Wednesday, November 30, 2016


Via Sotheby's:

Promotional poster (30 x 20 in.; 762 x 508 mm). Printed in black and red on newsprint; folded, some chips to edges, some splitting to edges along folds.

Tuesday, November 29, 2016


Via Sotheby's:


Signed by the Fab Four to the armored car driver as they were transported to Shea Stadium from the Unisphere Heliport at Flushing Meadows-Corona Park on one of the most historic nights of their career. This collection of material comes directly from the employee of Wells Fargo, who shares his first-hand account of the evening in an accompanying 2 page letter; with 12 behind-the-scenes color Kodachrome slides of the concert taken by the guard, and a Wells Fargo six-point star badge (Wells Fargo deputized the Beatles that day, and they wore the badges during the concert). An audience of over 55,000 saw the band live, with the music no match for the noise continually erupting from the crowd.

Monday, November 28, 2016

John Lennon's Sgt. Pepper piano up for auction

The piano John Lennon used when composing A Day in the Life, Lucy in the Sky with Diamonds and other classic tunes is up for auction via Sotheby's, which posted this detailed background on the instrument:

John Lennon's main composing instrument for the Beatles Sgt. Pepper's masterpiece
By 1964 The Beatles were successful enough to have accountants advise on home purchases. The investment potential of possible residences was important and both George Harrison and Ringo chose homes outside of London in the sedate stockbroker belt in Surrey. John Lennon bought the mock-Tudor home Kenwood on the St. George's Hill estate in Weybridge, Surrey in July of that year. Lennon and his then wife Cynthia quickly spent twice the purchase £20,000 price of the home on renovations, including of course, an attic studio for songwriting sessions.
The grounds of over an acre were perfect for the couple's young son Julian and the family remained at Kenwood until John's relationship with Yoko and resulting divorce necessitated the sale of the house in 1968. The four years in which Kenwood was John Lennon's primary residence were the most crucial and productive of the Beatles' career. It was the music he made there, in his studio but just as often in the den on the present instrument, that evolved into his contributions to the Beatles unparalleled catalog including much of the music on Sgt. Pepper's Lonely Hearts Club Band album.
At least two pianos were known to have been in the Kenwood home, but as with many musicians, Lennon preferred some instruments more than others and the Broadwood seems to have been a particular favorite. When he acquired it is unknown, but it was likely in 1966 if not earlier, given it's importance to Lennon's Sgt. Pepper's contributions.
A visit to Kenwood described in the 1967 Beatles Book magazine makes note of the piano as well as Lennon's sometimes eccentric decorating:
"On the ground floor there is a large entrance hall, lined with shelves of books stretching from floor to ceiling. To the right it leads to the kitchen, which is situated in the centre of the house, and to the left to two rooms, one very large, one small. The smaller room contained two pianos, one Broadwood, one Bechstein. The mahogany case of the Bechstein was fast disappearing under a psychedelic design, which was being painted on by two Dutch artists, Simon and Marijke."
This decorated piano, once thought lost, is in fact at George Harrison's Friar Park estate and is highly unlikely to come onto the market.
Much has been made of the significance of Sgt Pepper's Lonely Hearts Club Band, including the overall scheme of the Lennon-McCartney songwriting partnership - for many Beatles scholars it marks the balance of power in the group shifting to McCartney, whose concept of the Edwardian-styled band within a band was the overall conceit of the album. By 1966 the Beatles were tired of touring and Sgt. Pepper's allowed them to become a fully realized studio band, experimenting freely with songs that didn't have to be recreated live and trying to bridge the divide between rock and more traditional music. By the time the sessions were finished in April, 1967 it had taken them 700 hours of recording time and the expenditure of the largest recording budget ever spent up to that date.
The social changes reflected in the album cannot be overlooked;  three of the album's songs that Lennon composed on the present piano were banned by the BBC for drug references. Lennon was adamant (in spite of his and the Beatles own increasing experimentation with drugs) that the songs were not in fact overly influenced by such, "We didn't really shove the LP full of pot and drugs but, I mean, there was an effect. We were more consciously trying to keep it out..."
The origins of the most obvious candidate for pro-drug propaganda, "Lucy in the Sky with Diamonds" was actually based on John's son Julian bringing home to Kenwood a sketch of his classmate Lucy. Once he had showed it to his father, John was inspired to sit at the present piano and begin to compose. When Paul next visited the house he shared his enthusiasm for what he heard and began to contribute parts.
Such was also the case for "A Day in the Life" where Lennon had written two sections of the song, but was having trouble with the middle, which Paul supplied.
In spite of the overwhelming success of the Sgt. Pepper's album, Lennon often expressed the opinion that it was never truly a cohesive concept ("an album with the tracks stuck together.... Nothing is real and there is nothing to get hung about.")
Lennon was certainly careful to note his separate contributions on the affixed plaque before gifting it to a friend:
"On this piano was written: A Day in the Life, Lucy in the Sky with Diamonds, Good Morning, Good Morning, Being for the Benefit of Mr. Kite and many others. John Lennon. 1971"

It is tempting to speculate on the number of additional songs alluded to with John's "many others" wording, but we do know that this upright was important enough to Lennon that after selling Kenwood he had it moved to the new home he purchased with Yoko in 1969, Tittenhurst Park in Berkshire. By 1971, Lennon was permanently in the United States and in 1973 sold Tittenhurst to Ringo Starr along with much of the contents, but not of course the present instrument.
John Broadwood and Sons was founded in 1728 and holds a Royal warrant for the manufacture of pianos beginning with King George II. Mozart, Haydn, Chopin, Beethoven and Liszt are all known to have used the firm's instruments.

Thursday, November 24, 2016

History: Beatles Book Monthly November 1966

The Beatles' official magazine for November 1966 continues to update fans on the group's post-touring, pre-Sgt. Pepper activities.

There's details on John Lennon's role in "How I Won the War," along with George and Pattie Harrison's trip to India:

And an interview with Paul McCartney, in which he discusses the different track listings on the band's American releases …

… his views on the future and touring ...

and his thoughts on songwriting and why the band didn't record portions of Revolver in Memphis, as originally planned:

The news page, meanwhile, includes items about Paul's soundtrack for "The Family Way, " (referred to by a different title) and shows "She Said, She Said," coming in last in a poll of readers' favorite Revolver songs …

… among other items:

Friday, November 18, 2016

Beatles Bits: Bay City Rollers; Andy Warhol; Doug Binder; Bob Dylan; Leon Russell

Members of the Bay City Rollers recall running into (almost literally, in one case) former members of the Beatles during the 1970s.
Woody revealed: “We met Ringo Starr a couple of times, a really nice guy.

“One time in Los Angeles we were driving into the Beverly Hills Hotel the wrong way.

“He just looked and shook his head and said, ‘Those Roller boys’ before making a face.

“He knew what we were going through. He was a bit older and had been through all that.”

Sean Lennon once received a dead cat from Andy Warhol for this birthday.
The singer revealed that when he unwrapped the gift, his mother, Yoko Ono, was “kind of disturbed despite her love of cats” and that the family’s (living) felines were “immediately enraged.”

In the story — revealed for the first time in an exhibit called “Letters to Andy Warhol” that just opened at the Cadillac House — Lennon writes, “After a brief time on a shelf in my bedroom, it was decided that Andy’s cat should reside permanently in the window of the office on the ground floor,” where it stayed until “neighbors complained and we had to take it down.”


Artist Doug Binder, who painted Paul McCartney's psychedelic "magic" piano in the 1960s, discusses his interactions with the Beatles.
"This was in the days when you could just ring up and speak to The Beatles. I remember going round to John Lennon's house for a meeting with him and Paul McCartney. Paul and John were great. We used to have dinner with them. This was in their early days, they had not yet released the Magical Mystery Tour LP. They were nice people. They even played some of the music to us that they composed in their bathroom."

Members of the Beatles Family paid tribute online to Leon Russell, who died this week:
Ringo Starr: “God bless Leon Russell peace and love to all his family peace and love.”

Sean Lennon: "One of my biggest music and style icons. Seems like many of the greatest musicians are leaving the planet this year. There must be some kind of cosmic party in space happening we don't know about. This planet will never be the same.”

And the Harrisons: “We lost another friend. RIP Dear Leon. - Olivia & Dhani.”
Russell performed at the George Harrison-organized Concert for Bangladesh in 1971.


Robbie Robertson from The Band has a new memoir out, which includes this tidbit about Bob Dylan and the Beatles:

On the last night of the Band and Bob Dylan's 1966 European tour, Dylan kept the Beatles waiting – and almost drowned in a bathtub.

By the end of the Band's 1966 European tour with Bob Dylan, months of amphetamine-induced sleep and appetite loss had left Dylan drained. After the final show of the tour at London's Royal Albert Hall, the Beatles dropped by Dylan's hotel to pay their respects, but Robertson had to keep the Fab Four waiting because the singer-songwriter was so physically depleted and delirious he "looked like he was passed out sitting up." Dylan's manager Albert Grossman and Robertson put Dylan in a hot bath to freshen him up, but the plan almost seriously backfired. "I hurried back into the bathroom, only to find that Bob had sunk down into the water and was starting to bubble," writes Robertson. "My heart stopped for a moment. Damn, I thought, he could really drown here. I pulled him back up in the tub." The Beatles eventually stopped waiting for Dylan and went home.
And this:
Robertson got an up-close look at John Lennon's custom-made joints-in-disguise. 
After spending so much time with Bob Dylan in the mid-Sixties, Robertson ended up getting to know the Beatles, meeting them several times on various tours. When Robertson hung out with the group after their show in Toronto in August 1966, Lennon showed Robertson his custom-made joints disguised as a Lark cigarette. "Let me show you a little trick," Lennon told Robertson, before revealing his intricately designed contraption. "Beatles have to take precautions." "I could only conclude," Robertson writes, "that John had someone make the cigarette and package them exactly as they would in a factory. Must be good to be a Beatle."

Wednesday, November 16, 2016

John Lennon's nasty, early 1970s letter to Paul McCartney getting lots of press

Many Beatles fans likely have seen or read bits of John Lennon's circa 1971 diatribe to Paul and Linda McCartney, but the scathing letter is getting lots of mainstream attention this week thanks to a draft of it being up for auction.

The missive came during a particularly testy period between Paul and the rest of the Beatles, due to his refusal to go along with Allen Klein as the group's manager.

Here's a look at the document, complete with John's handwritten edits, followed by a transcript:

 “I was reading your letter and wondering what middle aged cranky Beatle fan wrote it. I resisted looking at the last page to find out—I kept thinking who is it—Queenie? Stuart's mother?—Clive Epstein's wife?—Alan Williams?—What the hell—it's Linda!

You really think the press are beneath me/you? Do you think that? Who do you think we/you are? The ‘self-indulgent doesn't realize who he is hurting’ bit—I hope you realize what shit you and the rest of my 'kind and unselfish' friends laid on Yoko and me, since we've been together. It might have sometimes been a bit more subtle or should I say ‘middle class’—but not often. We both ‘rose above it’ quite a few times—& forgave you two—so it's the least you can do for us—you noble people.—Linda—if you don't care what I say—shut up!—let Paul write—or whatever.

When asked about what I thought originally concerning MBE, etc.—I told them as best as I can remember—and I do remember squirming a little—don't you, Paul?—or do you—as I suspect—still believe it all? I'll forgive Paul for encouraging the Beatles—if he forgives me for the same—for being—‘honest with me and caring too much’! Fucking hell, Linda, you're not writing for Beatle book!!!

I'm not ashamed of the Beatles—(I did start it all)—but of some of the shit we took to make them so big—I thought we all felt that way in varying degrees—obviously not.

Do you really think most of today's art came about because of the Beatles?—I don't believe you're that insane—Paul—do you believe that? When you stop believing it you might wake up! Didn't we always say we were part of the movement—not all of it?—Of course, we changed the world—but try and follow it through—GET OFF YOUR GOLD DISC AND FLY!

Don't give me that Aunty Gin shit about ‘in five years I'll look back as a different person’—don't you see that's what's happening NOW!—If I only knew THEN what I know NOW—you seemed to have missed that point….

Excuse me if I use ‘Beatle Space’ to talk about whatever I want—obviously if they keep asking Beatle questions—I'll answer them—and get as much John and Yoko Space as I can—they ask me about Paul and I answer—I know some of it gets personal—but whether you believe it or not I try and answer straight—and the bits they use are obviously the juicy bits—I don't resent your husband—I'm sorry for him. I know the Beatles are ‘quite nice people’—I'm one of them—they're also just as big bastards as anyone else—so get off your high horse!—by the way—we've had more intelligent interest in our new activities in one year than we had throughout the Beatle era.

Finally, about not telling anyone that I left the Beatles—PAUL and Klein both spent the day persuading me it was better not to say anything—asking me not to say anything because it would 'hurt the Beatles'—and ‘let's just let it petre out’—remember? So get that into your petty little perversion of a mind, Mrs. McCartney—the cunts asked me to keep quiet about it. Of course, the money angle is important—to all of us—especially after all the petty shit that came from your insane family/in laws—and GOD HELP YOU OUT, PAUL—see you in two years—I reckon you'll be out then—inspite of it all, love to you both, from us two.”
“P.S. about addressing your letter just to me—STILL….!!!”

Interview: Author Robert Webb on his new book about John Lennon

British author Robert Webb has just published a mini-biography of John Lennon as part of the History Press' PocketGIANT series, which also includes volumes Jesus, Napoleon and Ghandi, among others.

Here, he discusses the challenges of capturing Lennon's life in just 125 pages.

How was John Lennon selected as a subject for the pocket GIANTS series - it appears he is the only musician? 

Yes, I think apart from Verdi, Lennon is the only musical figure in the pocket GIANTS series so far. It’s a lively series comprising short, concise biographies of historical figures from all periods and across all disciplines. I proposed Lennon for the series as I consider him one of the most iconic and influential figures in popular culture – a true giant of the twentieth century. Also because, unlike Sinatra, Elvis etc., he was also active beyond music, fashion and popular media, primarily as a peace campaigner.
How did you come to write the book for the series?

I have written on music and popular culture as a freelance journalist and author for thirty years or so, and have been listening to Lennon and the Beatles since the Sixties. As I explain, he’s always fascinated me as a flawed genius and someone who was attracted by both the popularism of rock and roll and the artistic potential of the avant-garde, which of course he was able to explore with Yoko. A lot of his music and artistic endeavours has been an attempt to weld the two – remember, "Revolution 9" is reckoned to be the most widely circulated avant-garde artefact. Sometimes his experiments worked, sometimes not, but as I say in the book – you always get the feeling he means it. He bore his heart on his sleeve, and that’s irresistible in any musician.

It was a challenge, I'm sure, to detail John's life - before, during and after - in such a short number of pages was a major challenge. How did you manage it? What did you focus on?

I think this is the only concise paperback biography of Lennon available – a contrast to the 500-page biographies that have appeared over the years, as excellent as some of them are. The brief wasn’t to write a glowing portrait of the man, but rather to take a step back and be critical where needed. Lennon’s life was relatively short, but of course he packed a lot in and distilling it all down into 125 pages was a challenge – it was a case of what to leave out, rather than scrabbling around for details to include, whilst at the same time ensuring I covered all the milestones in his life and the events and people who helped shape it the most. I also include a timeline, which for space reasons was even more difficult to assemble!

Although his fractured childhood was important to the telling of his story, the focus had to be his life in the Sixties and Seventies, his work as a musician and his calls for peace, which made him a dangerous radical according to the FBI. As a campaigner I believe he was a visionary, but he was also at times naïve, which I think he later recognised himself. His personal life is well documented but I was also interested to explore his backstage relationships with the other Beatles, during and after, as well as with Cynthia, Yoko and May Pang. What comes across I think is a creative genius who struggled to navigate his way through the pressures of fame and to face up to his shortcomings as a husband and father – until Sean was born, when suddenly he got it together!

Books, magazines, and the Internet especially, are rife with Lennon quotes – frequently unsourced and often wrong. My book is not an academic work as such – it’s a far from dry read I hope – but I did want to provide sources for all the quotations I used, as far as possible. I was able to track down lots of magazine and radio interviews – some fairly obscure – conducted with Lennon and those around him, and draw on those, rather than relying just on secondary sources. Aunt Mimi, especially, was particularly revealing in the few interviews she did about the nephew behind the fame!

Who do you think is the audience for a book like this? What do you hope readers take away from it?

Remember that although the Beatles’ and Lennon’s records are constantly on the radio and amongst the best-known in pop, many younger people are discovering them for the first time and are curious about the people behind those records. The book is for anyone who has an interest in the man, or loves his music but wants to know more – but doesn’t want to tackle one of the longer biographies on the market. Although it will hopefully provide a great summary of the man for any fan, it’s a great pocket book for anyone who’s just curious about who exactly John Lennon’s was. And maybe there will be a few things in there that even the seasoned fan may not know!

What is John's legacy? Do you think his influence on music and culture remains intact, or has it faded with the years?

Oh, his legacy is pretty intact, I think. You can hear his influences in so much music over the last couple of decades. Radiohead claimed they listened to Lennon and the Beatles while they were recording Ok Computer. David Bowie remained a huge fan to the end. Everyone from Oasis to Green Day to Melissa Etheridge have expressed their love of Lennon. Not so long ago, Madonna hailed him as “a real rebel” and “a real poet.” I’m sure his music continues to inspire younger bands and musicians.

Do you have any other Beatles-related projects on the horizon?
I have a couple of projects in the pipeline, which are sort of Beatles related. I’ll reveal more nearer the time!

Robert's book is published by The History Press; available at all good bookshops and from Trafalgar Square Publishing


Tuesday, November 15, 2016

History: Beatles Book Monthly October 1966

The October 1966 of the Beatles' official fan magazine catches the group following their post-"Bigger than Jesus" tour of the United States, when all members were taking a break and plotting their next moves. Not surprisingly, the mag puts a bright spin on the whole Jesus controversy.

The big news is John cutting his hair to appear in Richard Lester's "How I Won the War" film. There's also interview with George about songwriting and a nice photo of Ringo, with wife Maureen and son Zak, at home. Not much to report regarding Paul, this month.

Beatle road managers Mal Evans and Neil Aspinall and driver Alf Bicknell

Friday, November 4, 2016

Reissue of "Woman" LP by Mike McGear/McCartney on the way

The 1972 solo debut by Mike McCartney (his brother was in the Beatles) is out this month from Esoteric Records.

The cover photo is of Mike and Paul's mother, Mary. And Paul, credited as "friend," co-wrote the tune "Bored as Butterscotch."

Here are the details:

Esoteric Recordings are pleased to announce the release of a newly re-mastered edition of the classic 1972 album “Woman” by Michael McGear.

Released by Island Records in February 1972, “Woman” was the first solo album by Mike McGear (McCartney) and was a more “serious” record than his work with the Liverpool satirical trio Scaffold, or his work with Roger McGough on the “McGough & McGear” album.

Recorded at Strawberry studios in Stockport and completed at Abbey Road studios, the album had a long gestation period and sessions featured such notable guests as organist Brian Auger, Ginger Johnson and his African drums, Andy Roberts et. al.

The material comprising the album was song-based, (interspersed with recorded dialogue between Mike and his daughter), with some lyrics provided by Roger McGough. Being removed from his work with Scaffold, “Woman” was rejected by EMI Records for release, but was eagerly signed by Island Records.

Over the years, the songs on the album, including the emotive title track, have earned both appreciation and a cult following. The album’s title track was even featured in an episode of the BBC TV series “Cradle to Grave”.

A gorgeous, eccentric, collection of music, “Woman” is an album to savour. This Esoteric Recordings edition has been newly remastered and includes an illustrated booklet with a new interview with Mike McGear McCartney.

Beatles Bits: Weekly news updates: Blindman; Johnny Marr; Tara Browne

A cool pic from the Meet the Beatles for Real blog: John Lennon autographs copies of Double Fantasy in his Dakota building office.

Rolling Stone recounts Ringo Starr's turn as a bad guy in the 1972 Western "Blindman," 
Ringo acquits himself nicely in some solid action sequences: He shoots a poisonous snake, tortures Blindman, stabs an old rancher to death, and (spoiler alert) eventually meets his end in a cave, where the sight-impaired, sure-shot gunfighter confuses him with some well-timed dynamite explosions before putting some lead in the back.


Former Smiths guitarist Johnny Marr recalls how Paul McCartney helped put the breakup of his group into perspective.
“The man who’s been defined by a song writing partnership - if anyone can give me some advice, it’s him.

“So, I told him what had been going on and he took a minute and he looked at me and he paused and said ‘that’s band’s for you’.

“And, actually, I haven’t really thought of a better way of putting it. He knows a thing or two about bands.”

The Daily Telegraph reviews a new biography of Tara Browne, the Beatle friend who inspired the lyrics of "A Day in the Life."
At the decade’s apex the elfin, velvet-clad Browne seems to have been everywhere: consorting nightly with Brian Jones at the Scotch of St James, racing sports cars (both around London and in competition), dining in Paris with Dalí, posing for Gentlemen’s Quarterly alongside fellow dandies such as Christopher Gibbs, but also spending his days “in garage overalls” when most of his peers were “in lace and satin”. At his friend Len Street's garage, he tinkered engines for crooks who wanted getaway cars that could run at 120mph until they conked out, sufficiently far from the scene.

Wednesday, November 2, 2016

Capitol Records to celebrate 75th anniversary with vinyl release of five Beatles LPs, plus solo albums

Capitol Records is celebrating its 75th birthday starting this month with an extensive slate of music, film and book projects - including the vinyl release of five Beatles albums.

These include Meet the Beatles, Revolver, Sgt. Pepper, the "White Album and Abbey Road.

Also on the list are George Harrison's All Things Must Pass, John Lennon's Imagine, Ringo Starr's Ringo (yeah!) and Paul McCartney and Wings' Band on the Run. Plus many other great albums by other Capitol artists.

Many Beatles fans will likely be disappointed by the choices, as the track lineups of Pepper, the "White Album" and Abbey Road are the same as the UK versions, which are already available in both stereo and mono formats.

But all the Beatles' albums on Capitol prior to Pepper feature different track listings and, in many cases different mixes and added reverb. Yet, of those only Meet the Beatles and Revolver are getting the vinyl treatment.

Not every fan likes Capitol's Beatles' albums, but for those of us who grew up on them, they carry a nostalgic and historic interest.

Given, this is a celebration of the label, it would've been nice to see all of those records included in this campaign. At the very least, Capitol's version of Rubber Soul would be a nice inclusion - as it's Capitol's sequencing is quite enjoyable with its emphasis on acoustic tracks.

Here is Capitol's complete news release:

Capitol Records, one of the world's preeminent music companies and the first record label established on the West Coast, will launch its 75th Anniversary Celebration in November with an extensive slate of music, film and literary projects that will pay tribute to Capitol artists spanning the past eight decades and shine a spotlight on their historic contributions to music and popular culture.  
Capitol Music Group (CMG) Chairman & CEO Steve Barnett today announced three of the company's planned  endeavors:  A year-long major vinyl reissue campaign – The Capitol Records 75th Anniversary Collection, 75 albums that illustrate the unparalleled artistry of Capitol Records throughout its history – launched in partnership with leading home furnishings destination Crate and Barrel; the publication of a deluxe photograph and essay book from TASCHEN, 75 Years Of Capitol Records, on December 15, and the development of a Capitol Records docuseries being produced by Nigel Sinclair/Whitehorse Pictures (The Beatles: Eight Days A Week – The Touring Years, No Direction Home: Bob Dylan), with individual episodes to be directed by music luminaries and Capitol artists, past and present.
The year-long celebration will commence on Tuesday, November 15 when Capitol becomes the first record company to receive a star of recognition from the Hollywood Chamber of Commerce, which will be installed in front of the landmark Capitol Tower and adjacent to the internationally-renowned Hollywood Walk of Fame.  At the star's unveiling, the State the Los Angeles City Council will present Capitol with a resolution declaring November 15 Capitol Records Day in the city.  Beginning that evening, the spire on top of the Capitol Tower that has always emitted "Hollywood" in Morse code will change to "Capitol 75," and will continue to flash in that manner for the next 12 months.
The Capitol Records 75th Anniversary Collection – Vinyl Reissue Program
To select 75 albums that represent the best of Capitol Records from among literally thousands of works the company has released over the past 75 years, the label convened an advisory board of noted music journalists, authors and renowned creative figures to decide on the final list of albums that comprise The Capitol Records 75th Anniversary Collection.  The result spans myriad Capitol eras and musical genres, and includes best sellers, influential works and lesser-known gems (see below).  The reissue program begins this month, and titles will be available through music retailers throughout 2017.
Crate and Barrel & American Airlines Partnerships
Leading home furnishings retailer Crate and Barrel has partnered with Capitol for its 75th Anniversary celebration to feature The Capitol Records 75th Anniversary Collection in stores nationwide.  The collection can be found within The Listening Room, where consumers can find an exclusive collection of furniture, accessories and cutting edge audio equipment.  American Airlines continues their partnership with Capitol Records and Universal Music Group to celebrate a Hollywood Icon and its contribution to music around the world.  In 2017, American Airlines will continue their commitment to the industry by launching, "Fly to the Beat" – a Global Music platform, connecting consumers to their favorite musicians – including Capitol artists --- and moments across five continents.
75 Years of Capitol Records – TASCHEN Release in December
To commemorate Capitol's extraordinary history of recorded music, TASCHEN is publishing the official account of Capitol Records from its founding year of 1942 through to today. To be released December 15, 75 Years of Capitol Records follows the label's evolution and the making of some of the greatest music of the 20th and 21st centuries.  The book includes hundreds of images from Capitol's extensive archives, as well as a foreword by Beck and essays by cultural historians and music and architecture criticsThis photographic and musical history includes the label's most commercially successful, creative and important artists whose work has defined Capitol Records, music and popular culture for the past eight decades.  75 Years of Capitol Records is also available at Capitol's online store.
Capitol Records Docuseries – Produced by Nigel Sinclair / Whitehorse Pictures
This series – planned for release in the autumn of 2017 – will tap into the creative passions of Capitol's artists, the hidden glories of the company's extensive archives and the many stories that have taken place within the Capitol Tower throughout its 75-year as one of the world's premiere music companies.  But it will be more than just the illustrious history of such a storied label; it will also tell the story of America's love affair with popular music and an exploration of how Capitol's
artists and their music have helped shaped social movements, transform our popular culture and helped define our lives.  This docuseries will be produced by Nigel Sinclair's Whitehorse Pictures, the creative team involved  in numerous music-centered documentaries, including the award-winning No Direction Home: Bob Dylan and the just-released The Beatles: Eight Days A Week – The Touring Years.  Each episode in this docuseries will be directed by a past or present-day Capitol artist or other cultural luminary who will bring a unique and knowledgeable perspective to the stories being conveyed.

The Capitol Records 75th Anniversary Collection(alphabetical by artist)
Ashford & Simpson
Beastie Boys
Paul's Boutique
Morning Phase
Blind Melon
Blind Melon
Bob Seger
Night Moves
Bobbie Gentry
Ode To Billy Joe
Bobby Darin
You're The Reason I'm Living
Bonnie Raitt
Nick of Time
Bonnie Raitt
Luck Of The Draw
Buck Owens
Buck Owens
Cannonball Adderley
Mercy Mercy Mercy
Crowded House
Crowded House
Dean Martin
Dino: Italian Love Songs
Duke Ellington
The Duke Plays Ellington
Foo Fighters
Foo Fighters
Frank Sinatra
In The Wee Small Hours
Frank Sinatra
Songs for Swingin' Lovers!
Frank Sinatra
Come Fly With Me
Frank Sinatra
Frank Sinatra Sings For Only The Lonely
Freddie Jackson
Rock Me Tonight
Gene Vincent & His Blue Caps
Bluejean Bop
George Clinton
Computer Games
George Harrison
All Things Must Pass
Glen Campbell
By the Time I Get to Phoenix
Grand Funk Railroad
We're an American Band
James Taylor
James Taylor
Joe South
John Lennon
Johnny Mercer
Accentuate the Positive
Judy Garland
Judy at Carnegie Hall
Katy Perry
Teenage Dream
Kingston Trio
Kingston Trio
Get The Knack
Les Paul and Mary Ford
Les and Mary
Linda Ronstadt
Heart Like a Wheel
Louie Prima
The Wildest
Maze Featuring Frankie Beverly
Maze Featuring Frankie Beverly
Mazzy Star
So Tonight That I Might See
MC Hammer
Please Hammer Don't Hurt 'Em
Peace Sells
Merle Haggard
Mama Tried
Miles Davis
Birth Of The Cool
Nancy Wilson
How Glad I Am
Nat King Cole
Natalie Cole
Neil Diamond
The Jazz Singer
Norah Jones
Come Away With Me
Peggy Lee
Is That All There Is
Pink Floyd
Dark Side of the Moon
OK Computer
Richard Thompson
Rumor & Sigh
Ringo Starr
Robert Glaspar
Black Radio
Rosanne Cash
Black Cadillac
Sam Smith
In The Lonely Hour
Steve Miller Band
Fly Like an Eagle
In The City
Tennessee Ernie Ford
Sixteen Tons
The Band
Music From Big Pink
The Band
The Band
The Beach Boys
Surfer Girl
The Beach Boys
Pet Sounds
The Beatles
Meet The Beatles
The Beatles
The Beatles
Sgt. Pepper's Lonely Hearts Club Band
The Beatles
The Beatles
The Beatles
Abbey Road
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Tuesday, November 1, 2016

New biography spotlights "Day in the Life" inspiration Tara Browne

Beatle friend and heir to the Guinness beer fortune, Tara Browne was the Swinging London figure whose death in a car accident inspired John Lennon's lyrics to "A Day in the Life."

Now Browne's story is the subject of a first full-length biography "I Read the News Today, Oh Boy," by British writer Paul Howard.

Few people rode the popular wave of the sixties quite like Tara Browne. One of Swinging London's most popular faces, he lived fast, died young and was immortalized for ever in the opening lines of 'A Day in the Life', a song that many critics regard as The Beatles' finest. But who was John Lennon's lucky man who made the grade and then blew his mind out in a car?
Author Paul Howard has pieced together the extraordinary story of a young Irishman who epitomized the spirit of the times: racing car driver, Vogue model, friend of The Rolling Stones, style icon, son of a peer, heir to a Guinness fortune and the man who turned Paul McCartney on to LSD.
I Read the News Today, Oh Boy is the story of a child born into Ireland's dwindling aristocracy, who spent his early years in an ancient castle in County Mayo, and who arrived in London just as it was becoming the most exciting city on the planet.
The Beatles and the Stones were about to conquer America, Carnaby Street was setting the style template for the world and rich and poor were rubbing shoulders in the West End in a new spirit of classlessness. Among young people, there was a growing sense that they could change the world. And no one embodied the ephemeral promise of London's sixties better than Tara Browne.
Includes a sixteen-page plate section of stunning colour photographs.

You can read an extract from the book here.