’ (Jam)
8 Get Back (Jam)
9 Lost John (1) (Jam)
10 Goodnight Irene (Jam)
11 You’ll Never Walk Alone (Parody) (Jam)
12 I Don’t Want To A Soldier Mama I Don’t Wanna Die (1) (Jam)
13 It’ll Be Me (Jam)
14 Honey Don’t (Jam)
15 Elvis Parody (Don’t Be Cruel/Hound Dog/When I’m Over You) (Jam)
16 Matchbox (Jam)
17 I’ve Got A Feeling (Jam)
18 Mystery Train (Jam)
19 You’re So Square (Jam)
20 I Don’t Want To Be A Soldier Mama I Don’t Wanna Die (2) (Jam)
21 Lost John (2) (Jam)
22 Don’t Worry Kyoko (Mummy’s Only Looking For A Hand In The Snow) (Jam)
23 Mother (Home Demo)
24 Hold On (Studio Demo)
25 I Found Out (Home Demo)
26 Working Class Hero (Studio Demo)
27 Isolation (Studio Demo)
28 Remember (Studio Demo)
29 Love (Home Demo)
30 Well Well Well (Home Demo)
31 Look At Me (Home Demo)
32 God (Home Demo)
33 My Mummy’s Dead (Home Demo)

Blu-Ray 1: All tracks in Stereo 24/192, Dolby Atmos and 5.1 Surround Sound
The Ultimate Mixes Album And Singles
The Ultimate Mixes Outtakes
The Elements Mixes Album And Singles
The Demos Album And Singles

Blu-Ray 2: All tracks in Stereo 24/192, Dolby Atmos and 5.1 Surround Sound
The Raw Studio Mixes Album And Singles
The Raw Studio Mixes Outtakes
The Evolution Mixes Album And Singles
The Jams Live And Improvised

Yoko Ono/Plastic Ono Band The Live Sessions

  1. Why (Live Sessions)
  2. Why Not (Live Sessions)
  3. Greenfield Morning I Pushed An Empty Baby Carriage All Over The City (Live Sessions)
  4. Touch Me (Live Sessions)
  5. Paper Shoes (Live Sessions)
  6. Life (Live Sessions)
  7. Omae No Okaa We (Live Sessions)
  8. I Lost Myself Somewhere In The Sky (Live Sessions)
  9. Remember Love (Live Sessions)
  10. Don’t Worry Kyoko (Mummy’s Only Looking For A Hand In The Snow) (Live Sessions)
  11. Who Has Seen The Wind? (Live Sessions)
  • Materialet kommer också att finna tillgängligt i fem ytterligare format:
  • en utgåva med 2 cd-skivor
John Lennon/Plastic Ono Band – utgåva med 2 cd-skivor.
Pris: cirka 210 kronor

_________________________________________________

John Lennon/Plastic Ono Band 2CD set

CD1
1 Mother
2 Hold On
3 I Found Out
4 Working Class Hero
5 Isolation
6 Remember
7 Love
8 Well Well Well
9 Look At Me
10 God
11 My Mummy’s Dead
12 Give Peace A Chance
13 Cold Turkey
14 Instant Karma! (We All Shine On)

CD2
1 Mother/Take 61
2 Hold On/Take 2
3 I Found Out/Take 1
4 Working Class Hero/Take 1
5 Isolation/Take 23
6 Remember/Rehearsal 1
7 Love/Take 8
8 Well Well Well/Take 2
9 Look At Me/Take 2
10 God/Take 27
11 My Mummy’s Dead/Take 2
12 Give Peace A Chance/Take 2
13 Cold Turkey Take 1
14 Instant Karma! (We All Shine On)/Take 1

_________________________________________________

  • en utgåva med 1 cd-skiva
John Lennon/Plastic Ono Band. Utgåva med en cd-skiva.
Pris: Cirka 150 kronor.

John Lennon/Plastic Ono Band single-CD

1 Mother
2 Hold On
3 I Found Out
4 Working Class Hero
5 Isolation
6 Remember
7 Love
8 Well Well Well
9 Look At Me
10 God
11 My Mummy’s Dead
12 Give Peace A Chance
13 Cold Turkey
14 Instant Karma! (We All Shine On)

_________________________________________________

  • en utgåva med 2 lp-skivor (half speed)
John Lennon/Plastic Ono Band. Utgåva med 2 lp-skivor i halvfart.
Pris: Cirka 495 kronor.

John Lennon/Plastic Ono Band 2LP vinyl (half-speed mastered)

SIDE A: THE ULTIMATE MIXES
1 Mother
2 Hold On
3 I Found Out
4 Working Class Hero
5 Isolation

SIDE B: THE ULTIMATE MIXES
1 Remember
2 Love
3 Well Well Well
4 Look At Me
5 God
6 My Mummy’s Dead

SIDE C: THE ULTIMATE MIXES/OUT-TAKES
1 Mother/Take 61
2 Hold On/Take 2
3 I Found Out/Take 1
4 Working Class Hero/Take 1
5 Isolation/Take 23

SIDE D: THE ULTIMATE MIXES/OUT-TAKES
1 Remember/Rehearsal 1
2 Love/Take 8
3 Well Well Well/Take 2
4 Look At Me/Take 2
5 God/Take 27
6 My Mummy’s Dead/Take 2

_________________________________________________

  • nedladdningsbart
  • strömningsbart
Materialet är totalt ommixat från originalens flerspårsinspelningar med artister som John Lennon, Yoko Ono, Ringo Starr, Klaus Voorman, George Harrison, Eric Clapton, Billy Preston och Phil Spector.
Här ingår slutliga mixningar, så kallade outtakes (provinspelningar), enstaka element, råa studiomixningar, utvecklingsmixningar, demoinspelningar, jaminspelningar och Yoko Ono liveinspelningar.
SUPER DELUXE BOX SET innehåller följande material:
6 cd-skivor med 102 nya stereomixningar med över 6 timmars ljud.
2 Blu-ray ljudskivor med 159 nya stereomixningar – mer än 11 timmars ljud med High Resolution 192/24 Stereo, 5.1 Surround och Dolby Atmos-mixningar
En inbunden bok på 132 sidor med ovanliga fotografier, memorabilia och utökad information
En War Is Over-poster samt två vykort
John Lennon / Plastic Ono Band box set reissue deluxe edition
John Lennon/Plastic Ono Band.

Så här låter Mother (Ultimate Mix) från den kommande utgåvan.

The Beatles – Detta hände den 5 mars 1964

Posted on 5 mars, 2021 by Artillio Bergholtz Posted in Film/Video, Musik/Skivutgivningar, Nyheter .

Singeln ’Komm, gib mir deine Hand/Sie Liebt Dich’ släpps i Västtyskland

Torsdagen den 5 mars 1964 släpptes singeln Komm, gib mir deine Hand/Sie liebt dich’  i Västtyskland. Detta är de enda två inspelningarna som The Beatles spelade in på tyska!

_______________________________________

Filminspelningen av ’A Hard Day’s Night’ fortsätter

Den fjärde inspelningsdagen gick grabbarna ombord på tåget på Acton Main Line Station i västra London. De reste mellan London och Taunton i Somerset och filmade tågscener som är med i början av filmen.

Ringo Starr passade på att ha en egen filmkamera med sig som han använde när han sprang utanför tåget.

Efter dagens filminspelningar återvände The Beatles till Westbourne Park Station i London. Senare besökte de Brasenose College i Oxford i samband med en middag för att fira gruppens insamlade pengar till organisationen Oxfam under 1963.

Från vänster: Jeffry Archer, Paul McCartney, George Harrison, Michael Lloyd, rektorn Sir Noel Hall, studenternas lagledare David Stockton, Ringo Starr och John Lennon samlade på rektorns kontor i The Brasenoses College.

Middagen organiserades av Jeffry Archer, som mötte upp beatlarna vid ankomsten och tog dem till Vincents, the Oxford sportsmen’s club där de intog en fördrink.

Ringo Starr, George Harrison, Paul McCartney och John Lennon tar sig en fördrink på Vincents The Oxford sportsmen’s club före middagen.

Paul McCartney: ’THE LYRICS – 1956 To The Present’

Posted on 4 mars, 2021 by Artillio Bergholtz Posted in Bokutgivningar, Nyheter, Paul McCartney .
Denna bild har ett alt-attribut som är tomt. Dess filnamn är image-223.png

Böckerna Paul McCartney THE LYRICS – 1956 To The Present av Paul McCartney har editerats av författaren och poeten Paul Muldoon, som också står för introduktionen i boken.

Paul McCartney’s memoir, “The Lyrics: 1956 to the Present,” will be released Nov. 2. Pulitzer Prize-winning poet Paul Muldoon (right) will be the editor and will contribute an introduction. 
Paul McCartney och Paul Muldoon samarbetar kring Pauls självbiografi ’The Lyrics: 1956 to the Present’.

Paul Muldoon har, förutom ett Pulitzer Prize, också skrivit 14 oavkortade poesisamlingar inklusive Howdie-Skelp.

I denna extraordinära bok i två delar, berättar Paul om sitt liv och sin konst genom prismat av 154 låtar som är från alla olika stadier i hans karriär.

Del 1 täcker in låtarna som börjar på A-K.
Del 2 täcker in låtarna som börjar på L-Z.

Böckerna omspänner hela åtta decenniers låtkomponerande, från 1950-talet fram till 2020-talet, vilket inte är någonting annat än imponerande.

Paul berättar om varför och hur han kom fram till att skriva en självbiografi som The Lyrics:
More often than I can count, I’ve been asked if I would write an autobiography, but the time has never been right. The one thing I’ve always managed to do, whether at home or on the road, is to write new songs,” McCartney said in a statement. “I know that some people, when they get to a certain age, like to go to a diary to recall day-to-day events from the past, but I have no such notebooks. What I do have are my songs, hundreds of them, which I’ve learned serve much the same purpose. And these songs span my entire life.

Själva biografin, i form av de 154 låtarna, är uppställda i alfabetiskt ordning och således inte kronologiskt, viket brukar vara vanligast när det gäller självbiografier. Här finns kompositioner från ungdomsåren, mästerverken som skrevs med The Beatles, kompositioner han skrev för sitt band Wings samt massor av kompositioner från hans pågående solokarriär.

I boken finns inte enbart texterna till Paul 154 kompositioner utan även material från hans personliga arkiv – teckningar, målningar, handskrivna texter, fotografier m.m. som hänger ihop med respektive komposition.

Paul McCartneys egna anteckningar kring texten till kompositionen ’Band On The Run’.

I böckerna kommenterar Paul texterna med personliga kommentarer om sitt liv och sin musik. Här berättar Paul om hur låtarna har kommit till och vilka personer som har inspirerat honom; hans hängivna föräldrar Mary och Jim, hans låtskrivarpartner John Lennon, hans Golden Earth Girl, Linda Eastman, hans fru Nancy McCartney och till och med Queen Elizabeth och många andra.

I boken kan man läsa om uppkomsten av låtar som Let It Be, Lovely Rita, Yesterday och Mull Of Kintyre liksom vilka litterära influenser som han har använt sig av, såsom Shakespeare, Lewis Carroll, och Alan Durband, som var hans lärare i engelska på högstadiet.

Paul McCartney med ett av sina anteckningsblock med textmaterial.

The Lyrics: 1956 to the Present släpps den 2 november 2021.

Böckerna kommer ut på två olika bokförlag enligt nedan:

Produktinformation – USA-utgåva

  • Bokförlag: Liveright Publishing
  • Språk: Engelska
  • Inbunden utgåva på: 960 pages (480 sidor per volym)
  • ISBN-10 : 163149256X
  • ISBN-13 : 978-1631492563
  • Vikt: 567 gram
  • Pris: $ 100.00 (med reservation för ändringar)
Paul McCartney Announces Massive Lyric Book 'The Lyrics: 1956 to the Present'
Paul McCartney – The Lyrics.

_____________________________________________

Produktinformation – UK-utgåva

  • Bokförlag: Allen Lane
  • Språk: Engelska
  • Inbunden utgåva på: 960 sidor
  • ISBN-10 : 0241519330
  • ISBN-13 : 978-0241519332
  • Storlek: 0.3 x 4 x 0.6 cm
  • Pris: £ 75.00 (med reservation för ändringar)
Image with no description

Som bekant skrev Paul McCartney 1966 en låt om att han ville bli en pocketboksförfattare (Paperback Writer) och nu 55 år senare ger Sir Paul McCartney ut en inbunden bok i två volymer med låttexter, inte tidigare publicerade fotografier och brev, vilket utgör underlaget för hans egen självbiografi.

Här följer ytterligare lite bakgrundsinformation från Sir Paul McCartney till bokens innehåll på cirka 1,5 minuter:

The Beatles – Detta hände den 4 mars 1964

Posted on 4 mars, 2021 by Artillio Bergholtz Posted in Film/Video, Nyheter .

Monomixning av ’I Call Your Name’

Under en cirka en timme lång session arbetade producenten George Martin i kontrollrummet till Studio Three i EMI Studios på Abbey Road med att skapa en monomixning av John Lennons låt I Call Your Name. Beatlarna själva var inte närvarande.

Mixningen kom emellertid inte till användning i UK, men kom ut i USA på Capitol Records utgåva av The Beatles’ Second Album, som släpptes den 10 april 1964 med skivnummer Capitol T-2080 (mono) och Capitol ST-2080 (stereo)

The Beatles' Second Album artwork – USA

samt i Kanada på albumet Long Tall Sally som släpptes den 27 april 1964 med skivnummer Capitol T-6063.

Long Tall Sally album artwork - Canada

_________________________________

Ännu en dag med filminspelning av ’A Hard Day’s Night’

I likhet med gårdagen färdades The Beatles denna onsdag med tåget mellan Acton i västra London och Minehead i västra England för att filma flera tågscener till debutfilmen A Hard Day’s Night.

Tåget stannade till helt kort på Crowcombe Heathfield Station i Somerset, där beatlarna sprang och cyklade utmed tåget som rörde sig långsamt. Detta ingick i en scen där beatlarna retades med en medpassagerare som spelades av Richard Vernon. Beatlarna ropade utanför tåget: Hey, mister, can we have our ball back. Se fotot nedan samt filmsekvensen nedanför.

The Beatles in A Hard Day's Night, 4 March 1964
George Harrison, Ringo Starr, Paul McCartney och John Lennon springer utmed det långsamt gående tåget och retas med en medpassagerare.
Här ett fotografi där Ringo Starr och George Harrison cyklar utmed tåget medan Paul McCartney och John Lennon springer.


Med på tåget var också Astrid Kirchherr, som passade på att ta ett flertla fotografier på The Beatles under resan.

Ännu en ny variant av Pauls album ’McCartney III’!

Posted on 3 mars, 2021 by Artillio Bergholtz Posted in Musik/Skivutgivningar, Nyheter, Paul McCartney .
Denna bild har ett alt-attribut som är tomt. Dess filnamn är image-223.png
Kan vara en bild av text där det står ”Paul McCartney "McCartney IIl" Limited Edition Edison Cylinder MPCARTNEY”

Dåtid, i form av Thomas Alva Edison, och nutid, i form av Paul McCartney, går samman i en gemensam utgåva av Pauls senaste album McCartney III. Enligt uppgift är utgåvan begränsad till endast III exemplar!

Prisuppgift: Dyrt, förstås!

The Cavern Club The Beat Goes On: Official Trailer

Posted on 3 mars, 2021 by Artillio Bergholtz Posted in Nyheter .

Tänk om vi skulle få resa till Liverpool i år! Det ser lite mörkt ut just nu, men man kan ju alltid hoppas att det ordnar upp sig till slutet av augusti 2021.

Under tiden kan vi titta på nedanstående bilder från Liverpool och The Cavern Club då det begav sig.

Logga in

  • Logga in här

Kommande evenemang

  1. Helsinki Beatles Weekend 7-8 maj 2021 i Helsingfors, Finland

    maj 7 - 11:00 - maj 8 - 23:30
  2. Beatle Week Liverpool flyttas till 25/8 – 1/9 2021

    augusti 25 - september 1
  3. Beatle Day Gothenburg 2021

    oktober 29 - oktober 30

Visa alla Evenemang

Senaste inläggen

  • The Beatles – ’Get Back’ German Style!
  • The Beatles – Detta hände den 7 mars 1964
  • Geoff Dunbar om tillkomsten av videon ’When Winter Comes’
  • The Beatles – Detta hände den 6 mars 1964
  • John Lennon/Plastic Ono Band Super Deluxe Set
  • The Beatles – Detta hände den 5 mars 1964
  • Paul McCartney: ’THE LYRICS – 1956 To The Present’
  • The Beatles – Detta hände den 4 mars 1964
  • Ännu en ny variant av Pauls album ’McCartney III’!
  • The Cavern Club The Beat Goes On: Official Trailer

Arkiv

  • 1
  • 2
  • 3
  • …
  • 101
  • Next
CyberChimps

CyberChimps

Marketed By Neil Patel
© Beatlesnytt.se