Space Oddity By David Bowie, Donohoe

Sean Lennon en su Nueva banda ficticia Moonlandingz

Lennon detalles de la colaboración con los miembros de scuzzy sensación UK Familia Grasa Blanca

Por Patrick Doyle 13 de agosto 2015

tOMADO  dE:

http://www.rollingstone.com/music/news/sean-lennon-on-his-new-fictional-band-the-moonlandingz-20150813

Sean Lennon se quedó asombrado cuando vio punks psicodélico grasa blanca de la familia por primera vez en un Sur por parte suroeste del año pasado. "Son una de las mejores bandas en vivo que he visto nunca", dice. "Nos hicimos muy buenos amigos."


Lennon ha ayudado desde que la banda co-producir su próximo segundo álbum, y ahora está haciendo equipo con ellos para un nuevo proyecto paralelo, el Moonlandingz. La formación de la banda cuenta con Lennon y Charlotte Kemp Muhl (El fantasma de un diente del sable tigre), Lias Saoudi Fat Family White (voz) y Saúl Adamczewski (guitarra), y los miembros del grupo de vanguardia electrónica del Reino Unido del Consejo de Investigación Eccentronic para un 10 EP pulgadas sobre Lennon y la etiqueta de Muhl, Chimera Music, salida 30 de octubre.

Escucha la versión en vivo:

Merry Christmas -Belen Miracle - MILAGRO EN BELÉN

Señores les presentamos esta canción realizada en los maratónicos días del 22 y 23 de diciembre del 2015, en los XENSEZ STUDIOS, gracias a la colaboración de los siguientes musicos:

Doris Yalle : Voz , Letra y coproducción
www.facebook.com/dorisina.lawyer
Alaan Placencia (Tax) : Composición, Letra, Guitarra acústica , piano, voz y coproducción.

www.facebook.com/taxbluesman

Canal variado:
https://www.youtube.com/channel/UCGql4iVEeM5RPSyijigX2XA

Canal con música experimental:
https://www.youtube.com/channel/UCRwpKXUgl1sQDxGuENNEjeg

http://melomano-peru.blogspot.com

Alexander Siguenza (Xensez): Producción general, composición, Guitarras, teclados, Mezcla y masterización.
www.facebook.com/XensezFireGuitar

Grabado en Xensez Studios :

MILAGRO EN BELÉN

El ángel Gabriel a María anunció
bendita tú entre las mujeres,
tendrás un hijo y lo llamarás Jesús

Y nació en un pesebre humilde
el Hijo de Dios.
Y hubo gran gozo y le adoraron
como hasta hoy.

Hossana Cristo nació en Belén,
Hossanna los ángeles cantan por su Rey.
Hossana Cristo nació en Belén.
Hossana Cristo nació en Belén.

Jesús vino a vivir entre nosotros,
y nos dío un mensaje de Esperanza, Fe y Amor,
fue tan grande su amor.
Ahora puedo cantar soy libre por su amor,
con su sangre me redimió
y me dio salvación,
gracias Jesús.

Escucha Les Claypool, de Sean Lennon Raw Nuevo Duo Psych-Pop

Tomado de:

http://www.rollingstone.com/music/news/hear-les-claypool-sean-lennons-raw-new-psych-pop-duo-20160120
Sean Lennon sigue siendo uno de rock & colaboradores más intrépidos del rollo. Ya en 2013, se asoció con Deerhoof baterista Greg Saunier en el "increíblemente liberador" improvisación dúo armas místicas, y cuando Rolling Stone puso en contacto con el cantante, compositor y multi-instrumentista, el pasado octubre, que estaba entusiasmado por la Moonlandingz, un " banda ficticia "- incluidos los miembros de UK sensaciones Scuzz-rock grasa blanca de la familia - que hacen música muy real.


A continuación, se puede oír los frutos de la última colaboración de Lennon: una nueva aventura con el líder de Primus y virtuoso del contrabajo Les Claypool llamado Claypool Lennon Delirium. Pista de debut del grupo es la suite de psych pop proggy "Cricket y el Genio." Prima Claypool toca el bajo, mientras que Lennon se encarga de todos los demás instrumentos. Lennon canta plomo en esta pista, pero Claypool también contribuye voces al proyecto.

Como Claypool lo explica, la pareja "se cayeron bien" durante una gira de verano 2015 con Primus, Dinosaur Jr. y fantasma de un tigre dientes de sable, la banda que Lennon co-líderes con el cantante y multi-instrumentista Charlotte Kemp Muhl. "Tuvimos algunos bastidores, jamborees acústicas que encontré interesante, pero cuando [Sean] se sentó con nosotros y se derritió la cara con su guitarra durante 'Southbound Pachyderm," me di cuenta de que este chico tenía unas chuletas ", dijo el bajista en un declaración. "Primus estaba a punto de tomar un tiempo libre y yo estaba preparando un nuevo proyecto, así que pedí a Sean si le gustaría venir a Rancho Relaxo y ver si no pudimos conseguir algunos sonidos interesantes en la cinta. Lo siguiente que sé que es quedarse en mi casa de huéspedes durante las vacaciones y estamos bebiendo vino, a la caza de setas y tirar la pasta musical en las paredes.
"Una cosa que creo que la gente se sorprenderán por lo que es un monstruo de un guitarrista Sean es" Claypool continúa. "No sólo él tiene la capacidad técnica, sino también los sonidos que salen de su plataforma tienden a ser bastante inclinada y convincente. Su ADN definitivamente brilla a través, aunque no es tan sólo sensibilidades musicales de su padre que él refleja, sino también de su madre perspectiva abstracta, que para mí, lo convierte en un guiso monstruo gloriosa ".


"Al igual que muchos músicos de mi generación que estaba en gran medida en Primus," Lennon dijo a la revista Rolling Stone en un comunicado. "Así que cuando Les pidió al GOASTT venir de gira todos estábamos encantados. Yo no sé, pero esto llevaría a una colaboración extraño y sobrenatural en micología musical en compuesto aboraceous Les '. Ha sido un honor y un reto jugar con alguien de calibre Les ', pero por suerte los Dioses de Pinot Noir brilló favorablemente hacia abajo y nos concedió un manojo de canciones diabólicas sobre monos, el espacio exterior y desviación sexual. El Claypool Lennon Delirium será (suavemente) derretir la cara con las oscilaciones de baja frecuencia corazón late con fuerza y chillidos de guitarra interdimensionales. Esperamos poder veros muy pronto ".
El Claypool Lennon Delirium jugará Bonnaroo 11 de junio.

Approximately Infinite Universe - 1972 Yoko ONO

Approximately Infinite Universe

Approximately Infinite Universe (estilizado como APPROXIMATELY INFINITE UNIVERSE) es un álbum doble de Yoko Ono. Fue lanzado a principios de 1973. Representa un gran cambio del rock experimental de sus dos primeros álbumes hacia un rock pop más convencional el cuál se enfocó hacia el rock feminista. Alcanzó la posición #193 en Estados Unidos. La reedición de 1997 incluyó dos demos acústicos de canciones que más tarde se incluirían en el álbum SEASON OF GLASS.

Comercialmente, el álbum fue acreditado a Yoko Ono mientras que en la disquera y en las carátulas de los discos se encuentra bajo el nombre de YOKO ONO/PLASTIC ONO BAND with ELEPHANT'S MEMORY.





Todas las canciones fueron compuestas por Yoko Ono.

Lado A

1. "Yangyang" – 3:50
2. "Death of Samantha" – 6:22
3. "I Want My Love to Rest Tonight" – 5:11
4. "What Did I Do!" – 4:12
5. "Have You Seen a Horizon Lately" – 1:57

Lado B

1. "Approximately Infinite Universe" – 3:21
2. "Peter the Dealer" – 4:46
3. "Song for John" – 2:06
4. "Catman (The Rosies Are Coming)" – 5:34
5. "What a Bastard the World Is" – 4:35
6. "Waiting for the Sunrise" – 2:33

Lado C

1. "I Felt Like Smashing My Face in a Clear Glass Window" – 4:09
2. "Winter Song" – 3:39
3. "Kite Song" – 3:18
4. "What a Mess" – 2:41
5. "Shiranakatta (I Didn't Know)" – 3:11
6. "Air Talk" – 3:22

Lado D

1. "I Have a Woman Inside My Soul" – 5:33
2. "Move on Fast" – 3:43
3. "Now or Never" – 5:49
4. "Is Winter Here to Stay?" – 4:22
5. "Looking Over from My Hotel Window" – 3:36

Bonus Tracks

1. "Dogtown" – 2:51
2. "She Gets Down on Her Knees" – 2:45

Personal

• Yoko Ono: voz, piano en "Looking Over from My Hotel Window" y "She Gets Down on Her Knees"
• Joel Nohnn (anagrama de John Lennon): guitarra, corista
• Daria Prince: castañuelas

Elephant's Memory:

• Stan Bronstein: saxofón, flauta, clarinete
• Richard Frank, Jr.: batería, percusiones
• Daria Prince: castañuelas
• Gary Van Scyoc: bajo, trompeta
• Adam Ippolito: piano, organo, harmonica, trompeta
• Wayne Gabriel: guitarra

Biografia de la banda Velvett Fogg

Velvett Fogg fue una banda de rock británico psicodélico. Tony Iommi fue miembro a mediados de 1968, pero pronto la abandonó para formar Negro Sabbath. Su solitario epónimo álbum fue lanzado en enero de 1969, y re-lanzado en CD por Sanctuary Records en 2002.

Velvett Fogg fue una de las muchas nuevas bandas, dentro de la escena subterránea, que se formaron a finales de la década de 1960, los cuales tratarán de tener la música pop a un mayor nivel de creatividad. Birmingham también tenía su propia escena floreciente música underground durante ese tiempo con una variedad de grupos innovadores emergentes. La línea de Velvett Fogg nació de esta escena de la música alternativa en la ciudad.

Velvett Fogg se formó en 1968 por miembros de una banda de Birmingham Gravy Train. En la delantera era alma cantante Ernie práctico, Bob Hewitt fue el guitarrista principal, con Graham Mullett en tambores, y Mick Pollard en el bajo. Londinense Frank Wilson quien jugó órgano Hammond, fue también en la voz, llegando a ser líder de la banda y el vocalista. La banda recién formada pasó la mayor parte del año recorriendo Alemania jugando en bases del ejército y clubes. Su acto etapa incluyó un espectáculo de luz y una bailarina go-go.

Velvett Fogg, el álbum

A su regreso a Birmingham, la banda, ahora gestionado por una agencia llamada Inter City Artistas, se les dio un contrato de grabación por Jack Dorsey de Pye Récords. También fue un momento en que parecía que cuanto más inusual o controvertido una banda era, entonces la mayor probabilidad habría para el éxito en el negocio de la música. El sello discográfico estaba buscando a firmar inusuales actos de música underground y Velvett Fogg se les dijo que, en palabras de Jack Dorsey, "desarrollar una imagen que haría que la gente piensa que usted mear en el Papa!" (Keith Law). [Cita requerida]

La alineación inicial del Velvett Fogg contó con el guitarrista Tony Iommi (más tarde con Negro Sabbath). Iommi estaba en el line-up para un solo concierto antes de irse para ser sustituido temporalmente por Ian Leighton. Leighton era "un guitarrista de blues", dijo su amigo Frank Wilson. [Cita requerida] Fue durante este tiempo que Pye Registros organizó una sesión de fotos de la banda para la portada de su primer disco propuesto.

Antes de la grabación podría comenzar a finales de 1968, Ian Leighton dejó la banda y fue reemplazado por el guitarrista / vocalista Paul Eastment (un primo de Iommi). Paul Eastment contribuyó composiciones originales para el álbum, al igual que Frank Wilson, Graham salmonete y Mick Pollard.

Velvett Fogg grabó las canciones para su álbum de debut en Pye Récords bajo la dirección de Jack Dorsey. Al parecer, Dorsey objetivo de conseguir la banda en el entonces popular progresiva carro de la venda. "Yo era un pianista de formación clásica pero todos tuvimos que jugar muy por debajo de nuestras posibilidades", dice Frank Wilson. [Cita requerida] La banda también se les permitió grabar covers de algunas canciones que les gustaban y estos incluyen psicodélicos versiones -sounding de Nueva York Mining Disaster 1,941 por The Bee Gees y Tim Rose Ven 's lejos Melinda.





Keith Law en 1969

Canciones originales del álbum Velvett Fogg han sido facilitadas por Keith Law, [1] [3] [4] un local que se convirtió en un amigo de la banda. Un veterano de la región de West Midlands escena musical, Ley jugó con grupos como The Williamson, amor y comprensión, Pintura y Jardine. En sus sesiones de escritura iniciales con la Ley banda llegó con "Yellow Cueva Woman", "Una vez entre los árboles" y "Dentro de 'La Noche".
Portada del álbum controversia

Álbum homónimo de Velvett Fogg fue lanzado en la etiqueta Pye en enero de 1969. Con mucho, la característica más controvertida del álbum fue su portada registro que muestre el pre-Paul Eastment line-up de la banda que lleva estridente maquillaje / cuerpo- pintar y traje, pero también incluyó a dos mujeres jóvenes bien dotados usando nada más que pintura corporal aplicado de manera estratégica. El paquete fue acompañado por un sleevenote normalmente obscuro por el influyente Reino Unido disc jockey John Peel, quien comentó que "hay un montón de buena música en este disco Recuerde Velvett Fogg -.. Se oye el nombre de nuevo" [cita requerida]
"Telstar" single

Junto con el álbum Velvett Fogg, Pye Récords también lanzó un sencillo por el grupo. Era un cover de The Tornados instrumental, "Telstar", que fue grabado a petición de Jack Dorsey, quien espera sacar provecho de la publicidad en torno a los alunizajes norteamericanos que tienen lugar en ese momento.

Banda disuelto

Durante la recepción de algún juego de radio, el disco no se vendió suficientes copias para trazar y una campaña de publicidad grande planeado por la compañía discográfica para promover el álbum nunca se materializó. La banda hizo algunas giras después de que el single salió. Tal vez desalentado por las bajas ventas del álbum, Pye pareció perder interés en la banda por lo que retiró su apoyo. En el otoño de 1969 el grupo se disolvió con los miembros de ir por caminos separados. Frank Wilson dice "Yo personalmente pensaba que la primera formación en Alemania era el mejor y más satisfactoria." [Cita requerida]
Después del álbum
Frank Wilson en Warhorse. 1970

Frank Wilson regresó a Londres y se unió a Riot Squad y luego el estruendo de la banda antes de seguir en Rick Wakeman pasos 's para unirse Warhorse en 1970.

Paul Eastment comenzó una Brum banda llamada Espíritu Santo-que luego se convertiría Santo, con quien grabó un par de álbumes. Más tarde afrontó otro grupo llamado Resurrección, así como la grabación con el cantante popular local Shirley Kent.
Keith Law y Frank Wilson, Maidstone 2009

Durante los años transcurridos desde la muerte de Velvett Fogg, la demanda entre los coleccionistas de copias de su (ahora muy raro) álbum ha aumentado considerablemente. [Cita requerida] álbumes originales han cambiado de manos de los altos precios con piratas copias también se sabe que en la circulación. En 2002, la Records Group Santuario reeditado el álbum oficialmente por primera vez en CD (CMRCD619).

Keith Law se quedó en el negocio de la música, sigue escribiendo canciones, y ahora es un artista en el suroeste de Inglaterra. Frank Wilson, ahora realiza con su banda Ejecutar VT, y lleva a cabo en los lugares en el sudeste de Inglaterra. Keith Law y Frank Wilson están de nuevo juntos escribiendo como Velvett Fogg Reloaded, y la grabación de un nuevo álbum Velvett Fogg propuesto. [Cita requerida]


Discografía
Álbumes

    Velvett Fogg, Velvett Fogg. LP. Pye Records. (1969)
    Velvett Fogg, Velvett Fogg. CD. Ver por millas. (1989)
    Velvett Fogg, Velvett Fogg. CD. Castillo de Registros. Sanctuary Records Ltd. (2003)
    Velvett Fogg, Velvett Fogg. LP. Akarma Records (Italia). (2007)

Singles

    "Telstar '69" / "contraída con el Dip" (1969)

cover space oddity - tribute casio ctk-7200

nubeluz 2016 - Precio de las entradas

Amigos les dejamos los precios del último show de nubeluz para este año 2016

STAR WARS: THE FORCE AWAKENS International Trailer #2 (2015)

En primicia el segundo trailer internacional de STAR WARS: el despertar de la fuerza.

que nuevas genialidades musicales nos mostrará John Williams.

HEAD FULL OF DREAMS - fechas mundiales - peru

NO.2 - VOL.10

COLDPLAY.COM FACEBOOK TWITTER INSTAGRAM OXFAM STORE

PRIMERAS FECHAS ANUNCIADAS DE LA GIRA A HEAD FULL OF DREAMS

Nos complace mucho poder anunciar la parte de América Latina y Europa de la próxima gira de Coldplay A Head Full Of Dreams con 20 conciertos en estadios confirmados en 14 países de Europa y América Latina. Las fechas son las siguientes:

Jueves, 31 de Marzo Estadio Unico de La Plata, Buenos Aires, AR Domingo, 3 de Abril Estadio Nacional, Santiago, CL Martes, 5 de Abril Estadio Nacional, Lima, PE Jueves, 7 de Abril Allianz Parque, Sao Paulo, BR Domingo, 10 de Abril Maracana, Rio de Janeiro, BR Miércoles, 13 de Abril Estadio El Campin, Bogota, CO Sábado, 16 de Abril Foro Sol, Mexico City, MX Martes, 24 de Mayo Stade Charles-Ehrmann, Nice, FR Jueves, 26 de Mayo Estadi Olimpic, Barcelona, ES Miércoles, 1 de Junio Veltins-Arena, Gelsenkirchen, DE Sábado, 4 de Junio Etihad Stadium, Manchester, UK Martes, 7 de Junio Hampden Park, Glasgow, UK Sábado, 11 de Junio Stadion Letzigrund, Zurich, CH Jueves, 16 de Junio Wembley Stadium, London, UK Sábado, 16 de Junio Wembley Stadium, London, UK Jueves, 23 de Junio Amsterdam ArenA, Amsterdam, NL Miércoles, 29 de Junio Olympiastadion, Berlin, DE Viernes, 1 de Julio Volksparkstadion, Hamburg, DE Domingo, 3 de Julio Friends Arena, Stockholm, SE Martes, 5 de Julio Telia Parken, Copenhagen, DK

Los boletos para los shows de Europa salen a la venta el Viernes 27 de Noviembre a las 9am (hora Local). Para los shows de América Latina lo confirmaremos muy pronto. Más adelante se anunciarán más shows, incluyendo América del Norte. Igualmente pueden ver la banda actuar en vivo en el TIDALXColdplay presentado por KROQ desde LA en TIDAL.com a las 8.30pm PT mañana por la noche (Sábado 21 de Noviembre). Finalmente si visitan la tienda de The Coldplay Store podrán encontrar las nuevas incorporaciones de A Head Full Of Dreams incluyendo camisetas, tazas, litografías y un calendario póster para el año 2016. The Coldplay Messenger THE NEW ALBUM, OUT DECEMBER 4. PRE-ORDER NOW:

La peor tienda de ventas online: Beatles store

Señores les cuento mi experiencia, hace mas de un mes adquirí por vía electrónica este producto:

http://thebeatles.shop.bravadousa.com/Dept.aspx?cp=61569_80015

el cual lo esperé emocionado porque traía las nuevas pistas y videos de los beatles remasterizados, la cosa es que nunca llegó, me contacté por correo y se excusaron mas de dos semanas, adicionales al mes que esperé de que no hay stock.

Les reclamé por este hecho, a lo cual se hicieron de la vista gorda, osea les importó un bledo, un comino, ni siquiera tuvieron la amabilidad de decirme una fecha, como si fueran una tiendita del montón.

El hecho está sustentado en emails y no les recomiendo comprar en la beatles store, les dejo las direcciones para que sepan de qua páginas estoy hablando:

http://thebeatles.shop.bravadousa.com/Dept.aspx?cp=61569_80015

http://www.thebeatles.com/store

Coldplay en lima - foto en larco mar - gira en sudamerica 2016

Coldplay: imagen en Facebook anunciaría concierto en Perú

http://coldplay.com/

Una imagen tomada en el C.C. Larcomar ha causado asombro entre los seguidores de la banda Coldplay.

La banda Coldplay anunció su gira que incluye a Sudamérica para el año 2016. La información fue subida este jueves en su sitio oficial, pero minutos después la borraron.

La banda de Chris Martin visitará los cinco continentes, lo que llena de emoción a sus fans peruanos, porque hay esperanzas de que toquen en nuestro país por primera vez.

Por el momento, el único país sudamericano confirmado es Chile. Afiches de la gira aparecieron esta mañana en las calles de Santiago, que recibirá a Coldplay el 3 de abril.

Sin embargo, una imagen tomada por un usuario invade las redes sociales, en ella se ve el mismo cartel pero con la fecha: 5 de abril en el Estadio Nacional. La misma foto fue compartida en el fanpage de Coldplay Perú indicando que fue captada en el Centro Comercial Larcomar esta tarde.

Jimi Hendrix Experience drummer Mitch Mitchel

https://www.youtube.com/watch?v=1AxSGfD2sTo

Jimi Hendrix Experience drummer Mitch Mitchell was found dead in a Portland, Oregon hotel this morning at the age of 62. Early reports indicate he died due to natural causes. Raised in London as John Mitchell, he and bassist Noel Redding comprised Jimi Hendrix's rhythm section from 1966 until 1969, with Mitchell joining the guitar great on all three Experience albums — Are You Experienced?, Axis: Bold As Love and Electric Ladyland — as well as legendary performances at the Isle of Wight and Woodstock. Mitchell also played in the Dirty Mac with John Lennon, Eric Clapton and Keith Richards for The Rolling Stones Rock & Roll Circus.

Post-Experience, Mitchell remained mostly under the radar, performing at the occasional studio session or concert before ultimately joining first the Gypsy Sun Experience and, most recently, the Experience Hendrix tour (he performed on the tour in Portland this past Friday). With the death of Hendrix in 1970 and Redding in 2003, Mitchell was the last surviving original Jimi Hendrix Experience member. Sadly, Mitchell is the second drummer associated with Hendrix to die this year: Hendrix's Band of Gypsys bandmate Buddy Miles also passed away in February.














In a statement on behalf of the Hendrix estate, Janie Hendrix (Jimi's sister) said, "We're all devastated to hear of Mitch's passing. He was a wonderful man, a brilliant musician and a true friend." Kenny Wayne Shepherd, who played on three Experience Hendrix tours with Mitchell, said in a statement, "Today many of us have lost a dear friend, and the world has lost a rock & roll hero." Velvet Revolver's Matt Sorum also paid tribute to Mitchell. "I had the pleasure of meeting him a few times," Sorum said. "Next time you put on Electric Ladyland, Axis: Bold as Love or Are You Experienced?, listen to the pure musicianship of one of the greatest drummers of all time. God bless Mitch Mitchell!"

Julian Lennon - Too Late For Goodbyes (AIMES Edit)

Julian Lennon - Too Late For Goodbyes (AIMES Edit)

by AIMES

Tomado de:

https://aimes.bandcamp.com/track/julian-lennon-too-late-for-goodbyes-aimes-edit

Facebook.com/aimesmusic
Soundcloud.com/aimes

credits

released December 11, 2012

tags

tags: 80s aimes disco edit electronic julian lennon nu-disco synth chill wave dance nu disco space pop synth wave New York

license

some rights reserved

feeds

feed for this artist

Sleep for England (X​-​Mas version)

Sleep for England (X​-​Mas version)

by Stephen Emmer & Julian Lennon

			TOMADO DE: https://stephenemmer.bandcamp.com/track/sleep-for-england-x-mas-version

 €1 EUR  or more

about

‘Sleep for England’ single in support of Julian Lennon’s 'White Feather Foundation’

All proceeds from the ‘Sleep for England’ single go to Julian's charity The White Feather Foundation, which tackles environmental and humanitarian issues. In conjunction with global partners it helps to raise funds for the betterment of all life and honor those who really have made a difference. 1.2 billion people are without clean water, something we take for granted in the Western World. Therefore all single proceeds will be going towards the production of more clean water, where every penny can help save thousands of lives.

Julian chose the name ‘The White Feather Foundation’ as it has a very special meaning close to his heart: “Dad once said to me, that should he pass away, if there was some way of letting me know he was going to be ok the message would come to me in the form of a White Feather”. Some years later Julian was presented with a white feather by an Aboriginal tribal elder, which lead to the creation of foundation for the purpose of giving a voice to those who cannot be heard.

Therefore the purchase of each 'Sleep for England' download will mean money well spend. That being said please do feel free to pay more if you like and thus help us support those in need.

lyrics

SLEEP FOR ENGLAND - LYRICS

She pulls herself out from the bedclothes and she opens the curtains wide
Stares down to the valley where the healthy and the happy float by
 
She says “I could sleep for England”
 
Driving on a wet night, kiss under a striplight, the same old craving
Slammed doors, feel shaken, all the useless medication you’ve tried
 
Sleep for England
 
Chancers and schemers, righteous believers
Life’s little dreamers all gathered here in one place
 
Sleep for England (3x)
Drive home on a wet night, kiss under a striplight again

credits

released December 11, 2014
SLEEP FOR ENGLAND - CREDITS

Music composed and arranged by Stephen Emmer

Vocals by Julian Lennon

Lyrics written by Neil Crossley

Produced by Tony Visconti

license

all rights reserved

"A Hard Day's Night": filme de los Beatles vuelve a los cines

Por el 50 aniversario de la película de los Beatles, UVK proyectará la cinta en su versión remasterizada. Aquí los detalles

Mira el tráiler de "A Hard Day's Night", la película de los Beatles que volverá a la cartelera en noviembre de este año. (Fuente: YouTube)

"A Hard Day's Night", el primer filme de los Beatles, volverá a la cartelera nacional en noviembre como parte de las celebraciones por el cincuenta aniversario de su lanzamiento. UVK, cadena que cuenta con un programa de relanzamientos de cintas clásicas, será la responsable de su proyección.
La película de los Beatles, en una versión remasterizada, se podrá ver desde el jueves 5 de noviembre en tres de las salas del UVK. Estas son: las de Larcomar, Basadre y Caminos del Inca.
Dirigida por Richard Lester, también director de "Help!", otra película estelarizada por los Beatles, "A hard Day's Nigh" ha sido considerada por el El British Film Institute como una de las 100 mejores películas del siglo. En la cinta, se plasma el viaje de la banda de Liverpool a Londres para la presentación en vivo en un programa de televisión. En su recorrido, los Beatles descubren a millones de fans por todas partes del mundo que están ahí solo para verlos, obligándolos entre tanto escándalo a esconderse en un cuarto de hotel.

Las entradas para las proyecciones de "A Hard Day's Night" se venderán a partir del 15 de octubre en las boleterías del UVK. Puedes acceder a más información sobre este y otros estrenos en la cuenta oficial de Facebook de la citada cadena de cines.

Aerodrums: bringing your air drumming to life

This 'drumset with no drums' was a big hit (heh heh) at 2015's NAMM music expo. How it works: http://www.gizmag.com/aerodrums-air-d...

DROZZ Rockgrafia

DROZZ es un power trío que se formó a inicios del 2014 con las ganas de simplemente hacer rock, conformada por Aldo Malpartida (Guitarra & Voz) , André Moral (Batería) y Maluki Santa Cruz (Bajo). Son amigos desde hace 15 años y la música siempre ha estado presente, es por ello que deciden formar este proyecto.

Influenciados por el rock clásico, pero conscientes de la evolución de la música, combinan lo mejor de ambos estilos para definir el suyo. Pasando por ACDC, Grand Funk, Led Zeppelin, Beatles, RHCP, Foo Fighters, Lenny Kravitz y muchos más.



Desde la primera sesión de composición las ideas fluyeron muy fácilmente, trabajaron durante más de un año en la producción de su material creando más de 20 canciones, de las cuales 4 han sido seleccionadas para el lanzamiento de su primer EP "La Trampa". Dentro de ellas, el track "No te Quedes Atrás" es presentado como el primer videoclip oficial de la banda:

DROZZ - No Te Quedes Atrás

https://www.youtube.com/watch?v=5_ZpM_lX1jg



Antes del EP, DROZZ hizo un pre-lanzamiento con un "live session" de la canción

DROZZ - Black & White

https://www.youtube.com/watch?v=N0Y6LL4RXuI


El video les permitió ser seleccionados dentro de las siete bandas peruanas a participar en el Converse RubberTracks, una convocatoria mundial que tiene como objetivo ofrecer a bandas emergentes una sesión de grabación profesional junto a experimentados ingenieros y productores musicales.



De esa sesión nació "La Trampa", canción que termina de englobar el EP:  https://soundcloud.com/drozzofficial/sets/drozz-ep-la-trampa

No duden en escribir y/o suscribirse al fage https://www.facebook.com/drozzoficial para recibir las novedades que vienen mucho antes de lo que esperan.

https://www.facebook.com/drozzoficial
https://soundcloud.com/drozzofficial
https://www.youtube.com/channel/UCVoEblxdJqBbIVM1sUPoJuQ/videos
https://instagram.com/drozzofficial

Les compartimos unas fotos e ilustraciones de la banda DROZZ:

crownless , nightwish en lima, delain en lima, estadio san marcos, eternal symphony entertainment

Crownless

Miembros:
MariVe B Iglesias (vocalista)
Paul Ungaro (guitarra)
Alvaro Fontana (bajo)
Fred Aching (bateria)

Género: Metal Sinfonico

Ciudad de origen: Lima

https://www.facebook.com/crownlessband


 Facebook del evento:

https://www.facebook.com/events/1662529093967070/


La guapa MariVe B Iglesias de la banda Crownless visitó nuestra casona para invitarnos al concierto NIGHTWISH + Delain + Crownless en Lima-Perú 2015 este martes 6 de octubre a las 8 pm en el Estadio de San Marcos gracias a Eternal Symphony Entertainment. Entradas en Tu Entrada de Plaza Vea y Vivanda.

Paul McCartney: The Rolling Stone Interview

The former Beatle on his new album 'Press to Play,' the breakup of his old band and going gray

By Kurt Loder | September 11, 1986

Tomado de:

http://www.rollingstone.com/music/features/the-rolling-stone-interview-paul-mccartney-19860911
 

It is Monday in London, two days before the royal wedding, and Soho Square is filled with flowers, sunshine and fresh-faced young tourists. Some loll on the grass, sharing joints. Others peer up expectantly at the etched-glass windows of an art-deco-style town house across the street, where, in an airy third-floor office, Paul McCartney presides over the bustling affairs of MPL Communications, the company that manages the professional projects of the singer and his wife, Linda.
McCartney is in from his country home in Sussex – where he has a brand-new, state-of-the-art recording studio – to promote his latest LP, Press to Play. It is the fifteenth album he has released since he announced the breakup of the Beatles back in 1970, and the years are beginning to tell: his hair is mostly gray these days. But he's as buoyant as ever, bubbling with enthusiasm. After eight years of largely lackadaisical releases on Columbia, he is back with Capitol – the Beatles' old label – and he seems serious about rehabilitating his somewhat tattered artistic reputation.

Press to Play features some good new songs and a tough new pop sound, courtesy of Hugh Padgham, who coproduced it. Linda McCartney's background vocals are the only aural remnant of Paul's erstwhile band Wings; this time out he's backed by guitarists Eric Stewart and Carlos Alomar, drummer Rick Marrotta and such drop-in rock-star pals as Pete Townshend and Phil Collins. Pouring tea from a china pot, McCartney talks up his new tunes (one song, "However Absurd," is a stream-of-consciousness stew of non sequiturs lifted from the works of such poets as W.H. Auden) and his ambitious plans for the future. But he cannot ignore his celebrated past and the persistent tug of its emotional undertow. Will he ever again be seen in as sweet a light as that which illuminated the Beatles twenty years ago? The subject seems open for discussion. Paulie passes the cream.

On your new album, there's an almost punkish song called "Angry." That's not an attitude usually associated with Paul McCartney. What are you angry about?
Well, the same things a lot of us are angry about.


Traffic jams, stuff like that?
Well, there's that – the day-to-day piss-offs. But I was thinking more about, um, British trade unions withdrawing coal when there's old ladies dying, and we kind of just go, "Yeah, well, the union's got a right." And Britain's attitude toward apartheid at the moment, which is just so crazy. I mean, still, after all those years of Martin Luther King and everything, they're still buggerin' around with black and white. It's so insane. Couldn't they just wise up? But there's Maggie saying, "We don't need to do sanctions," while everybody else – all the civil-rights groups – are saying, "But you do."


Given such views, it's ironic that a London tabloid, The Sun, recently questioned whether you were a racist after hearing bootleg Beatles outtakes from the Let It Be sessions that feature you referring to Pakistanis – unflatteringly, it seems – in a rendition of "Get Back."
Sensational journalism – The Sun is not a highly reputable newspaper. What this thing is, I think, is that when we were doing Let It Be, there were a couple of verses to "Get Back" which were actually not racist at all – they were antiracist. There were a lot of stories in the newspapers then about Pakistanis crowding out flats – you know, living sixteen to a room or whatever. So in one of the verses of "Get Back," which we were making up on the set of Let It Be, one of the outtakes has something about "too many Pakistanis living in a council flat" – that's the line. Which to me was actually talking out against overcrowding for Pakistanis. The Sun wishes to see it as a racist remark. But I'll tell you, if there was any group that was not racist, it was the Beatles. I mean, all our favorite people were always black. We were kind of the first people to open international eyes, in a way, to Motown. Whenever we came to the States they'd say, "Who's your favorite artists?" And we'd say, "Well, they're mainly black, and American – Motown, man. It's all there, you've got it all." I don't think the Beatles ever had much of a hang-up with that.


What about sensationalism in rock & roll – the alleged surfeit of sex and violence that many of the music's critics seem to find these days. Do you worry that your children are being influenced by this sort of thing?
No. I think they're into pretty good music, actually – Simple Minds, Dire Straits, Tears for Fears, stuff like that. I've never tried to favor anything, 'cause I figure I wouldn't have liked my dad to sort of tell me to like Elvis, you know? It would have put me off it.





Are you familiar with the PMRC in the States – the group of Washington wives who want ratings for pop records?
Oh, the lyrics thing. Uh . . . I kind of see their point, you know? I think there is a point, like with newspapers, where you start to want to censor stuff. I don't really think you ought to, but . . . Let's say a really great group emerged – and you tend to think they'd be heavy metal, although that's probably "heavy metallist" to say [laughs] – and say they were advocating, I don't know, killing, Satanism. And they came out with a really great album and turned a lot of people on to Satanism. There's got to be a point where you're gonna say, "Look, guys, we're all for artistic freedom, but maybe we just don't want de debbil trampling across America at the moment." I mean, what would you do? I don't know. I think censorship's very dangerous. . . .
But things are getting farther and farther out I saw a show the other night on television which . . . I was not offended by – I mean, it doesn't really bug me – but it made me start to wonder whether people were going slightly far out. It was a gay thing, and a couple of guys were really gettin' to it. Now, I have no objection to anyone getting their rocks off in any way they want. But maybe public telly isn't the forum for it. And video nasties – I Drill Your Brain, I Spit on Your Grave. I haven't seen those movies myself – I'm gettin' to be an old fruit, you know? – but how far ought they to let that go? I think, in a way, that it doesn't really hurt to have someone keepin' an eye on all this stuff. It's not a bad thing to have watchdog groups; you just mustn't let them get too much power.


In a more positive vein, you've actively supported other causes you believe in, such as Live Aid.
I'm not a great joiner, but I do support a lot of things. I've supported Amnesty International for a while, and of course Live Aid, obviously, was – is – a great thing.


Are you troubled by reports that the money Live Aid raised for Ethiopia ultimately benefits that country's military regime and not the starving people?
Well, before Live Aid, there was going to be another concert of that sort, and Dave Gilmour and myself were going to get involved in it. Then a neighbor of mine, David Astor, who was quite big in Amnesty at the time, told me that his son was in Eritrea at that moment and that there was very worrying news coming out. He said, "If you do charity, it's going to go straight to the military. They say, 'Thank you very much for helping our country. We're not buying food for our people, we're spending our money on guns.'" So, at the time of Live Aid, I did a little bit of work on that, checked it out – me, Astor, Pete Townshend, a few other people. And we decided that Bob Geldof had enough good people on the case. We wanted to do something, even if there was some risk – I mean, we were seeing people on television just dying in front of the camera.
So I was glad to have done Live Aid. Someone's always gonna bitch. There's always gonna be a bad side to everything you do. When I did "Ebony and Ivory" with Stevie Wonder – which was a perfectly harmless attempt at pinpointing the need for racial harmony – some people said, "Oh, it's just pap." Well – sez you, you know? I mean, tough. The point is, there is some kind of black-and-white problem – certainly in South Africa, probably less now in the States, but there's still tension, it still erupts. You can't deny that. I just wanted to do something good, to do a song that I thought might take a little tension out of the situation. And there were a few great things I got off it. Like, there's a great black sax player in Los Angeles, Ernie Watts. I think he's got a white wife, and he came up to me at a session we did, and he said, "Oh, man, thanks for that song." And that made it all worthwhile for me, you know – just if one person's situation was alleviated to the tiniest degree. I don't care what all the critics say then; that's really enough. Ernie Watts plays a hell of a lot better than any critic I ever heard.


But do you think there's any merit to the frequent charge that your post-Beatles music has gotten too soft?Yeah, I'm sure it's true. You can't get it right all the time. If there's been a fault with my stuff, I think some of it was unfinished. Looking back on some of it now, I think, "You didn't finish the bloody thing." So . . . yeah, I might have been a bit soft, and some of it might have been a bit unfinished. And sometimes a critic will say, "That's really lousy" – and I'll tend to agree with him: "He's right, it's not very good, that one." I know there are quite a few tracks on my albums that I just don't like now. Like "Bip Bop," off Wild Life – oh, God, I can't listen to it; it just goes nowhere. But occasionally a good one comes along, and occasionally there's a little wave on the little millpond, and that makes it all worthwhile.



Critics may be pleased by the harder pop sound of Press to Play. Some of the tracks have an almost experimental tilt to them. The funny thing is, there was a time when I was the avant-garde one in the Beatles – around the time of Sgt. Pepper, 'cause that album was largely my influence. I thought of the idea, the concept of pretending we were another group. I was trying to get everyone in the group to be sort of farther out, and do this far-out album. John was living out in Weybridge with his wife and child at the time, and I was bein' the bachelor in London – living on my own, going to the theater, checking out the International Times, Allen Ginsberg. It was a pretty rich period. I used to make 8-mm home movies and show them one frame at a time – flick, flick, flick – which made them last about an hour, when they only should have been ten minutes, you know? I remember showing them to Antonioni – I think he was in town filming Blow-Up – and Keith Richards. We had some nice evenings – quite stoned evenings, I must admit – just watching these movies. I still have them. And I was into Stockhausen, and I used to make a lot of home tape loops and just send them to friends for, like, a buzz. I remember sayin' to John once, "I'm gonna do an album of this and call it Paul McCartney Goes Too Far." And he said, "Yeah, you've gotta do it, man!" So I was the one who introduced John, originally, to a lot of that stuff. In fact, not many people know this, but Yoko came to my house before she met John. There was a charity thing – it was rather avant-garde, something to do with John Cage or something – and she wanted lyrics, manuscripts. I hate to tell you, but I really didn't want to give her any of my lyrics – you know, selfish, or whatever, but I just didn't want to do it. So I said, "But there's a friend of mine who might want to help – my mate, John."


So you were the catalyst for John and Yoko's relationship?
Well, I don't know that. But I kind of put her on to John, and then they really hit it off – it was like a wild fire, you know? John was certainly in love. Um . . . a little insecurely in love, 'cause he warned me off Yoko – sort of said, "Look, no, no." 'Cause he knew I was a bit of a lady's man – I liked the girls, no doubt about that. And I said, "Yeah, okay." I mean, I wasn't about to, anyway, but he didn't know that.


You became involved with Linda Eastman instead. Has it been difficult to sustain such a controversial union over the last sixteen years?
Well, we've been up, we've been down, we've been in love, we've been out of love – we've been every which way, you know? It's certainly not been as idyllic as it looks on the surface. It's a real marriage, believe me – as real as any other marriage. The bottom line is that we love each other, and what's more, we like each other. It sounds corny, but what else can I say?


Thinking about you and Linda, and John and Yoko, inevitably recalls the end of the Beatles. After all this time, the cause of the group's breakup still seems murky. What really happened?
The actual story in my mind is that it was all getting a bit sticky during the White Album. And Let It Be was very sticky – George left the group then, and so did Ringo, but we managed to patch that back up. The dates are all purple haze to me, but at some point – after Let It Be was finished, and about the time I was wanting to put the McCartney album out – we had a meeting at the Apple office, and it was like "Look, something's wrong, and we've got to sort it out." I had my suggestion: I said, "What I think we ought to do is get back as a band – get back as the little unit we always were. I think we ought to hit small clubs and do a little tour." I just wanted to learn to be a band together again, 'cause we'd become a business group. We'd become businessmen. So that was my big suggestion. And John looked me in the eye and he said, "I think you're daft. In fact, I wasn't gonna tell you . . . but I'm leavin' the group." To my recollection, those were his exact words. And our jaws dropped. And then he went on to explain that it was rather a good feelin' to get it off his chest – a bit like when he told his wife about a divorce, that he'd had a sort of feeling of relief. Which was very nice for him, but we didn't get much of a good feeling.
At first we agreed not to announce it. But after three or four months, I got more and more guilty about people saying, "How's the group going?" when we sort of knew it was probably split up. So I did a kind of dumb move in the end, and when I look back on it, it was really . . . it looks very hard and cold. But I was releasing the McCartney album, and I didn't really want to do much press for it; so I told a guy from the office to do me a list of questions and I'll write the answers and we'll print it up as a pamphlet and just stick it in with the press copies of the album. The questions were quite pointed, and it ended up being like me announcing that the Beatles had broken up. John got quite mad about that, apparently – this is one of the things he said really hurt him and cut him to the quick. Personally, I don't think it was such a bad thing to announce to the world after four months that we'd broken up. It had to come out sometime. I think maybe the manner of doing it I regret now – I wish it had been a little kinder, or with the others' approval. But I felt it was time.


Weren't the others also upset that your album, McCartney, was released a month before Let It Be?
Yeah, I think John thought I was using this press release for publicity – as I suppose, in a way, I was. So it all looked very weird, and it ruffled a few feathers. The good thing about it was that we all had to finally own up to the fact that we'd broken up three or four months before. We'd been ringing each other quite constantly, sort of saying, "Let's get it back together again." And I think me, George and Ringo did want to save things. But I think John was, at that point, too heavily into his new life – which you can't blame him for. He'd always wanted to be a little more avant-garde, and so living in New York, and Yoko's influence, obviously helped him do that. It was very exciting for him on a lot of levels. So it became clear about that time that the group wasn't gonna get back together. And that was it.


Did it sadden you to see Lennon subsequently drift off into heroin addiction?
Yeah, I really didn't like that. Unfortunately, he was driftin' away from us at that point, so none of us actually knew. He never told us; we heard rumors, and we were very sad. But he'd embarked on a new course, which really involved anything and everything. Because John was that kind of a guy – he wanted to live his life to the full as he saw it. He would often say things like, "If you find yourself at the edge of a cliff and you wonder whether you should jump off or not – try jumping." And I am afraid I would always say, "No, man, I'm not gonna jump off that cliff; I don't care how good it is." I remember we had dinner one night – just a friendly dinner, just bein' mates – and I remember John saying he was thinking of having this trepanning thing done: drilling a hole in the skull. The Romans or the Greeks or somebody used to do it, so that gave it a validity in John's mind, I think. And he said, "Would you be up for that? Do you fancy doin' that? We could go and get it done." I said, "Why?" He said, "It relieves the pressure on your brain." I said, "Look, you go try it, and if it's great, you tell me, and maybe I'll do it."
That was the kind of stuff that was floatin' around then. I just feel very lucky to have said no to those things. 'Cause at the time, I felt bad about sayin' no. I thought, "Oh, here I go again, look at me, unadventurous, I'm always the one, they're gonna make such fun of me." I mean, I got such pressure when I wouldn't take acid the first time. I got a lot of pressure there.
Was it like the group sitting around all dropping acid, and you . . .
Yeah. They were sayin', "What's wrong with him?" Now, looking back on it, I think, Jesus, I must have had some courage to actually resist that peer pressure. But at the time, I felt really goody-goody, you know: "Hey, Mr. Clean, squeaky clean," you know? It was like "Aw, come on, fellas, I'm not really squeaky clean, but, you know, acid is maybe gonna do our heads in."


But you eventually did try LSD.
Yeah, finally. In actual fact, it was because John had done it by mistake one evening. We turned up for a session at Abbey Road, and he thought he'd taken a pep pill – speed, or whatever – to sort of wake him up for the evening, but it turned out to be acid. He had a little pillbox, and he'd taken the wrong pill. This was around the time of Sgt. Pepper. Well, we didn't get a lot done that night. John came over and said, "Jeez, I'm trippin'." And we all went, "Ahhh . . . okay. Keep cool, lad. Now, is this a good place to be tripping?" He said, "No, not really." Okay. George Martin didn't know. We said, "George, John's not feeling too well" – so George took him up on the roof! We said, "Maybe that's not a good idea, George." I said, "Tell you what, I'll take him home." So I took him home, and that was my first trip, that night, because I figured, you know, I can't leave the guy on his own – he was all aowooommm. . . .



Your apparent preference for marijuana has made many headlines over the years. Do you still indulge?
I don't talk about stuff like that no more – it's too crazy. Where I was lucky was with my avoidance of heroin. I went through most of the other stuff, and I had a friend in the Sixties who was getting into heroin. He said to me, "Man, the thing about heroin is that it's okay as long as you've got the money to support the habit – there's no problem as long as you can pay. And you're not likely to have a problem with that, so it's cool." But something in my brain went djing! – a little light went on – and I said, "No, this is wrong." So I was very lucky. I said, "No thanks," and avoided that scene. And I thank God that I did, because a lot of my friends didn't, and they went through some horror zones, you know? Some of them didn't come out of it.



It's sobering to realize that the recreational drug taking of the Sixties, which seemed so lighthearted, has resulted in the wall-to-wall drug scene of today – which is anything but.
I think a lot of it's been caused by people's ignorance of the drug scene – like lumping marijuana with heroin, saying, "Well, one leads to the other." I always say to them, "Well, booze leads to it just as easily, and cigarettes lead to booze, and so on. It all leads to each other." I personally think that if the older generation had been more sensible, instead of busting people and using scare tactics . . .


Like the scare stories about cocaine in the States recently.
I'm not sure about coke. I'm not into that. Again, I was lucky, because I was into that just before the entire record industry got into it. I was into it at the time of Sgt. Pepper, actually. And the guys in the group were a bit, kind of, "Hey, wait a minute, that's a little heavier than we've been getting into." And I was doing the traditional coke thing – "No problem, man, it's just a little toot, no problem." It was all very lightweight, really. But I remember one evening I went down to a club, and somebody was passin' coke around, and I was feelin' so great, and I came back from the toilet – and suddenly I just got the plunge, you know? The drop. And somebody said, "Have some more. Come on, get back up again." I said, "No, man, this isn't gonna work." I mean, anything with that big a downside. . . Anyway, I could never stand that feelin' at the back of the throat – it was like you were chokin', you know? So I knocked that on the head. I just thought, "This is not fun."
I must say, since we're gettin' into drugs – and at the risk of sounding goody-goody again – that I do personally feel, from this perspective, today, that my favorite thing is to be clean and straight. I think you can enjoy your life better that way. I mean, when we were very straight in the Beatles, we did music that was pretty much as far out as the stuff we did later. Maybe it wasn't as far out, but actually, beneath the surface, it was every bit as meaningful.


On a more trivial but similarly ancient note, a new biography of you claims that Paul McCartney, the world's most famous left-handed bassist, is actually right-handed. True?
No, I'm quite definitely left-handed. When I first got a guitar, I couldn't understand what was wrong with it, 'cause I really couldn't get it together. I felt so unrhythmic – so white, you know? Suddenly I was, like, whiter than I'd ever been. I just had no rhythm in my hands. Then I saw a picture of Slim Whitman – now there's a name to conjure with – and he had his guitar the wrong way round. He was the first lefty I'd ever seen, and I said, "Hey, shit, that's it: turn the guitar upside down." After that, my strumming hand got a little blacker again.



Did you feel similarly reassured when Jimi Hendrix turned up on the London scene?
Yeah, Jimi was brilliant. I knew him and loved him. The first time I saw him was down at a club – I think it was the Bag o' Nails – and I was just completely blown away. I'd never seen anyone turn their amp up that high. He'd wind up a hundred-watt Marshall and hit his guitar, and it'd go beyowww-whoot-rowww! Fantastic! Townshend and Eric Clapton were in the audience, and me – all checking Jimi out – and our jaws were just droppin'. He had such expertise – he really knew his way around a guitar. And he was a very sweet guy, very quietly spoken, very enthusiastic. The greatest compliment he ever paid me was when the Beatles did Sgt. Pepper. The album was released on a Friday night, and on Sunday Jimi played a little gig that Brian Epstein used to run called the Savile Theatre – and he opened with "Sgt. Pepper's Lonely Hearts Club Band": boom-boom-bahhhm, boom-boom-bahhhm! Oh, man, that was so good. I mean, it had only been out for two days!
So, yeah, I have very fond memories of Jimi. I mean, Van Halen's great – I love Eddie Van Halen – but I still think Jimi was the best.



After John Lennon conquered his drug problem, did the two of you finally patch up your personal relationship?
We were submerged in business troubles at the time. There was incredible bitterness. At one point, to get some peace in the camp, I told my lawyers I wanted to give John an indemnity he had been seeking against a certain clause in one of the Apple contracts. I said, "Someone's gotta make the first move. I'd love to be the voice of reason here." I happened to be on my way to the Caribbean, so, passing through New York, I rang John up. But there was so much suspicion, even though I came bearing the olive branch. I said, "Hey, I'd like to see you." He said, "What for? What do you really want?" It was very difficult. Finally . . . he had a great line for me: he said, "You're all pizza and fairy tales." He'd become sort of Americanized by then, so the best insult I could think of was to say, "Oh, fuck off, Kojak," and slam the phone down. "Pizza and fairy tales" – I almost made that an album title.
That was about the strength of our relationship then – very, very bitter – and we didn't get over that for a long, long time. But thank God, at the very end, we suddenly realized that all we had to do was not mention Apple if we phoned each other. We could talk about the kids, talk about his cats, talk about writin' songs – the one paramount thing was not to mention Apple. So then the last couple of phone calls we had were getting very nice. I remember once he said to me, "Do they play me against you like they play you against me?" Because there were always people in the background pitting us against each other. And I said, "Yeah, they do. They sure do." That was a couple of months before he . . . it's still weird even to say, "before he died." I still can't come to terms with that. I still don't believe it. It's like, you know, those dreams you have, where he's still alive; then you wake up and . . . "Oh."
It was all so tragic. But I do feel thankful that the last few years of his life were very happy, from what I can gather. He was always a very warm guy, John. His bluff was all on the surface. He used to take his glasses down – those granny glasses – take 'em down and say, "It's only me." They were like a wall, you know? A shield. Those are the moments I treasure. I suppose we hurt each other and stuff, but I keep looking at all the evidence of how I hurt him, and I don't know – it doesn't seem quite as bad as I think he was making it.
I just read about this thing that's going on sale at Sotheby's – this Apple booklet with John's comments in the margins in his own handwriting. It is so bitter. Like, there's a picture of Paul and Linda's wedding – and John's crossed out "wedding" and written in "funeral." I think it starts to tell there. Another caption says, "Paul goes to Hollywood" – and then he's apparently written in the margin, "To cut Yoko and John out of the film." He often thought that we were tryin' to cut Yoko out of things, to cut her out of Let It Be. I suppose we were, in some degree; because she wasn't in the Beatles, and it was a Beatles film, and it wasn't absolutely necessary to have long footage of her in there. She certainly was in there, but obviously they felt she should be in there a little more. I bent over backward trying to see John's point of view. I still bend over backward trying to not malign him.



You do seem to have been cast as the heavy in the Beatles' breakup.
It isn't pleasant. A lot of the accusations John made in public were slightly wild. I mean . . . maybe we should've taken to Yoko a little better. I often do feel not too clever about not taking to her, because we didn't get on too well. She was very different from anything we'd encountered. A lot of people still find her a little difficult to take. I figure, well, he loved her, so it's nothin' to do with me – I should respect her through him. And I felt that I tried to do that. But we were being so set against each other that his unreasonable bitterness was almost inevitable, I think. It's such a pity he felt that way. But the bottom line is we loved each other. And I'm glad to be getting back to some semblance of sanity with George and Ringo now – we can meet and hug and say we love each other, you know?


Might the three of you ever record together again?
I don't know. I'd like to. But it's a touchy affair. I think all of us, rather than get the world's press on our backs, would rather just play that aspect down for now. But I'd like to. And I know George and I have talked once or twice about maybe just plonking a couple of acoustics together. So that whole scene is warming up a bit, which is nice. It's such a breath of fresh air – and it's been a long time coming, you know? So I see hope for the future in that direction. But I don't want to rush it. I don't want to put anyone off. I'll just play it by ear. Just let it happen. We were talking about doing a Beatles movie a couple of years ago: slinging in home movies and old outtakes, adding narration – the definitive Beatles story. We were going to call it The Long and Winding Road. We asked Dick Lester to direct it, but he said no one would be interested. Two months later, The Compleat Beatles came out on video – and it's still in the video charts. So Dick was wrong: there's quite a big market. And we have all the Let It Be outtakes. And I have a beautiful piece of footage from that Dezo Hoffmann photo session with the Beatles on the beach in old-fashioned bathing suits. It's fabulous, 'cause John is doing this beautiful Charleston – which his mother taught him how to do. I love it. I'd still like to do that movie. I talked to Steven Spielberg about it, and he was much more encouraging than Dick Lester. He said Martin Scorsese might be a good person to talk to.
Meanwhile, I'm thinking of getting a band together myself. I know the Beatles used to say, "We won't be rock & rollin' when we're forty," but I still love it. The Prince's Trust benefit just zonked me out: looking around and seeing Eric Clapton, Mark Knopfler, Bryan Adams, Elton, Tina – there was such a buzz on that stage. I think they were glad to see me sort of vaguely gettin' it on. I sang "I Saw Her Standing There" and "Long Tall Sally," too – in the original key! It really felt great. I could do that every night. So I'd like to get a band. I don't know if I'll call it Wings – maybe some new incarnation.



Whatever may happen, will you be leaving the gray in your hair? It looks very distinguished.
Yeah, I'm leaving that. When you're past forty, the game is up, you know? My wife actually likes it. Ringo told me off about it, though – he reckoned I ought to color it. I think he's kind of gaugin' himself by how old I look – like I make him feel old if I look a bit old. But what the hell, you know? This is life. We're all gettin' older every second. My main thing is just to try and enjoy it. And I'm very surprised to find that, more often than not, I really do.

From The Archives Issue 482: September 11, 1986