STUPID and Contagious

Our holiday home from !

Previously unreleased Beatles tune!

“Take your knickers off and let’s go”

An unreleased Beatles tune has popped up on the internet, and it’s pretty damned good!

The nearly 11-minute track is apparently “Take 20” of the White Album’s “Revolution 1.”

It starts off with studio chatter, including a high-pitched John Lennon saying, “Take your knickers off and let’s go,” before it goes into a a take on “Revolution 1.”

Around the five-minute mark the song takes an unexpected turn toward “Revolution 9” territory, using tape loops, voice distortion and samples.

“Take 20” ends with some heady conversation between Lennon and Yoko Ono, something about being naked and how things are “going to be alright”!! A typical Lennon/Ono conversation!

Mail us:

Home Art Babes Cartoons Dylan Music Videos Other

March 2, 2009 Posted by | The Beatles, Yoko Ono, _MUSIC, _VIDEO | Leave a comment

Ukraine girls really knock me out – Miss Ukraine Universe 2009 !

Well the Ukraine girls really knock me out
They leave the west behind
And Moscow girls make me sing and shout
They Georgia’s always on my my my my my my my my my mind


Catherine Vechnikova

Ekaterina Antonenko

Antonina Paperny

Anna Lapenko

Miss Universe 2008, Dayana Mendoza; Miss Ukraine Universe 2004, Oleksandra Nikolayenko e Eleonora Massalab, Miss Ukraine Universe 2008

l us:

Home Art Babes Cartoons Dylan Music Videos Other

March 1, 2009 Posted by | The Beatles, Ukraine, _BABE | Leave a comment

John Lennon Interview: Larry Kane, Baltimore September 1964

“I once received a bra with ‘I Love John’ embroidered on it. I thought it was pretty original. I didn’t keep it, mind you – It didn’t fit.”

Fascinating interview with Jack Lennon – sorry John Lennon – during the Beats’ seminal 1964 North American tour – from the excellent Beatles Ultimate Experience

Some wonderful, typically Lennon, ripostes and banter! You can see the genesis of John’s love affair with the States.


On this date, the Beatles arrived in Maryland for their performance at Baltimore’s Civic Center. John Lennon was interviewed by Larry Kane as part of an on-going series of interviews with the group. Kane was the only American reporter allowed to travel with the Beatles during their 1964 North American tour, and also accompanied them on their 1965 tour.

Larry Kane has authored the insightful books, “Lennon Revealed” (2005) and “Ticket To Ride” (2003) documenting his conversations with the group and also his first-hand accounts of behind-the-scenes events as they happened.

– Jay Spangler, Beatles Ultimate Experience

Q: “John, occasionally we see magazine articles, like last night, one that had your name as ‘Jack Lennon’ and all these irregularities. What do you think of this when you look at them?”

JOHN: “Well, I just think the people are stupid, you know, if they’re not gonna bother to take enough time to do a job and find out what our names are… and try and get the facts right, you know. They must be a bit soft.”

Q: “There are alot of people who have albums out with your music on it, like this ‘Chipmunk’ album, and the ‘Boston Pops.’ Do you find this a credit to you, or an abortion of your songs.”

JOHN: “No, we enjoy it! We always try to get a copy of these people that do our songs. The thing about the ‘Chipmunks’ and the ‘Boston…’ they do it so differently from us and from each other– it’s very interesting. And also we, Paul and I, get alot of money when they make these so it’s very good for us, you know.”

Q: “There is a cut in it for you when they do record these songs.”

JOHN: “Yeah, ‘cuz we compose them, you know, so we get the… a good lot of money.”

Q: “John, when you were in New York, what did you like best about it?”

JOHN: “I just like cities, you see, and preferably big ones. That’s why I liked it. And we met some good people like Bob Dylan and Joan Baez, you know, and I enjoy meeting people I admire.”

Q: “Do you like to play better indoors or outdoors?”

JOHN: “Indoors. I don’t like playing outdoors. You can’t hear and you get blown to pieces.”

Q: “Like last night.”

JOHN: “Oh! That was dreadful!”

Q: “John, any particular reason that you chose the songs that you did for the current concerts?”

JOHN: “We took a sort of aggregate of the most popular ones in the States over the last couple of months.”

Q: “Your early songs and your latest songs.”

JOHN: “Yeah. We missed-out alot of the earlier ones, like uhh… I can’t think of any, but I’m sure we missed some out.”

Q: “There’s so many rumors going around and one of the jobs I like to do is either to confirm them or dispel them. There’s a big rumor in alot of magazines and papers that you’re coming back (to America) in January.”

JOHN: “Well, I don’t know… might be true. I haven’t a clue. Nobody’s told me if we are, you know.”

Q: “Everyone asks what you like… What’s your pet peeve? What is the thing that you dislike the most in the world?”

JOHN: “Having things thrown at us on-stage. Jellybeans and rubbish and that.”

Q: “This is your pet peeve in your whole life.”

JOHN: “Yeah, ‘cuz it hurts.”

Q: (laughs)

JOHN: (giggles) “You can’t carry on singing and laughing with things hitting you.”

Q: “How many other instruments do you play if you play any?”

JOHN: “A bit of piano, and a bit of mouth organ.”

Q: “Have you played the organ… umm… mouth organ on any of your songs?”

JOHN: “Well, all the… yeah. There’s quite a few we did with mouth organ. I played it on the early hits– ‘Please Please Me,’ ‘From Me To You,’ ‘Love Me Do,’ ‘Little Child’ from the LP, ‘I Should Have Known Better’ on the film– I stuck mouth organ on that.”

Q: “When you’re over here, do you miss England? Do you ever get a little homesick even though you’re achieving great success over here, and you’re having some good times?”

JOHN: “Oh yeah. You get homesick, alright. Every other day (laughs) only!”

Q: “What about the gifts? I notice more and more you’ve been getting more and more gifts from fans. What was the most unusual gift you’ve ever received? I know there’s so many– Is there one that sticks out in your mind?”

JOHN: (laughs) “I once received a bra…”

Q: (laughs) “You did?”

JOHN: “…with ‘I Love John’ embroidered on it. I thought it was pretty original. I didn’t keep it, mind you– It didn’t fit.”

Q: “How did you like Key West?”

JOHN: (jokingly) “It was alright for a swamp. (laughs) No, it wasn’t bad, you know.”

Q: “When you’re out there, you do alot of lead (vocal) on most of the songs. Have you ever had a point during your concerts where you ever had a loss, a mental-block in your head as to what to do next?”

JOHN: “Yeah. I’m the one that often gets it– suddenly go blank and I don’t know what I’m singing or playing or anything, you know. I just forget, and all the rest sort of tell me what’s happening.”

Q: “You mentioned these jellybeans and everything. Does it hamper your work… besides making you frightened of the fact that it might hit your eye or something… does it hamper your work?”

JOHN: “Yeah. You can’t play if they keep hitting you, you know. You keep stopping ‘cuz it’s natural– you sort of duck, you know, and you stop playing. But it’s been quite good– it’s stopped now. So I suppose we should stop talking about it.”

Q: “Here’s a question alot of people will think it kind of ridiculous to ask entertainers this, but I’m going to because alot of people are interested in your opinion. So much of these world conflicts going on– everybody’s fighting each other. What would be your personal solution to stopping war? What way or method?”

JOHN: “I don’t think there is one, you know. Not if everybody was all rich and happy, and each country had all they wanted, they’d still want the next bit. I don’t think there’ll ever be any solution… only, just, you know, a sort of power block where everybody’s got the same weapons.”

Q: “There was a big rumor out around the country– as you know there’s so many rumors– about Ringo having a throat operation. And this was cleared up last night with this ‘tonsil’ bit.”

JOHN: “Yeah, he’s having his tonsils out when we get back to Britain, then go after the British tour.”

Q: “Has there ever been one rumor that’s particularly peeved you?”

JOHN: “Umm, me leaving the group… and my wife being pregnant.”

Q: “You mean, having a baby next month?”

JOHN: “Yeah.”

Q: “There’s been alot of criticism by Americans of the fact that there’s so many groups that are coming out that have no originality, from England, that are all trying to copy you. Now we know there’s a handful that are really doing very well over here, as well as you…”

JOHN: “Yeah.”

Q: “…Does it ever bother you that certain groups will copy you completely whatever you do?”

JOHN: “No, because everybody knows, you know. Only the dumbest people don’t know that they’re copying us, you know. So it’s just a laugh when you see a big imitation of you going ’round. They never really make it. They might have a hit, but nobody’s fooled for long.”

Q: “Does anybody ever ask you for advice– another group, let’s say?”

JOHN: “Younger groups, you know, that are just sort of forming. But there’s no advice you can give really. Just keep playing and hope for the best.”

Q: “I notice that you have this guitar with you, and I notice you strum it quite a bit. Where do you get your ideas for songs? Do you ever get them sitting in a dressing room, or in a hotel room? Is it a planned session, or do you just come across an idea?”

JOHN: “No, I just come across one. I could happen any minute… (strums wildly and yells) Noww-yyo-oumpfff!!! You see… like that!”

Q: (laughs) “Have you written any on this current tour?”

JOHN: “Two.”

Q: “You don’t have the names or anything like that?”

JOHN: “I know the names, but we don’t give them ‘cuz people turn out songs with the same name, you know.”

Q: “I’m not that familiar with the music business, myself.”

JOHN: “Well that’s what happens. You think of a name that’s original, and you broadcast it, and somebody will make a record with the same name and a different song. And it gets confusing, you know.”

Q: “When you first came over to this country in February and I met you briefly in Miami, were you shocked by the reaction? Were you worried about your reaction over here, personally– the crowds and everything else?”

JOHN: “Well, we never expected to… didn’t expect to sell records or anything over here. So we were just amazed. (giggles) And we still are, you know.”

Q: “Was the American market your main goal after conquering England”

JOHN: “Yeah, well, every British artist used to imagine trying to get… you get the odd hit from Britain, or you get the odd hit from Germany– there’s alot of freak records. But nobody ever sort of made it in America, and we were dying to be the first.”

Q: “I know there’s a record over here of ‘I Want To Hold Your Hand’ in German, or ‘She Loves you,’ one or the other.”

JOHN: “Both of them.”

Q: “Have you done them any other languages”

JOHN: “No, the Germans are the only ones that won’t buy you in English. You have to kow-tow to the Germans. But after you’ve made a couple of records they’ll buy anything.”

Q: “I know the police have generally done a great job on this current tour, but what do you think personally about some of them trying to get autographs and going out of the line of duty? You know, you’ve seen so many of them come back in the plane– and to me, this may be a little strong, but it’s sort of a bribe. What do you think of this?”

JOHN: “Well, some of the police do sort of– ‘You sign this or we won’t help you’ but most of them are just normal fellas, and you get sort of lousy people in any organization. You get a couple of lousy cops who sort of threaten you or… not threaten you with violence, but sort of ‘Unless you sign me eighty of these I’m not gonna look after you.’ But they’re no worse than any people in any organization. You get bums everywhere.”

Q: “This is your first tour that you’ve actually seen all of America, and up to now you’ve seen about every section. Off your role as a performer, what do you think of America as a country– the cities and the land and the people?”

JOHN: “I think it’s marvelous, you know. I like it, and especially places like New York and Hollywood, you know. I like the big places. And it’s amazing to see a place like Los Vegas. Who ever thought of building a place in the middle of a desert, (giggles) you know. Things like that are marvelous.”

Q: “Do you ever have any differences on-stage or off-stage?”

JOHN: “Off-stage are the same differences that normal people have or friends have, you know, but they’re never violent or they never last long. We always settle our argument, you know.”

Q: “Everybody says you’re gonna break up. This is another rumor. It’s all over.”

JOHN: “That’s alot of rubbish, you know. It’s just rubbish. We’ve never even thought of it.”

Q: “We were reading those fan magazines, and I plan to show you a few more because some of them are unbelievable.”

JOHN: “Yeah.”

Q: “I don’t know who prints them. I know you laughed when you saw the name Jack Lennon on the page the other night, and I laughed too. Has it ever really bugged you that they get your name wrong?”

JOHN: “No. It’s always made me laugh when people get my name wrong. Like, there was one DJ today who said, ‘This is so-and-so from so-and-so station, talking to John Harrison here,’ and I just creased up but I never told him, you know. He found out by himself at the end. But it’s just funny, you know. If they can’t get your name right, well, (comical voice) God help ’em, that’s what I say!”

Q: “You talked about playing in-doors and outdoors. I noticed the other night, even though you had a forty mile an hour, or thirty mile an hour wind in Jacksonville– I don’t know if you knew it was that high…”

JOHN: (giggles) “It felt like a hundred mile an hour one to me.”

Q: “…you still didn’t have any trouble getting out the song. Do you try to acclimate yourself to this, or did it really bother you the other night?”

JOHN: “Yeah, you know. We’d never been through a thing like that. We were most sort of awkward with… all our hair was blowing up– we all looked like four Elvis Presleys or something. (giggles) We just felt uncomfortable with all that wind.”

Q: “John, thank you very much. It’s been nice working with you.”

JOHN: “Great working with you, Larry.”

Source: Transcribed by the Beatles Ultimate Experience website from audio copy of the interview

Mail us:

Home Art Babes Cartoons Dylan Music Videos Other

February 24, 2009 Posted by | John Lennon, The Beatles, _ARTICLE, _BOB DYLAN, _MUSIC | Leave a comment

Champagne Charlies

Nice manip work from oguzozgul

That yellow stuff looks so delicious!!

Mail us:

Home Art Babes Cartoons Dylan Music Videos Other

February 24, 2009 Posted by | The Beatles, _MUSIC, _PHOTOGRAPHY | Leave a comment

The Beatles come to town – RARE 1963 (color)

Great early footage of a Fabs gig in Manchester in 1963, with some clips from before the concert!

thanks beat68


We do not host any files here. We do not upload music files. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a link – or any content here – please let us know and we will remove it.

Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.

Mail us:

Home Art Babes Cartoons Dylan Editorial Music Videos Other

February 11, 2009 Posted by | The Beatles, _MUSIC, _VIDEO | 8 Comments

Ukraine girls really knock me out – Miss Ukraine 2009 hopefuls

Well the Ukraine girls really knock me out
They leave the west behind

Flew in from Miami Beach BOAC
Didn’t get to bed last night
Oh, the way the paper bag was on my knee
Man, I had a dreadful flight
I’m back in the USSR
You don’t know how lucky you are, boy
Back in the USSR, yeah

Been away so long I hardly knew the place
Gee, it’s good to be back home
Leave it till tomorrow to unpack my case
Honey disconnect the phone
I’m back in the USSR
You don’t know how lucky you are, boy
Back in the US
Back in the US
Back in the USSR

Well the Ukraine girls really knock me out
They leave the west behind
And Moscow girls make me sing and shout
They Georgia’s always on my my my my my my my my my mind
Oh, come on
Hu Hey Hu, hey, ah, yeah
yeah, yeah, yeah
I’m back in the USSR
You don’t know how lucky you are, boys
Back in the USSR

Well the Ukraine girls really knock me out
They leave the west behind
And Moscow girls make me sing and shout
They Georgia’s always on my my my my my my my my my mind

Oh, show me round your snow peaked
mountain way down south
Take me to you daddy’s farm
Let me hear you balalaika’s ringing out
Come and keep your comrade warm
I’m back in the USSR
Hey, You don’t know how lucky you are, boy
Back in the USSR
Oh, let me tell you honey

Mail us:

Home Art Babes Cartoons Dylan Editorial Music Videos Other

February 9, 2009 Posted by | The Beatles, Ukraine, _BABE | Leave a comment

10 songs the ‘Mad Men’ shouldn’t touch

10 songs the ‘Mad Men’ shouldn’t touch

January 29th 2009

There’s nothing more tired at this point than bitching about stars selling out their songs to Madison Avenue.

That battle is so last century.

Still, every so often a star’s shill retains the rare ability to bring up the bile.

For many, that moment will surely come when they hear about Bob Dylan selling his seminal ode “Blowin’ In The Wind” to a British company that pushes food stores, funeral homes, and financial services.

Of course, the company in question issued a lot of blather about their ethical concerns and progressive views. But, face it, it’s still a business and it’s still “Blowin’ In The Wind,” fer’chrissakes.

With that in mind, I’ve come up with ten songs most likely to make the public apoplectic should they be reduced to ads for adult diapers or sex-enhancement pills:

1) “Mother” John Lennon: The ultimate protest against hypocrisy from the angriest ex-Beatle just won’t do as a plug.

2) “Mercedes Benz” Janis Joplin: Actually, this satire of car-lust and rampant materialism already has been used in an ad – to sell Mercedes, no less.

3) “Volunteers of America” Jefferson Airplane:A song calling for the overthrow of the American government wouldn’t exactly sit right on Madison Avenue would it?

4) “Revolution” The Beatles: Another anti-conformity anthem that, again, has already been subverted in a Nike ad. Blame Michael Jackson, who held the rights to the catalogue at the time.

5) “Born to Run” Bruce Springsteen: Let’s just hope it never turns up as a car spot.

6) “God Save The Queen” Sex Pistols: One of the most deliciously nasty hits in history needs to keep its fangs unsullied and sharp.

7) “Smells like Teen Spirit” Nirvana: Can you imagine just how many somersaults Kurt Cobain’s body would do in his grave should this happen?

8) “People Get Ready” Curtis Mayfield and The Impressions: One of the most stirring civil rights anthems in history needs to stay pure.

9) “Won’t Get Fooled Again” The Who: It’s bad enough that it turned up as a theme song in a nighttime drama. We couldn’t take any deeper desecration.

10) “The Times They Are a Changin'” Bob Dylan: The irony would cut too deep.

Mail us:

Home Art Babes Cartoons Dylan Editorial Music Videos Other

January 30, 2009 Posted by | Bruce Springsteen, John Lennon, Nirvana, The Beatles, _ARTICLE, _BOB DYLAN, _MUSIC | Leave a comment

Ringo Starr clamps down on autographs

This is a serious message ….
… I’m warning you ….
…. Peace and Love
Peace and Love
Peace and Love

Back in October, in this short crazy video, Ringo’s pissed off and declares that he will no longer sign any autographs dated after October 20, just one week after this announcement and that all future fan mail will be trashed, unread!

All while weirdly flashing the peace sign and suffering some sort of Peace and Love tourettes!!

Peace and Love right back at ya, Ringo – you grumpy old bastard!!

Can we have an autograph please Mr. Ringo?! You’re definitely one of our favourite Beatles ever! Well, after George and John! Oh, and after Pete Best, too of course!!

More below from

Ringo Starr recently put a video update on his official website asking people not to continue to send fan mail to be signed after October 20. This was in direct response to an inordinate amount of items which have recently appeared for sale on e-bay, and to those that repeatedly send cards and items to be signed.

This message was not aimed at “real fans” and after over 45 yrs of signing we know they will understand. Ringo has always signed items and is in fact the only Beatle to have been doing so.

Ringo also feels strongly that it is a waste of paper and we all should be mindful of our carbon footprint. At the end of the day Ringo wanted to make a message that was clear and to the point and is confident his real fans understand that. That said, the recent response from the media has prompted him to clarify that video.

“How amazed am I to the reaction to my video update. I hope this statement gets as much. Please read this in a mellow way. Peace and love, Ringo.”

Update ;

Abbeyrd’s Beatles Page has received the answer to our inquiry to Ringo’s press representatives about future Ringo signings. They told us the restriction on autographs by mail is pretty clear — there won’t be any. But his press office told us other situations in the future will be evaluated “as they come up when they come up — such as when he is again on tour or engaged in any promotions.” So, to answer the question, Ringo hasn’t completely ended all signings, only those by mail. Others are still possible. And, as his press office told us, “He is an extremely charitable human being and that has not changed.”

Mail us:

Home Art Babes Cartoons Dylan Editorial Music Videos Other

January 21, 2009 Posted by | Ringo Starr, The Beatles, _VIDEO | Leave a comment

Paul McCartney on ‘The Howard Stern Show’ — the dirty details!

Paul McCartney on ‘The Howard Stern Show’ — the dirty details!

by Steve Marinucci,
Beatles Examiner
January 14, 2009

On Wednesday’s “The Howard Stern Show,” Paul McCartney gave Howard Stern a signed Hofner bass as a present for Stern’s 55th birthday, which was Monday. Here’s a very rough account of the show (since I didn’t hear it) on what happened on the show compiled from notes by HwyCDRev. My transitions here aren’t really smooth and some of the information is sketchy, but you get a basic idea of what went on.

We’ll revise this as we get more information. (And if you heard it, feel free to add your comments.)

Here we go:

Paul McCartney gave Stern a signed Hofner bass guitar for a birthday gift. Stern said, “Is it yours?” McCartney replied, “No, it’s yours.”

Stern reminded Paul that he told him to get a pre-nuptial agreement. Paul says he doesn’t remember. Denies everything and winks. Stern said it was good McCartney took the high road.

Paul mentioned the East Hamptons concerts and says he didn’t date the women he was photographed with. He just said hello and gave them a kiss as the pictures were taken. The names Christie Brinkley, Renée Zelleweger and Rosanne Arquette were mentioned.

Stern said, “Are you happy with this ‘broad’? Paul asked, “Who?” Stern said, “The rich one.” Artie Lang followed with, “Everyone knew her as Nancy.”

Stern asked Paul about the rumor of John Lennon having sex with Brian Epstein that’s discussed in Philip Norman’s biography, “John Lennon: The Life.” Paul says it’s an old rumor. “One hint and they write a book.”

About the Fireman album, Stern said he liked it, saying, “And when you do a good job, I’ll tell you.”

Robin Quivers said, “i’m throwing my hat into the ring. I’m a vegan, too. Take me to the inauguration. Kids love me.” Stern tells Robin, “Show Paul your breasts.” Paul said no. Robin said, “I’ve been rejected by Paul McCartney.” (Paul is apparently in the U.S. to attend the inauguration.)

Stern asked if it was OK to ask about the Beatles. Paul McCartney: “I like the Beatles. They were a good band.” Paul then tells the story that the “Abbey Road” album was originally called ‘Everest.’ He says, “It was a cheap approach.” He explained that walking outside (for the “Abbey Road” cover) was cheaper than going to Mount Everest and shooting an album cover.

The subject came around to the Ringo “no autographs by mail” video. Paul said, “Ringo would always say ‘p— off'” in the old days because he had kids.” Stern replied he’s not that busy. (p.s. Howard, he’s working on an album.) On Ringo’s “no autographs” video, Paul said, “Ringo can do what he wants” and called Ringo “brave” for doing that video.

Paul replied, “I just signed something outside.” Stern said, “Pete Best will sign anything.”

About the unreleased song “Carnival of Light,” Paul confirmed it was George Harrison, not Yoko Ono, who didn’t like it and that he (Paul) wanted it to go on the “Anthology.”

Stern: “Did you ever write Pete Best a check?” Paul said, “He got pride!” Paul said Pete was kicked out not because he was good looking, but because Ringo sat in and sounded amazing. Stern said, “Don’t miss a day of work!”

Paul said after George Harrison died, “You just remember the good stuff. “Like losing anyone, I don’t think of him every day, but you tell a Beatles story and it’s tinged with sadness.”

And about Dhani Harrison, George’s son, McCartney said, “He’s really good.” Paul also said he and his son James were doing an album together.

Paul McCartney: “I’m an optimist. I’ve seen Vietnam, Nixon, 9/11. I’m excited about Obama. I’m reading his book.”

It’s noted that Christie Brinkley got dolled up for Paul McCartney. Paul: “Who can blame her?” Stern said he heard Brinkley was after Paul.

Paul said he loves having a young child. He makes breakfast, drives her to school and talks to mothers of other students. “Very hands on. It’s a thrill.”

Paul plays the promo single (probably “Sing the Changes”). Paul says, “I like it already.” Stern: “You’re excited?” Paul: “Why not?” and starts to dance a bit.

On the Fireman album, Paul made up the lyrics as he went along, like “improv.” Stern says “Highway” is one of his favorite tracks and says he should have had sex with Renee to that song.

Stern asked if Paul played Guitar Hero. Paul said he didn’t, but then added the Beatles were going to have a Guitar Hero game. “I may learn how to be a Beatle,” Paul said. Stern also mentions his daughter took a Beatles college course.

The subject turned to drugs. Stern says to Paul, “Cocaine .. everyone knows you were addicted.” Paul replied he was not addicted, it was a peer group thing. He says he never took heroin and says he got fed up with cocaine and got out before it was hip. He says he no longer does pot, either.

Paul says he’s still a vegetarian, but he doesn’t like cruelty to animals. Paul said that some eggs are abandoned by the hens, so it’s OK. Stern asked, “Isn’t an egg a chicken abortion?” Paul replied it wasn’t. “We don’t like to think of it like that.”

Stern asked why called the album the Fireman? Paul said it’s like Sgt. Pepper. Then, referring to the Ruttles, he said, “You are Dirk, you are Barry. “I make trails in the woods with a chainsaw for wood (to get wood for a fire).” And says his dad was a fireman.

Stern played another of his favorite songs from the album “Light From Your Lighthouse.” (The other is “Highway.”) He says this is like the Frost/Nixon interview. “We need 18 hours.”

The interview lasted approximately 40 minutes. Paul was having a great time. He was dancing to his CD when it was played.

After the commercial, Stern said there was lots of pressure over the visit. Paul came in with his entourage and there was a lot of things to do. But Stern said it was fun. Paul was relaxed and had his feet up on the couch.

At the end, Fred Norris added, “Before anyone has a heart attack,” the guitar came from Guitar Center.

Photo by Steve Gullick, courtesy MPL Communications Ltd.

Mail us:

Home Art Babes Cartoons Dylan Editorial Music Videos Other

January 21, 2009 Posted by | George Harrison, Howard Stern, John Lennon, Paul McCartney, Ringo Starr, The Beatles | Leave a comment

The 100 Worst Album Covers Ever ! The HORROR!

Capt. Kurtz:
…. I’ve seen horrors… horrors that you’ve seen. But you have no right to call me a murderer. You have a right to kill me. You have a right to do that… but you have no right to judge me. It’s impossible for words to describe what is necessary to those who do not know what horror means. Horror. Horror has a face… and you must make a friend of horror. Horror and moral terror are your friends. If they are not then they are enemies to be feared. They are truly enemies. I remember when I was with Special Forces. Seems a thousand centuries ago. We went into a camp to inoculate the children. We left the camp after we had inoculated the children for Polio, and this old man came running after us and he was crying. He couldn’t see. We went back there and they had come and hacked off every inoculated arm. There they were in a pile. A pile of little arms. And I remember… I… I… I cried. I wept like some grandmother. I wanted to tear my teeth out. I didn’t know what I wanted to do. And I want to remember it. I never want to forget it. I never want to forget. And then I realized… like I was shot… like I was shot with a diamond… a diamond bullet right through my forehead. And I thought: My God… the genius of that. The genius. The will to do that. Perfect, genuine, complete, crystalline, pure. And then I realized they were stronger than we. Because they could stand that these were not monsters. These were men… trained cadres. These men who fought with their hearts, who had families, who had children, who were filled with love… but they had the strength… the strength… to do that. If I had ten divisions of those men our troubles here would be over very quickly. You have to have men who are moral… and at the same time who are able to utilize their primordial instincts to kill without feeling… without passion… without judgment… without judgment. Because it’s judgment that defeats us …….

… The horror… the HORROR …

Man, there are some real horrors in here! More than Capt. Kurtz could envisage in his wildest nightmares!

Most of ’em are from the likes of Prince, the Bee Gees and Scorpions! And the Rolling Stones!

An interesting listing, no doubt. However, there are at least one hundred other potential candidates!

Thanks to djlanda at rateyourmusic


Throwin' Down

Rick James

Throwin’ Down (1982)

Most of the worst album covers in rock history feature people dressed like Conan the Barbarian! Here’s a prime example!


Ho Ho Ho


Ho Ho Ho (1997)

Ho indeed! Man Ho!

In celebration of lil baby Jesus‘s birth, Rupaul did this.

Only Eddie Murphy bought this LP!


Dirty Mind


Dirty Mind (1980)

With his second album, Prince expanded his fan base to gay cowboys, kinky swimmers and casual fetishists. And Born-Again Preachers!


Born Again

Black Sabbath

Born Again (1983)

A collection of Born-Again hymnals!

Based on St. Rosemary and her lovely baby !


Reaching Out

Menudo –Reaching Out (1984)

This has put me off my lunch! MENUDO!?! WTF! We shall say no more! Except this … don’t reach out in this direction menudo, or you’ll be visiting ER!


Dead Ringer

Meat Loaf –Dead Ringer (1981)

On the epic quest of a lifetime, a band of ancient adventurers cross the darkest oceans, slay the fiercest beasts and scale the highest mountains… in search of the fabled gigantic cheeseburger.

We can’t wait til Mr. Meat releases an autobiographical LP titled “Dead Singer”!


In the Nude

Luke –In the Nude (1993)

Is that Jaque from “227”?

This guy Luke useta write a lot of Gospels back in the day! Seems to have lost his way with hos and drugs and bathtubs now though!


We're Blest

Tammy Faye Bakker

We’re Blest (1979)

It’s OK – Jesus wore sable furs and earned loadsa cash on false pretences too!

We’re curst to have even seen this, let alone listen to the shit!

God ain’t real, bitch! But education is! Learn to fucking spell!


We've Come for You All

Anthrax –We’ve Come for You All (2003)

For once a band name that accurately describes the effect of the noise they make!

Morons, if your country is currently in fear of an attack from biological weapons don’t release shit like this. BTW, change your name to “Pile of Puke”.


Speak of the Devil

Ozzy Osbourne

Speak of the Devil (1982)

Ozzy: “Me loves doves. Them taste fookin good, mate! ….. Oooh! Me feelin dizzy! Take me back to the Old Folks Home, will ya love”


If I Could Only Remember My Name

David Crosby –If I Could Only Remember My Name (1971)

This cover is beautiful in the way that drug-induced brain hemorrhages are beautiful. Real title was “If only I Could Write a Decent Song”


Ladies Love Outlaws

Waylon Jennings

Ladies Love Outlaws (1972)

Is this cute? Or is this illegal? Yap, illegal – in every state except Texas!

Ladies may love Outlaws, but ladies ain’t too fond of Paedos!!


Country Church

Country Church

Country Church

Four more reasons to nuke the redneck heartland! This is what too much inbreeding can lead to! All Sarah Palin fans, of course!


Barry & Glodean

Barry & Glodean –Barry & Glodean (1981)

Barry: “Look, baby… an alien spacecraft, man.”

Glodean: “It’s the motherFUCKIN’ ship, baby!”

Barry: “Mmmmm. I’m gonna lay it down by the fire, man.”

Glodean: “Awwwwwww yeeeeeeah…”

Barry: “Today was one sure fine day, baby!”

Glodean: “Awwwwwww yeeeeeeah…”


Hung for the Holidays

William Hung

Hung for the Holidays (2004)

In celebration of lil baby Jesus‘s birth, William Hung did this.

Willy should Be hung!



Lords of Acid –Pussy (1998) [Single]

Man, that looks worse than Madonna’s rancid holy of holies!

Go see your gynaecologist now honey! HURRY!


The Higher They Climb, The Harder They Fall

David Cassidy –The Higher They Climb, The Harder They Fall (1975)

The higher they climb, the harder they fall? That’s a real good lesson from David – truly one of rock’s real anti-heroes. Just like Robbie Williams or Avril Lavigne!

We hope Davie climbs real high and falls real hard … real soon!


Animal Magnetism


Animal Magnetism (1980)

Mary deep-throats like a champ. Fido loves to lick peanut butter and has false teeth. Which to choose? Which to choose? OK then – I’ll take em both!!



Prince –Sexuality (1982) [Single]

Someone should tell Carly Simon she’s got something on her lip. Lil P. was obviously living in San Francisco round 82 and “experimenting”!!



Whitesnake –Lovehunter (1979)

On January 3rd, 1979, at 3:25 PM, Whitesnake unanimously decide that their music is best represented by the image of a nude woman dry humping a snake. Well that or a steaming pile of rancid puke!


Liberace Now!


Liberace Now! (1967)

Liberace now! Tomorrow… the world!

Original title was “Liberace NEVER”!


Brown Reason to Live

Butthole Surfers

Brown Reason to Live (1983) [EP]

All we can say is that this isn’t the worst Butthole Surfers album on this list.


The Very Best of Ashford & Simpson

Ashford & Simpson –The Very Best of Ashford & Simpson (2002) [Compilation]

They look real happy! Tell me they’re not doing it doggystyle!

“C”mon Ash, do me harder! And spank that big ass!”


Bad Boys

Wham! –Bad Boys (1983) [Single]

They look like real bad boys alright!

Tell me they’re not doing it doggystyle!

“C”mon Georgie, do me harder! And spank that big ass!”


The Rolling Stones in Concert

The Rolling Stones –‘Get Yer Ya-Ya’s Out!’: The Rolling Stones in Concert (1970)

This is amongst the greatest live albums ever. So why does the donkey look so embarrassed? Guess he’s the only one not insanely high on drugs!


Chocolate Starfish and the Hot Dog Flavored Water

Limp Bizkit –Chocolate Starfish and the Hot Dog Flavored Water (2000)

This album’s title contains euphemisms for penis, sperm and asshole. The cover features pot-smoking aliens wallowing in a pool of porcine meat products. And the music was even worse. Thank you, lame Bizkit!


Fabio After Dark

Fabio –Fabio After Dark (1993)

Yes, ladies. When he’s not striking a pose on the cover of a wonderful romance novel, Fabio is striking a pose at the bottom of a wonderful bargain bin!




Saxon (1979)

A Stevie Wonder drawing of Conan the Barbarian! The heavy rawk muzak was far far worse though!


Live It Up

Crosby, Stills & Nash

Live It Up (1990)

Impaled sausages in space! Erm … OK!

Having curtailed their rampant drug use for 2 minutes, C S & N once conceded, “It seemed like a good idea at the time. Kind of!”


One Woman Man

George Jones

One Woman Man (1989)

Only one woman? Surely you jest! Don’t limit yourself buddy – after all, you are God’s one gift to humanity!


The Dwarves Must Die

Dwarves –The Dwarves Must Die (2004)

With their latest affront to humanity, The Dwarves manage to insult women, Christians, little people and the time-honoured art of crucifixion! They also manage to irrevocably damage numerous ear drums and brains! Nice work!


Smile a While


Smile a While (1972)

Four more reasons to nuke Germany! Whose brainstorm was this cross dressing debacle? Eddie Murphy?


Jungle Marmalade

The Lemon Pipers

Jungle Marmalade (1968)

Now with 20 percent more human flesh! Still shit though!


Love's Alright

Eddie Murphy

Love’s Alright (1993)

What the hell’s this? The full title was Love with a Tranny’s Alright!



Scorpions –Lovedrive (1979)

How did that guy get the mannequin out of the store? Isn’t this illegal (everywhere except Texas!)?


Young Americans

David Bowie –Young Americans (1975)

Photographer: “Welcome to Glamour Shots.”

Bowie: “I want to look American. And young!”

Photographer: “Ah, if only I had some tinsel!”

Bowie: “Bugger the tinsel.”

Photographer: “OK. Backlight, airbrush, bracelet, spliff, no teeth. Perfect David! Simply Perfect! You look real American now! And real young!”

Bowie: “Really, man? Really?

Photographer: “Yap”


My Name Is Jermaine

Jermaine Jackson

My Name Is Jermaine (1976)

The end of the sentence was “and I’m a muzakaholic”!

This might be music’s most blatant cry for attention. And
music’s most awful crime against humanity!


I'm Still Here

Eartha Kitt –I’m Still Here (1989)

Yeah … and you’re still frightening the children!

Does this LP now need to be renamed?


Julie's Sixteenth Birthday

John Bult

Julie’s Sixteenth Birthday (1985)

Oh, hell no! That shit is definitely illegal (in every State except Texas! – Or in R. Kelly’s condo! (allegedly!))


Dream Come True

A Flock of Seagulls

Dream Come True (1986)

More like Nightmare Come True!

Flock of Seagulls…. Arm with fiddles …. ATTACK!


Keys to Imagination

Yanni –Keys to Imagination (1986)

Waterfalls? Check! Lofty mountains? Check! Majesty of the universe? Check! Inane pseudo-spiritual visual concepts? Check! Giant broken egg? Check! Eat your druggy watercolors, Moody Blues!


Up at the Crack

Boned –Up at the Crack (2004)

Could this be the height of poodle rock “machismo”? Well, considering the only logical hiding place for the REST of the guitar… we’d say Boned didn’t think this one through!

Boned is Bono’s son, BTW! And he likes to be boned up the crack!


The Fabulous Paul Anka

Paul Anka

The Fabulous Paul Anka (1959)

It’s Paul Anka’s disembodied head! His freakin’ head!

The inclusion of the word “Fabulous” here is very false advertising!


Love to Love You Baby

Donna Summer

Love to Love You Baby (1975)

Donna Summer always found inspiration while playing with herself in outer space! She’s singing that song to her own holy of the holies!


Zipper Catches Skin

Alice Cooper –Zipper Catches Skin (1982)

It’s a splash of blood…. from a zipper… on skin. EWWWW!

We got a bleeder! A


Songs for Gay Dogs

Paddy Roberts –Songs for Gay Dogs (1966)

This is beyond insanity!

Wolfgang Pug licked his share of peanut butter to get this modelling gig. But playing “bury the bone” with Paddy was a low point in his career! They both soon after died in a tragic carpet suffocation accident!


Funky As I Wanna Be

MC Pooh –Funky As I Wanna Be (1992)

Pooh: “Oh, bother. No honey in here.”

The muzak was poo poo too!

Does that model know she’s got a giant head growing out of her privates! See your gynaecologist fast, honey!


In a Metal Mood - No More Mr. Nice Guy

Pat Boone –In a Metal Mood – No More Mr. Nice Guy (1997)

With leather on his chest and a lunatic twinkle in his eye, Pat turned the metal world upside down with his raucous brand of bland crooning with poodle rock accompaniment. Who’s your daddy indeed! This inspired Guns & Roses to reform last year! They couldn’t reach the heights of this work though!


E.S.P. (Extra Sexual Persuasion)

Millie Jackson –E.S.P. (Extra Sexual Persuasion) (1983)

Surprisingly, this is Mad Mill’s her first appearance on this list! But wait until you see her top-20 entry!

Here Millie does her best blow up doll imitation! The muzak was written by a
blow up doll also!


Children of the World

Bee Gees –Children of the World (1976)

Is this some tribute to paedophilia?!

Barry: “A Spotlight! We’ve been found out!”

Robin: “Now we’ll never get the children!”

Maurice: “Quick! To the Disco Jet!”

Barry: “We’ll be back, bitches!”


Bubbling Over

Dolly Parton –Bubbling Over (1973)

Dolly Parton’s disembodied head! Nice! We believe the head appears as a float in the Dollywood Night Parade. Original title was “Tumbling Over”, in honour of her 30 lbs of silly cone!


Push Push

Herbie Mann – Push Push (1971)

No! No!! … I remember this guy from ‘Deliverance’!

“Squeal like a pig, boy!!”


Tiny Tim's Christmas Album

Tiny Tim –Tiny Tim’s Christmas Album (1995)

In celebration of lil baby Jesus’s birth, Tiny Tim did this! It’s GW Bush’s fave LP!


Keep the Fire

Kenny Loggins

Keep the Fire (1979)

Kenny denies having a Jesus complex! His music is satanic, after all!


The Many Facets of Roger

Roger –The Many Facets of Roger (1981)

Contrary to popular belief (and some vigorous marketing), Roger only had one facet. Well, zero facet, actually!


Feel the Need

Leif Garrett

Feel the Need (1978)

LEIF us the fuck alone will you, buddy!

Before Knight Rider, before Joey Lawrence, before good taste, there was this asshole, Leif Garrett.

BTW, this guy discovered America years before Columbus! Then he tried to pollute it with muzak!


The Sensuous Black Woman Meets the Sensuous Black Man

Various Artists – Genres – Adult

The Sensuous Black Woman Meets the Sensuous Black Man (1971)

Surely false advertising here! We don’t want to know what the fuck this one’s about!

Let’s move on, shall we and never speak of this again!


American Life

Madonna –American Life (2003)

American life? Hasn’t this mad bitch been living in Britland for about 10 years?!

Communist-issued beret? Check! Smugly ironic album title? Check! Absurd use of Che Guevera’s legendary political struggle against capitalism to promote America’s most famous three-way lesbian kiss? Check! Crazy Kabbalah in tow?
Check! Finish your chai latte, bitches, mad Madonna’s leading the charge!!


The Leprechaun

Chick Corea –The Leprechaun (1976)

Looking back on it, Chick realized that LSD wasn’t for everyone.

Chick now admits he doesn’t even know where the fuck Ireland is!



Bob Dylan –Saved (1980)

God: “Bob, I free you from the chains of subtlety for a year or two.”

Bob: “Thank you, Lord. How about irony?”

God: “Yes, Bob. Irony, too.”

Bob: “And the great songs and great lyrics”

God: “Yap. That most of all!”



The Handsome Beasts

Beastiality (1981)

Despite the great lighting Oprah’s husband just wasn’t happy with her wedding photo!

This is illegal in every State (except Texas!)

Squeal like a pig … erm, pig !!


Da Bomb

Kris Kross – Da Bomb (1993)

In trying to avoid the sophomore jinx, it’s probably best not to title your second album “Da Bomb” or use cover art that shows the annihilation of the artist. Or maybe they were real prophets foretelling their own doom into speedy oblivion!


A-Tom-ic Jones

Tom Jones A-Tom-ic Jones (1966)

What an awful title!. What an awful cover!

Atomic? We like this about as much as the Polynesians liked the Frenchies detonating test Atomic bombs in their waters some years back!


Magical Mystery Tour

The Beatles –Magical Mystery Tour (1967)

Ringo: “Octopus. Bunny. Walrus. Chipmunk.”

Paul: “Hey, I think Ringo’s got something!”

George: “Bloody
Brilliant Ringo! You’re a fooking genius”

John: “! Let’s make a
fooking movie!”

All: “Hurrah … Hurrah!! First let’s have some nice afternoon tea with crumpets …. and a few
nice colourful pills!



Joyce Drake – Joyce (1983)

Joyce really thought she had talent. We blame Lilly Tomlin! Is this an LP of knitting instructions? Or maybe a tribute to James Joyce’s “Finnegan’s Wake!”?


The Miracle

Queen –The Miracle (1989)

Four more reasons to nuke Queen or Queen fans!

The Miracle is that anyone ever bought this crock or indeed any of Queen’s ghastly
fucking LPs!


Zip Zap Rap

Devastatin’ Dave

Zip Zap Rap (1986) [Single]

Oh, hell no. This guy’s been Devestatin’ corneas and ear drums everywhere!


Scream Dream

Ted Nugent –Scream Dream (1980)

Loin cloth? Check! Guitars for arms? Check! Long, unruly hair? Check! Uncontrollable redneck rage? Check! Padded cell patient look? Check! Your ass is grass, Cat Stevens.


Rat On!

Swamp Dogg

Rat On! (1971)

Poor Swamp Dogg… First crabs. Now this! This nasty behaviour with giant rats is illegal in all States (except Texas!)



Prince –Prince (1979)

Oh, HELL no! Scary on many levels! Almost as scary as the muzak!


Y Kant Tori Read

Y Kant Tori Read

Y Kant Tori Read (1988)

Y Kant Tori Read? … well, kos she’s a stoopid kunt who thinks she’s Head Hun Kate Bush!!

We all have skeletons in our closet. Tori’s was apparently dressed by a glamorous S&M pirate.


Kate Bush

Kate Bush –Kate Bush (1983) [EP]

The huns have arrived!

And here she is. The Head Hun. Attila’s daughter! Look out! She takes no prisoners! … Arrrrrrr!!!

First she takes out
Y Kant Tori Read with an axe to the head! Nice work Katey!

Nice hun boobies too!!


Satan Is Real

The Louvin Brothers

Satan Is Real (1959)

This is old-school, mofo gospel. The Louvin Brothers go medievel on Satan’s ghetto ass with a set of hardcore rhymes. Shiiiiiiit… The power of God compels you, bitches!

Can we sue em for fraudulently saying Satan is real?


His Hand in Mine

Elvis Presley –His Hand in Mine (1976)

If anyone can try to look both sexy and reflective while floating in the light of God, or maybe just the sun, it’s Elvis. Props to the design team for cropping out the two teenagers giving the King a blowjob outside the burger joint.


Disco Train

Donny Osmond

Disco Train (1976)

Very sadly, Donny survived!

Donny’ please try reshooting this wonderful pic soon! But this time with a much faster train! Much much faster!


Life in a Tin Can

Bee Gees –Life in a Tin Can (1973)

Awww… that’s precious! I hope there’s room in there for drug addiction and poor album sales and oblivion!

And giant fucking teeth!


Por primera vez

Tino –Por primera vez (1983) [Single]

Tino beat Ricky Martin to the punch. He also beat down Daisy Duke and stole her knickers. Que barbaridad, Tino!


Stay Hungry

Twisted Sister

Stay Hungry (1984)

Twisted Sister couldn’t take it anymore. And Tino looked really appetizing.



Whitney Houston – Whitney (1987)

Photographer: “Welcome to Glamour Shots.”

Whitney: “You got some nose candy?”

Photographer: “Just call me Nabisco.”

Whitney: “Shoop-Shoop! Ready for my closeup! .. Crack is wack folks.
Crack is wack! (pass that pipe motherfucker .. puff, puff, puff … man that shit is good!)


Sour Cream & Other Delights

The Frivolous Five

Sour Cream & Other Delights (1966)

This lot take the “sex” out of Sextegenerian!

This is an LP Madonna and a few granny pals released last year!


Funky Honkey, Nasty Nigger

Richard & Willie

Funky Honkey, Nasty Nigger (1975)

If MLK and the Freedom Movement had a significant message and influence, both Richard and Willie missed it!


Raffi's Christmas Album

Raffi –Raffi’s Christmas Album (1983)

In celebration of lil baby Jesus‘s birth … Oh, just hide the children!

Santa prowling around in long johns is illegal in all States (except Texas!)


Party Music (Original Cover)

The Coup –Party Music (Original Cover) (2001)

This artwork defines good taste!

Yes, that’s the World Trade Center exploding. And this cover was pulled before it hit the shelves. And, no, it’s not as bad as the cover of Cool as Ice.


Cool as Ice

Various Artists – Film Soundtracks 1990-94

Cool as Ice (1991)

In music, as in life, your pants should not be the loudest thing for miles around … in this case, the loudest thing aside from the sound of a career crashing into a brick wall.


Thug Misses

Khia –Thug Misses (2002)

Khia wanted to start her career on the right knee … I mean foot! Khia was a lover of all things doggystyle and refused to ever walk upright!


Waking and Dreaming

Orleans –Waking and Dreaming (1976)

Dreaming? This is a fucking nightmare!

Straight out of San Fran in 76! “Group picture, everybody! Dear God, Chris, if I’ve told you once, I’ve told you a thousand times. Manscape! Manscape! Manscape!”


As Nasty as They Wanna Be

2 Live Crew –As Nasty as They Wanna Be (1989)

Nice shot of four asses – and four strippers!

R. Kelly and others were inspired by this album to engage in certain alleged notorious activities! Thank you, 2 Live Crew.

Me so naughty …


Michael Bolton

Michael Bolton

Michael Bolton (1983)

“Can’t… pout… much… longer. Hair… starting… to… hurt.”

A simply beautiful shot! One of the greatest pieces of art of the twentieth century! Well, maybe the
twentieth century BC!



Village People –Renaissance (1981)

The Renaissance was an age of enlightenment with unprecedented developments in thought, art, culture and science. The Village People made it pretty!



Butthole Surfers

Electriclarryland (1996)

What’s really frightening about this cover is that it ranks BELOW the next one.


Night Rocker

David Hasselhoff

Night Rocker (1985)

The Age of Hasselhoff begins. Gentlemen, wring out your panties.

This is still number one in Germany! “Ya vol!… We be lovin Herr Hasselhoff. Best thing since Adolf! Ya! Seig Heil!”


Into Glory Ride

Manowar –Into Glory Ride (1983)

A band of Conans!

Manowar don the Loincloths of Victory and ride into battle… into glory… into Kate Bush, who decapitates them with her Hun army.


Take Me Home

Cher –Take Me Home (1979)

Having declared war on Kate Bush, Cher single-handedly slaughters the Hun army and defiles the bodies of Manowar before deftly reapplying her fake tan and some new silicone.

Original title was “Take Me to the Old Folks Home“.


Past, Present and Future - Book I

Michael Jackson –HIStory: Past, Present and Future – Book I (1995)

Forget Kenny Loggins. Forget Yanni. This is the most pompous album cover in rock history.

Michael: “Bow down before me!”

McCauley: “But my knees still hurt!”


Two Virgins

John Lennon & Yoko Ono

Unfinished Music No. 1: Two Virgins (1968)

You could call this cover art a unique expression of freedom. But since the music is kinda shit, it’s just a REALLY bad decision.



Charles Manson –Lie (1970)

A lovely album of beautiful sensitive love songs!

Yap, love songs to carnage and to satan!

Charlie wanted to follow in Joan Baez’s footsteps. Luckily, Joan outran the psychotic fucker.


Back to the S..t!

Millie Jackson –Back to the S..t! (1990)

We told you she’d be back!

Here the mad bat gets scatty! Ewwwww!

Wrong on so many levels!

This stuff is illegal in all States (except Texas!)


Dirty Work

The Rolling Stones –Dirty Work (1986)

Embracing their new bright tasteless eighties look, the Stones take a joyride on South Beach and kill several Cuban drug lords. Later that day, Mick Jagger’s pants challenge Vanilla Ice’s pants to a scream-off.

The Stones later run off to be detectives in Miami with 5 black sidekicks!


Virgin Killer [original cover prohibited at RYM]

Scorpions –Virgin Killer [original cover prohibited at RYM] (1976)

Germany’s finest resurface again like turds that won’t sink!

All you need to know is that the uncensored version of this cover
appears to depict a nude prepubescent girl with what appears to be a flash of light emitting from her vagina! We can’t say anything else about this insanity!

This is illegal in all States (even Texas!)




Lovesexy (1988)

Prince’s 20th entry on the list!

This is the uncensored
rubbish cover for this rubbish LP.

The cover’s simply horrific on every level! But, amazingly, the music was even worse!!

Thanks to djlanda at rateyourmusic

Mail us:

Home Art Babes Cartoons Dylan Editorial Music Videos Other

December 25, 2008 Posted by | Bonnie PrinceBilly, Marlon Brando, Rolling Stones, The Beatles, _BOB DYLAN, _COMEDY, _MUSIC | 2 Comments

John Lennon – Rock N Roll (1975)


John Lennon – Rock N Roll1975
Remastered & Bonus Tracks – 2004

When the night has come
And the land is dark
And the moon is the only light we’ll see
No I won’t be afraid, no I won’t be afraid
Just as long as you stand, stand by me

-Jerry Leiber/Mike Stoller/Ben E. King
I’m a freakin’ artist, man, not a fuckin’ racehorse!

-John Lennon (Rolling Stone 5/6/1975)

We saw a post with this fine release posted over at scarydaydreams

Rock ‘n’ Roll is a 1975 album of late 1950s and early 1960s-era rock songs covered by John Lennon. The recording of the album spanned a year and its dramatic and infamous sessions have since entered into rock music folklore. The title was actually a last-minute choice, coming from a neon sign crafted for the album cover.

In this new improved version of the album from 2004, all the tracks have been remixed and remastered, and while true to the original release, sound better than they ever have before. A few extra touches, such as a count-in on “Be Bop A Lula”, are good and the bonus tracks ain’t half bad either – particularly the fun arrangement and backing vocals on “My Baby Left Me”, and the extra spoken words on the previously unreleased outro to “Just Because”.

It may not be a perfect album, but it’s pretty damn good indeed and a must-have for fans of great music. It’ an uplifting album and the interpretations sound fresh and strong. The songs of course are stone-cold classics and the album itself is a great and warm Lennon tribute to the rock n’ roll roots that influenced him, seeped into his soul and stayed with him throughout his life.


The context and background for this album were very complex indeed and rather surreal!

John was in the midst of his so called, “Lost Weekend” when he started recording golden oldies for a new album.

After splitting with Yoko Ono in the fall of 1973, and arriving in Los Angeles with May Pang, Lennon teamed up with Phil Spector to record the album, working at both A&M Records Studios and Gold Star Recording Studios. Due to the boys-club nature of the sessions, the atmosphere quickly fell into disarray with alcohol, with Lennon in very aggressive form.

Paul McCartney had decided to go to court to dissolve the Beatles partnership, which froze their assets. All of the Ex-Beatles were given allowances, and this meant that none of them could make any money on their own until the Beatles had officially broken up on paper. All of the money that the Beatles were making on solo projects was being poured into one giant Apple pot.


Lawyers had begun to slice up the Apple pie, and each of the Beatles had their own lawsuits to fight. John Lennon started making the album “ROCK ‘N ROLL,” due to a lawsuit that was filed against him by Morris Levy, a renowned shyster, who owned the publishing to “You Can’t Catch Me” by Chuck Berry.

Levy claimed that John had ripped off Chuck Berry when he recorded, “Come Together.” The lawsuit was filed in 1973. John’s lawyer, “Harry Seider” was ready to fight, but Yoko didn’t want John to come back to New York, she wanted him to settle this out of court.

An agreement was reached that, in summary, Lennon would record three Chuck Berry numbers and thereby fill Levy’s coffers!

Furthermore, Lennon’s recent outings had not sold well so he felt he would return to his roots with classic Rock n Roll numbers with a view to increasing sales.

These two scenarios were the main factors leading to the recording of what became this album.


The LA sessions for the album are infamous and filled with so many strange and fucked-up details, it would take a novel to do them justice. Therefore, let’s just cover the main salient points.

John went to work on the album in LA with ‘wall of sound’ uber-producer, whack-job (and now potential murder felon!) Phil Spector. The sessions at various points ranged between chaotic to insane, entailing throughout, the consumption (allegedly!) of copious amounts of cocaine, alcohol, pot etc. and entailing, at various points, Spector gunshots in the studio, fierce arguments, Lennon fights, monster celebrity parties, etc. etc.

Furthermore, Lennon was so fucked-up that not only was his voice shot but he was changing his singing style, as well as the lyrics, so much between takes that continuity and cutting together of takes was impossible. Also Spector’s style of very slowly designing the arrangements in the studio, and technically his means of recording every take with all 24 tracks wide open, meant that very little from the sessions could be salvaged.

In the end, the sessions had cost a hell of a lot of money and had yielded very little. A further surreal complication was that, for a time, Spector absconded with the masters and claimed they had been destroyed in a motorcycle crash!


Eventually, the masters were returned to Lennon, but were in the most part unusable. Lennon basically re-recorded the entire thing in NYC over 9 days and the record company shipped it out pronto due to an impending similar release being made by the aforementioned Morris Levy of similar Lennon material called Roots. This was an unauthorised album recorded by Lennon and his band in Levy’s farmhouse and released on Levy’s Adam VIII label. Though it didn’t sell very well, original copies of Roots are now valuable collector’s items.


The album cover for Rock n Roll is of course the famous photo of John Lennon standing in a doorway while the other Beatles walk in front of him, and are blurred as they’re walking by. Photographer Jurgen Volimer took the great shot in 1961.

The photo was a favorite of John’s, and was one of the few Beatles photos that he had hanging in his Dakota pad. He actually kept the picture hanging over his jukebox there.

The album’s working title had been Oldies but Mouldies; no official title had been chosen until Lennon saw the neon sign prepared as cover art by John Uotomo, with Lennon’s name and the words “ROCK ‘N’ ROLL” beneath. This struck Lennon in a positive way, and it became the album title.

Some interesting links:



All tracks produced by John Lennon, except where noted.

1. “Be-Bop-A-Lula” (Tex Davis/Gene Vincent) – 2:39

* Lennon opened with a song he’d played the only time his mother Julia got to see him perform. This was the song he was playing when he met Paul McCartney in 1957.

2. “Stand by Me” (Jerry Leiber/Mike Stoller/Ben E. King) – 3:26

* The single’s B-side, “Move Over Ms. L”, was a non-album song written by Lennon, originally intended for Walls and Bridges.

3. “Medley: Rip It Up/Ready Teddy” (Blackwell/John Marascalco) – 1:33

* Two songs famously recorded by Little Richard, who had toured with the Beatles.

4. “You Can’t Catch Me” (Chuck Berry) – 4:51

* Produced by Phil Spector was the song that, according to Morris Levy, sounded very much like Come Together.

5. “Ain’t That a Shame” (Fats Domino/Dave Bartholomew) – 2:38

* Lennon met Fats Domino during a Las Vegas visit late in 1973; this was the first song Lennon’s mother taught him to play.

6. “Do You Wanna Dance?” (Bobby Freeman) – 3:15

* A reggae-flavoured remake.

7. “Sweet Little Sixteen” (Chuck Berry) – 3:01

* Produced by Phil Spector.

8. “Slippin’ and Slidin'” (Eddie Bocage/Albert Collins/Richard Wayne Penniman/James H. Smith) – 2:16

* Planned as the second single from the album (with “Ain’t That A Shame” as the B-side), but cancelled before its release. In the video, he sends a sweet message to son Julian.

9. “Peggy Sue” (Jerry Allison/Norman Petty/Buddy Holly) – 2:06

* Lennon, Paul McCartney and George Harrison were Buddy Holly fans; McCartney purchased Holly’s song copyrights in the late 1970s.

10. “Medley: Bring It On Home to Me/Send Me Some Lovin'” (Sam Cooke)/(John Marascalco/Lloyd Price) – 3:41

11. “Bony Moronie” (Larry Williams) – 3:47

* Produced by Phil Spector

12. “Ya Ya” (Lee Dorsey/Clarence Lewis/Morgan Robinson) – 2:17

* A brief version appeared on Walls and Bridges, featuring eleven-year-old Julian Lennon on drums.

13. “Just Because” (Lloyd Price) – 4:25

* Produced by Phil Spector

* Lennon speaks before the fadeout, in the style of a 50’s D.J. closing out a radio programme, joking, “There’s two basses in this, and I hope you appreciate it!” adding “Good night from the Record Plant East, New York… Goodbye.” He said in a later interview that he was subconsciously bidding farewell to the music business.

* On the ‘Reprise’ version found on the 2005 re-issue, Lennon says “it’s all down to Goodnight Vienna, I’d like to say hi to Ringo, Paul and, George… how are you?” “All wounds are healed” said Lennon in 1974, and he was feeling sentimental toward his fellow bandmates. As he could not leave the U.S. because of immigration problems, he sent this message to them.

14. “Angel Baby” (Rosie Hamlin) – 3:44

* appears on 2004 reissue

15. “To Know Her is to Love Her” (Phil Spector) – 4:31

* appears on 2004 reissue

16. “Since My Baby Left Me” (Arthur Crudup) – 4:40

* appears on 2004 reissue

17. “Just Because (Reprise)” – 1:25

* appears on 2004 reissue



We do not host any files here. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a said content, or any content here, please let us know and we will remove the content in question.

Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.

Mail us:

Home Art Babes Cartoons Dylan Editorial Music Videos Other

December 11, 2008 Posted by | John Lennon, May Pang, Music_ClassicRock, Phil Spector, The Beatles, Yoko Ono, _MUSIC | Leave a comment

The 10 Most Covered Songs Ever ? has produced a piece listing the 10 Most Covered Songs Ever!

Basically a Beatles love-in!

This can’t be right -can it? Why are most of these songs basically …. erm … crap?

Guess we know! There’s a famous, and true, saying, along the lines that art for the masses is art for nobody!

About the mawkish Macca Yesterday, the facts are that “According to ‘Guinness World Records’ this song was covered seven million times in the 20th century.” Erm … why the fuck is it not easily the “winner” of this then?

In a few years, Lenny’s sublime Hallelujah will surely be the most covered song, thanks to a slew of awful saccharine versions proliferating lately!

1. Eleanor Rigby (The Beatles)
A surprising choice for the top spot. But the enigmatic tale has been reworked 131 times, by Joan Baez and Aretha Franklin among others.

2. Yesterday (The Beatles)
According to ‘Guinness World Records’ this song was covered seven million times in the 20th century. Official versions range from the sublime (Frank Sinatra) to the ridiculous (Wet Wet Wet and Boyz II Men).

3. Cry Me a River (Julie London)
Not the Justin Timberlake one. This bluesy jazz number has been covered by other luminaries of the genre, including Ella Fitzgerald and Ray Charles, and even Aerosmith.

4. And I Love Her (The Beatles)
From ‘A Hard Day’s Night’, Smokey Robinson, Bob Marley and Barry Manilow have all recorded it.

5. (I Can’t Get No) Satisfaction (The Rolling Stones)
With 98 covers recorded, the Stones make the top 10. A surprising range of artists have lapped this one up, including Aretha Franklin, Jimi Hendrix, Cat Power and Vanilla Ice.

6. Imagine(John Lennon)
Elton John, David Bowie, Diana Ross, Avril Lavigne and Jack Johnson… the list is endless.

7. Summertime (Abbie Mitchell)
Ella Fitzgerald and Louis Armstrong provide the best known adaptation, so no one remembers the original. Sonny and Cher, Nina Simone and REM have recorded their take.

8. Blackbird (The Beatles)
Another album track from the Fab Four, which has been covered by Carly Simon and Dave Grohl.

9. Over the Rainbow (Judy Garland)
Dorothy was blissfully unaware of how popular the tune would be. Special mentions to Eva Cassidy and the brilliant partial cover by Israel Kamakawiwo’ole.

10. The Look of Love (Dusty Springfield)
After husky Dusty, the CV is impressive, with Nina Simone, Diana Krall and Neil Diamond all doing it.

Mail us:

Home Art Babes Cartoons Dylan Editorial Music Videos Other

December 6, 2008 Posted by | John Lennon, Paul McCartney, The Beatles, _ARTICLE, _MUSIC, _PHOTOGRAPHY | Leave a comment

The Beatles: Complete Ultra Rare Trax (Volumes 1-8)

Various Dates, Various Studio Outtakes and Rare Live Trax
Liberated Bootlegs
Silvers > EAC > SHN > FLAC
Volumes 1-8
The Swingin’ Pig
Volume One: TSP-CD-001 (made in Luxembourg)
Volume Two: TSP-CD-002 (made in Italy)

Volume Three: TSP-CD-025 (made in Italy)
Volume Four: TSP-CD-026 (made in Italy)
Volume Five: TSP-CD-035 (made in Italy?)
Volume Six: TSP-CD-036 (made in Luxembourg)
The Genuine Pig

Volume Seven: TGP-CD-111 (made in Italy)
Volume Eight: TGP-CD-112 (made in Italy)

Total time: 280:14 (33:08, 26:50, 33:06, 32:33, 34:54, 40:23, 40:11, 39:05)
Size: 1.53 GB

Disc 1

01. I Saw Her Standing There (3:08)
02. The One After 909 (2:57)
03. She’s A Woman (3:17)
04. I’m Looking Through You (3:12)
05. If You’ve Got Trouble (2:20)
06. How Do You Do It (1:59)
07. Penny Lane (3:07)
08. Strawberry Fields Forever (3:19)
09. From Me To You (1:51)
10. Besame Mucho (2:32)
11. The Fool On The Hill (2:45)
12. Paperback Writer (2:37)

Disc 2

01. Can’t Buy Me Love (2:15)
02. There’s A Place (0:12)
03. There’s A Place (1:56)
04. That Means A Lot (2:25)
05. Day Tripper (0:29)
06. Day Tripper (3:07)
07. I Am The Walrus (4:23)
08. Misery (1:53)
09. Leave My Kitten Alone (2:52)
10. We Can Work It Out (2:11)
11. A Hard Day’s Night (2:34)
12. Norwegian Wood (This Bird Has Flown) (2:29)

Disc 3

01. Ob-La-Di, Ob-La-Da (2:56)
02. Tomorrow Never Knows (2:57)
03. A Day In The Life (5:09)
04. Yes It Is (3:06)
05. I Saw Her Standing There (3:01)
06. Norwegian Wood (This Bird Has Flown) (2:03)
07. Not Guilty (3:15)
08. Across The Universe (3:46)
09. While My Guitar Gently Weeps (3:26)
10. Ticket To Ride (3:23)

Disc 4

01. The One After 909 (3:17)
02. A Taste Of Honey (2:17)
03. I Feel Fine (2:49)
04. Yer Blues (4:02)
05. Blues Jam (3:48)
06. Not Guilty (4:25)
07. Get Back (2:17)
08. Mailman, Bring Me No More Blues (1:52)
09. Do You Want To Know A Secret (2:44)
10. All You Need Is Love (5:00)

Disc 5

01. Christmas Time (Is Here Again) (1:12)
02. Because (2:19)
03. Revolution (3:20)
04. I Me Mine (1:44)
05. Strawberry Fields Forever (3:09)
06. Hey Jude (5:39)
07. Magical Mystery Tour (2:36)
08. What’s The New Mary Jane (6:04)
09. Lady Madonna (2:14)
10. The One After 909 (2:58)
11. Ob-La-Di, Ob-La-Da / Christmas Time (Is Here Again) (3:34)

Disc 6

01. Come And Get It (2:30)
02. Hold Me Tight (2:37)
03. I’ll Be On My Way (2:00)
04. Strawberry Fields Forever (4:06)
05. It’s All Too Much (2:28)
06. 12-Bar Original (3:53)
07. St. Louis Blues (1:02)
08. She’s A Woman (6:33)
09. What’s The New Mary Jane (6:50)
10. Dig It (8:18)

Disc 7

01. I Saw Her Standing There (3:11)
02. Too Much Monkey Business (2:04)
03. This Boy (2:32)
04. If I Needed Someone (2:44)
05. She’s A Woman (5:43)
06. I’m A Loser (2:37)
07. Yesterday (1:57)
08. Crying, Waiting, Hoping (2:10)
09. Everybody’s Trying To Be My Baby (2:22)
10. Shout (2:02)
11. Yer Blues (4:01)
12. Nowhere Man (2:24)
13. Anna (Go To Him) (3:02)
14. Twist And Shout (3:17)

Disc 8

01. Baby’s In Black (2:34)
02. You Really Got A Hold On Me (3:09)
03. The Fool On The Hill (2:43)
04. To Know Her Is To Love Her (2:47)
05. A Hard Day’s Night (2:34)
06. Day Tripper (3:33)
07. All You Need Is Love (4:34)
08. Till There Was You (2:37)
09. And I Love Her (2:19)
10. Can’t Buy Me Love (2:14)
11. I Feel Fine (2:14)
12. Hey Jude (7:43)

Big thanks to


We do not host any files here. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a said content, or any content here, please let us know and we will remove the content in question.

Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.

Mail us:

Home Art Babes Cartoons Dylan Editorial Music Videos Other

December 4, 2008 Posted by | Music_Bootleg, Music_Pop, The Beatles, _MUSIC | 1 Comment

Joan Baez – Let it Be

“I know he wanted to write a ‘Bridge over Troubled Waters.”

– John Lennon

Nice vid with lots of great Dylan pix compiled by shitascandal with one-time Dylan paramour Joan Baez doing a decent version of a poor late Beats track. Baez aways knew how to make the most out of an anthem!

More specifically, this is the rather mawkish Macca track Let it Be from the Beatle’s disappointing final LP of the same name released in 1970 (but originally recorded some extended time earlier).

It was the final single released by the Beatles while the band was still active.

This is a song that was lapped up by the idiot music masses and has attained an incomprehensible level of critical acclaim!

Maybe we’re crazy but this track reminds us of any number of ridiculous songs we used to hear people proudly rattle out in Catholic Church back in the day, when we were forced to attend as kids. Meaningless anthemic hymnals overladen with bland imagery, vacuous saccharine songs saying nothing, probably clobbered together by oompa-loompas in some religious muzak factory!

There’s an inane cliche about giving enough monkeys enough time – and enough typewriters (or maybe now it’s laptops!) – and they will come up with the works of Shakespeare! However nonsensical that may be, the monkeys could at least come up with those awful Church ditties!

Rather insanely, in 2004, this was ranked number 20 on Rolling Stone magazine’s list of the 500 greatest songs of all time! We don’t know how the hell that could be – in our view, it’s not even in the top 20 Beatles songs!

//” cannot be displayed, because it contains errors.

John Lennon was not exactly a huge fan of this bland Macca anthem either, most damningly of all, likening it to a Wings track!!

Prior to a take during the 31 January 1969 recording session, Lennon famously asked, “Are we supposed to giggle in the solo?”. This is captured in an early version of the track released on Anthology 3, which features this interchange between Lennon and McCartney prior to another take:

John: Are we supposed to giggle in the solo?
Paul: Yeah.
John: OK.
Paul: This’ll – this is gonna knock you out, boy.

In a Playboy interview in 1980, Lennon totally disavowed any involvement with composing the song, saying;

“That’s Paul. What can you say? Nothing to do with the Beatles. It could’ve been Wings. I don’t know what he’s thinking when he writes ‘Let It Be.’ I think it was inspired by ‘Bridge over Troubled Waters.’ That’s my feeling, although I have nothing to go on. I know he wanted to write a ‘Bridge over Troubled Waters.’


We do not host any files here. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a said content, or any content here, please let us know and we will remove the content in question.

Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.

Mail us:

Home Art Babes Cartoons Dylan Editorial Music Videos Other

December 3, 2008 Posted by | Joan Baez, John Lennon, Paul McCartney, The Beatles, _BOB DYLAN, _MUSIC, _VIDEO | Leave a comment

George Harrison 1943-2001, The Undercover Interview

We’ve just passed the 7th anniversary of George’s horribly untimely death. In this nice interview, George speaks about a range of topics including his good friend Bob Dylan, admitting the huge influence Dylan had on the Beatles starting most significantly with Bob’s great Freewheelin’ Bob Dylan. George has previously said about that LP;

We just played it, just wore it out. The content of the song lyrics and just the attitude—it was incredibly original and wonderful.”

George was a magnificent musician and received but a tiny fraction of the accolades he deserved, not only during his Beatles period (where, although he wrote many stone-cold Beats classics across many LPs, much of his work was vetoed by Lennon and Mc Cartney and never saw release) and the long period post-Beatles.

The work of the great George Harrison will live on forever!

George Harrison: The Undercover Interview

by Paul Cashmere
November 29 2008

The highlight if my media career was definitely having the chance to interview George Harrison. George was funny, informative and up for a chat. Today marks the 7th anniversary of the death of what we all called `the Quiet Beatle`. Here is a a candid chat with Beatle George.

Paul Cashmere: I’m going to start off by talking about movies. I don’t know how many times I’ve see “Monty Python’s Life of Brian,” in which you have a cameo. I’ve searched for your part, even on freeze frame. The problem with that movie is that everyone in it looks like George Harrison. Put me out of my misery. Where are you in it?

George Harrison: Well if you’re looking for me, then everybody’s going to look like that. There’s just one little shot, it’s probably about 12 frames. Do you know the scene where he comes out of the room and there’s crowds of people in the house and John Cleese is there saying, “Those people with gifts form a queue on the left. Those possessed by demons over to the right,” and then he comes out and he says, “Brian, Mister Papadopolus has promised to loan us the mount for Monday.” You have to go through it again and see that scene and it cuts across and I’m in the crowd. And I just say “Eh, hello, thank you or something … hello”. That’s all it is!

Paul Cashmere: And you never got an Oscar for that, George?

George Harrison: No, no, but I’m still hoping. Well, actually they wanted me to do the part of Christ in there, you know, at the beginning where he’s doing the sermon on the mount. That’s what they tried to get me to do, but I thought that’s a bit too controversial.

Paul Cashmere: Yes, for someone from Liverpool, England, that is a bit over the top, isn’t it!

George Harrison: (Laughing) Yes, it is.

Paul Cashmere: You and Eric Clapton go back a long way. When did you first meet?

George Harrison: I think I met him … I’m not sure which year … it was probably ’63. No, must have been after that … must have been ’64 or ’65 at the Hammersmith Odeon. He was in the Yardbirds. We did a Christmas season there … two or three weeks we played there. That’s the first time I met him. Then, later I met him … somehow Brian Epstein was managing the Cream and the Bee Gees, and I used to see him hanging around at that point. That was when that guy (Robert) Stigwood had come to work for Brian Epstein. That’s when I really got to know him quite a bit. It must have been 1966, ’67.

Paul Cashmere: Considering Eric ran off with your first wife Patti, how have you managed to remain friends?

George Harrison: Well, he didn’t really run off with her, because we’d kind of finished with each other basically anyway. And, you know, for me, this is what I think is the main problem, not the fact that he got married to Patti. I think the fact that makes the problem is that I didn’t get annoyed at him and I think that has always annoyed him. I think that deep down inside he wishes that it really pissed me off, but it didn’t, because I was happy that she went off, because we’d finished together, and it made things easier for me. You see, because otherwise we’d have had to gone through all these big rows and divorces. And you know, she went off to live in the same style she became accustomed to and it was really very convenient for me. So there.

Paul Cashmere: You’ve done a great version of “While My Guitar Gently Weeps” with Eric on both “The Beatles” album and the live album. Let’s set the record straight. Going back to the original version, there was a version recorded with John on lead guitar, one with yourself on lead guitar and one with Eric. Now which one was the one that actually made the (Beatles’) White album?

George Harrison: Well, I don’t know about one with John on guitar. There was one that just a kind of demo. When I wrote it, that was done with just an acoustic guitar. And then there’s the version that was on the Beatle White album, the version with Eric Clapton. There’s only ever really been the one’s the Eric on it. Even the one I did on the Princes Trust album was still Eric playing on it.

Paul Cashmere: Who came up with the lead break for it?

George Harrison: Yeah, Eric just played that, you know, live as we were figuring out the song. Paul played piano on the original record in 1967. There was Ringo on drums. I don’t believe John was there. I played acoustic guitar, Paul played piano, Ringo on drums and Eric played live with us, and then Paul overdubbed the bass later. So Eric just made up the guitar part spontaneously. So this is the thing … when we went to rehearsal for the Live in Japan tour, he consciously listened to the old version and tried to re-learn, at least, to use the old version as the basis for where he started, and I guess sometimes you forget about good stuff you’ve already done. So he picked back up on what he’d done originally, but the solo on that one is brilliant, I think, on the live version now.

Paul Cashmere: Can you tell me about “Something”. Now, you wrote that about Patti, is that right?

George Harrison: Well no, I didn’t. I just wrote it, and then somebody put together a video. And what they did was they went out and got some footage of me and Patti, Paul and Linda, Ringo and Maureen, it was at that time, and John and Yoko and they just made up a little video to go with it. So then, everybody presumed I wrote it about Patti, but actually, when I wrote it, I was thinking of Ray Charles.

Paul Cashmere: He’s not as good looking, but well, you know …

George Harrison: Yeah, but he’s a better singer. (Laughs) But that’s what I was thinking of. I could hear in my head Ray Charles singing it.

Paul Cashmere: Were you frustrated by the fact that it took just about the entire career of the Beatles before you were granted the “A” side of single, and then the band broke up?

George Harrison: Well, it wasn’t so much the “A” side of a single, but it was frustrating at times when we had to wade through millions of “Maxwell’s Silver Hammer’s” before we could get to one of mine, you know. Because I think now that when you look retrospectively, that there were a couple of my tunes that were good enough ? or better ? than ones that Paul or John had written occasionally. But you know, that’s just how it was. It doesn’t bother me, really. I was just on hold for a while.

Paul Cashmere: Which of your solo hits do you think would have made great Beatle songs?

George Harrison: This is the funny thing, isn’t it? If the Beatles had continued making records, all of the solo stuff that we’d done would have been on Beatle albums. So “Cloud 9” would have been a Beatle record and all that stuff like that. So I don’t know. Somebody just asked me about the songs on the “Live in Japan” record, saying did I worry about putting so many Beatle songs on. But so much time has elapsed. I don’t even think of them as being Beatle songs so much, you know. When you go back to “I Want To Tell You” and “Taxman,” they, to me, were just tunes I wrote, and they were recorded at that period, and it was the Beatles. And “Cloud 9” was a song that I wrote, but I recorded it with those other guys, and it was a solo album. Basically, the thread that binds it all together was that I wrote it, so I don’t really see things as Beatles or solo. I just see it as a body of work that I’ve been involved with one way or another.

Paul Cashmere: What’s the story with the Traveling Wilburys?

George Harrison: Well the story at the moment is that we’ve all been doing our day jobs, and the Wilburys being a kind of hobby has been just put on hold. So Tom Petty had just done an album, and he did a whole bunch of tours at the end of last year and going into this year. Bob Dylan, as you know, is continually on tour. And I did that live album and tour, so I’m not sure when we’ll do a new record, because, you know, I’m planning to start planning and writing a new studio album … although we all got together in New York for Bob Dylan’s Madison Square Garden show, which was for 30 years of Bob Dylan kind of celebration. We all went on to do Bob Dylan songs.

Paul Cashmere: Have you heard Guns ‘n’ Roses “Knocking on Heaven’s Door”?

George Harrison: Yeah, didn’t even get the chords right, did they?

Paul Cashmere: So I take it you’re not a big fan of that one, then?

George Harrison: There’s only three chords in it, but they managed to get one of them wrong. (Laughs)

Paul Cashmere: Bob Dylan’s been a great friend of yours over the years. Were you in awe of him when you first met him?

George Harrison: You know we’d had our first number one in America when we first met him, and I don’t think he’d ever had a number one record. He just had two albums … the first album didn’t do that well and the second album, you know. He was definitely hot at the time. No, we weren’t particularly in awe of him, but we really loved his album. We just heard his second album, “Freewheelin’.” We’d just spent a month in Paris prior to going to do the Sullivan shows in 1964, February. We’d just spent a month listening to this album of his and it blew us away really. It was just something special about him obviously.

Paul Cashmere: You must have that same effect on new artists now when they meet you.

George Harrison: Yeah, I don’t know. I don’t know. Sometimes you do and sometimes you don’t. But with Bob, he has proven to be special, you know, the words he wrote, the songs he’s done. And I think one of the best things about him is that he’s true to today to how he was back in 1963, and not a lot of people still believe in the same stuff they believed in then.

Paul Cashmere: Do you enjoy doing sessions, like when you played on albums by Belinda Carlisle and Jimmy Nail? How do you decide what you will or won’t do?

George Harrison: I don’t know. I’m not so sure now. The deal is usually I’ll play on it if somebody just sends me the tape and they take whatever I do. I don’t like having someone saying, “Do this, do that and no, can you make it sound like this?” Basically if they want me, they get what I am. Usually they want slide guitar parts. I don’t know. Sometimes it works out good and sometimes I can’t work out what to do with it when it’s the type of song I normally wouldn’t normally play myself.

Paul Cashmere: When your live album came out it ended with a nice touch, “Roll Over Beethoven”. That was the “With the Beatles” track, the old Chuck Berry thing. That was the song you actually did the duet with yourself on originally.

George Harrison: Oh yeah. Well that’s the kind of tune I would have forgotten totally about, but a friend of mine, who’s into rock and roll, said, “You’ve got to do ‘Roll Over Beethoven.'”And as it turned out, we went to do this press conference in Tokyo, and one of the questions, they said, “Mister Hallison, will you be playing Loll Over Beethoven?” (sic). And I said yes, and the whole room stood up and applauded. (Laughs) And I said, “It’s a good job. We are doing it.” The Japanese are very into “Roll Over Beethoven”.

Paul Cashmere: The Apple catalogue, George, is slowly being re-released on CD. Why has that taken so long?

George Harrison: I would imagine because EMI, who have the original deals with the Beatles and Apple Records, you know, they went through years and years of re-negotiation. And it could have had something to do with that, you know, when they finally got it all cleared up, and also because it took a number of years when everybody started re-issuing everything back onto CD.

Paul Cashmere: I hear “Wonderwall Music” (George’s first solo album) is coming up soon.

George Harrison: Oh good, because you can’t find it on vinyl. If you’ve got a vinyl copy of that thing, it’s really rare.

Paul Cashmere: I might head down the markets with mine if that’s the case.

George Harrison: Yeah, you want to put it into one of them Beatle sales.

Paul Cashmere: Who are the bands you’re most proud of from the Apple stable?

George Harrison: Anybody who had a hit, probably … like Badfinger was pretty good. It was a very sad story, though, because the guy, he ended up killing himself. Pete Ham, who was a lovely fellow, he was a good guitar player and a great singer. He wrote … the most famous tune I would imagine is “Without You”, you know, the Harry Nilsson record.

Paul Cashmere: Tell us about Anthology and what’s happening at Apple?
George Harrison: There’s a lot of activity going on in Apple at the moment. We made this series of films, nine or 10 hours of film, because we’ve virtually completed 1962 and it’s 75 minutes long, and there’s also one about the same length for 1963 and then it will go through each year, 1964, ’65, and it will go through like that. It will be a bit like “The Civil War,” (editor’s note: the Ken Burns TV miniseries) you know. Hopefully, a whole box of video cassettes or a TV series. But it’s really interesting because of the years that elapsed, everybody’s put out Beatle footage or videos. They think they’ve just about told all the stories, but the real story is the one that only we can tell, from our point of view, and we know all of the little intimate details. So we’ve been compiling all this footage from our own cameras, and there’s just tons and tons of material. It’s really exciting. I was very pleased to see it, because it’s got all of our influences. It’s this finely woven web of intrigue.

Paul Cashmere: How do you feel about “My Sweet Lord” these days. How did the court case surrounding that song effect your songwriting?

George Harrison: It didn’t really affect my songwriting. I did record “This Song,” which was kind of a comment about the situation. The thing that really disappoints me is when you have a relationship with one person and they turn out to betray you. Because the whole story of “My Sweet Lord” is based upon this fellow, Allan Klein, who managed the Beatles from about 1968 or ’69, through until 1973. When they issued a complaint about “My Sweet Lord”, he was my business manager. He was the one who put out “My Sweet Lord” and collected 20 percent commission on the record. And he was the one who got the lawyers to defend me, and did an interview in Playboy where he talked about how the song was nothing like the other song. Later, when the judge in court told me to settle with them, because he didn’t think I’d consciously stolen their song, they were doing a settlement deal with me when they suddenly stopped the settlement. Some time elapsed, and I found out that this guy Klein had gone around the back door. In the meantime, we’d fired him. He went round the back door and bought the rights to the one song, “He’s So Fine,” in order to continue a law suit against me. He, on one hand, was defending me, then he switched sides and continued the law suit. And every time the judge said what the result was, he’d appeal. And he kept appealing and appealing until it got to the Supreme Court. I mean this thing went on for 16 years or something … 18 years. And finally, it’s all over with, and the result of it is I own “My Sweet Lord,” and I now own “He’s So Fine,” and Allan Klein owes me like three or four hundred thousand dollars ’cause he took all the money on both songs. It’s really a joke. It’s a total joke.

Paul Cashmere: There’s a movie plot in there somewhere.

George Harrison: There’s definitely a book, because, now with any kind of law pertaining to infringement of copyright, they always quote this case. It’s become the precedent in all these law students’ books.

Paul Cashmere: So we might be seeing George Harrison make a guest appearance on “LA Law.”

George Harrison: (Laughs) I doubt it, but we did keep a lot of lawyers employed for years, and we still are in one way or another. There’s always some kind of bullshit going on.

Paul Cashmere: You’ve already documented your own anthology. For the benefit of Aussies, tell us about “When We Was Fab”.

George Harrison: Yeah, until I finalized the lyric on it, it was always called “Aussie Fab”. That was it’s working title. I hadn’t figured out what the song was going to say … what the lyrics would be about, but I knew it was definitely a Fab song. It was based on the Fabs, and as it was done up in Australia there, up in Queensland, then that’s what we called it. As we developed the lyrics, it became “When We Was Fab”. It’s a difficult one to do live because of all the all the little overdubs and all the cellos and the weird noises and the backing voices. Who knows … maybe next time, we’ll attempt it. We’ll try it in the rehearsal and see.

Paul Cashmere: What do you think of the Beatle sound alike bands, the bands that have drawn influence, not the copy bands, but bands like Crowded House, for instance?

George Harrison: I don’t think I’ve heard that Crowded House … is that the latest one? You know, it’s good, because there were some really good sounds in the mid-’60’s Beatle records. Thats’s really why I wanted to do that “Fab” one as well, to recreate some of those sounds.

Paul Cashmere: Were you ever disappointed that the Beatles stopped performing live when they did?

George Harrison: Not really. I was disappointed retrospectively. I was disappointed that we got so famous, because as musicians, we were a really good band in the early days. And the more fame that we got, the more the audience screamed and the more that we did just 20 or 30 minute shows of our latest singles. The musicianship kind of went out the window. And when I hang out with somebody like Eric Clapton, who, on the other hand never stopped touring and never got into that situation, he always just changed bands, he really became so fluent on his instrument. You know, we pigeonholed ourselves by the mania that was going on and the inability to perform for longer periods at a time, because of the way it was.

Paul Cashmere: The works got so intricate. You could never have done “Sgt Pepper” or “Abbey Road” live, could you?

George Harrison: But then again, if we’d have kept touring, we might not have gone into the studio to do those kind of intricate works. But the last tour we did, I remember trying to do “Paperback Writer”, which had a kind of double-tracked vocal and all that stuff, and it was a bit embarrassing at the time. I remember, “This isn’t making it. This doesn’t sound very good.” So I don’t know, but the Beatle tours were something else. You would have had to have been there to know how ridiculous it was. There was no way we could have continued under those circumstances.

Mail us:

Home Art Babes Cartoons Dylan Editorial Music Videos Other

December 2, 2008 Posted by | George Harrison, The Beatles, _ARTICLE, _BOB DYLAN, _MUSIC | Leave a comment

Bob Dylan sings Yesterday …. The McCartney Dylan love-in!

Now I need a place to hide away

” It had no words. I used to call it ‘Scrambled Eggs’.”

– Paul McCartney

“The only thing you done was Yesterday
and since you’ve gone, you’re just Another Day.”

– John Lennon

“If you go into the Library of Congress, you can find a lot better than that. There are millions of songs like ‘Michelle’ and ‘Yesterday’ written in Tin Pan Alley”.

– Bob Dylan

“Scrambled eggs, Oh, baby how I love your legs.”

– Paul McCartney

His Bobness performs a version of the Beatles song “Scrambled Eggs” – possibly better known as “Yesterday” – from their 1965 album Help!.

And it’s a fine version of the Macca classic – his only good song, according to a scathing John Lennon on the vitriolic “How Do You Sleep?“!!

“How Do You Sleep?” appeared on Lennon’s 1971 album Imagine, and is a track that savagely attacks his former Beatles songwriting partner McCartney. Interestingly, it features a slide guitar part played by George Harrison.

Despite the overtness of the attack, Lennon later claimed that the song was more about himself than McCartney! That claim cannot be believed though! The song is an obvious attack on McCartney, evidenced clearly by lines such as; “The only thing you done was yesterday/And since you’ve gone you’re just another day.” Considering the puns involved, these two lines particularly stand out since it was McCartney who composed “Yesterday” and also later in his solo career wrote “Another Day.” Besides making satirical reference to other McCartney songs, the lyrics also refer to the Paul is dead hoax (“Those freaks was right when they said you was dead“).

Lennon seemed to have a complex adversarial relationship with the track and intense jealousy that it was Macca who wrote it!

Shortly before his death in 1980, Lennon said that he thought the lyrics didn’t “resolve into any sense… They’re good — but if you read the whole song, it doesn’t say anything; you don’t know what happened. She left and he wishes it were yesterday — that much you get — but it doesn’t really resolve. … Beautiful”

However, in typically ironic Lennon fashion, he added “.. and I never wished I’d written it.”

Yesterday is a simple yet powerful song straight out of the classic school of songwriting. Although credited to “Lennon/McCartney”, the song was written solely by McCartney.

Yesterday was a song totally out of synch with what the beats had been doing at that stage. And indeed it was a song that not only Lennon, but also George and Ringo never seemed to have much time for. In fact, had the other three Beats had their way, the song would never have seen light of day!

John, George and Ringo vetoed the release of the track. Thus, initially, the track looked like never getting a release in the UK. In fact, the first version of Yesterday to hit the Brit charts was a cover version!

However, their US record company went behind the group’s backs and released Yesterday Stateside. However, only as a B-side to a single!

The song soon caught on like wildfire, and the rest, as the cliche goes, is history!

So much so that Yesterday is officially the most covered song in history!

Yes, even more than The Pop Group’s “We Are All Prostitutes“!

Like Lennon, Dylan seems to have an ambiguous relationship with the song! In 2000, he stated in an interview that “If you go into the Library of Congress, you can find a lot better than that. There are millions of songs like ‘Michelle’ and ‘Yesterday’ written in Tin Pan Alley”.

However, Dylan then recorded his own version of “Yesterday” four years later, but it was never released.

Dylan’s cover is typically low-key, which is how this song ought properly to be performed. Not in the OTT manner it has been covered down the years by countless so-called “artists”!

According to the Guinness Book of Records, “Yesterday” has the most cover versions of any song ever written. The song remains popular today with more than 3,000 recorded cover versions, the first hitting the United Kingdom top 10 three months after the release of Help!.

Broadcast Music Incorporated (BMI) asserts that it was performed over seven million times in the 20th century alone!

The song was not released as a single in the UK at the time of the US release, and thus never gained number 1 single status in that country. However, “Yesterday” was voted the best song of the 20th century in a 1999 BBC Radio 2 poll of music experts and listeners.

“Yesterday” takes the form of a melancholic acoustic ballad about a break-up. It was the first official recording by The Beatles that relied upon a performance by a single member of the band — Paul McCartney was accompanied solely by a string quartet.

The final recording differed so greatly from other works by The Beatles that the other three members of the band vetoed the release of the song as a single in the United Kingdom.

Although McCartney had fallen in love with the song, he had a much harder time convincing the other members of the band that it was worthy of an album place, the main objection being that it did not fit in with their image, especially considering that “Yesterday” was very unlike other Beatles’ songs at the time. This feeling was so strong that the other Beatles—Lennon, Harrison and Ringo Starr—refused to permit the release of a single in the United Kingdom.

This did not prevent Matt Monro from recording the first of many cover versions of “Yesterday” to come. His version made it into the top ten in the UK charts soon after its release in the autumn of 1965.

The Beatles’ influence over their U.S. record label, Capitol, was not as strong as it was over EMI’s Parlophone in Britain. A single was released in the U.S., pairing “Yesterday” as the B-Side of “Act Naturally”, a track which featured vocals by Ringo, the most popular Beatle in the States at that time.

After the tremendous success of “Yesterday”, the order in which the songs appeared on the sleeves was changed. The single was charting by 29 September 1965, and topped the charts for a full month, beginning on 9 October. The song spent a remarkable total of 11 weeks in the American charts, selling a million copies within five weeks.

“Yesterday” was the most-played song on American radio for eight consecutive years, its popularity refusing to abate.

Meanwhile, in the UK, Help! debuted at number one on 14 August 1965 (the first album ever to do so), and continued to top the charts for nine weeks.

//” cannot be displayed, because it contains errors.On 4 March 1966, “Yesterday” was released as an EP in the UK, joined by “Act Naturally” on the A-side with “You Like Me Too Much” and “It’s Only Love” on the B-side. By 12 March, it had begun its run on the charts. On 26 March 1966, the EP went to number one, a position it held for two months!

Later that same year, “Yesterday” was included as the title track for the U.S.-only Yesterday and Today album, which was originally packaged in the “butcher sleeve”.

Ten years later on 8 March 1976, “Yesterday” was released by Parlophone as a single in the UK, featuring “I Should Have Known Better” on the B-side. Entering the charts on 13 March, the single stayed there for seven weeks, but it never rose higher than number 8. The release came about due to the expiration of The Beatles’ contract with EMI, Parlophone’s parent. EMI released as many singles by The Beatles as they could on the same day, leading to 23 of them hitting the top 100 in the United Kingdom charts, including six in the top 50

All my troubles seemed so far away,
Now it looks as though they’re here to stay,
Oh, I believe in yesterday.

I’m not half the man I used to be,
There’s a shadow hanging over me,
Oh, yesterday came suddenly.

Why she had to go I don’t know,
she wouldn’t say.
I said something wrong,
now I long for yesterday.

Love was such an easy game to play,
Now I need a place to hide away,
Oh, I believe in yesterday.

Why she had to go I don’t know,
she wouldn’t say.
I said something wrong,
now I long for yesterday.

Love was such an easy game to play,
Now I need a place to hide away,
Oh, I believe in yesterday.

So, here’s Bobby doing Paul (erm … that sounds like a gay porno movie title!)

Thanks thcarmine


We do not host any files here. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a said content, or any content here, please let us know and we will remove the content in question.

Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.

Mail us:

Home Art Babes Cartoons Dylan Editorial Music Videos Other

November 27, 2008 Posted by | John Lennon, Paul McCartney, The Beatles, _BOB DYLAN, _MUSIC, _VIDEO | Leave a comment

Beatles’ ‘Eleanor Rigby’ Mystery May Be Solved

November 12, 2008

[3 min 52 sec] add to playlist

There are plenty of stories about the origins of The Beatles’ song “Eleanor Rigby.”

Legend has it that Eleanor Rigby was a fictional character — that the two names were chosen by Paul McCartney based on an actress he knew and a liquor store in Bristol. But there may well have been a real Eleanor Rigby, and Annie Mawson says she may have proof.

Mawson runs a charity called Sunbeams Trust, which uses music to help people with physical and mental health issues.

Nearly 20 years ago, Mawson wrote an emotional 11-page letter to Paul McCartney explaining, she says, about “the transformative power of music, and especially how some of his songs have helped our children communicate. … It was just full of stories of the children who had improved so much through music, who didn’t even speak.”

About nine months later, a response arrived in the mail.

“The envelope was exciting, because it was a brown envelope stamped with his Paul McCartney World Tour logo, unique to him,” Mawson says. “So I was very intrigued, because I knew it had to come from him. And inside this envelope was a beautiful ancient parchment from 1911, from a hospital in Liverpool. And on the document, there were three stamps. I saw it was a roll call of names, and they’d all received their wages. And one of them was a scullery maid, called E. Rigby. And she’d received one pound three and 11 pence. And then she had signed for her money.”

Though Paul McCartney has often said Eleanor Rigby wasn’t a real person, Mawson says she believes this document is proof that there was, in fact, a real Eleanor Rigby who inspired the song.

“Why else would he send me it? That’s what I don’t understand if it isn’t,” she says. “Maybe it is just another pointer into why he did write ‘Eleanor Rigby.’ All I know is that he sent me this beautiful document.”

The page is up for auction on Nov. 27, and Mawson says it’s expected to sell for as much as 500,000 pounds. “The sooner we can get the money,” she says, “the sooner we can build our center.”

A 1911 ledger bearing the name “E. Rigby.” Courtesy of Fame Bureau

The auction price isn’t the only benefit “Eleanor Rigby” has had on Mawson’s work with Sunbeams Trust; the song is also part of the program’s musical therapy.

“I actually play the harp and sing, and a lot of the songs are very poignant,” Mawson says. “And I could say that we cry a lot at Sunbeams. But we also laugh a lot. And I think people need to. But I think there’s a time and a place for the right music, and that’s one of the songs we love.”

Mail us:

Home Art Babes Cartoons Dylan Editorial Music Videos Other

November 20, 2008 Posted by | The Beatles, _ARTICLE, _MUSIC | 1 Comment

‘Mythical’ Beatles song confirmed

Macca does Stockhausen shocker!

Read more here!


Sir Paul McCartney has confirmed a 14-minute long Beatles track many thought was a myth does exist – and says he wants the public to hear it.

He told BBC Radio 4’s Front Row the track – called Carnival of Light – was not released because the other Beatles thought it was too “adventurous”.

The improvised track was recorded in 1967 for an electronic music festival.

Sir Paul said Ringo Starr and John Lennon’s and George Harrison’s estates would have to agree to a release.

He said he had been asked to create the piece for an electronic music festival, and asked the other band members to be “indulgent” for 10 minutes at London’s Abbey Road studios before giving them vague directions.

Sir Paul explained: “I said all I want you to do is just wander around all the stuff, bang it, shout, play it, it doesn’t need to make any sense. Hit a drum then wander on to the piano, hit a few notes, just wander around.

“So that’s what we did and then put a bit of an echo on it. It’s very free.”

The track was played just once, at the festival, and is said to include distorted guitar, organ sounds, gargling and band members shouting phrases such as “Barcelona!” and “Are you all right?”

Sir Paul said he was fond of the track, which was inspired by experimental composers John Cage and Karlheinz Stockhausen: “I like it because it’s The Beatles free, going off piste.”

He said he still had a master tape of the piece, adding: “The time has come for it to get its moment.”

Sir Paul had wanted to include the track on the Beatles’ Anthology compilations in the mid-1990s, but the rest of the band vetoed the idea.

He said: “I said it would be great to put this on because it would show we were working with really avant-garde stuff.”

The full interview will be broadcast on BBC Radio 4’s Front Row on Thursday 20 November at 1915 GMT.

Mail us:

Home Art Babes Cartoons Dylan Editorial Music Videos Other

November 19, 2008 Posted by | Music_Pop, Paul McCartney, The Beatles, _MUSIC | Leave a comment

The Beatles’ legacy? Macca should let it be

A Beatles “purist” responds to the “new” Beats track, as described in the previous post!

He isn’t very fucking happy!


The Beatles were so avant garde that George Harrison is playing the jacket with his knee. Photograph: David Magnus/Rex Features

by John Aizlewood
Monday November 17 2008

For one whose place in history is not so much secure as gloriously, unquestionably assured, Paul McCartney behaves as though there is some doubt. He is, lest we forget, not just any old ex-Beatle, but the Beatle. At least since John departed.

That insecurity is why he decided to rewrite history by bowdlerising Let It Be when he removed Phil Spector’s production-rescue job, the one thing that made the album listenable. And it’s surely why he engineered that silly hullaballoo about having some Beatles songs credited to McCartney/Lennon rather than Lennon/McCartney.

And, as if he were Gary Lightbody rather than Paul McCartney, he so desperately wants to be taken seriously. Hence the Fireman, the Liverpool Oratorio and that time he played celery with Super Furry Animals. Now, he’s picked over the Beatles’ carcass again and unearthed Carnival of Light, apparently an improvised 14-minute, vaguely avant-garde jam session recorded during the Penny Lane sessions. And he wants to release it. If he couldn’t let Let It Be be – and in fairness, for all the pointless carnage he wrought, he’d always hated Spector’s contribution – couldn’t he at least show some decorum here?

If Carnival of Light sees the light of day, is it going to enhance the Beatles’ standing? That’s the very same Beatles who changed the world and whose influence and reputation remains undimmed. Of course it isn’t. Is it going to make us think slightly less of them? In all probability, yes, and I’m inclined to trust the judgment of Ringo Starr, George Harrison and Yoko Ono, who vetoed its inclusion on Anthology and who (with Olivia Harrison standing in for George) will hopefully do their duty again this time. Carnival of Light may be the greatest 14 minutes in Beatledom and some people (ie me) are going to look pretty foolish if that’s the case. Even so, I’d bet my sub-prime mortgage that it isn’t and that phrase “14-minute jam session” strikes fear into the hearts of stouter men than myself. It’s a soundcheck-esque rehearsal at best. At worst, it’s Phish.

McCartney says it’s the Beatles going “off-piste”, or in other words, messing about. Frankly, I’d much rather hear them on-piste, crafting moments of genius such as Penny Lane. If Carnival of Light wasn’t good enough to be released nearly 40 years ago (or on Anthology) then it’s not now.

We’ve got the Beatles’ body of work. It changed everything. Isn’t that enough?

Mail us:

Home Art Babes Cartoons Dylan Editorial Music Videos Other

November 19, 2008 Posted by | Paul McCartney, The Beatles, _ARTICLE, _MUSIC, _OTHER | Leave a comment

Beatlemania? … you betcha!

A shedload of Beatles goodies here!
The Best Beatles Collection Vol 1

Một số album của The Beatles ^_^

The Beatles – Let It Be

[SND] 01- Two of Us.mp3       29-Jun-2005 21:48  5.0M
[SND] 02- Dig a Pony.mp3 29-Jun-2005 21:48 5.4M
[SND] 03- Across the Unive..> 29-Jun-2005 21:48 5.2M
[SND] 04- I Me Mine.mp3 29-Jun-2005 21:48 3.3M
[SND] 05- Dig It.mp3 29-Jun-2005 21:48 1.1M
[SND] 06- Let It Be.mp3 29-Jun-2005 21:48 5.6M
[SND] 07- Maggie Mae.mp3 29-Jun-2005 21:48 954K
[SND] 08- I've Got a Feeli..> 29-Jun-2005 21:48 5.0M
[SND] 09- One After 909.mp3 29-Jun-2005 21:48 4.0M
[SND] 10- The Long and Win..> 29-Jun-2005 21:48 5.0M
[SND] 11- For You Blue.mp3 29-Jun-2005 21:48 3.5M
[SND] 12- Get Back.mp3 29-Jun-2005 21:48 4.3M

The Beatles – Beatles For Sale

[SND] 01- No Reply.mp3        29-Jun-2005 21:48  3.2M
[SND] 02- I'm a Loser.mp3 29-Jun-2005 21:48 3.5M
[SND] 03- Baby's in Black.mp3 29-Jun-2005 21:48 2.9M
[SND] 04- Rock and Roll Mu..> 29-Jun-2005 21:48 3.5M
[SND] 05- I'll Follow the ..> 29-Jun-2005 21:48 2.5M
[SND] 06- Mr. Moonlight.mp3 29-Jun-2005 21:48 3.6M
[SND] 07- Medley- Kansas C..> 29-Jun-2005 21:48 3.5M
[SND] 08- Eight Days a Wee..> 29-Jun-2005 21:48 3.8M
[SND] 09- Words of Love.mp3 29-Jun-2005 21:48 3.1M
[SND] 10- Honey Don't.mp3 29-Jun-2005 21:48 4.1M
[SND] 11- Every Little Thi..> 29-Jun-2005 21:48 2.9M
[SND] 12- I Don't Want to ..> 29-Jun-2005 21:48 3.6M
[SND] 13- What You're Doin..> 29-Jun-2005 21:48 3.5M
[SND] 14- Everybody's Tryi..> 29-Jun-2005 21:48 3.3M

The Beatles – The White Album

[SND] 01- Back in the U.S...> 29-Jun-2005 21:48  3.7M
[SND] 02- Dear Prudence.mp3 29-Jun-2005 21:48 5.4M
[SND] 03- Glass Onion.mp3 29-Jun-2005 21:48 3.2M
[SND] 04- OB-La-Di, OB-La-..> 29-Jun-2005 21:48 4.3M
[SND] 05- Wild Honey Pie.mp3 29-Jun-2005 21:48 1.2M
[SND] 07- While My Guitar ..> 29-Jun-2005 21:48 6.0M
[SND] 08- Happiness Is a W..> 29-Jun-2005 21:48 3.7M
[SND] 09- Martha My Dear.mp3 29-Jun-2005 21:48 3.4M
[SND] 10- I'm So Tired.mp3 29-Jun-2005 21:48 2.8M
[SND] 11- Blackbird.mp3 29-Jun-2005 21:48 3.2M
[SND] 12- Piggies.mp3 29-Jun-2005 21:48 2.8M
[SND] 13- Rocky Raccoon.mp3 29-Jun-2005 21:48 4.9M
[SND] 14- Birthday.mp3 29-Jun-2005 21:48 3.7M
[SND] 14- Don't Pass Me By..> 29-Jun-2005 21:48 5.3M
[SND] 15- Yer Blues.mp3 29-Jun-2005 21:48 5.5M
[SND] 16- I Will.mp3 29-Jun-2005 21:48 2.4M
[SND] 16- Mother Nature's ..> 29-Jun-2005 21:48 3.8M
[SND] 17- Julia.mp3 29-Jun-2005 21:48 4.0M
[SND] 17- Sexy Sadie.mp3 29-Jun-2005 21:48 4.5M
[SND] 18- Helter Skelter.mp3 29-Jun-2005 21:48 6.2M
[SND] 19- Long, Long, Long..> 29-Jun-2005 21:48 4.2M
[SND] 20- Revolution 1.mp3 29-Jun-2005 21:48 5.9M
[SND] 21- Honey Pie.mp3 29-Jun-2005 21:48 3.7M
[SND] 22- Savoy Truffle.mp3 29-Jun-2005 21:48 4.0M
[SND] 23- Cry Baby Cry.mp3 29-Jun-2005 21:48 4.2M
[SND] 24- Revolution 9.mp3 29-Jun-2005 21:48 11M
[SND] 25- Good Night.mp3 29-Jun-2005 21:48 4.4M

The Beatles – 1

[SND] 01- Love Me Do.mp3      03-Jul-2005 15:42  3.2M

[SND] 02- From Me To You.mp3 03-Jul-2005 15:41 2.7M

[SND] 03- She Loves You.mp3 03-Jul-2005 15:42 3.2M

[SND] 04- I Want To Hold Y..> 03-Jul-2005 15:42 3.3M

[SND] 05- Can't Buy Me Lov..> 03-Jul-2005 15:40 3.0M

[SND] 06- A Hard Day's Nig..> 03-Jul-2005 15:40 3.5M

[SND] 07- I Feel Fine.mp3 03-Jul-2005 15:41 3.2M

[SND] 08- Eight Days A Wee..> 03-Jul-2005 15:41 3.8M

[SND] 09- Ticket To Ride.mp3 03-Jul-2005 15:43 4.4M

[SND] 10- Help!.mp3 03-Jul-2005 15:41 3.2M

[SND] 11- Yesterday.mp3 03-Jul-2005 15:43 2.9M

[SND] 12- Day Tripper.mp3 03-Jul-2005 15:40 3.9M

[SND] 13- We Can Work It O..> 03-Jul-2005 15:43 3.1M

[SND] 14- Paperback Writer..> 03-Jul-2005 15:42 3.2M

[SND] 15- Yellow Submarine..> 03-Jul-2005 15:43 3.6M

[SND] 16- Eleanor Rigby.mp3 03-Jul-2005 15:41 2.9M

[SND] 17- Penny Lane.mp3 03-Jul-2005 15:42 4.1M

[SND] 18- All You Need Is ..> 03-Jul-2005 15:40 5.2M

[SND] 19- Hello, Goodbye.mp3 03-Jul-2005 15:41 4.7M

[SND] 20- Lady Madonna.mp3 03-Jul-2005 15:42 3.1M

[SND] 21- Hey Jude.mp3 03-Jul-2005 15:41 9.7M

[SND] 22- Get Back.mp3 03-Jul-2005 15:41 4.4M

[SND] 23- The Ballad Of Jo..> 03-Jul-2005 15:42 4.1M

[SND] 24- Something.mp3 03-Jul-2005 15:42 4.2M

[SND] 25- Come Together.mp3 03-Jul-2005 15:40 5.9M

[SND] 26- Let It Be.mp3 03-Jul-2005 15:42 5.3M

[SND] 27- The Long And Win..> 04-Jul-2005 01:03 5.0M

We do not host any files here. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a said content, or any content here, please let us know and we will remove the content in question.

Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.

Mail us:

Home Art Babes Cartoons Dylan Editorial Music Videos Other

October 22, 2008 Posted by | Canon, George Harrison, John Lennon, Music_Pop, Paul McCartney, Ringo Starr, The Beatles, _MUSIC | Leave a comment