The Jazz Forum Magazine Archive
Antonio G. Pereira © 2013 Antonio G. Pereira
_______________________________________________
'Jazz Forum: The Magazine Of The International Jazz Federation', has been for almost half a century, a source of the finest coverage of the music that exists. The complete archive is now available, and can be read and studied online. A wonderful trove of memories, information and inspiration.
http://www.polishjazzarch.com/en/regulations.html
http://www.polishjazzarch.com/en/englishversion.html
Wednesday, June 5, 2013
Friday, May 3, 2013
Experts
Experts
Antonio G. Pereira © 2013 Antonio G. Pereira
_______________________________________________
Those who care
Share
Those who don't
Won't
And those who steal
Are eventually (when they least expect it)
Revealed . . .
While those who lie
Sink slowly
In a quicksand of their own making (struggling to get out)
Grasping (and richly)
In a seething bluster
As millions slip by
Antonio G. Pereira © 2013 Antonio G. Pereira
_______________________________________________
Those who care
Share
Those who don't
Won't
And those who steal
Are eventually (when they least expect it)
Revealed . . .
While those who lie
Sink slowly
In a quicksand of their own making (struggling to get out)
Grasping (and richly)
In a seething bluster
As millions slip by
Friday, March 29, 2013
The John Lennon Letters
The John Lennon Letters
Antonio G. Pereira © 2013 Antonio G. Pereira
_______________________________________________
The John Lennon Letters. Edited And With An Introduction by Hunter Davies. Published by Little Brown and Company. New York. Yes folks, that's the same Hunter Davies who wrote the only authorized Beatles biography, that was originally published in the Fall of 1968. What we have here is a fascinating look at John Lennon's life through his written and typewritten correspondence with people during his lifetime. For example, from the first time I saw it in Ray Coleman's 'Lennon' biography, I was mystified by the illustration that John Lennon drew in his first Christmas Card to Cynthia Powell in 1958, of the two of them together; which is reproduced in The John Lennon Letters. Their appearance of dress and hair, resembles what they would look like circa 1967/68. The problem with this book, good as it is, is that it's not a complete picture; and therein lies it's major flaw. I find it a little odd, (or maybe questionable is a better word) that there are no letters in this book with Dick Gregory, Ron Dellums (who by the way, John is quoting in letter 167 in Part Fifteen, from a statement he read on The Dick Cavett Show {see the DVD 'Lennon NYC', or the book, 'Come Together' by Jon Wiener, Chapter 19 pages 214-215}), or anyone from Motown (Photographs do exist of The Beatles and Brian Epstein posing with The Motortown Revue. {Need I mention the mutual influences of Motown and The Beatles on each other?} I remember seeing a full page black and white photograph {taken circa 1966? - this is of course apart from the photos of Beatles and Epstein visiting with Berry Gordy and his family http://www.soulwalking.co.uk/Berry%20Gordy.html } in what must have been a limited edition giant Motown Songbook, in The Musique Boutique on Broadway near Columbus Circle; in the late '70s or early '80s. This store may have been a relation to The Musique Boutique that existed near Picadilly Circus in London during the early 1970s. This was a music bookstore that carried rare and hard to find UK versions of Rock and Soul music books.) or surprisingly, Clara Hale (The late Gil Noble, who had a long running Public Affairs program on the Channel 7 ABC Network, here in New York that ran for decades named, 'Like It Is', and on which Gil interviewed an International array of guests from every continent on the planet {Who can forget Gil airing the footage of Dr. Martin Luther King Jr. in one of his last speeches, speaking to an audience here in New York at Riverside Church, about why he was against The War In Vietnam. And not only giving an accurate and detailed history of The United States involvement in that country, but with an unsettling Soothsayer's Vision, predicting the final outcome of the war.}, conducted a fascinating interview with Clara Hale {who started Hale House in Harlem}. This was in the early 1980s, and took place around the time that HUAC and McCarthy participant and devotee, "I hope they all get botulism" Ron, and 'Just Say No', 'Stop The Madness' Nancy, Reagan, tried to recognize 'the coloured woman who started the place for drug addicted babies', and co-opt Hale House into their agenda. During the interview on 'Like It Is', which was after this recent obvious co-opt attempt had taken place on television, Clara Hale mentioned in passing to Gil Noble that 'John and Yoko had not only been donating money to Hale House for a long time, but used to come up to visit often; long before Ron and Nancy were in the White House.) The Letters to Derek Taylor (Part Twenty) are mostly hysterically funny and loaded with puns, although with the occasional racial crack at Jews or Blacks or (technically in one sentence), the jap/anesque version of Taylor's autobiography (a throwback to ye olde english humour when Britain had an {don't laugh} EMPIRE?). Interesting that it's in this section and to Derek Taylor in particular, that Lennon lets loose with these type of asides, as in his (sort of) 1973 autobiography, As Time Goes By', in Part 20 London 1969, Derek Taylor who otherwise wrote quite an informative and interesting book, makes quite a blatantly (unless of course, he was paraphrasing someone else?) racist remark referring to blacks. {As well as being intellectually presumptuous, this all access to informational dissemination, while being 'oh so convincing', type of reconfigured for the 1980s Reagan/Bush/Thatcher/MTV AngloAmerican Transatlantic mentality, that spawned progeny like the SGT. Pepper: It Was Twenty Years Ago Today documentary (Although interestingly, it is Abbie Hoffman who hints at the fact that there are voices missing in this self-congratulatory ITV documentary), and the amateurish and calculated accompanying book, by the way, being prime examples of uneasily (and knowing it while you're doing it) half-telling a very uncomfortable and intricately more complicated historical story of the 1960s; and avoiding the fact that you're looking through a transparent glass, and can see people on the other side. Now what do you think they see from their side? Do you think you should go find out? mmmm.... Do you think maybe this book might help?: 'A Pictorial History of the Negro in America' -revised edition- by Langston Hughes & Milton Meltzer - Published by Crown Publishers, Inc., New York} But to give Derek his due (he was smart and savvy enough to take complete advantage of the British Invasion {thanks to The Beatles, and of course Brian Epstein hiring him in the first place} http://www.dermon.com/Beatles/Veejay.htm while being British was in season here in the U.S.), he wrote some pretty decent liner notes for Billy Preston's first solo album on Apple Records, 'That's The Way God Planned It' (albeit while strangely avoiding mention of Preston's direct connection with The Beatles through Little Richard, when they were Little Richard's opening act in Hamburg in 1962 {see Billy's reminiscence in the book, 'Memories Of John Lennon' - Published by HarperCollins - Pages 219-220}). It's worth mentioning while we're on this subject, that loaded mother of a photo of The Beatles with journalist Larry Kane, taken during the 1965 American Tour. Placed historically in and quite appropriately, Chicago (already witness to, and as the '60s wore on {see The World Book Encyclopedia Yearbooks - 1964 through 1969 Published by Field Enterprises Educational Corporation, Chicago Illinois}, some of the worst racial hatred and flagrant abuse of Civil Liberties experienced in the United States), John is holding up to the camera, the current issue of Ebony Magazine he had been reading with the cover headline, 'The White Problem in America'; which you will find reproduced in the accompanying DVD to Larry Kane's book, 'Lennon Revealed', and at this remarkable blog http://meetthebeatlesforreal.blogspot.com/2010/08/girls-who-got-to-meet-beatles-part-1.html In Part Sixteen of The John Lennon Letters, it's really good to see John's very accurate response to rather obnoxious remarks made by Todd Rundgren in a Melody Maker interview. Todd, a very professional but mostly derivative songwriter, gets put in his place permanently. (See the very revealing 1998 interview, "Todd Rundgren: Go Ahead, Ignore Me!") Since the publication of Cynthia Lennon's 2nd autobiography, 'John', and then May Pang's book, 'Instamatic Karma', now that The John Lennon Letters has published correspondence from this era, there seems to be a grey area situation where you have to make up your own mind. One thing becomes clear in this book however, John was always very generous financially, to his relatives. It's touching to read the story in Part Fourteen, of the letter John wrote to musician Steve Tilston. (This story was first printed in the Aug. 16th, 2010 edition of the British newspaper The Telegraph, under the heading 'John Lennon letter to aspiring Folk Singer received nearly four decades later'. Though the reproductions of the photographs that begin each part of the book, and the letters, are excellent and beautifully done, (the simple design of the book itself is gorgeous) there is a very careless picture research mistake made at the beginning of Part Six; using an obvious photo of John by a pool in L.A. in 1973 (that is from a series of photos taken for the cover story of the interview he gave to Crawdaddy for their March 1974 issue) and attempting to pass it off as Lennon at home in Kenwood in the late '60s. A similar careless picture research job was done in The Beatles Anthology book, in the beginning chapter on John Lennon, attempting to pass off a photo of a teenage John with either a relation or one of his Aunt Mimi's borders, as John with his Uncle George. The only authentic picture of a very young John Lennon with his Uncle George, is the one in Chapter 1 of the companion book to David L. Wolper's film, 'Imagine: John Lennon'; and it is a moving photograph to see. Overall though, The John Lennon Letters is a remarkable book, sure to make quite a lot of people the world over, very happy; for in it, we get a pretty good snapshot of the life of someone who meant so much and continues to have meaning to so many.
Antonio G. Pereira © 2013 Antonio G. Pereira
_______________________________________________
The John Lennon Letters. Edited And With An Introduction by Hunter Davies. Published by Little Brown and Company. New York. Yes folks, that's the same Hunter Davies who wrote the only authorized Beatles biography, that was originally published in the Fall of 1968. What we have here is a fascinating look at John Lennon's life through his written and typewritten correspondence with people during his lifetime. For example, from the first time I saw it in Ray Coleman's 'Lennon' biography, I was mystified by the illustration that John Lennon drew in his first Christmas Card to Cynthia Powell in 1958, of the two of them together; which is reproduced in The John Lennon Letters. Their appearance of dress and hair, resembles what they would look like circa 1967/68. The problem with this book, good as it is, is that it's not a complete picture; and therein lies it's major flaw. I find it a little odd, (or maybe questionable is a better word) that there are no letters in this book with Dick Gregory, Ron Dellums (who by the way, John is quoting in letter 167 in Part Fifteen, from a statement he read on The Dick Cavett Show {see the DVD 'Lennon NYC', or the book, 'Come Together' by Jon Wiener, Chapter 19 pages 214-215}), or anyone from Motown (Photographs do exist of The Beatles and Brian Epstein posing with The Motortown Revue. {Need I mention the mutual influences of Motown and The Beatles on each other?} I remember seeing a full page black and white photograph {taken circa 1966? - this is of course apart from the photos of Beatles and Epstein visiting with Berry Gordy and his family http://www.soulwalking.co.uk/Berry%20Gordy.html } in what must have been a limited edition giant Motown Songbook, in The Musique Boutique on Broadway near Columbus Circle; in the late '70s or early '80s. This store may have been a relation to The Musique Boutique that existed near Picadilly Circus in London during the early 1970s. This was a music bookstore that carried rare and hard to find UK versions of Rock and Soul music books.) or surprisingly, Clara Hale (The late Gil Noble, who had a long running Public Affairs program on the Channel 7 ABC Network, here in New York that ran for decades named, 'Like It Is', and on which Gil interviewed an International array of guests from every continent on the planet {Who can forget Gil airing the footage of Dr. Martin Luther King Jr. in one of his last speeches, speaking to an audience here in New York at Riverside Church, about why he was against The War In Vietnam. And not only giving an accurate and detailed history of The United States involvement in that country, but with an unsettling Soothsayer's Vision, predicting the final outcome of the war.}, conducted a fascinating interview with Clara Hale {who started Hale House in Harlem}. This was in the early 1980s, and took place around the time that HUAC and McCarthy participant and devotee, "I hope they all get botulism" Ron, and 'Just Say No', 'Stop The Madness' Nancy, Reagan, tried to recognize 'the coloured woman who started the place for drug addicted babies', and co-opt Hale House into their agenda. During the interview on 'Like It Is', which was after this recent obvious co-opt attempt had taken place on television, Clara Hale mentioned in passing to Gil Noble that 'John and Yoko had not only been donating money to Hale House for a long time, but used to come up to visit often; long before Ron and Nancy were in the White House.) The Letters to Derek Taylor (Part Twenty) are mostly hysterically funny and loaded with puns, although with the occasional racial crack at Jews or Blacks or (technically in one sentence), the jap/anesque version of Taylor's autobiography (a throwback to ye olde english humour when Britain had an {don't laugh} EMPIRE?). Interesting that it's in this section and to Derek Taylor in particular, that Lennon lets loose with these type of asides, as in his (sort of) 1973 autobiography, As Time Goes By', in Part 20 London 1969, Derek Taylor who otherwise wrote quite an informative and interesting book, makes quite a blatantly (unless of course, he was paraphrasing someone else?) racist remark referring to blacks. {As well as being intellectually presumptuous, this all access to informational dissemination, while being 'oh so convincing', type of reconfigured for the 1980s Reagan/Bush/Thatcher/MTV AngloAmerican Transatlantic mentality, that spawned progeny like the SGT. Pepper: It Was Twenty Years Ago Today documentary (Although interestingly, it is Abbie Hoffman who hints at the fact that there are voices missing in this self-congratulatory ITV documentary), and the amateurish and calculated accompanying book, by the way, being prime examples of uneasily (and knowing it while you're doing it) half-telling a very uncomfortable and intricately more complicated historical story of the 1960s; and avoiding the fact that you're looking through a transparent glass, and can see people on the other side. Now what do you think they see from their side? Do you think you should go find out? mmmm.... Do you think maybe this book might help?: 'A Pictorial History of the Negro in America' -revised edition- by Langston Hughes & Milton Meltzer - Published by Crown Publishers, Inc., New York} But to give Derek his due (he was smart and savvy enough to take complete advantage of the British Invasion {thanks to The Beatles, and of course Brian Epstein hiring him in the first place} http://www.dermon.com/Beatles/Veejay.htm while being British was in season here in the U.S.), he wrote some pretty decent liner notes for Billy Preston's first solo album on Apple Records, 'That's The Way God Planned It' (albeit while strangely avoiding mention of Preston's direct connection with The Beatles through Little Richard, when they were Little Richard's opening act in Hamburg in 1962 {see Billy's reminiscence in the book, 'Memories Of John Lennon' - Published by HarperCollins - Pages 219-220}). It's worth mentioning while we're on this subject, that loaded mother of a photo of The Beatles with journalist Larry Kane, taken during the 1965 American Tour. Placed historically in and quite appropriately, Chicago (already witness to, and as the '60s wore on {see The World Book Encyclopedia Yearbooks - 1964 through 1969 Published by Field Enterprises Educational Corporation, Chicago Illinois}, some of the worst racial hatred and flagrant abuse of Civil Liberties experienced in the United States), John is holding up to the camera, the current issue of Ebony Magazine he had been reading with the cover headline, 'The White Problem in America'; which you will find reproduced in the accompanying DVD to Larry Kane's book, 'Lennon Revealed', and at this remarkable blog http://meetthebeatlesforreal.blogspot.com/2010/08/girls-who-got-to-meet-beatles-part-1.html In Part Sixteen of The John Lennon Letters, it's really good to see John's very accurate response to rather obnoxious remarks made by Todd Rundgren in a Melody Maker interview. Todd, a very professional but mostly derivative songwriter, gets put in his place permanently. (See the very revealing 1998 interview, "Todd Rundgren: Go Ahead, Ignore Me!") Since the publication of Cynthia Lennon's 2nd autobiography, 'John', and then May Pang's book, 'Instamatic Karma', now that The John Lennon Letters has published correspondence from this era, there seems to be a grey area situation where you have to make up your own mind. One thing becomes clear in this book however, John was always very generous financially, to his relatives. It's touching to read the story in Part Fourteen, of the letter John wrote to musician Steve Tilston. (This story was first printed in the Aug. 16th, 2010 edition of the British newspaper The Telegraph, under the heading 'John Lennon letter to aspiring Folk Singer received nearly four decades later'. Though the reproductions of the photographs that begin each part of the book, and the letters, are excellent and beautifully done, (the simple design of the book itself is gorgeous) there is a very careless picture research mistake made at the beginning of Part Six; using an obvious photo of John by a pool in L.A. in 1973 (that is from a series of photos taken for the cover story of the interview he gave to Crawdaddy for their March 1974 issue) and attempting to pass it off as Lennon at home in Kenwood in the late '60s. A similar careless picture research job was done in The Beatles Anthology book, in the beginning chapter on John Lennon, attempting to pass off a photo of a teenage John with either a relation or one of his Aunt Mimi's borders, as John with his Uncle George. The only authentic picture of a very young John Lennon with his Uncle George, is the one in Chapter 1 of the companion book to David L. Wolper's film, 'Imagine: John Lennon'; and it is a moving photograph to see. Overall though, The John Lennon Letters is a remarkable book, sure to make quite a lot of people the world over, very happy; for in it, we get a pretty good snapshot of the life of someone who meant so much and continues to have meaning to so many.
Friday, February 22, 2013
Gil Noble Feb.22nd, 1932 - April 5th, 2012/Thank You Gil
Gil Noble Feb. 22nd, 1932 - April 5th, 2012/Thank You Gil
Antonio G. Pereira © 2013 Antonio G. Pereira
____________________________________________
http://gilnoblearchives.com
http://www.theroot.com/views/gil-noble-funeral
Monday, January 28, 2013
Ultimate Hendrix: An Illustrated Encyclopedia of Concerts and Sessions
Ultimate Hendrix: An Illustrated Encyclopedia of Concerts and Sessions
Antonio G. Pereira © 2013 Antonio G. Pereira
_______________________________________________
Ultimate Hendrix: An Illustrated Encyclopedia of Concerts and Sessions by John Mcdermott with Billy Cox and Eddie Kramer. Published by Backbeat Books-An Imprint of Hal Leonard Corporation. This is quite a handy little reference book (which by the way, incorporates some entries from an earlier 1995 book by the same authors entitled, 'Jimi Hendrix Sessions: The Complete Studio Recording Sessions, 1963-1970' Published by Little, Brown and Company {For additional information there is also 'Plug Your Ears' by Kees de Lange and Ben Valkhoff. To access, go to The Internet Archive http://www.archive.org type http://www.cs.kun.nl/~tvdw/pye/left.html into The Wayback Machine and click Take Me Back, and the extremely rare, ''Scuse Me While I Kiss The Sky: The Life Of Jimi Hendrix' by David Henderson. This is the softback 2nd printing (of 'Jimi Hendrix: Voodoo Child Of The Aquarian Age' - Hardcover - Doubleday 1978) Published by Bantam Books in 1981, which contains a selection of photographs by Jim Marshall, not found in any other edition or book anywhere.}). Nicely put together with a pretty good selection of photographs. Reminiscences by key people who knew Hendrix during his lifetime. (And in this instance, we get a rest from the subtle right wing leaning, superimposed onto Hendrix politics, by some assorted characters and opportunists looking for a buck, that populated certain earlier books. {It would be instructive here, to remember a quote from Eddie Kramer near the end of an interview he gave to Q Magazine in the June 1992 issue: "I socialized very little with him outside the recording studio. He had a small circle of very close friends, but there was a boundary beyond which one would not step."}) An interesting appearance found in 'Ultimate Hendrix', is by Decca Records Chief of A&R, Dick Rowe (who you might remember for the immortal words, "Not to mince words Mr. Epstein, we don't like your boys' sound. Groups of guitarists are on the way out. You have a good record business in Liverpool. Stick to that.") making another wrong call. Getting involved with Ed Chalpin and releasing the rip off records 'How Would You Feel' and 'Hush Now'. It's a real delight reading about the recording of the Axis Bold As Love album, during which Hendrix really came into his own in the recording studio. When he and Eddie Kramer met, they clicked right away. The story about Hendrix playing drums on one of his new songs, 'Try Out', at the end of 1967, is just amazing to read; as his talent continues to blossom. One really ends up wishing that a film camera could have been there to capture some of these events, as they are remarkable. What is also informative is that throughout August of 1968 (along with the alternating and very productive recording sessions for 'Electric Ladyland' at The Record Plant in New York), as the Experience toured across the U.S. and leading up to the Winterland/Fillmore West residency of concerts, how varied their set list was at each concert. From the song listings, it appears that Hendrix was very flexible in that the band was not performing the same exact songs at every concert date, but liberally going through practically their entire recorded output, up to that point. One is left with the impression that after the late 1968 Winterland residency of gigs, that Noel Redding (and probably Gerry Stickells) were outsiders just there to do their jobs and not get in the way. It will be interesting to see which 'Hendrix Experts' begin to squirm when the full story of Jimi Hendrix' and Bumps Blackwell's association is finally told. {I've also found it a little peculiar that none of the experts have ever to this day mentioned Sly Stone's very lengthy interview, which he gave to Strobe Magazine (which was a very good 1960s Pop Culture publication) here in New York, that was published in their Sept. 1969 issue; in which he mentioned Hendrix' Jam with Sly and The Family Stone on the Fillmore East stage in May of 1968, when The Jimi Hendrix Experience and Sly and The Family Stone were on the same bill. There was also a Record Review of Electric Ladyland published in the previous July 1969 issue of Strobe.} It has been mildly amusing since the bygone days of the Reagan era, to see the emergence of, or to put it more accurately, 'reappearance of' the element that existed in the '60s era, who attempted to view everything they saw occurring around them that made them uncomfortable, {such as the Political and Racial issues of the day, (and of course The Vietnam War) bleeding into the music} as extraneous. It was fascinating to watch how quickly one's viewpoint could change, once a Draft Notice to report to the nearest Induction Office was received in the mail. A big fat booboo in this book is a dated photograph citing Hendrix as performing at Woolsey Hall at Yale University on Nov. 16th, 1968, when the entry for listed gigs indicates Boston Gardens on that date. Bizzarely, there is NO ENTRY for Woolsey Hall, Yale University at all. At this point in history, it's a little late in the game for anybody to continue to buy the consistently unconvincing stories by people who assisted and worked for Micheal Jeffery, as to where the bulk of Hendrix' fortune disappeared to, without raising some hard questions. Especially since Eric Burdon (who is very much alive) raised similar questions about the whereabouts of The Animal's money, in his two autobiographies. For one thing obviously, the PPX Ed Chalpin $1.00 Contract suit that hung over Hendrix head all that time, was a candidate for any Trial Judge worth his salt (with the assistance of the right kind of lawyers batting for Hendrix in his corner, and pointing their fingers in the right direction), to take Ed Chalpin by the scruff of his neck and the seat of his pants and show him the door out of the courtroom. I mean you really begin to question what kind of legal representation Hendrix was getting. Other than Electric Ladyland Studios being built, this cat was making an incredible amount of money for that time. Where was all of this money disappearing to? And the staged 'reformation of the original Experience' interview in Rolling Stone with John Burks in 1970, shortly after the questionable circumstances of the demise of The Band Of Gypsys, followed by what Hendrix' ultimate decision was (to tour with Billy Cox and Mitch Mitchell), points right back to Michael Jeffery's motives. And isn't it interesting that when Hendrix begins touring again in April of 1970, his first two concerts in Los Angeles and Sacramento have The Buddy Miles Express as one of the opening acts? Given that Sky Church/Gypsy Sons and Rainbows was an experiment, after the demise of the original Experience, what are we REALLY supposed to buy into about Mike Jeffery? For other questions in the Hendrix story, check this posting http://observer1984.blogspot.com/2007_10_01_archive.html Nevertheless, this is a marvelous book. And Billy Cox finally gets his due for his immense contributions. A nod of appreciation to the folks at Experience Hendrix. Worth checking out.
Antonio G. Pereira © 2013 Antonio G. Pereira
_______________________________________________
Ultimate Hendrix: An Illustrated Encyclopedia of Concerts and Sessions by John Mcdermott with Billy Cox and Eddie Kramer. Published by Backbeat Books-An Imprint of Hal Leonard Corporation. This is quite a handy little reference book (which by the way, incorporates some entries from an earlier 1995 book by the same authors entitled, 'Jimi Hendrix Sessions: The Complete Studio Recording Sessions, 1963-1970' Published by Little, Brown and Company {For additional information there is also 'Plug Your Ears' by Kees de Lange and Ben Valkhoff. To access, go to The Internet Archive http://www.archive.org type http://www.cs.kun.nl/~tvdw/pye/left.html into The Wayback Machine and click Take Me Back, and the extremely rare, ''Scuse Me While I Kiss The Sky: The Life Of Jimi Hendrix' by David Henderson. This is the softback 2nd printing (of 'Jimi Hendrix: Voodoo Child Of The Aquarian Age' - Hardcover - Doubleday 1978) Published by Bantam Books in 1981, which contains a selection of photographs by Jim Marshall, not found in any other edition or book anywhere.}). Nicely put together with a pretty good selection of photographs. Reminiscences by key people who knew Hendrix during his lifetime. (And in this instance, we get a rest from the subtle right wing leaning, superimposed onto Hendrix politics, by some assorted characters and opportunists looking for a buck, that populated certain earlier books. {It would be instructive here, to remember a quote from Eddie Kramer near the end of an interview he gave to Q Magazine in the June 1992 issue: "I socialized very little with him outside the recording studio. He had a small circle of very close friends, but there was a boundary beyond which one would not step."}) An interesting appearance found in 'Ultimate Hendrix', is by Decca Records Chief of A&R, Dick Rowe (who you might remember for the immortal words, "Not to mince words Mr. Epstein, we don't like your boys' sound. Groups of guitarists are on the way out. You have a good record business in Liverpool. Stick to that.") making another wrong call. Getting involved with Ed Chalpin and releasing the rip off records 'How Would You Feel' and 'Hush Now'. It's a real delight reading about the recording of the Axis Bold As Love album, during which Hendrix really came into his own in the recording studio. When he and Eddie Kramer met, they clicked right away. The story about Hendrix playing drums on one of his new songs, 'Try Out', at the end of 1967, is just amazing to read; as his talent continues to blossom. One really ends up wishing that a film camera could have been there to capture some of these events, as they are remarkable. What is also informative is that throughout August of 1968 (along with the alternating and very productive recording sessions for 'Electric Ladyland' at The Record Plant in New York), as the Experience toured across the U.S. and leading up to the Winterland/Fillmore West residency of concerts, how varied their set list was at each concert. From the song listings, it appears that Hendrix was very flexible in that the band was not performing the same exact songs at every concert date, but liberally going through practically their entire recorded output, up to that point. One is left with the impression that after the late 1968 Winterland residency of gigs, that Noel Redding (and probably Gerry Stickells) were outsiders just there to do their jobs and not get in the way. It will be interesting to see which 'Hendrix Experts' begin to squirm when the full story of Jimi Hendrix' and Bumps Blackwell's association is finally told. {I've also found it a little peculiar that none of the experts have ever to this day mentioned Sly Stone's very lengthy interview, which he gave to Strobe Magazine (which was a very good 1960s Pop Culture publication) here in New York, that was published in their Sept. 1969 issue; in which he mentioned Hendrix' Jam with Sly and The Family Stone on the Fillmore East stage in May of 1968, when The Jimi Hendrix Experience and Sly and The Family Stone were on the same bill. There was also a Record Review of Electric Ladyland published in the previous July 1969 issue of Strobe.} It has been mildly amusing since the bygone days of the Reagan era, to see the emergence of, or to put it more accurately, 'reappearance of' the element that existed in the '60s era, who attempted to view everything they saw occurring around them that made them uncomfortable, {such as the Political and Racial issues of the day, (and of course The Vietnam War) bleeding into the music} as extraneous. It was fascinating to watch how quickly one's viewpoint could change, once a Draft Notice to report to the nearest Induction Office was received in the mail. A big fat booboo in this book is a dated photograph citing Hendrix as performing at Woolsey Hall at Yale University on Nov. 16th, 1968, when the entry for listed gigs indicates Boston Gardens on that date. Bizzarely, there is NO ENTRY for Woolsey Hall, Yale University at all. At this point in history, it's a little late in the game for anybody to continue to buy the consistently unconvincing stories by people who assisted and worked for Micheal Jeffery, as to where the bulk of Hendrix' fortune disappeared to, without raising some hard questions. Especially since Eric Burdon (who is very much alive) raised similar questions about the whereabouts of The Animal's money, in his two autobiographies. For one thing obviously, the PPX Ed Chalpin $1.00 Contract suit that hung over Hendrix head all that time, was a candidate for any Trial Judge worth his salt (with the assistance of the right kind of lawyers batting for Hendrix in his corner, and pointing their fingers in the right direction), to take Ed Chalpin by the scruff of his neck and the seat of his pants and show him the door out of the courtroom. I mean you really begin to question what kind of legal representation Hendrix was getting. Other than Electric Ladyland Studios being built, this cat was making an incredible amount of money for that time. Where was all of this money disappearing to? And the staged 'reformation of the original Experience' interview in Rolling Stone with John Burks in 1970, shortly after the questionable circumstances of the demise of The Band Of Gypsys, followed by what Hendrix' ultimate decision was (to tour with Billy Cox and Mitch Mitchell), points right back to Michael Jeffery's motives. And isn't it interesting that when Hendrix begins touring again in April of 1970, his first two concerts in Los Angeles and Sacramento have The Buddy Miles Express as one of the opening acts? Given that Sky Church/Gypsy Sons and Rainbows was an experiment, after the demise of the original Experience, what are we REALLY supposed to buy into about Mike Jeffery? For other questions in the Hendrix story, check this posting http://observer1984.blogspot.com/2007_10_01_archive.html Nevertheless, this is a marvelous book. And Billy Cox finally gets his due for his immense contributions. A nod of appreciation to the folks at Experience Hendrix. Worth checking out.
Tuesday, January 15, 2013
With The Beatles
With The Beatles
Antonio G. Pereira © 2013 Antonio G. Pereira
_______________________________________________
With The Beatles - Published by Life Books - Great Photographers Series - An Imprint of Time Home Entertainment Inc. New York. This is quite a collection, and quite a mighty sized book; the photographs beautifully presented. The photographer Bob Whitaker, has had collections of his photographs released in book form before http://observer1984.blogspot.com/2008/10/eight-days-week-inside-beatles-final.html and if you've followed his work, you'll recognize a lot of the pictures in this hardcover edition. This was just a case of the right man for the right job, and Epstein certainly knew what he was doing when he chose Bob Whitaker. (There is one thing I find in the Beatles chronicle that has always been historically mysterious and puzzling. In 1966, I remember seeing (what I think was) a British music paper, with a bizzare full colour picture of the Beatles standing up holding meat cleavers and plastic doll heads in their hands, with plastic doll bodies and meat strewn on the floor with blood all around them; and John, Paul, George and Ringo had the coldest looks on their faces. They are not smiling, and they are wearing the same clothes that you see them wearing in the odd album cover photo (L.S.D. inspired Pop Art?) of the group and a steamer trunk. John sitting on top of the trunk with one leg crossed and arms folded, half of George floating in the air, Ringo standing with his right arm resting on the trunk, and Paul sitting inside the trunk. They all look slightly stoned. This of course is the photo on the album cover of Yesterday and Today, that was released in the U.S.; replacing the tame (compared to the other photo I just mentioned in the beginning) Butcher cover with the group sitting down with Butcher coats on. Now the question is, 'Was there a separate photo session, and possibly contact sheet of The Beatles in plain clothes that never saw the light of day?) Anyone with a genuine interest and affection for the Beatles, what they represented, and their music, will love the collection of photographs in this book. Here you get to see them at the peak of their touring years, 1964 through 1966. Performing, backstage, with their families, during the filming of movies and promos, appearing on television, making the wonderful 'The Music of Lennon & McCartney' Television Special for the BBC (Ah-HEM...,when is Apple/EMI gonna release that sucker on DVD?! And while we're on that subject, where's ' Let It Be'?!), making those funny, strange and entertaining Christmas Records for the Fan Club (eh... Apple/EMI, planning to release those on record anytime soon?). This is a photographic treasure. Unfortunately, when it comes to the written text throughout 'With The Beatles', the results are disappointing. The writers realm of knowledge doesn't go any further back than apparently '80s Pop music, and the rest is purely guesswork. (Surprisingly, no mention is ever made of Australian music journalist, Lillian Roxon; author of the original 'Rock Encyclopedia'; {a monumental late '60s artifact, on which all subsequent books are based}). It also appears that the writers of this... (shall we say 'biographical sketch'?) have only read one book on the Beatles, which is mentioned as reference repeatedly. (If someone had bothered to do their homework, they'd know that George Harrison owned two 12 String Rickenbackers; as he mentioned in the interview he gave to Guitar Player in the Nov. 1987 issue. The one we usually see him playing in concert, had a diagonally shaped head stock (which was the norm). The other one, which we see him admiring in the first set of picture inserts in Beatles Press Officer Tony Barrow's book, 'John, Paul, George, Ringo & Me: The Real Beatles Story' {one of the best memoirs of all}, and which Harrison said in the Guitar Player interview, was later stolen, had an unusual square head stock; and was a gift to him from B Sharp Music Store in Minneapolis, Minnesota, as cited under the photograph in the book. There are also glimpses of it in the book, 'The Beatles: Then There Was Music' by Tim Hill; a collection of rare photographs from the Daily Mail (U.K.).) Also a constant throughout the narrative (If I hear the term, 'back in the day', one more time, I'll scream.), is the '80s phenomenon that now permeates just about all media these days. This desperate need to continually keep you interested in what is being said, that results in phrases like, 'And as we will see in the following chapter...', (while you're in the middle of reading the current chapter), which is not only distracting but annoying. When did people stop having the ability of free thought and common sense, in being able to follow a story? One is left with the impression that (other than providing the wealth of photographs) the late Bob Whitaker had little to do with this book, as he passed away in 2011. His input is sorely missed, as obvious concepts like the two page spread on pages 124 and 125 are not even discussed. (It is interesting though, that from his brief mention of his slightly frosty relationship with McCartney, that we see evidence of this in the two page spread on pages 62 and 63.) In the photographer sections of the Life softback magazine, 'Remembering John Lennon' (2010), Bob Whitaker (in his short section) gave very detailed descriptions and observations of his photographs. One in particular, of Lennon resting, tenderly holding, and having his nose licked by a cat backstage on an American tour (1965?), being an example. The same picture appears spread over pages 156 and 157 in 'With The Beatles', with no explanation. It might have been helpful for the writers to explain that Lennon loved cats (our mysterious feline friends can always sense these things y'know), and that this came from his childhood, and also WHY this was such a beautiful moment captured by Bob Whitaker. (Geeez!) This could have been a much better book if more forethought had gone into it. By the way, it should be mentioned that the 'coffee house avant garde scene' in early '60s Australia that Bob Whitaker came out of, when Brian Epstein recruited him as Official Beatles Photographer, also spawned another very unique artist a few years earlier in 1960. Native Australian, musician Daevid Allen. Co-founder of '60s band, 'The Soft Machine', and later on, founder of 'Gong', he has led a fascinating life; and the extraordinary contrast of his odyssey with Whitaker's is well worth exploring as well. http://www.daevidallen.net http://www.allmusic.com/album/the-australian-years-mw0001229765
Antonio G. Pereira © 2013 Antonio G. Pereira
_______________________________________________
With The Beatles - Published by Life Books - Great Photographers Series - An Imprint of Time Home Entertainment Inc. New York. This is quite a collection, and quite a mighty sized book; the photographs beautifully presented. The photographer Bob Whitaker, has had collections of his photographs released in book form before http://observer1984.blogspot.com/2008/10/eight-days-week-inside-beatles-final.html and if you've followed his work, you'll recognize a lot of the pictures in this hardcover edition. This was just a case of the right man for the right job, and Epstein certainly knew what he was doing when he chose Bob Whitaker. (There is one thing I find in the Beatles chronicle that has always been historically mysterious and puzzling. In 1966, I remember seeing (what I think was) a British music paper, with a bizzare full colour picture of the Beatles standing up holding meat cleavers and plastic doll heads in their hands, with plastic doll bodies and meat strewn on the floor with blood all around them; and John, Paul, George and Ringo had the coldest looks on their faces. They are not smiling, and they are wearing the same clothes that you see them wearing in the odd album cover photo (L.S.D. inspired Pop Art?) of the group and a steamer trunk. John sitting on top of the trunk with one leg crossed and arms folded, half of George floating in the air, Ringo standing with his right arm resting on the trunk, and Paul sitting inside the trunk. They all look slightly stoned. This of course is the photo on the album cover of Yesterday and Today, that was released in the U.S.; replacing the tame (compared to the other photo I just mentioned in the beginning) Butcher cover with the group sitting down with Butcher coats on. Now the question is, 'Was there a separate photo session, and possibly contact sheet of The Beatles in plain clothes that never saw the light of day?) Anyone with a genuine interest and affection for the Beatles, what they represented, and their music, will love the collection of photographs in this book. Here you get to see them at the peak of their touring years, 1964 through 1966. Performing, backstage, with their families, during the filming of movies and promos, appearing on television, making the wonderful 'The Music of Lennon & McCartney' Television Special for the BBC (Ah-HEM...,when is Apple/EMI gonna release that sucker on DVD?! And while we're on that subject, where's ' Let It Be'?!), making those funny, strange and entertaining Christmas Records for the Fan Club (eh... Apple/EMI, planning to release those on record anytime soon?). This is a photographic treasure. Unfortunately, when it comes to the written text throughout 'With The Beatles', the results are disappointing. The writers realm of knowledge doesn't go any further back than apparently '80s Pop music, and the rest is purely guesswork. (Surprisingly, no mention is ever made of Australian music journalist, Lillian Roxon; author of the original 'Rock Encyclopedia'; {a monumental late '60s artifact, on which all subsequent books are based}). It also appears that the writers of this... (shall we say 'biographical sketch'?) have only read one book on the Beatles, which is mentioned as reference repeatedly. (If someone had bothered to do their homework, they'd know that George Harrison owned two 12 String Rickenbackers; as he mentioned in the interview he gave to Guitar Player in the Nov. 1987 issue. The one we usually see him playing in concert, had a diagonally shaped head stock (which was the norm). The other one, which we see him admiring in the first set of picture inserts in Beatles Press Officer Tony Barrow's book, 'John, Paul, George, Ringo & Me: The Real Beatles Story' {one of the best memoirs of all}, and which Harrison said in the Guitar Player interview, was later stolen, had an unusual square head stock; and was a gift to him from B Sharp Music Store in Minneapolis, Minnesota, as cited under the photograph in the book. There are also glimpses of it in the book, 'The Beatles: Then There Was Music' by Tim Hill; a collection of rare photographs from the Daily Mail (U.K.).) Also a constant throughout the narrative (If I hear the term, 'back in the day', one more time, I'll scream.), is the '80s phenomenon that now permeates just about all media these days. This desperate need to continually keep you interested in what is being said, that results in phrases like, 'And as we will see in the following chapter...', (while you're in the middle of reading the current chapter), which is not only distracting but annoying. When did people stop having the ability of free thought and common sense, in being able to follow a story? One is left with the impression that (other than providing the wealth of photographs) the late Bob Whitaker had little to do with this book, as he passed away in 2011. His input is sorely missed, as obvious concepts like the two page spread on pages 124 and 125 are not even discussed. (It is interesting though, that from his brief mention of his slightly frosty relationship with McCartney, that we see evidence of this in the two page spread on pages 62 and 63.) In the photographer sections of the Life softback magazine, 'Remembering John Lennon' (2010), Bob Whitaker (in his short section) gave very detailed descriptions and observations of his photographs. One in particular, of Lennon resting, tenderly holding, and having his nose licked by a cat backstage on an American tour (1965?), being an example. The same picture appears spread over pages 156 and 157 in 'With The Beatles', with no explanation. It might have been helpful for the writers to explain that Lennon loved cats (our mysterious feline friends can always sense these things y'know), and that this came from his childhood, and also WHY this was such a beautiful moment captured by Bob Whitaker. (Geeez!) This could have been a much better book if more forethought had gone into it. By the way, it should be mentioned that the 'coffee house avant garde scene' in early '60s Australia that Bob Whitaker came out of, when Brian Epstein recruited him as Official Beatles Photographer, also spawned another very unique artist a few years earlier in 1960. Native Australian, musician Daevid Allen. Co-founder of '60s band, 'The Soft Machine', and later on, founder of 'Gong', he has led a fascinating life; and the extraordinary contrast of his odyssey with Whitaker's is well worth exploring as well. http://www.daevidallen.net http://www.allmusic.com/album/the-australian-years-mw0001229765
Tuesday, December 25, 2012
A Merry Christmas and A Happy New Year/An Internet Music Site Collection
A Merry Christmas and A Happy New Year/An Internet Music Site Collection
Antonio G. Pereira © 2012 Antonio G. Pereira
_______________________________________________
The Complete Apple Records Catalog
This is it! A detailed site documenting every record released by The Beatles as a group and individually, and by every artist that was signed to Apple Records. From Mary Hopkin to Jackie Lomax, The Modern Jazz Quartet, James Taylor, Badfinger (originally The Iveys), The Black Dyke Mills Band, Billy Preston, The Radha Krishna Temple, John Tavener, Doris Troy,The Hot Chocolate Band etc... http://www.schomakers.com
The Beatles Photo Sessions
A portfolio of Beatles Photo Sessions up to and including the final Tittenhurst Park Sessions (some of which ended up as the front and back cover of the Allen Klein singles compilation LP, 'Hey Jude' aka 'The Beatles Again', and a number of photographs in the very rare 'Hey Jude' aka 'The Beatles Again', songbook). The session for the recording of 'The Fool On The Hill' is most interesting because of the presence of both Rumiko Hoshiko, who was the editor of Japan's Music Life Magazine, (and as she related in her Commentary in the blue insert booklet that accompanied the Shinko Music Co. LTD edition of Bob Whitaker's photo collection, 'The Beatles In Tokyo', had interviewed the group before, in 1965 in London; and attended a recording session for Ticket To Ride, and again in 1966 during their residency at Budo Kan Hall) and (this was the early Fall of 1967 {From the look of John, Paul, George and Ringo's haircuts, this is also the week that Richard Avedon took his Psychedelic Pop Photograph Portraitures of each Beatle; that ended up as the foldout inserts in Look Magazine.}) Yoko Ono listening to John playing his guitar. The Ballad of John and Yoko Photo Sessions are notable not only for Yoko's presence in the group shoot, but also because the photographs are so beautifully taken.
http://www.nemsworld.com/beatles
The Beatles On David Frost - 1968
This is an interesting brief clip. Originally shot as the introduction to the promo films for 'Revolution' and 'Hey Jude', it was later edited out. The Beatles playing 'The David Frost Show Theme' and then doing a bizzare take off on the early 60s Elvis Presley single, 'It's Now Or Never'.
http://www.youtube.com/watch?v=0_8JpyGBpk
Rain
This is a Black and White promo film of The Beatles 1966 Psychedelic Masterpiece, 'Rain', A remarkable recording for it's time. Featuring Ringo's very inventive drumming throughout, and Paul's incredible bass playing, they drive John's observance of everyday life through the perception of cyclic changes in climate, to it's powerful conclusion. Like Lennon's Soul inflected Hard Rock hit of the previous year, 'Ticket To Ride', a signpost of things to come.
http://www.youtube.com/watch?v=2t9-kfzxmLM
The Music Of Lennon & McCartney BBC Television Special-1965-Henry Mancini and Esther Phillips
This is part of a wonderful television special The Beatles did in 1965, that included many guests; among them, Henry Mancini and Esther Phillips.
http://www.youtube.com/watch?v=EWWpZFVqIos&feature=fvwrel
Jimi Hendrix
http://www.earlyhendrix.com/6743/gfx/gall/Jimi-2.jpg
http://www.earlyhendrix.com/6743/gfx/gall/Jimi-1.jpg
http://www.earlyhendrix.com/6743/gfx/gall/Jimi-3.jpg
http://www.rockprophecy.com/abcmiami.html
http://www.kramerarchives.com
Carlos Santana
A Spiritual Shaman For All Seasons, who Paints Rainbows with his guitar.
http://www.santana.com
*Today Is Forever
Of Special Mention. A wonderfully detailed and informative site devoted to the one and only Arthur Lee, and the band Love.
http://poisgoneforever.blogspot.com
Frank Zappa
http://www.globalia.net/donlope/fz
http://www.science.uva.nl/~robbert/zappa
Dinky Dawson
Sound Technician Extraordinaire. His memoir, 'Life On The Road: The Incredible Rock 'n' Roll Adventures of Dinky Dawson', contains the best and most detailed first hand account of the original Fleetwood Mac.
http://www.dinkysworld.com
Pink Floyd
Taking their name from original member Syd Barrett's combination of the names of two Depression era Blues Musicians, Pink Anderson and Floyd Council, Pink Floyd has quite a history; (e.g. their amazing soundtrack to the late '60s epic and unsettling film, 'More', to jamming with Frank Zappa at the 1969 Actuel Festival of Jazz, Rock and New Music in Amougies, Belgium {before Atom Heart Mother broke them worldwide}).
http://www.pinkfloyd-co.com
Absolute Elsewhere
http://www.absoluteelsewhere.net
1960's Folk-Rock Links
http://richieunterberger.com/turnlinks.html
Tom Monaster
http://www.monasterphoto.com
James Brown and Luciano Pavarotti - It's A Man's World
http://www.dailymotion.com/video/xxhg0_james-brown-pavarotti-mans-world
This is the mother of them all!
Antonio G. Pereira © 2012 Antonio G. Pereira
_______________________________________________
The Complete Apple Records Catalog
This is it! A detailed site documenting every record released by The Beatles as a group and individually, and by every artist that was signed to Apple Records. From Mary Hopkin to Jackie Lomax, The Modern Jazz Quartet, James Taylor, Badfinger (originally The Iveys), The Black Dyke Mills Band, Billy Preston, The Radha Krishna Temple, John Tavener, Doris Troy,The Hot Chocolate Band etc... http://www.schomakers.com
The Beatles Photo Sessions
A portfolio of Beatles Photo Sessions up to and including the final Tittenhurst Park Sessions (some of which ended up as the front and back cover of the Allen Klein singles compilation LP, 'Hey Jude' aka 'The Beatles Again', and a number of photographs in the very rare 'Hey Jude' aka 'The Beatles Again', songbook). The session for the recording of 'The Fool On The Hill' is most interesting because of the presence of both Rumiko Hoshiko, who was the editor of Japan's Music Life Magazine, (and as she related in her Commentary in the blue insert booklet that accompanied the Shinko Music Co. LTD edition of Bob Whitaker's photo collection, 'The Beatles In Tokyo', had interviewed the group before, in 1965 in London; and attended a recording session for Ticket To Ride, and again in 1966 during their residency at Budo Kan Hall) and (this was the early Fall of 1967 {From the look of John, Paul, George and Ringo's haircuts, this is also the week that Richard Avedon took his Psychedelic Pop Photograph Portraitures of each Beatle; that ended up as the foldout inserts in Look Magazine.}) Yoko Ono listening to John playing his guitar. The Ballad of John and Yoko Photo Sessions are notable not only for Yoko's presence in the group shoot, but also because the photographs are so beautifully taken.
http://www.nemsworld.com/beatles
The Beatles On David Frost - 1968
This is an interesting brief clip. Originally shot as the introduction to the promo films for 'Revolution' and 'Hey Jude', it was later edited out. The Beatles playing 'The David Frost Show Theme' and then doing a bizzare take off on the early 60s Elvis Presley single, 'It's Now Or Never'.
http://www.youtube.com/watch?v=0_8JpyGBpk
Rain
This is a Black and White promo film of The Beatles 1966 Psychedelic Masterpiece, 'Rain', A remarkable recording for it's time. Featuring Ringo's very inventive drumming throughout, and Paul's incredible bass playing, they drive John's observance of everyday life through the perception of cyclic changes in climate, to it's powerful conclusion. Like Lennon's Soul inflected Hard Rock hit of the previous year, 'Ticket To Ride', a signpost of things to come.
http://www.youtube.com/watch?v=2t9-kfzxmLM
The Music Of Lennon & McCartney BBC Television Special-1965-Henry Mancini and Esther Phillips
This is part of a wonderful television special The Beatles did in 1965, that included many guests; among them, Henry Mancini and Esther Phillips.
http://www.youtube.com/watch?v=EWWpZFVqIos&feature=fvwrel
Jimi Hendrix
http://www.earlyhendrix.com/6743/gfx/gall/Jimi-2.jpg
http://www.earlyhendrix.com/6743/gfx/gall/Jimi-1.jpg
http://www.earlyhendrix.com/6743/gfx/gall/Jimi-3.jpg
http://www.rockprophecy.com/abcmiami.html
http://www.kramerarchives.com
Carlos Santana
A Spiritual Shaman For All Seasons, who Paints Rainbows with his guitar.
http://www.santana.com
*Today Is Forever
Of Special Mention. A wonderfully detailed and informative site devoted to the one and only Arthur Lee, and the band Love.
http://poisgoneforever.blogspot.com
Frank Zappa
http://www.globalia.net/donlope/fz
http://www.science.uva.nl/~robbert/zappa
Dinky Dawson
Sound Technician Extraordinaire. His memoir, 'Life On The Road: The Incredible Rock 'n' Roll Adventures of Dinky Dawson', contains the best and most detailed first hand account of the original Fleetwood Mac.
http://www.dinkysworld.com
Pink Floyd
Taking their name from original member Syd Barrett's combination of the names of two Depression era Blues Musicians, Pink Anderson and Floyd Council, Pink Floyd has quite a history; (e.g. their amazing soundtrack to the late '60s epic and unsettling film, 'More', to jamming with Frank Zappa at the 1969 Actuel Festival of Jazz, Rock and New Music in Amougies, Belgium {before Atom Heart Mother broke them worldwide}).
http://www.pinkfloyd-co.com
Absolute Elsewhere
http://www.absoluteelsewhere.net
1960's Folk-Rock Links
http://richieunterberger.com/turnlinks.html
Tom Monaster
http://www.monasterphoto.com
James Brown and Luciano Pavarotti - It's A Man's World
http://www.dailymotion.com/video/xxhg0_james-brown-pavarotti-mans-world
This is the mother of them all!
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