Новые книги о "Битлз"

Счас пошлю!

Новая книга от Belmo.
К книге прилагается CD с 24 треками...
The Beatles Discovered!
The Tribute CD
1. Reality Ruins Even/thing - Steph Paynes & Ted Greenwald - 5:09
2. I've fust Seen A Face/We Can Work It Out - The Runaways - 3:01
3. Tomorrow Never Knows - Bastion - 3:24
4. Norwegian Wood (This Guy Has Flown) - Jim Hart Trio - 5:01
5. Rocky Raccoon - Terry Pospisil - 2:29
6. Why Don't We Do It In The Road?- 4Track All-Stars -4:14
7. She Said She Said - Scott Bennett & The Runaways - 3:53
8. I'm A Loser - Michal Moon - 4:29
9. Slow Down - Mad Dog - 3:46
10. Help! - Thurston Lava Tube - 2:26
11. Yesterday - Norton Buffalo & Lisa Flores - 3:25
12. Love & Drugs Forever - Steph Paynes & Ted Greenwald - 3:43
13. Because - Arthur Ribillard - 2:52
14. I've Just Seen A Face - Terry Pospisil - 2.09
15. Ob-La-Di, Ob-La-Da - Ken Jacobs - 2:58
16. I Am The Walrus - Kurt Riemann - 4:21
17. You're Gonna Lose That Girl - The Bees - 2:24
18. Strawberry Fields Forever - Guy & Maggie Ridley - 3:29 19* Across the Universe (live) - Adrian Belew - 2:23
20. Blackbird (live) - Adrian Belew - 2:25
21. Here Comes The Sgt. Pepper - Ken Jacobs - 2:54
22. The Long and Winding Road - Henry Bennefield - 3:34
23. The Beatles Talk Covers - 0:49
24. Long Long Long - his name is alive - 3:25

Copyright 2005 Belmo Publishing. Cover art by William Stout. CD produced by Belmo & John Dougherty. Engineered & mixed by John Dougherty.
This CD is not for sale and is intended for promotional use only. If you see this CO being sold, contact the publisher.
For optimum enjoyment, use headphones and crank up the volume. Long live the music of The Beatles!

А также, если присмотреться к именам людей, которых благодарит Бельмо, то можно найти знакомых...

The Beatles
Discovered
Beatles Tribute Albums,
Cover Songs,
Comedy & Novelty Records,
Parody Albums
and more!
This book is dedicated to my late friend, Michal Moon - fellow Beatles fan and musician. The author wishes to thank the following nice folks who helped make this book possible:
Andrew Croft, Ken Orth, Ken Jacobs, David Bechtol, Woody Jones, Charles Iscove, Brian Davis, Wally Seekamp, Steve Loveless, Renato Facconi, Mike Beller, Phil's Records, Beatlology Magazine, Bill King, Beatlefan, Beatlemania Magazine, Mark Lapidos, Arthur Ribillard, Charles Reinhart, Terry Pospisil, Don Gauck & Donald Gauck, Henry Bennefield, Terri Belmer (my saintly wife),Ted Greenwald, Steph Paynes, Harold Branson, Sexy Sadie, Eleanor Rigby, John Dougherty, Bill Nienaber, Dirk Van Damme, Norton Buffalo, Larry Krech, Bob Walker, Jim Ratts, Bill Stout, Scott Dailey, Jeff Jerdon, The Thurston Lava Tube, Terry Toner, Adrian Belew, Rhino Records, Garry Marsh, Tony Jorvath, Andres and Ded Alex from Moscow, Ted Siegel, Drummond Grieve, Weird Al, Dr. Demento, and, of course, the Fab Four who made it all possible with the best rock/pop music ever recorded!


Дед.

2ДЕД и другие обладатели многим недоступных редкостей: Пришли бы на ЭХО, как ИгорьИзЦветов и Андрес, и почитали бы че-нить инЬтИресненькое! А так одни дразнилки...

ТакДразнилкиВоспроизводитАндрес-ПередачЕщена15часов.
Д. & A.

2Дед_Alex:
>ПередачЕщена15часов.

А мы никуда не торопимся... ))

June 6, 2005 -- MSNBC

BEHIND 'MOD SQUAD' ACTRESS GOLDEN IMAGE

Peggy Lipton shares darker stories in new book

She was the beautiful undercover cop on TV's "The Mod Squad." Peggy Lipton became a cultural icon on that hit show back in the 60s. But what very few knew was that behind that golden image was a woman living a life a lot darker and wilder than even her crime-fighting alter ego. Read an excerpt from her book, "Breathing Out," below.

MEETING PAUL:

I arrived at the party wearing a pink silk skirt and my mother's Emilio Pucci checkered Jersey top and little heels. I just walked in and pretended to be very blase', like I wasn't about to expire with every step. Well, I am an actress, so I said, "Peggy, imagine you're a very composed, cool character who Is not in the least inhibited by all these famous people and what's about to unfold." It worked. I began snaking my way through the crowds that had gathered on the lawn In anticipation of greeting the world's most alluring popstars. I found myself talking to people. It was better than chewing on the inside of my mouth, which by now I couldn't stop doing. I talked to everyone ... anyone I met. The lovely Eva Marie Saint said hello and told me that she thought I resembled her! I felt extremely flattered. Enough to momentarily drop my raison d'etre--then it all hit me again. I'm going to see him. My heart was ready to burst open with my secret. I'd just have to stay cool for a little while longer. I started aimlessly floating around. I could no longer concentrate on talking to people. I don't know where they were or where he was, but I was feeling it, believe me. Without warning, the four of them appeared, sitting on high wooden stools under a big tree. Someone politely announced that children should come forward now and say hello. To my dismay I saw a line forming-a line of little kids! They were all so small-their moms sending them off with tears in their eyes. I was obviously not a kid but a woman towering ridiculously over them in my slick Pucci getup. The only thing I had in common with those kids was that we'd all been outfitted by our mothers. Sweating rivers through my clothes, I was feeling somewhat humiliated but unerring in my determination. The whole year of longing culminated in this moment. Adolescence was over forever. I was in line to meet the Beatles.

The Fab Four under a tree. They looked cute. Just like the photos I had strewn across the walls of my bedroom. But I knew they weren't the cuddly mop tops they were pretending to be. You knew that when you got up close. John's twisted smile, for one thing, suggested a lot of strange thoughts could be going on in his head. Ringo, sporting a huge grin, seemed utterly bemused and nonchalant about it all. George was wiry and agile, adjusting his body to shake as many of the little hands as he could. I watched Paul. It felt like he was doing a sort of music-hall soft shoe routine for the crowd.

He was being a showman, a carny The nice one who could engage the multitudes. I didn't know if I'd be able to talk when my turn came. What was there to say? My mind went completely blank.

Okay, so John greeted me first, then George took my hand. I hardly remember them. Paul was the one I was watching and my heart was pounding too loud, sounding like thunder in my ears. "Look, Peggy," I said, trying to get a grip on myself. "He's being really sweet with these kids." I was admiring that while he was looking down and patting them on the head. All of a sudden I felt him looking at me and it was a totally different look. It was filled with promise and sexuality and I was stunned.

"Come on, Peggy, you can do it. Shake hands!" Earl was shouting as he was photographing me. I was embarrassed. "Please stop, Earl," I thought. But this was a great moment for him, too. He actually saw his diligent work paying off. I wanted Paul at that moment as much as I had ever wanted anything in my life. I came face to face with him.

"Hello' " I said, and he shook my hand and looked at me.

"My god, you're beautiful," he said.

"You're not so bad yourself," I replied, like an idiot. A year in the planning and that was all I could come up with?

My knees under the pink silk skirt buckled. I was madly in love with Paul McCartney, or should I say even more madly in love-knowing full well that disaster lay ahead. How could it be otherwise? Every woman wanted Paul.

"Well, move on. Next person," said a disembodied voice from hell. I went to the next person who was George Harrison or whomever. I couldn't have cared less. I had made the connection. Paul had looked at me with his puppy dog, long-lashed, beautiful eyes and that was it. Paul moved on with his conversation and charmed the next fan in line.

http://www.msnbc.msn.com/id/8100887/
http://www.amazon.com/exec/obidos/tg/detail/-/0312324138/ref=ase_paulmccartnphoto/104-9...

MAGICAL MYSTERY TOURS: My Life With The Beatles
Interview with author Tony Bramwell (4-13-05)
By Ronnie
Intro:
Talking with Tony Bramwell was truly amazing. The only quandary was how many questions could I fit in my allotted 20 minutes of interview time? (We actually went over to almost 30 minutes!) When you can't talk to a Beatle, why not talk to the next best thing - someone who was there? And Tony was there from the beginning, in fact knowing George Harrison before he was a Beatle and going on to become their roadie before Mal & Neil were on the scene. He also has the unique perspective of not only working for N.E.M.S. during Beatlemania, but then also working for Apple. So Tony's story covers the entire Beatles story.

While several of the questions were related to his new book, Magical Mystery Tours: My Life with The Beatles, I still had a few non-book questions. Tony was very personable and it is a pity that we had to conduct the interview over the phone instead of a pub!

One final observation - while Tony imitated Paul McCartney in a radio interview during the "Paul is dead" hoax, I found his voice to be closer to a mix between Ringo's and George's.

E.C.: First, what took you so long to write a book, the stories are incredible?

Tony Bramwell: Well, I had a big hit record with a girl called Eva Cassidy from Washington, who died about 8 or 9 years ago. I was putting these records out privately on my own, sort of label. We finished up with four #1 albums and sold 9 million records in England. I did a lot of radio and TV shows to tell a story, and people kept saying, “You should write a book”. (laughs) Eventually I had some time to write a book, or start on a book – and I thought I’d write a book about the music business. But I wanted to tell also what it was like being a kid in Liverpool post-war. And I told how The Beatles were involved in all of that. So, it sort of just turned into a Beatles book. That carried on and on and I finished up with a book that was about 1,700 pages long. When the publishers eventually picked it up, they got it down to what it is now. (deadpans) But, if you can’t read it, it will make a great doorstopper. We do have volumes two and three almost ready to go. (laughs)

E.C.: Your book reads like a who's who of rock 'n roll, Hollywood elite and music. I mean, from meeting Buddy Holly, to of course The Beatles, The Stones, The Who, Bobby Darin, Jayne Mansfield, Sinatra, Sammy Davis Jr., Burt & Liz, Springsteen, etc. Will you consider writing a second book of all your memories? Or maybe an exposé on the music biz?

Tony Bramwell: That’s what I set out to do in the first place. ‘Cause The Beatles were such a big part of my life…and still are… it turned into ‘my life with The Beatles’.

E.C.: Where did you get all those incredible photos for your book? Usually when a "new" Beatles book comes along you just see the same old photos. How did these escape the burglary and the loss of your Beatles memorabilia?

Tony Bramwell: Well, I had all my photos, nobody would touch those. There’s a lot more photos, but Apple has them and they wouldn’t let me have them back. All those ones you see on t-shirts and things nowadays are mainly mine! (laughs)

E.C.: Usually when you open a “new” Beatles book you see old photos – and it was great seeing all the incredible photos in your book, mostly ones we hadn’t seen before.

Tony Bramwell: There are more…, which will be in the other editions – the publishers want to put out further editions. There’ll be more photos…, which still belong to me.

E.C.: From your book, I get the feeling that you feel that Brian Epstein has been extremely shortchanged within The Beatles story.

Tony Bramwell: Well I think so because Brian…when he became their manager he devoted his life to being their manager and doing the best that he could do at the time. There was no blueprint of how to manage the world’s most successful act. Even Colonel Parker didn’t manufacture Elvis worldwide in the same was as Brian did [with The Beatles]. He’s been criticized because some of the deals might not have been that great. But he was a lovely man, devoted to being The Beatles manager.

E.C.: I was also impressed that Brian was such a gentleman and kept his word in business dealings.

Tony Bramwell: Brian did everything on a handshake…he was a gentleman.

E.C.: Do you think you'll be asked to be an advisor of any sort on the proposed Brian Epstein film bio currently in the development stages (supposedly starring Jude Law)? Do you know anything about this Brian Epstein project?

Tony Bramwell: Well I’ve read about it. Presumably when it gets further into production, somebody will get in touch with me about it.

E.C.: Have you been asked to be an ‘advisor’ of any sort for the film?

Tony Bramwell: No, no…I’m the forgotten person (laughs)…nobody ever mentions me at all. At least I’m still alive. (laughs).

E.C.: I just finished reading a book about the "Paul Is Dead" phenomena (TURN ME ON DEAD MAN- which we are reviewing in EAR CANDY). And this book mentions the phone call that you made to the radio station pretending to be Paul.

Tony Bramwell: Oh do they?

E.C.: It was great find reading your confession that it was YOU who called the radio station imitating Paul and that they used it for some kind of voice analysis to "prove" that there was indeed another Paul. I know that Paul told you to deal with it, and you discussed it with Derek Taylor (who seemed just annoyed at all the calls coming in to Apple). How exactly did that come about?

Tony Bramwell: It just got so tiresome, the phone calls and the constant harassment from the press and radio and media. I just got fed up with it. So I just put me Paul voice on and said, “No, me? I’m sitting here drinking a cup of tea” or whatever. Because Paul wasn’t being helpful because he was up in Scotland…and The Beatles had folded. When it became 24 hours a day, 24-7 or whatever you call it, just denying that Paul is dead, I just thought, “I can’t take any more of this” – so I pretended I was him. I can’t remember which disc jockey I even did it with, I think it was one in Canada or Miami or whatever.

E.C.: Did Derek agree with you about the call?

Tony Bramwell: I mean it was disrupting the entire Apple industry Just 24-7 of “Paul’s dead, who’s the imposter? Billy Shears or Billy Campbell?”

It was quite fun for a while, then it just too much. I just had to try and stop it because nothing else was getting done.

E.C.: Did you "script" out what you were going to say? (They put some of the transcript into the book.)

Tony Bramwell: No, no, I just answered the phone and thought, “I’m gonna be Paul” and did that.

(продолжение)
E.C.: And they fell for it?

Tony Bramwell: Well, I suppose so.

E.C.: With the drug busts starting in 1968, I was curious about one thing - your book mentions all the drugs going around at the Apple building. And in the other books you read all the accounts of the drugs going on…

Tony Bramwell: That was on the 2nd floor. That was Derek’s room. (laughs)

E.C.: Was there ever any "plan" on what to do if Apple was busted?

Tony Bramwell: Ron Cass ran a very serious record company and music publishing company and we didn’t…apart from having the odd scotch and coke or whatever, we didn’t get involved in that sort of hippydom, which was encouraged by the John and Yoko thing.

We were such a respectable building in a respectable area - they went after The Beatles at home.

E.C.: Well, there were those rumors that George and Patti were at Redlands before the bust [Redlands bust at Keith Richards' home in 1967 in which the police raided the estate after George and Patti Harrison left].

Tony Bramwell: Yes they were and so was I! Well, I left as well.

I never took any drugs, just the occasional drink. I was in terror of losing my visas & passports and freedom and things. And if you were busted for drugs in England, or anywhere at the time, you lost your visas. Sort of semi-incarcerated. I didn’t like the idea of that so I stayed away from that abuse.

E.C.: Well, that’s probably why you have such a good memory!

Tony Bramwell: (laughs)

E.C.: Also, there is a rumor that The Beatles heard some of the advance tapes of Smile and this is what influenced Sgt. Pepper. There is one writer who has put forth this accusation as well as Van Dyke Parks himself. Since you were THERE, is there ANY truth to this?

Tony Bramwell: The advance tapes of Smile? No.

It was a combination of Paul and George Martin’s whims that turned it into that sort of running order, which made it into a “concept”. When you hear them out of order it doesn’t make any sense at all.

The Beatles “Sgt. Pepper” album was just one of those things – a group of 12 songs or however many – when programmed together turned into what it was. Have you ever heard…in the days when they did those 8-track cassettes and when they did the “Sgt. Pepper” one they changed the running order. (laughs) It just sounds like rubbish! It doesn’t flow at all.

I mean, Paul did do some stuff with Brian…”Vegetables”. Was that Smile?

E.C.: Yes, that was part of Smile and that was in 1967 AFTER “Sgt. Pepper” was finished.

Tony Bramwell: We weren’t particularly aware of The Beach Boys at the time. There wasn’t a battle against The Beach Boys. They were a surfing band and The Beatles were a pop-rock band.

E.C.: I know that Paul was influenced by Pet Sounds, but I never see any interview quotes by John that mention his feelings on the Beach Boys and Brian Wilson. Since you hung out with the Beatles a lot, did John ever mention the Beach Boys to you?

Tony Bramwell: I don’t think John was ever interested one jot in The Beach Boys music. (starts singing) “Get around, get around, I get around…”

E.C.: I wanted to ask about some of your film work of The Beatles. You did the promo for “A Day in the Life” correct?

Tony Bramwell: Yes.

E.C.: About 15 years ago, I got a bootleg copy of some Beatles videos and they had two versions of the "A Day in the Life" promo. Since you worked on that, how many versions were there?

Tony Bramwell: No, there was only one. Well, there was only one that I put together. I did all The Beatles promos, from “Help”, “I Feel Fine”, “We Can Work It Out”, “Ticket To Ride”. We made little films.

E.C.: I also had the “Lady Madonna” promo, which actually uses studio film from the “Hey Bulldog” session. It was great to finally see your "Hell Bulldog" film a few years ago when it surfaced. Were you surprised when they found that (“Hey Bulldog”) film?

Tony Bramwell: Well they didn’t actually “find” it…it was there at Apple. Apple has everything. Somebody called me up and said, “What is this?” I said it was the “Lady Madonna” promo filmed when we did “Hey Bulldog”. They re-edited it back to “Hey Bulldog” for the “Yellow Submarine” [video reissue].

E.C.: I also find it interesting that you point out that John and Yoko hooked up much, much earlier than the "Official" TWO VIRGINS story! And that the trip to India in 1968 was a way for him to avoid the problem for awhile.

Tony Bramwell: The trip to India had been organized earlier on and it gave him a breather to sort out what he was thinking about. And…to write some songs.

E.C.: I wasn’t aware that Brian Epstein had booked Yoko at the Saville Theatre in 1967...

Tony Bramwell: I mean, what she was doing was nonsense. It wasn’t art, it was just her sitting on stage screaming and having her clothes cut off, you know. Salvador Dali and Van Gogh are art to me.

E.C.: You mentioned in your book that some people even thought that Yoko had hypnotized John?

Tony Bramwell: I don’t know if it was hypnotism…it was just…what do you call it now…stalking? It was just tiresome. We worked for The Beatles, we didn’t work for The Beatles' wives. Patti Harrison would never ask me to go out and buy vegetables and suddenly Yoko’s asking me to go buy her tampons.

E.C.: Your book also makes some interesting distinctions between Linda (Eastman) and Yoko.

Tony Bramwell: Well, Linda was polite and talented…and she was photographer.

The Beatles sort of motto was, ‘You don’t take your wives to work’. And suddenly there was a wife at work. John absolutely adored the woman and…it was difficult to see why. Because he had this happy…what appeared a happy home life and apparently wasn’t.

E.C.: Also it can be seen as John’s way to “rock the boat”, since he always liked to do that.

Tony Bramwell: Yeah, John always had this edge to him.

E.C.: Have you seen or spoken to Yoko since…

Tony Bramwell: Oh no, no, no! (laughs)

E.C.: Of all the famous people you have met. Who was the most memorable? I would reckon Buddy Holly?

Tony Bramwell: Well, The Beatles obviously. I liked meeting the idols we had when we were kids like Little Richard and the Everly Brothers and Buddy Holly. And Elvis…but Elvis by then had lost his shine. It was the ones when we were sort of “on the way up” and you met Gene Vincent and the idols we had when we were 10 years old. And it was cool to meet Dylan and all those other people, but they were never idols, the ones which I grew up with.

http://www.earcandymag.com/tonybramwell-2005.htm

Кто не имеет книгу Mark Lewisohn “The Beatles Recording Sessions”, поспешите загрузить ее электронную версию.
http://www.themaingate.net/recording_sessions.pdf
Объем не маленький, более 70 Мб и придется поработать над загрузкой не мало времени. Но когда вы откроете этот электронный вариант, то поймете, что усилия ваши были не напрасны!

In Other Words: George Harrison -- The Quiet Beatle talks God, LSD and all those years ago

This excerpt is from my interview that took place in 1987 for an issue of Rolling Stone commemorating the magazine's twentieth anniversary. I had interviewed Paul McCartney for the same issue the day before. Both those interviews appear at full length in a section of In "Other Words" titled "Meet the Beatles," which also includes a second interview with McCartney from 2001 and an interview with Phil Spector about producing "Let It Be" and solo albums by Harrison and John Lennon.

I arrived at Henley-on-Thames, where Harrison lived, by train on a Saturday afternoon in June. His wife Olivia had told me that someone would be picking me up, so I stood on the platform looking for my ride. When everyone else had left, I heard a voice behind me say, "You look like the only person here who might be from New York." I turned around and there, smiling, stood George Harrison.

Moments later, I was lying in the low passenger seat of his black Ferrari 275 GTB as he drove me to his Friar Park estate. As he drove, he glanced over at me. "So, I understand you spoke to Paul yesterday. How is he doing?" So this is what's become of the Beatles, I thought, George Harrison has to ask me how Paul McCartney is doing.

As we drove through the gates at Friar Park, Harrison's spectacular mansion came into view through the trees, looking like something out of a fairytale. As I gaped, Harrison pulled up at one of the guesthouses, which is where we would do our interview. He and I then sat down at a wooden table in the dining room, smoked cigarettes, and talked for two hours, as the late afternoon sky clouded over.

Was there a specific moment when it became clear to you that people were looking at the Beatles as a way of making sense of their lives?

As we began having hits in England, the press were catching on to how we looked, which was changing the image of youth, I suppose. It just gathered momentum. For me, 1966 was the time when the whole world opened up and had a greater meaning. But that was a direct result of LSD.

How did taking LSD affect you?

It was like opening the door, really, and before, you didn't even know there was a door there. It just opened up this whole other consciousness, even if it was down to, like Aldous Huxley said, the wonderful folds in his gray flannel trousers. From that smaller concept to the fact that every blade of grass and every grain of sand is just throbbing and pulsating.

Did it make you feel that your life could be very different from what it was?

Yeah, but that too presented a problem as well, because then the feeling began in me of it's all well and good being popular and being in demand, but, you know, it's ridiculous, really. From then on, I didn't enjoy fame. That's when the novelty disappeared -- around 1966 -- and then it became hard work.

It seems as if that time was incredibly compressed. Did you feel that sense of compression?

That year -- you could say any year from, say, 1965 up to the Seventies -- it was, like, I can't believe we did so much, you know? But those years did seem to be a thousand years long. Time just got elongated. Sometimes I felt like I was a thousand years old.

Was it at that point that your identity as one of the Beatles began to get oppressive for you?

Yeah, absolutely. Again, with the realization that came about after the lysergic. It has a humbling power, that stuff. And the ego -- to be able to deal with these people thinking you were some wonderful thing -- it was difficult to come to terms with. I was feeling like nothing.

Was the decision to stop touring in 1966 part of your reexamining your lives as Beatles?

Well, I wanted to stop touring after about '65, actually, because I was getting very nervous. They kept planning these ticker-tape parades through San Francisco, and I was saying, "I absolutely don't want to do that." There was that movie The Manchurian Candidate [about a war hero who returns home programmed for political assassination]. I think in history you can see that when people get too big, something like that can very easily happen. Although at the time, it was prior to all this terrorism. We used to fly in and out of Beirut and all them places. You would never dream of going on tour now in some of the places we went. Especially with only two road managers: one guy to look after the equipment, which was three little amplifiers, three guitars and a set of drums; and one guy who looked after us and our suits.

Did your interest in transcendental meditation and other spiritual disciplines help you?

All the panic and the pressure? Yeah! Absolutely, I think. Although up until LSD, I never realized that there was anything beyond this state of consciousness. But all the pressure was such that, like the man said, "There must be some way out of here."

For me, it was definitely LSD. The first time I took it, it just blew everything away. I had such an overwhelming feeling of well-being, that there was a God, and I could see him in every blade of grass. It was like gaining hundreds of years of experience within twelve hours. It changed me, and there was no way back to what I was before.

http://www.amazon.com/exec/obidos/ASIN/0634066552/paulmccartnphoto/102-6224846-5839312

Christoph Maus
An Anthology Of Original LP-Releases
October 2004
Hamburg, Germany
370 page

Есть странички по России

Теперь есть в *.doc - I ME MINE
Пишите на мое МЫЛО, первым 10 вышлю файл, сами доработаете.
Дед.

Не книга, но журнал.

June 15, 2005 -- NME

NME Originals proudly presents BEATLES: THE SOLO YEARS 1970-80, a magazine dedicated to charting the careers of JOHN LENNON, PAUL McCARTNEY, GEORGE HARRISON and RINGO STARR in the decade after the break-up.

Played out against a backdrop of reunion rumours, the '70s proved to be a significant part of The Beatles story, with the Fab Four showing flashes of solo brilliance that could rival their collective output.

From 'IMAGINE' to 'BACK OF BOOGALOO, from 'BAND ON THE RUN' to 'MY SWEET LORD', this magazine concludes the Beatles story by republishing many of the solo interviews and reviews for the first time since their original publication in the pages of NME and Melody Maker.

Add to this some truly fantastic photography and newly commissioned articles that tell the story of The Beatles split and bring their careers right up to date, this magazine is a must for every Beatles fan.

http://www.zinio.com/offer?issn=1476-4903Be&of=PH1SC&bd=1

Содержание

Содержание (продолжение)

Кликайте на фото, чтобы увидеть крупнее

"Memories of John Lennon" by Yoko Ono
выйдет осенью
http://www.amazon.com/exec/obidos/tg/detail/-/0060594551/ref=ase_pauplathemuss-20/103-8...

Такой журнал выходит на русском, интересно сделают один в один или разбавят, как всегда нашей попсой.

Относительно новая, 2004 год.
Сейчас вышлю.
Д.

В этой книге замечены:
Андрес, Коля Денисов (опять, как и на ДВД) и Lemon Lennon

Meet the Beatles
By Gregory McNamee

Bottom line: A spirited account of what the Beatles meant in their time -- and ours.

"Meet the Beatles: A Cultural History of the Band That Shook Youth, Gender, and the World," by Steven D. Stark (HarperCollins, 356 pages, $26.95)

It was the drumshot heard 'round the world: On Feb. 9, 1964, four young men from Liverpool, England, conquered America.

The occasion was "The Ed Sullivan Show," the American television debut of the Beatles. "The '60s as an era began that night," writes Steven D. Stark in his smart look at the Fab Four and the cultural changes they wrought.

"The Beatles," Stark adds, "were on stage for thirteen and a half minutes, singing and smiling their way through a virtually unprecedented (at least for Sullivan) five songs."

They were smiling, to trust Stark, because they didn't hate their parents or material goods. Paul McCartney was smiling because he was eager to please -- even though, Stark tells us, he was in fact the angry Beatle. George Harrison was smiling because he was taking amphetamines for a case of strep throat. Ringo Starr was smiling because it was his nature to do so. And was John Lennon smiling, or smirking?

Offstage, Ed Sullivan was smiling because he had scooped the competition, though Walter Cronkite had aired news footage of the band a few weeks before. (Cronkite later recalled: "It was not a musical phenomenon to me. The phenomenon was a social one.") Sullivan may also have been smiling because he got the band at a bargain rate, half as much as he paid run-of-the-mill headliners and a fraction of what he paid Elvis.

And the executives at Capitol Records, who ordered thousands of Beatles wigs for their sales reps and accounts to wear, were smiling because the cash registers started ringing as never before in musical history.

Money, anger, culture shock, generational conflict -- these are some of the themes that Stark addresses, though always against the context of the band's music. It was the music, after all, that made the Fabs matter -- not the hair, not the pointy boots, not even the collarless suits. Improbably, given the amount of ink already devoted to the subject, Stark finds fresh things to say about some of their best-known songs.

But why the Beatles, and not, say, the Rolling Stones? The Stones, after all, were better suited to the job of conquering America: They were playing what was essentially American music, and they had the teenage-surly bit down to an art. But America, Stark hazards, wanted the Beatles more, for the mood in that proto-Summer of Love era was just right for the softer, feminized aura that Lennon, McCartney, Harrison, and Starr projected -- cause for the music critic Lester Bangs to complain that the only rocker in "A Hard Day's Night" was Paul's grandfather.

Stark is right to suggest that the Beatles were unusual among male musicians in addressing women as friends. "For both Lennon and McCartney," he writes, "women were not usually the doormats or superidealized figures of other rock lyrics. ... If John wasn't a girl, he certainly seemed to think like one, at least part of the time." Let the reader decide after a spin or two of "You Can't Do That" whether that thesis needs modifying; set anything by the Beatles against anything by the Stones, and it becomes immediately apparent that the former had a much warmer view of women -- who reciprocated by becoming fans.

What's more, Stark notes, the band offered themselves as just that: a collective of equals, and of friends. In this they anticipated the best part of the '60s, an ethos that was particularly important to people who were deprived of its possibilities, for which reason film director Milos Forman once remarked, "I'm convinced the Beatles are partly responsible for the fall of communism."

The Fabs also were pioneers in another matter, Stark suggests, "Defying the common trajectory of celebrity, the more famous the Beatles became, the more interesting they got." It's ancient history, of course, and the band's influence grows a little smaller each day even as its time recedes into ever more distant memory, the occasional flurry of album and video sales notwithstanding.

Those in the public eye today could do worse than make that last observation the take-home point of Stark's entertaining book. Being interesting is just one of the reasons why the Beatles continue to matter to so many people -- and in that, as in so many other things, they truly made a revolution.

http://www.hollywoodreporter.com/thr/reviews/review_display.jsp?vnu_content_id=1000969288