Μεγάλη απογοήτευση προκάλεσε στους πελάτες της η μέχρι τώρα καλά οργανωμένη WordPress λόγω του νέου τρόπου γραφής άρθρων και κυρίως επεξεργασίας των ήδη δημοσιευμένων, όταν αυτά χρειάζονται διόρθωση.

Η τσιγγουνιά στον ούτως ή άλλως ελάχιστο ηλεκτρονικό χώρο που μάς διατίθεται, καταστρέφει κάθε καλή προσπάθεια των bloggers και ταυτόχρονα οι εταιρείες χάνουν λεφτά αντί να κερδίζουν.

Η τσιγγουνιά στον ούτως ή άλλως ελάχιστο ηλεκτρονικό χώρο που μάς διατίθεται, καταστρέφει κάθε καλή προσπάθεια των bloggers και ταυτόχρονα οι εταιρείες χάνουν λεφτά αντί να κερδίζουν.

  • Η Worpress κατάργησε σταδιακά τον παλιό, δόκιμο και φιλικό προς τον χρήστη-πελάτη τρόπο γραφής και επεξεργασίας των άρθρων, με καταστροφικά αποτελέσματα για όσους πρέπει να διορθώσουν κάτι ή να επεξεργασθούν κάτι στα ήδη δημοσιευμένα κείμενα και άρθρα.
  • Το χειρότερο από όλα είναι ότι, όταν πατάς το κουμπί για τη νέα δημοσίευση, όλο το κείμενο εξαφανίζει τις παραγράφους και τις αναγκαίες αποστάσεις και όλα τα γραπτά ενώνονται σε ένα ενιαίο, συνεχόμενο και ακαταλαβίστικο κείμενο ! Πιο αποτυχημένη ρύθμιση δεν μπορούσε να γίνει. Οι γραμματοσειρές και τα κείμενα γίνονται ένα ανόητο συνονθύλευμα, και το εντελώς τραγικό είναι ότι εξαφανίζονται και τα albums και τα τραγούδια, επειδή τα γράμματα ενώνονται με τα links. Πρέπει να περάσεις πολλές ώρες και να ξοδέψεις υπέρ-πολύτιμο χρόνο, μέχρι να επιτύχεις ένα μετριώτατο αποτέλεσμα.
  • Πολύ αποκαρδιωτική αυτή η εξέλιξη, έχει κάνει πολλούς από εμάς να σκεπτόμαστε αν αξίζει τον κόπο να ταλαιπωρούμαστε και να ευτελιζόμαστε τόσο, και να μη σέβεται κανείς τις προσπάθειές μας και την αγωνία μας για τη δημοσίευση κειμένων κάποιου επιπέδου.
Posted in Αταξινόμητα | 7 σχόλια

Φύγε. Δεν είμαι εδώ.

φυγε

 

Φύγε, εμπρός φύγε από εδώ.
Μη στέκεσαι στον τάφο μου και κλαις.
Δεν είμαι μέσα.
Δεν κοιμάμαι.
Είμαι οι χίλιοι άνεμοι που φυσούν.
Είμαι η λάμψη του χιονιού στον ήλιο.
Είμαι το φως του Φοίβου στο ώριμο σιτάρι.
Είμαι η ευγενική βροχή της άνοιξης.
Είμαι η συνεσταλμένη ταραχή τής εκπλήσσουσας καλωσύνης.
Είμαι το άρωμα του καφέ, όταν ξυπνάς το πρωί βιαστικά.
Είμαι τα έγγραφα που βρίσκεις, όταν πια έχεις πιστέψει ότι τάχασες.
Είμαι το ρούχο σου, που σ’ αγκαλιάζει σαν να είμαι εγώ.
Είμαι η χορευτική απογείωση των πουλιών.
Είμαι το τρυφερό αστέρι που λάμπει τη νύχτα για σένα.
Μη στέκεσαι στον τάφο μου και κλαις.
Δεν είμαι εδώ.
Δεν έχω πεθάνει.
Ψάξε με αλλού, εκεί που ξέρεις.

 

 

Stationary  traveller (the single) – Camel

Stationary  traveller (The full album. 1984 the first edition)

  • «Pressure Points»
  • «Refugee»
  • «Vopos»
  • «Cloak and Dagger Man»
  • «Stationary Traveller»
  • «West Berlin»
  • «Fingertips»
  • «Missing»
  • «After Words»
  • «Long Goodbyes»
  • «In the Arms of Waltzing Frauleins» (bonus track)

 

 

Side One  of the Original Release (1984)

«Pressure Points» (Latimer) – 2:10

«Refugee» – 3:47

«Vopos» – 5:32

«Cloak and Dagger Man» – 3:55

«Stationary Traveller» (Latimer) – 5:34

 

 

Side Two

«West Berlin» – 5:10

«Fingertips» – 4:29

«Missing» (Latimer) – 4:22

«After Words» (Ton Scherpenzeel) – 2:01

«Long Goodbyes» – 5:14

The «Stationary Traveller» is the famous tenth studio album by the great English progressive rock band Camel. Like much of Camel’s output, it is a concept album, in this case centering around the trials of East German refugees attempting to cross the Berlin Wall into West Berlin.
All songs written by Susan Hoover and Andy Latimer, except where noted.

 

Studio album by Camel
Released August 1984
Recorded Riverside Studios, England, Engineer, Dave Hutchins
Genre Progressive rock
Length 42:14 (Original)
48:36 (2004 Re-release)
Label Decca
Producer Andy Latimer

 

Το «Stationary Traveller» δεν ανήκει στην british invasion. Θα μπορούσαμε να πούμε ότι ανήκει στο κύμα της δεύτερης british invasion. Ο δίσκος όμως σαν ήχος και σαν ατμόσφαιρα ταιριάζει με το θέμα αυτής της ανάρτησης, και από μόνος του αποτελεί ένα κατόρθωμα για τον πολιτισμό της ανθρωπότητας.
Όποιος μπορεί, καλό είναι να τον κατεβάσει στον σκληρό δίσκο του, γιατί η δουλειά που έχει κάνει ο δημοσιεύσας το album είναι καταπληκτική, και δεν ξέρουμε αν και πότε θα τον σβήσουν τα νομικά τσιράκια των εμπόρων στο YouTube.

 

Camel

  • Andy Latimer – electric, acoustic & 12 string guitars, bass, piano, drum synthesiser, flute, lead vocals
  • Ton Scherpenzeel – organ, grand piano, Prophet synthesizer, Yamaha CS80, Juno 60, Korg, PPg, accordion
  • Paul Burgess – drums


Personnel

  • David Paton – bass (A 3, 4), fretless bass (B 2, 5), backing vocals
  • Chris Rainbow – lead vocals (A 4, B 5)
  • Mel Collins – sax (B 2)
  • Haydn Bendall – Fairlight synthesizer (A 1, 3), PPg synthesizer (B 3)

 

Other credits

  • Engineered by Dave Hutchins
  • Mixed by Greg Ladanyi, Haydn Bendall and Andy Latimer
  • Artwork by Artifex Studio, London

 

Posted in Αταξινόμητα | Tagged , , , , , , , , , , , , , , , , , , | 8 σχόλια

Lulu – To Sir with Love: The Best of 1967-1968. When you work with the best, it is natural to become the best. Lulu Kennedy-Cairns, (born Marie McDonald McLaughlin Lawrie), known by her stage name Lulu, is a Scottish singer, actress, and television personality, who is very successful in the entertainment business from the 1960s till today. She is worldwide identified with the song «To Sir with Love» from the film of the same name, and with the title song to the James Bond film «The Man with the Golden Gun». Full album

1 To Sir With Love 
(Don Black / Mark London)
2:45
2
That Boat That I Row
(Neil Diamond)
3:02
3
Rattler
(Bruce Woodley)
3:43
4
Morning Dew
(Bonnie Dobson / Tim Rose)
3:00
5
Love Loves to Love Love
(D. Thomas)
2:24
6
Best of Both Worlds
(Don Black / Mark London)
3:01
7
Day Tripper
(John Lennon / Paul McCartney)
3:05
8
Let’s Pretend
(P. Hope Evans)
3:24
9
Take Me in Your Arms (And Love Me)
(Cornelius Grant / Roger Penzabene / Barrett Strong)
2:51
10
To Love Somebody
(Barry Gibb / Robin Gibb)
3:36
11
You and I
(Mark London)
2:28
12
Dreary Nights and Days
(Mark London)
2:38
13
Me, the Peaceful Heart
(Tony Hazzard)
2:45
14
Lookout
(Mark London)
2:28
15
Boy
(Howard Blaikley / Geoff Stephens)
2:42
16
Sad Memories
(Mark London)
2:16
17
I’m a Tiger
(R. Scott)
3:06
18
Without Him
(Harry Nilsson)
2:57
19
This Time (Bistro)
(Darin Black) 4:02

Τα δύο τελευταία τραγούδια δεν υπάρχουν στο παρόν cd.

In European countries Lulu is also widely known for her Eurovision Song Contest winning entry «Boom Bang-a-Bang», and in the UK for her famous first hit «Shout» (she was only 15).
In 1966 Lulu toured Poland with The Hollies, the first British female singer to appear live behind the Iron Curtain.

Ο αλκοολικός πατέρας δεν μπορούσε να θρέψει τα τέσσερα παιδιά του, και έτσι από 12 χρόνων η Λούλου πήρε τους δρόμους για να ζήσει.
Από τα 13 χρόνια της ήξερε καλά μέσα στην ψυχή, την καρδιά και το μυαλό της ότι θα πεθαίνει με το τραγούδι και θα ανασταίνεται από αυτό.

This compilation collects 19 sides from Lulu during her burgeoning ascent as a British pop diva. The tracks include the contents of the long-players To Sir With Love (1967) and Love Loves to Love Lulu (1967), which share pretty much the same 11-song tune stack. The remainder were issued on a variety of singles in the U.K. as well as stateside.
Lulu did top the pop singles chart with the title song of this package as well as from the film To Sir With Love (1967), where she likewise debuted as an actress. She played the smarmy lower-middle-class student «Miss» Barbara Pegg alongside Sidney Poitier’s brilliant portrayal of high-school educator «Sir» Mark Thackeray.
Her other platter to hit the Top 40 in the U.S. was «Best of Both Worlds», which features an opulent score from Peter Knight. Keen-eared listeners may well hear several striking similarities between the introductory orchestration, which is a variation on a theme that Knight was concurrently incorporating into his work with the Moody Blues on their groundbreaking Days of Future Passed (1967). Specifically, musical quotes that surround the recitation (read: «Breath deep/The gather gloom…») at the end of «Nights in White Satin» are used here for a similar sonic flare.
Lulu remained at the center of the mod scene in the U.K., rivaling other top British vocalists such as Dusty Springfield and Cilla Black for airplay and record sales, under the direction of Mickie Most (producer/arranger) and his crew, which often included the distinct work of John Paul Jones (string arrangement/bass/guitar/brass) several years prior to his commitment to Led Zeppelin. In addition to co-arranging with Knight, J. P. Jones’ multi-instrumental prowess can be heard on practically every track!
His contributions include the Burt Bacharach/Hal David feel on the poppy «Let’s Pretend» as well as the Brian Auger-like electric organ runs on the syncopated R&B-influenced «Take Me in Your Arms (And Love Me).»

Also included in her repertoire are a few interesting cover tunes — including a soulful reading of «Morning Dew» and Neil Diamond‘s spunky and freewheelin’ «The Boat That I Row.» The same results are not quite achieved on the decidedly produced and over the top version of «Day Tripper.»
Her marriage to Bee Gees co-founder Maurice Gibb may have had some bearing on the affective remake of «To Love Somebody.» Without a doubt, the tastefully arranged and implemented small string section on Harry Nilsson‘s «Without Him» is quite different from Al Kooper‘s swinging bossa nova reading of «Without Her» from Child Is Father to the Man. In fact, this version rivals the equally infectious reading from Astrud Gilberto from her underrated I Haven’t Got Anything Better to Do (1969) LP.
Lulu’s influence has reached through the generations with the sampling and looping of the electric guitar intro to the upbeat and ultra mod «Love Loves to Love Love,» which was featured on the 1996 Fatboy Slim (aka Norman Cook) track «Santa Cruz.»
The sound quality on this collection is, quite frankly, immaculate. The entire contents were remastered, if not perhaps remixed, from the one and only multi-track master tapes, which yielded seven previously unissued stereo mixes. Unlike the songs gleaned from the To Sir With Love or Love Loves to Love Lulu albums, the remainder of the sides were not released in anything other than traditional mono.
To Sir With Love: The Very Best of 1967-1968 is arguably the best Lulu primer available.

[Στα κείμενα βοήθησαν (πληροφοριακά και όχι κριτικά) η Βικιπαίδεια και η Ολμιουζικ.]

Posted in Αταξινόμητα | Tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 6 σχόλια

This Little Bird – Marianne Faithfull. The woman, the multi-artist, the cultured personality, the baroness, the legend. «This Little Bird» is probably her first album. First and fantastic. Full album

Track List

01 This Little Bird (00:00)
02 I’m A Loser (02:03)
03 What Have They Done To The Rain (04:19)
04 In My Time Of Sorrow (07:16)
05 What Have I Done Wrong (09:41)
06 Come And Stay With Me (11:37)
07 As Tears Go By (14:04)
08 If I Never Get To Love You (16:44)
09 Time Takes Time (19:01)
10 He’ll Come Back To Me (20:42)
11 Paris Bells (23:18)
12 Plaisir d’amour (26:06)

From the YouTube: 

Brenda O’ Connell: I worked with Marianne in the 1960’s and  traveled  with her. Still in touch. Love this song.

beenthere38: I was stationed in East Anglia in the early 60’s.  Heard  Marianne, the Beatles, Herman and the Hermits,  Mick Jagger, etc., just as they were becoming popular.  Great times!

Το άλμπουμ κυκλοφόρησε το 1965, αλλά δεν αναφέρεται πουθενά στους καταλόγους τής Βικιπαίδειας. Αυτό πιθανόν οφείλεται στο ότι εκείνη την εποχή μπορούσε και άλλη εταιρεία να κυκλοφορήσει δίσκους ενός καλλιτέχνη, εκτός από εκείνη που είχε συμβόλαιο μαζί του, εφ’ όσον τα τραγούδια ήσαν διαφορετικά.
Το This Little Bird περιλαμβάνει πρωτότυπα τραγούδια, όπως το ομώνυμο που πραγματικά είναι αριστούργημα, καθώς και διασκευές σε ιστορικά τραγούδια των Beatles, των Rolling Stones, των Searchers, και άλλων μεγάλων της μουσικής.
Εντύπωση προκαλεί, και αποδεικνύει την φίνα μόρφωσή αυτής της μεγάλης μορφής της τέχνης, η άψογη προφορά και ερμηνεία της στο κλασικό γαλλικό τραγούδι Plaisir d’amour.

Για τη Marianne Faithfull έχουν γράψει τραγούδια οι Beatles, φυσικά η μεγάλη και πασίγνωστη σχέση της ο Mick Jagger, οι Hollies (Graham Nash) και πολύ άλλοι. Ο Αυστριακός δούκας παππούς της από τη μητέρα της (κατευθείαν από τους Αψβούργους), ο Leopold von Sacher-Masoch, έγραψε το περίφημο βιβλίο «Venus in Furs» (που τόσο έχει εμπνεύσει τους Velvet Underground), και από αυτό καθιερώθηκε παγκόσμια ο όρος «μαζοχισμός».
Πέντε δεκαετίες τραγούδι σε όλα σχεδόν τα είδη, θέατρο, κινηματογράφος, τηλεόραση, προσωπικοί και κοινωνικοί αγώνες, ναρκωτικά, πρωτοπορεία, συνεχής ανανέωση, και συνεχίζουμε.
Αυτό κι αν είναι επιδραστική ζωή και καριέρα, και αυτό κι αν είναι a fine piece of the British invasion…

Posted in Αταξινόμητα | Tagged , , , , , , , , , , , , , , | 9 σχόλια

The Beatles – The Beatles’ Story (U.S. Stereo LP – Capitol). Only one word. BEATLEMANIA. Full album. And, «Making The Beatles». A rare and unseen “making of Beatles” full documentary

Track Listing

01. 00:00 «On Stage With The Beatles»
02. 01:03 «How Beatlemania Began»
03. 02:23 «Beatlemania In Action»
04. 03:48 «The Man Behind The Beatles – Brian Epstein»
05. 06:36 «John Lennon»
06. 12:26 «Who’s a Millionaire»
07. 13:02 «Beatles Will Be Beatles»
08. 20:33 «The Man Behind the Music – George Martin»
09. 21:37 «George Harrison»
10. 26:20 «A Hard Day’s Night – Their First Movie»
11. 29:31 «Paul McCartney»
12. 32:14 «Sneaky Haircuts and More About Paul»
13. 35:43 «The Beatles Look At Life»
14. 37:49 «Victims of Beatlemania»
15. 38:58 «Beatle Medley»
16. 42:55 «Ringo Starr»
17. 49:19 «Liverpool and the World»

Εμείς, οι άνθρωποι, είμαστε ικανοί άραγε να δώσουμε αξία στα πράγματα, όχι γι’ αυτό που αξίζουν, αλλά γι’ αυτό που σημαίνουν; Θα το δοκιμάσουμε άραγε ποτέ στα επόμενα δισεκατομμύρια χρόνια, μέχρι που η διόγκωση του ήλιου κάψει και εξαερώσει τελικά τη γη;

Το album αυτό έπρεπε χωροθετικά να έχει την θέση του προηγουμένου. Κάθε πέντε δίσκους ακολουθεί η σειρά των πρώτων και ηγητόρων τής British Invasion, των Beatles. Όμως ο πρόωρος θάνατος του μεγάλου Lou Reed επέβαλε μια εξαίρεση.

Τι είναι η  Beatlemania?
Το μοναδικό μουσικό φαινόμενο, πασίγνωστο για την ένταση και τη διάρκειά του;
Πιο πριν υπήρξαν και άλλα τέτοια μουσικά φαινόμενα ένθεης μανίας. Η Λιστομάνια είναι η πιο γνωστή από αυτά. Αλλά τίποτα σαν την Beatlemania.
Με δύο λόγια θα σας πω ότι Μπητλομάνια είναι εκείνη η ιερή και αμόλυντη στιγμή, όπου το ερωτικό και όλων των άλλων ειδών τραγούδι αρχίζει να βαφτίζεται στην καθημερινότητα των ανθρώπων, και ταυτόχρονα είναι εκείνη η στιγμή, όπου οι δημιουργοί του ξεπερνούν την καθημερινότητα αυτή…

Beatles story

The Beatles’ Story is the sixth album by the Beatles in the United States, issued on November 23, 1964 by Capitol Records in both mono and stereo formats. It is a documentary double album featuring interviews, press conferences, and song snippets with voice-overs, and was issued in response to interviews of the Beatles collected on the Vee-Jay Records release, Hear The Beatles Tell All. The album entered the Billboard Pop Albums on 12 December at number 97, and on 2 January 1965 it reached its peak position at number 7, where it remained for four weeks before beginning its slide down the charts. It has been certified a gold record by the RIAA; it was also released in Canada.

The album contains brief stereo excerpts of their 1964 Hollywood Bowl concert, which was unreleased until May 1977 on The Beatles at the Hollywood Bowl. In 1996, The Beatles’ Story was being prepared for release on digital audio tape, but when the format failed commercially the plan was scrapped. As of 2012, it only has been issued on long-playing record and compact cassette, making this one of the few Beatles albums that has yet to be officially reissued on compact disc or any other format.

Released 23 November 1964
Recorded Capitol Records Building and The Hollywood Bowl, Hollywood, California
Genre Rock and roll, documentary,interview
Length 49:22
Label Capitol
Producer John Babcock, Roger Christian, and Al Wiman (documentary),George Martin (music)

Track listing

Side one
No. Title Length
1. «On Stage with the Beatles» 1:03
2. «How Beatlemania Began» 1:20
3. «Beatlemania in Action» 1:25
4. «Man Behind the Beatles — Brian Epstein» 2:47
5. «John Lennon» 5:50
6. «Who’s a Millionaire?» 0:39
Side two
No. Title Length
1. «Beatles Will Be Beatles» 7:28
2. «Man Behind the Music — George Martin» 1:04
3. «George Harrison» 4:46
Side three
No. Title Length
1. «A Hard Day’s Night — Their First Movie» 3:08
2. «Paul McCartney» 2:45
3. «Sneaky Haircuts and More About Paul» 3:29
Side four
No. Title Length
1. «The Beatles Look at Life» 2:05
2. «Victims’ of Beatlemania» 1:10
3. «Beatle Medley» 3:58
4. «Ringo Starr» 6:24
5. «Liverpool and All the World!»         1:05

Και επειδή ο κύκλος των μελετών πάνω στους Beatles δεν θα κλείσει ποτέ, ας έχουμε εδώ ένα πολύ σημαντικό (για την ακρίβεια, το πιο καλό στο είδος του) ντοκυμανταίρ γύρω από την ίδρυση και την αρχική πορεία τού μοναδικού συγκροτήματος.
Έτσι όπως το έζησαν πολλοί αξιοθαύμαστοι άνθρωποι, όπως το βλέπουν πολλοί και κορυφαίοι παγκοσμίως μουσικοί (ο Steve Harley, o Phil Collins, o Gerry από τους Gerry and the Pacemakers, που είχαν και αυτοί παραγωγό τον Brian Epstein και τα πρώτα 2 χρόνια χτυπούσαν στα ίσα τους Beatles σε επιτυχία, και πολλοί άλλοι), και όπως το ονειρεύτηκε η μεγαλοφυής ψυχή τού John Lennon. Όταν μιλάμε για τους Beatles, δεν μιλάμε μόνο για μουσική.
Μιλάμε για ένα παγκόσμιο φαινόμενο, που σάρωσε τους ξεπερασμένους κοινωνικούς και πολιτιστικούς θεσμούς σε όλη τη γη.
Ποτέ ξανά δεν θα ξαναγίνει αυτό, απλά επειδή δεν είναι αντικειμενικά δυνατόν να συμπέσουν τόσα γεγονότα και ευτυχείς συμπτώσεις.
Δεν συμφωνώ με την άποψη ότι σαν συγκρότημα είχαν ολοκληρώσει τον προορισμό τους. Αυτό λέγεται, για να απαλύνεται ο πόνος των σκεπτόμενων ανθρώπων ή το εκστομίζουν διάφοροι άσχετοι.
Το συγκρότημα που μπορούσε να αλλάζει εντελώς και με αριστουργηματικό τρόπο τη μορφή και το είδος της μουσικής του από δίσκο σε δίσκο, δεν στερεύει έτσι ξαφνικά, ούτε κλείνει τον κύκλο του μέσα σε μια οκταετία (στην ουσία.)

Well, you can see here the magnificent story of John, George, Paul and Ringo…

Making The Beatles. Rare and unseen «making of Beatles» full documentary.
The making of the Quarrymen and the Beatles 50s and early 60s.
The beginning story.

 

Ένας ενδιαφέρων τύπος με το ψευδώνυμο John Lennon έχει δημοσιεύσει στο YouTube ένα σπουδαίο άρθρο, που αναρτάται εδώ αυτούσιο.
Είναι ένα σημαδιακό γεγονός και μια εντελώς νέα προσέγγιση στο μέγα θέμα της μελέτης του έργου, των καινοτομιών και της φύσης των Beatles.

Prophets: Most people think all the prophets lived hundreds of years ago, but the truth is, there have been many recent prophets. Some have been in show business and the arts. Let me tell you about four of the most powerful.

«Living is easy with eyes closed, misunderstanding all you see.»
«Strawberry Fields Forever»

The Beatles themselves were like other men, but the music and lyrics channeled through them contained magic and messages from beyond the mind.

I remember the first time I heard a Beatles song. It was February 1964, just a few months after President Kennedy was shot and killed. Everyone was in a funk. I was walking home from school (sixth grade) with a friend, and we were going over to a neighbor’s house. He was older and very cool. He built drag racing cars in his garage and always had his radio blaring. There was a song coming out of it that stopped me in my tracks. On a cold and gloomy winter day, the wind blowing through my hair, I heard: “If there’s anything that you want, if there’s anything I can do, just call on me, and I’ll send it along, with love, from me to you.”

We stood there on the corner and listened to the whole song in silence. I was stunned. My friend said, “The song is called ‘From Me To You.’ They are called the Beatles, and they all got haircuts like Moe of the Three Stooges.”

It went right through me; it seemed familiar and unknown at the same time. It was one of those rare moments that you never forget, which changes your life. The Kennedy assassination was one of them. I lost my innocence and the Beatles gave it back to me. I went from no hope, to anything is possible, and I was not alone; it seemed like it happened to every kid in the world.

There was no shortage of great music at the time. I did not really like or dislike the song; it was just different, like something from another planet. I had never heard anything like it, no one had. It was kind of weird, because they were saying silly things like little kids, and had haircuts like little kids. Their songs said things like, “She loves you yeah yeah yeah, I want to hold your hand,” and stuff like that which was strange, but it had a powerful vitality and joy. It got my attention. The words were simple and direct, and it seemed like they were talking directly to you, not just some unknown girl like other songs.

Before the Beatles, we were all into looking like James Dean and trying to be cool. After the Beatles showed up, around the release of Rubber Soul or Revolver, we quit wearing shoes and started growing out our hair. It was time to go our own way and get into life. It was the start of a long party for me and a lot of other kids.

The movies Animal House and American Graffiti depict the way cars, music, and people were in 1963, just before the Beatles showed up. We were happy with the music, and we were not looking for something new. I am still into that music and hotrods. The music before the Beatles was the greatest rock and roll ever made.

It did not matter; the Beatles changed everything overnight anyway. Their power was overwhelming. Nothing like it happened before or has happened since.

That is what made what they did so special and magical; it was impossible.

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Force of nature: I am not saying their music was better. I liked the music before they came better, but they were better; it was the whole package. The Beatles were a force of nature, and all us kids were just swept away.

It was a great time to be a teenager. It seemed like they came out with a new song every few weeks that was totally different and better than the one before. This is at a time when they sold single records, with one song on each side; they were called forty-fives. So in the beginning, I bought their songs two at a time.

People that were not there cannot comprehend what it was like for a kid to hear a new Beatles song for the first time. It put a real magic in the air.
They were very magical times. This went on for seven years and took me from the age of eleven to nineteen. The Beatles were the sound track for my whole teenage life. I was blessed.

I was too cool for the Beatles after the first year or two. However, I always knew The Beatles were there, being perfect, being better than should be possible for mortal men.

They were like the gods of the sixties. All other bands in the sixties were just great musicians, but the Beatles were something more, and they were ours. Most people that are into music know the sixties were a time of musical kings.

Everyone was great, but the Beatles were the king of kings, and that is why they were so exceptional. Anyone can be big now; back then the biggest meant something. Being great was the norm; to be the undisputed best took magic.

That is why I talk about them in this book. It is not for their music; it is for the way they took over the hearts and minds of most young people when it should have been impossible to do. What they did was real magic.

It is a sign: Nature set them apart for a reason. It is so we do not just think they were just another great band, so we look closer and listen a little better.

There was an X factor to the Beatles, and everyone knew it on some level, even the adults and people that did not like their music. As musicians they were unbelievably great; as people they were funny and smart.

They were the strongest voice of a generation of many strong, talented voices. They made the older generation look stupid and made us look good; they gave us real strength.

I took them for granted like most people and did not know how special they were until years after they were gone. I always thought that some other band would eventually come along and be that good. No one has, and now I know why.

They were not just musicians; they were prophets.  We do not need a new band; we still have them. We still have their music; we just have to really hear it.

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Spiritual event: The Beatles music was behind and powered the last big spiritual event. It was called the peace and love movement. They gave it legitimacy, and that great Beatles “we can do anything and have fun doing it” vibe.

They got it going with albums like Magical Mystery Tour, Sgt. Pepper’s, and ended it with The White Album via Charles Manson. What happened was not their intention, but their music on The White Album (Helter Skelter/Piggies) was involved in ending the peace and love movement in the summer of 1969. Hippies were not seen as harmless anymore.

It happened like this: When Martin Luther King was shot, it started going down. It ended politically when Bobby Kennedy was shot. The hippie movement ended with the Manson murders and The Stones concert at Altamont. It then ended spiritually when the Beatles broke up. As John Lennon said, the dream was over.

Most people felt if the Beatles could not make it happen, nothing could.

Hidden messages: To hear the hidden messages in the Beatles’ music, you do not have to play the songs backwards like some people in the sixties thought; you just have to change your perspective, listen backwards. Instead of their songs being sung to a girl somewhere, you hear them as being sung to you personally. You listen like the song is new and you have never heard it before, because you really haven’t; no one has, not even them.

In the song «Julia», John Lennon says, «Half of what I say is meaningless, but I say it just to reach you.» This clearly means that half of what they say is meaningful, and the rest is just there to reach us.

Some of their songs were obviously being sung directly to the listener, and others are just love songs to a girl, but most are both. They are being sung to a girl and to you, even if you are not a girl. They can be interpreted either way depending on your perspective. From the perspective of a teenage girl, you hear a silly love song. From the perspective of a truth seeker, you will hear a love song also, only it’s spiritual love, divine love. Other bands are just singing love songs to a girl somewhere, but in hindsight, we now know that the Beatles were into something bigger; they were prophets.

Time lock: Most of their early songs appear to be just silly love songs. This is what made it possible to get a spiritual communication to most people. They sugarcoated the truth, hid it as a love song, and sent it to the truth seekers of the world under the radar. It worked, if we get it now. It was actually created for now.
The sign: There is a sign in their songs to let us know the songs are not just a love song for a girl. The sign is the word «friend» which is not a way that you would address a girl you are singing a love song to.

Examples: The song “I’ll Follow the Sun”, «Though I lose a friend, in the end you will know. Someday you’ll find I was the one.” The song: “We Can Work It Out”, «Life is very short and there’s no time for fussing and fighting my friend.” The song “Can’t Buy Me Love”, “I will buy you a diamond ring my friend, if it makes you feel alright.” The song: “I’ll Get You”, «So I’m telling you my friend, I will get you in the end.” They will get us now.

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In that last song, “I’ll Get You,” they say, “There is going to be a time, when I am going to change your mind.” They mean literally change your mind, from the mind of mankind to the mind of a spiritual being. See the difference it makes?

They actually say change your mind and make you mine at the same time.

Words with two meanings: Girl, her, baby, honey, she, darling, etc. = receiver. The receiver is female, just as biologically females receive the seed of life from males. Whoever is listening to their music is the receiver, because you are receiving the music. The word, man, he, him, his, etc. = transmitter or sender. The collective unconscious via the Beatles are the transmitters; they are sending the music and message. Home = the Present, God, etc. End = beginning, etc.

This is why metaphorically God is a male. God gives us life; we receive it.
When they say “you,” they mean you. They use metaphors like religious books do. The two meanings for the word “love” are divine love, which means, God, the Present, total awareness, etc. The other meaning for love is carnal love (man woman love). One meaning is for your soul, the other is for that mystery girl.

If you listen to songs like “Two of Us” (Let It Be) and “Your Bird Can Sing” (Revolver) and “Wait”, “The Word” or “Think For Yourself” (Rubber Soul), you will see the meanings clearly, and you know where they are coming from and who they are talking to. You will realize they are talking to you in the here and now.

Some other songs where it is easy to see the dual meanings are the songs “All My Loving” (With the Beatles), “I Will” (The White Album), “Tell Me What You See” (Help!), “No Reply” or “What You’re Doing” (Beatles For Sale), or “Things We Said Today” (A Hard Day’s Night). On that same album (A Hard Day’s Night), the song “I’ll Be Back” is telling us they will be back, a second coming, once we can see the true meanings of the songs.

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Second coming: They are coming back, but not as the cute mop tops we saw the first time. This time, we will see them for the prophets they really were and hear the spiritual and truth side of their music. It will change the world again. The power and vibe is still there; add the truth and the life (the present), your new perspective, and you have a door to the magical mystery tour, a ticket to ride.

The long and winding road that leads to your door, they mean your door, your spirit. When they say I want to be your man, it means they want to be your “mind,” send you a transmission, inform you. When they say, I want to hold your hand, it means they want to connect to you, show you the way, be with you, etc.

When they say “come on,” they mean come on like a light, wake up.

Click to listen to “Everybody’s Got Something to Hide Except Me and My Monkey” on The White Album, and you will see what I mean by the words “come on.”

Some of their lyrics mean exactly what they say, and some have hidden meanings like all religious material. Sometimes you have to listen to them repeatedly until you get it. I hear something different every time I listen to them.

The album names have dual meanings and spiritual connotations: Revolver, Rubber Soul, Hard Day’s Night, Magical Mystery Tour, Let It Be, Abbey Road, etc.

The picture on their first album, Please Please Me, shows the Beatles on a higher level than you with many levels above them, representing levels of awareness.

They did not write the songs with those intentions. The Beatles say they were just writing a love song to a girl; at least that has been their cover story.

I believe they did not know the spiritual content of their songs until after they were written; that they came out of the air just as they say. They came from the collective unconscious or Holy Spirit if you prefer, not their own minds.

That is how the Holy Spirit/collective unconscious communicates. You usually do not know it at first, but you usually get it before anyone else, but not always.

Example: Paul says the song “Martha My Dear” was written for his sheep dog Martha. John said “Lucy in the Sky with Diamonds” was inspired by a drawing his kid made. “Dear Prudence” was to try to get Mia Farrow’s sister to stop meditating and come outside when they were in India.

Though it may not have been intended, there are obviously other meanings we get from those and most of their other songs.

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They did not know the truth: It is true that they do not know what their songs mean; no one could know until now, not even them.

There are things in Beatles songs that go more for a feeling than a thought or message. Remember, things that come from the collective unconscious can get garbled by our minds, so you have to interpret it. This makes it possible for things such as poetry and songs to mean different things to different people.

The early songs are more direct and from and to the heart (no mind); they get more cerebral in their later songs. Try listening to them from this new spiritual perspective, and you will see what I mean. A good way to do it is to start with their later songs (so you know they are spiritual), and work backwards to their first songs. Listening to their music backwards does show you what they are saying, but not single songs backwards.

Most people think the later songs are more spiritual than the early songs; the opposite is true. It is the early ones that have the most spiritual content, but you have to know it to hear it, and the later songs make their intent clear.

Their most spiritual albums were their first ones.

One of their first albums, “With the Beatles” 1963, is the most spiritual to me. If you think the later ones were the most spiritual, listen to this first one.

The song “Not a Second Time” makes a lot of sense now. The song “I Want to Be Your Man” is literally saying “I want to be your mind.” It is the Holy Spirit talking.

Their music went from “Please Please Me” and “Do You Want to Know a Secret” to “I Am the Walrus” and “A Day in the Life”. Anyone that has ever been in a band will tell you that what they did was impossible. The band that gave us “I Want to Hold Your Hand” could not have been the same band that gave us the song “In My Life», and it wasn’t; they changed completely.

Changelings: They were changelings; it is a characteristic of many prophets. Every time you look at them, you see a different person, because a spiritual person changes as the present changes. They reflect the present as it changes. You change (reflect life) as the life around you changes, and it is changing all the time. Listen to the songs above or any early and later song back to back, and you will see what I mean. They are a completely different band. They looked and sounded different. I like to listen to the“Sgt. Pepper’s” album and the “With the Beatles” album back to back. It is a powerful and enlightening experience.

A lot of bands and performers made the girls scream and go crazy. The Beatles did that too, plus they did a lot of things that were different than any other musicians or pop stars. Their music channels the truth and the life.

Magic: They wrote forty-eight songs during the few weeks they stayed in India; who else could do that? Many of those songs are on The White Album. Their music speeds up and slows down; you cannot dance to most of it. They use obscure instruments and odd sounds. They did some strange and different stuff.

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They would create great songs faster than anyone else has. Example: John Lennon got the idea for the song “Instant Karma”, rented a piano, and recorded it all in one day. Most people have to work on a song for a long time before they get it right, and it is rarely a hit. The Beatles did it all the time.

The song Instant Karma says most of what this book says in one song.

When real music comes to me – the music of the spheres, the music that surpasses understanding – that has nothing to do with me, because I’m just the channel. The only joy for me is for it to be given to me, and to transcribe it like a medium… those moments are what I live for. John Lennon

George Martin, their producer, said the Beatles created songs much faster than any of the other bands he worked with before or since. He said the songs and albums seemed to grow by themselves.

I am not trying to say they did not work as hard as anyone else did. They did, but I am trying to show how they were more inspired than any other group of people. All a prophet is, is a person or group of people that can connect with something beyond their own minds for a period of time, and channel or bring into the world something from beyond it that reveals the divine truth and life.

Their songs changed and they changed in a very short period of time. As their relationship with each other got worse, their music got better. After the Beatles broke up, two of them brought their wives (not musicians) into their new bands. Who else could or would do that? There was something behind them that could not be stopped, something that gave them a power to do things that no other band has done before or after.

Another thing that made them different from any other band was that they were all equal. You knew all of them equally. When they spoke in interviews together, they were like one person. One would talk, but it did not matter who it was; it came from them all. This is really different, and shows the spiritual factor that sets them apart.

Their solo stuff was also very spiritual. Example: From the John Lennon song “Yer Blues,” “My mother was of the sky, my father was of the earth, but I am of the universe, and you know what it’s worth.” That is as clear as it gets. The songs, “Gimme Some Truth,” “Mind Games,” “Real Love,” and “Imagine” also tell you where he was at.

You will not understand everything at first, so do not try to even think about it, and you will get a little more each time you listen. Just remember they are talking to you when you are listening to them.

It makes sense; you are the one listening, and no one else is. If the song were for someone else, it would not make sense.

Everything that comes to you is just for you. It is the same with this book. It is just for you when you are reading it.

Their incredible success is the most obvious sign of how different they were. In the last forty years, some other people have broke their sales records, but if they had the competition the Beatles had and the Beatles themselves for competition, they would not have done as well. The truth is, no one has even come close to the success of the Beatles. They may have been the most successful people that ever lived, because they were successful prophets in their own lifetime.

Love has never been so successful.

We were all on this ship in the sixties, our generation, a ship going to discover the new world and the Beatles were in the crow’s nest of that ship.
John Lennon

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The apple: The transition could not have happened in the sixties; the time was not right. We needed computers and the Internet. You would not be reading this book if it wasn’t for the Internet. The ultimate truth had to come on the Internet for free, because books cost money and are not available to everyone.
You would not be learning the truth now if it were not on the Internet free.

The apple is associated with every major step in mankind’s evolution. The apple in the Garden of Eden was the creation of mankind (mind kind), the apple falling from the tree is when Newton realized the laws of motion and gave birth to calculus. Then there is Apple Records, the Beatles’ record company, and Apple Computers, the start of widespread computer use. Another coincidence?

People say the apple in the Garden of Eden and in the Newton story never really happened, and it didn’t. It does not matter if it really happened or not, because most people think it did; why do they? Something put the apple at the major events in human evolution. If it did not really happen, it is even more magical and makes it an even greater sign of a divinity in our lives. The word “apple” means “evil” in Latin, and evil is live backwards.

Frozen in time: The time is right now, and the Beatles’ music is still here exactly like it was then. Actually, it has been remastered and is even better. The Beatles have been frozen in time still young, waiting for us to evolve enough to hear what the music contains, just as other prophets and seers have been waiting on us to understand what they said and meant.

The song “Yesterday” did not even make sense until now. They first sang it at the peak of their success. Why would they be yearning for the past or yesterday at the peak of their success? It makes total sense if you listen to it now. A lot of their songs only make sense now. The Beatles are for now.

The divine magic is in all good music to some degree more or less, because it comes from beyond the mind and exists only in the present. The Beatles are just by far the biggest, most concentrated source of it.

I like the music before The Beatles showed up, because it was a simpler world, and the music reflected it.

That is why I like early Beatles’ songs like that first Beatles song I heard, “From Me to You” (Beatles 62-65). Some others are “I Should Have Known Better” (A Hard Day’s Night), “Thank You Girl” and “She’s a Woman” (Past Masters), “There’s a Place” (Please Please Me), “Hold Me Tight” (With the Beatles), “Tell Me Why” and “I Feel Fine” (Beatles 62-65).

The following are a few more Beatles’ songs with words that mean two different things; see if you can hear the hidden meanings:

Hey Bulldog, Yellow Submarine
Cry Baby Cry, The White Album
Glass Onion, The White Album
Lady Madonna, Beatles 1
Across the Universe, Let It Be
Fool on the Hill, Take 4, Anthology 2
I’m Looking Through You, Rubber Soul
Ask Me Why, Please Please Me
I’m Only Sleeping, Revolver
Real Love, Anthology 2
Sexy Sadie, The White Album
You Won’t See Me, Rubber Soul
Baby’s in Black, Beatles For Sale
The Night Before, Help!
Sgt. Pepper’s Lonely Hearts Club Band, Sgt. Pepper’s
With a Little Help from My Friends, Sgt. Pepper’s

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I do not listen to the Beatles’ music to just listen to music. Their music is in its own category. I listen to the Beatles for the same reasons I read the Bible and other religious books. The Beatles are a part of my religion, along with golf, surfing, romance, hotrods, classic cars, boats, eating and everything else.

Their music helps keep me in the present and on the spiritual path. The Beatles are just another thing that makes my religion more enjoyable than most others.

My religion is the present and everything in it.

The last line, in their last song medley, in the last album the Beatles released, Abbey Road, says it all. «Golden Slumbers,» «Carry That Weight,» «The End.» It says, “And in the end the love you take, is equal to the love you make.”

In other words, the more love you take from life or accept from life, the more you will be able to make or reflect back to people. It is the most important thing to do. People think it means the more love you make, the more love you will take, but they have it backwards. You cannot make love; only God/life can make love. You can only let it in and reflect it back out. The more love you take, the more love you can make or reflect to other people. Remember, everything is backwards.

I have heard the actual last words in a song they recorded was, “One, two, three, four, five, six, seven, all good children go to heaven,” which is also true.

It is now the time to start listening to the Beatles’ music with new ears. Not for entertainment; this time listen just for its spiritual value.

Even if you do not like their music, it is easier to listen to them than to read religious books. It is a painless way to get a shot of truth everyday. Listen to them to learn the truth, and you will be hearing them for the first time.

Rock and roll: All rock and roll is made by young people for young people. What the kids of today have to realize is they will not be listening to music for old people, their parent’s music. They will be listening to music by kids their age.

George was just fifteen when he joined the band; they started out as a teenage band. They wrote the best songs as teenagers and broke up in their twenties.

The Beatles’ music is made by young people for young people now and forever. It is more this generation’s music than it was ours, because this generation will understand it. We did not; we just thought we did.

The time is right for it now. Wake up kids; it is all for you now.

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The kids of today have to realize all rock and roll is their music. They have their new music and all the rock and roll that came before, because it was all made by young people their age. It is one of the reasons kids today have it better than any generation of kids that came before. They need to claim all their music.

It is no coincidence that many radio stations play a show called «Breakfast with The Beatles» on Sunday mornings. Subconsciously, most people know there is something spiritual about them. John and George may have died physically, but they are still with us in spirit and truth and in song. Let’s not wait for the last two to die before we wake up.

Speaking on reincarnation in 1968, George Harrison said: «You go on being reincarnated until you reach the actual Truth.»
Everything is for now: As I said earlier, everything that happened in the past was just to help us find the truth and the life now. It is not just the Beatles’ music; it includes most great music. A good example is classical music.

Growing up in the era of rock and roll, I have never appreciated classical music. When I woke up, I was amazed that I suddenly liked some classical music as much as rock and roll. The best example is Beethoven’s Ninth Symphony. It contains the spirit of conquest, so it has been stolen and used by dictators and tyrants like Stalin and Hitler since it was written. It was perfect to inspire armies marching into battle, but Beethoven wrote it for the exact opposite purpose.

Most people think it is just instrumental and has no lyrics, but actually it was written for a poem by the German poet Friedrich von Schiller called “Ode to Joy.” It is about mankind becoming one brotherhood. It was before its time, because it was impossible for mankind to become one until now.

The music does inspire conquest, the conquest of the spirit. After you wake up, listen to it, and you will be astonished by how perfectly it embodies that conquest. Like Beatles’ songs, you will be hearing it for the first time. You can find many versions on Youtube.

Listening to Beatles’ music is a good way to share the present and the ultimate truth with people, because everyone can relate to it on their own level.

Don’t lie to children about Santa Claus; tell them the truth about the Beatles. Their true story is greater than any myth.

In ancient Egypt, a beetle was the symbol for eternal life; another coincidence?

They said they would be back… «I’ll Be Back» Retrospective Video

«Living is easy with eyes closed, misunderstanding all you see.»
«Strawberry Fields Forever»

All you need is love. Actually, all you need is the truth. You need the truth first. True love only comes after you know the truth of life.

All you need is love, of the truth!

They lay it all out in the songs above. God is love. Love is everything, but the only way to receive and know everything is to realize that you are nothing.

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Lou Reed and John Cale – Songs For Drella (HQ). -For Andy Warhol-. «It always bothers me to see people writing ‘RIP’ when a person dies. It just feels so in-sincere and like a cop-out. To me, ‘RIP’ is the microwave dinner of posthumous honors.» – Lou Reed. Full album. Good-bye Andy. Good-bye Lou.

TRACK LISTING

1. «Smalltown» 
2. «Open House» 2:04
3. «Style It Takes» 6:21
4. «Work» 9:16
5. «Trouble with Classicists» 11:53
6. «Starlight» 15:35
7. «Faces and Names» 19:03
8. «Images» 23:15
9. «Slip Away (A Warning)» 26:46
10. «It Wasn’t Me» 29:51
11. «I Believe» 33:21
12. «Nobody But You» 36:39
13. «A Dream» 40:25 
14. «Forever Changed» 46:58
15. «Hello It’s Me» 51:50

A f@cking extraordinary album: Not a note or word wasted. A Masterpiece.

Ο δίσκος αυτός είναι πολύ μεταγενέστερος τής British Invasion. Οι μουσικοί όμως που τον δημιούργησαν, ανήκουν στους πρώτους που επηρεάσθηκαν από αυτήν. Επίσης, το τιμώμενο πρόσωπο, ο πολύς Andy Warhol, ανήκει στο πολιτιστικό κύμα τής «εισβολής» από την Αγγλία, που πλημμύρισε την Αμερική και μέσω αυτής ολόκληρο τον κόσμο. Εδώ έχομε το πολύ ενδιαφέρον γεγονός, ο πάπας της ποπ, ο Andy Warhol, να γίνεται με τον θάνατό του η αιτία να ενωθούν ξανά τα «παιδιά» του, και να συνθέσουν ξανά ένα αριστουργηματικό album. Έφυγε (απομακρύνθηκε) από τους Velvet Underground, μετά από 4 καταπληκτικά albums και αμέτρητες συναυλίες με διθυραμβικές κριτικές, υπερασπιζόμενος την πανέμορφη και τραγική Nico, την επιλογή του σαν το πέμπτο μέλος του συγκροτήματος, και ξαναγύρισε μετά τον άδικο και πρόωρο θάνατό του, να τους ωθήσει να εμπνευσθούν αυτό το μινιμαλιστικό διαμάντι, που «κρατάμε» στα χέρια μας.

Τώρα «έφυγε» απότομα και ο Lou Reed, μετά τον Andy Warhol, μετά την Nico, και μετά τον Sterling Morrison.

Ένας αέρας μοναξιάς φυσάει στον κόσμο.

Η παγκόσμια μουσική σκηνή θρηνεί το χαμό ενός από τους πιο επιδραστικούς καλλιτέχνες, που έβγαλαν ποτέ οι ΗΠΑ, επειδή ο μεγάλος Λου Ρηντ άφησε την τελευταία του πνοή σε ηλικία 71 ετών. Η αιτία θανάτου είναι τα σοβαρά ηπατικά προβλήματα που αντιμετώπιζε, και το τελευταίο διάστημα νοσηλευόταν σε νοσοκομείο, όπου τον Απρίλιο υπεβλήθη σε μεταμόσχευση ήπατος.

Γεννημένος στις 2 Μαρτίου 1942 στο Μπρούκλυν της Νέας Υόρκης από οικογένεια αμερικανοεβραίων, σύμφωνα με τα από πολλές δεκαετίες κατευθυνόμενα Μ.Μ.Ε., με το όνομα Λιούις Άλλαν Ραμπίνοβιτς, ενώ ο ίδιος επίμονα δήλωνε ότι το επώνυμό του είναι Φέρμπανκς (Louis Firbanks) έδειξε από νωρίς την κλίση του προς τη μουσική. Τελικά, το πιθανότερο είναι το αρχικό όνομά του να ήταν Lewis Allan Reed, και η καταγωγή του είναι τελείως αδιάφορη, επειδή ο ίδιος δήλωνε ότι θεός του είναι το ROCK N’ ROLL.

Σε νεαρή ηλικία άρχισε να παίζει κιθάρα και να συμμετέχει σε σχολικές μπάντες παίζοντας ροκ, και τότε έκανε την πρώτη του ηχογράφηση με το συγκρότημα The Jades, παίζοντας ένα blues κομμάτι. Ταυτόχρονα αγωνιζόταν κατά των αμφιφιλόφυλων αισθημάτων του και μάλιστα έκανε κάποια ειδικά ηλεκτροσόκ, για να τα εκριζώσει.

Μετά το Πανεπιστήμιο (όπου σπούδασε σκηνοθεσία, δημιουργική γραφή κλπ, και αποφοίτησε με άριστα) βρήκε δουλειά σαν συνθέτης σε μια δισκογραφική εταιρεία και έπειτα από διάφορους πειραματισμούς δημιουργεί, το 1965, με τον avant-garde Ουαλό βιολονίστα, τον Τζων Κέιλ, το συγκρότημα The Primitives, το οποίο θα μετονομασθεί σύντομα σε The Velvet Underground και θα αρχίσει να προκαλεί αίσθηση στην τεράστια underground σκηνή της Νέας Υόρκης.

Οι Velvet Underground μπορεί να μην είχαν ιδιαίτερα εμπορική επιτυχία εκείνη την περίοδο, ωστόσο, εδώ και δεκαετίες αναγνωρίζονται ως μια από τις πιο σημαντικές και επιδραστικές μπάντες της αμερικανικής μουσικής. Τραγούδια – ύμνοι όπως τα «Heroin», «I’m waiting for my man» και «Venus in furs» θεωρούνται μερικά από τα κορυφαία των 60’ς και όχι μόνο. Στα περισσότερα είναι εμφανής η ενασχόληση τού Λου με την ποίηση και τον μεγάλο συγγραφέα Edgar Rice Burroughs.

Ο Άντυ Γουόρχολ.

Η συνάντησή τους με τον εκκεντρικό και εξαιρετικά ταλαντούχο Άντυ Γουόρχολ, ήταν καθοριστική, επειδή μαζί δημιούργησαν ένα ιδιότροπο αισθητικό πρότζεκτ, ενώ ο Γουόρχολ ήταν εκείνος που όλες διοργάνωνε τις περιοδείες του γκρουπ σε ΗΠΑ και Καναδά κερδίζοντας εξαιρετικά ενθουσιώδεις υποδοχές αλλά και κριτικές.

Ο Γουόρχολ επέμεινε στην προσθήκη ενός ακόμη μέλους, της ταλαντούχου Γερμανίδας πρώην μοντέλου Νίκο. Η αντίρρηση του Ρηντ και των υπολοίπων καταγράφηκε στο ντεμπούτο άλμπουμ τους The Velvet Underground and Nico το 1967. Αναφέρεται επίσης ότι συχνά στις συναυλίες ο Ρηντ και ο Κέιλ έπαιζαν σκόπιμα πάνω από την φωνή τής Νίκο ή χαμήλωναν την ένταση του καναλιού της την ώρα που τραγουδούσε. Παρ’ όλα αυτά η Nico συμμετείχε με επιτυχία σε μερικά από τα πιο εμβληματικά έργα τους.

Μεγάλη σόλο καριέρα και προσωπικά αδιέξοδα.

Το 1970 ο Λου Ρηντ αποφάσισε να αποχωρήσει από το συγκρότημα και να ακολουθήσει προσωπική καριέρα, ενώ παράλληλα μετακόμισε στο Λονδίνο, όπου γνωρίσθηκε, μαθήτευσε και συνεργάσθηκε με τον Ντέιβιντ Μπάουι.

Στις προσωπικές δουλειές του ο Λου υπήρξε περισσότερο επιτυχημένος από ότι με τους Velvet Underground, ενώ η φήμη του αυξανόταν, όσο αναγνωριζόταν το μεγαλείο του πρώην συγκροτήματός του.

Επιτυχίες όπως τα Satellite of Love, Perfect Day και το θρυλικό Walk on the Wild Side θεωρούνται πλέον κλασικά κομμάτια.

Παράλληλα με τη μεγάλη του καριέρα ο Λου πάλευε και με τους προσωπικούς του δαίμονες και την εξάρτησή του από το αλκοόλ και τα ναρκωτικά, θέματα με τα οποία ασχολήθηκε διεξοδικά σε πολλούς από τους στίχους του.

Συνεργάσθηκε με τους περισσότερους από τους μεγάλους εκπρόσωπους της παγκόσμιας  μουσικής σκηνής. Πέρυσι μάλιστα κυκλοφόρησε τον σπουδαίο δίσκο «Lulu», με εμφανές το παιχνίδι με το όνομά του, μαζί με τους θρύλους του σημερινού χέβυ μέταλ Metallica, ύστερα από αίτημά τους.

VU-Andy

Velvet, Nico and Andy

lou reed 1

LouReed 2

Lou and his beloved wife, the great Laurie Anderson

Lou and his beloved wife, the great Laurie Anderson

Lou Reed and John Cale spoke to one another for the first time in years at Warhol’s memorial service at St. Patrick’s Cathedral in New York on April 1, 1987. The painter Julian Schnabel suggested they write a memorial piece for Andy. On January 7 and 8, 1989, Cale and Reed performed an almost completed Songs for Drella at The Church of St. Anne’s in Brooklyn. Still, as Cale was wrapping up «Words for the Dying», and Reed had finished and was touring with his «New York» album, the project took another year to complete.

The first full version (notably with the inclusion of «A Dream» in one performance) was played on November 29–30, and December 2–3 at the Next Wave Festival at the Brooklyn Academy of Music. On December 4–5, 1989, a live performance —without an audience— was filmed at the Brooklyn Academy of Music, directed by Ed Lachman, and released on VHS and laserdisc formats. Over the following two months, Reed and Cale proceeded to record the material for the album, which was released in 1990 by Sire Records.

Songs for Drella is a concept album by Lou Reed and John Cale, both formerly of the Velvet Underground, and is dedicated to the memory of Andy Warhol, their mentor, who had died unexpectedly in 1987. (Πράγματι ο Andy Warhol πέθανε απρόοπτα. Φταίνε τα εγκληματικά λάθη των γιατρών του νοσοκομείου, όπου εισήχθη, μετά από μια ξαφνική κρίση χολής που υπέστη μέσα στην αργία του Σαββατοκύριακου.)

Drella was a nickname for Warhol coined by Warhol Superstar Ondine, a contraction of Dracula and Cinderella, used by Warhol’s crowd. The song cycle focuses on Warhol’s interpersonal relations and experiences, with songs falling roughly into three categories: Warhol’s first-person perspective (which makes up the vast majority of the album), third-person narratives chronicling events and affairs, and first-person commentaries on Warhol by Reed and Cale themselves. The songs on the album are, to some extent, in chronological order.

Personnel

  • Ο Ουαλός avant-garde multi-music persona John Cale – vocals, keyboards, viola.
  • Ο Νεοϋρκέζος από την σκληρή και ξεπεσμένη συνοικία του Brooklyn, αθάνατος και σέξυ (όπως εύστοχα είπε η Γιόκο Όνο) Lou Reed – vocals, guitar.

Lou Reed -Transformer

Lou Reed

And the coloured girls say:

Doo doo doo doo doo doo doo doo doo

Doo doo doo doo doo doo doo doo doo doo…

Τελειώνουμε, με το συγκλονιστικό σημείωμα της Laurie Anderson:

Στους γείτονές μας:

Τι πανέμορφο φθινόπωρο! Όλα είναι λαμπερά και χρυσαφένια και όλα έχουν ένα απίστευτο απαλό φως. Το νερό μας περιβάλλει.

Ο Lou κι εγώ περάσαμε πολύ καιρό εδώ τα τελευταία χρόνια, και παρ΄ όλο που είμαστε άνθρωποι της πόλης, εδώ είναι το πνευματικό μας σπίτι.

Την περασμένη εβδομάδα υποσχέθηκα στον Lou να τον βγάλω από το νοσοκομείο και να τον φέρω στο σπίτι μας, στο Springs. Και τα καταφέραμε!

O Lou ήταν δάσκαλος τού tai chi και πέρασε τις τελευταίες του ημέρες εδώ, χαρούμενος και εντυπωσιασμένος από την ομορφιά και τη δύναμη και την απαλότητα της φύσης. Πέθανε το πρωί της Κυριακής κοιτώντας τα δέντρα και εκτελώντας τις περίφημες 21 φόρμες του tai chi, μόνο με τα μουσικά του χέρια να κινούνται στον αέρα.

Ο Lou ήταν ένας πρίγκιπας και και ένας αγωνιστής, και ξέρω ότι τα τραγούδια του για τον πόνο και την ομορφιά του κόσμου θα γεμίζουν πολλούς ανθρώπους με την εκπληκτική χαρά που ένοιωθε για τη ζωή. Αιώνια ζωή για την ομορφιά που έρχεται και μας διαποτίζει όλους.

– Laurie Anderson

η αγαπημένη του σύζυγος και αιώνια φίλη.
Lou and Laurie

Lou and Laurie

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THEM – «Them In Reality» and THEM – «Them». «Them, lived and died on the stage at the Maritime Hotel», Van Morrison said. Although the legendary Them had a short-lived existence (with V. Morrison), 1964-1967, the Belfast group had very considerable and undeniable influence on other bands, such as The Doors and many more. Van Morrison went on to great success and fame as a solo artist, but Them’s combination of garage rock and blues proved a Major Influence on the next generations of rock musicians, and the group’s best-known singles have become staples of rock and roll… Full albums

THEM – «Them In Reality». 1971.

0:00 Gloria – Baby, Please Don’t Go / 10:54 Laugh / 13:56 Let My Song Through / 16:33 California Man / 18:46 Lessons Of The Sea /22:32 Rayn / 25:25 Back To The Country / 29:00 Can You Believe.

Alan Henderson: bass guitar, backing vocals
Jim Parker: lead guitar, vocals
John Stark: drums, percussion
Produced by Ray Ruff at Gold Star Studios, Hollywood.

AND

THEM – «Them». 1970.

0:00 I Keep Singing / 4:25 Lonely Weekends / 6:59 Take A Little Time / 9:13 You Got Me Good / 11:57 Jo Ann / 14:55 Memphis Lady / 17:56 In The Midnight Hour / 20:36 Nobody Cares / 23:22 I Am Waiting / 26:48 Just A Little.

Alan Henderson: bass guitar, vocals on «I Am Waiting», percussion
Jerry Cole: guitars, lead vocals, percussion
Uncredited contributions from Ry Cooder (!) (guitars), John Stark (drums) and Jack Nietzsche (!) (piano).
Produced by Ray Ruff at Gold Star Studios, Hollywood.

Δύο post Van Morrison albums, αλλά υπέροχα albums. Έχουν παραχθεί στο Los Angeles από την ποιοτική και έντιμη και με όνειρα δισκογραφική εταιρεία, την Happy Tiger, και περικλείουν τον σκληρό αλλά γοητευτικό ήχο, που αμέσως αντιγράφηκε από άλλα συγκροτήματα. Το  Rhythm and Blues των πρώτων ημερών φαίνεται καθαρά πίσω από τον «διαβολικά σκληρό» (έτσι είπαν κάποιοι συντηρητικοί) ήχο της κιθάρας του μεγάλου Ry Cooder και του σπουδαίου Jerry Cole. Μέγα γεγονός επίσης είναι η συμμετοχή του κορυφαίου πιανίστα Jack Nietzsche, συνεργάτη όλων σχεδόν των μεγάλων συγκροτημάτων.

Χρόνια πολλά κρατάει η συζήτηση περί ποιότητας στη μουσική, και οδηγεί αναπόφευκτα στο ζήτημα τού ποιο είναι αυτό το γεγονός που προσδίδει αξία και ποιότητα στην τέχνη, δηλαδή με οδηγό ποια κριτήρια μπορούμε να κρίνουμε και να βγάλουμε ασφαλή συμπεράσματα για την ποιότητα κάποιου τραγουδιού ή μεγάλου δίσκου. Τα υπάρχοντα όμως κριτήρια δεν είναι σαφή -ειδικά στην μουσική- και οι θεωρίες αισθητικής μπορεί να βοηθούν να κρίνουμε έργα του παρελθόντος, αλλά όχι και του παρόντος. Εδώ έχουμε έργα του πρόσφατου παρελθόντος, και ο χρόνος που έχει περάσει ήταν αρκετός για να εξαφανίσει ό,τι δεν ήταν ισχυρό και ποιοτικό, και το σκληρό και συνάμα τρυφερό garage rock των μεγάλων THEM (με οποιαδήποτε σύνθεση) είναι καρφί και σημαία για οποιοδήποτε συγκρότημα θέλει να κάνει σωστή καριέρα και συναρπαστικές συναυλίες.

The group was marketed in the United States as part of the British Invasion. «Them Again» (the album) had charted in the US (later that year the famous «Mystic Eyes», released as a single, reached No.33) and so they began a tour in May 1966. From May 30 to June 18, Them had a residency at the famous Whisky a Go Go in Los Angeles. For the final week The Doors opened for Them and on the last night the two bands and the two Morrisons jammed a twenty-minute version of «Gloria» and a twenty-five minute version of «In the Midnight Hour»Them went on to headline at The Fillmore in San Francisco, California and then to Hawaii, where disputes erupted among band members and with management over money. The band broke apart, Morrison and Henderson returning to Belfast while Ray Elliott (born Raymond Elliott, 13 September 1943, in Belfast, Co Antrim, Northern Ireland) and David Harvey (born David Tufney, 29 July 1943, in Bude, Cornwall) decided to stay in America.

Το 1967 ο Van Morrison εγκατέλειψε το γκρουπ. Οι υπόλοιποι συνέχισαν με συνεχείς αλλαγές στην σύνθεση του συγκροτήματος. Ο πιανίστας τους Eric Wrixon (μαθητής τότε που ξεκίνησαν) συνεχίζει μέχρι σήμερα να χρησιμοποιεί το όνομα ΤΗΕΜ. 

To 1965 οι ΤΗΕΜ έπαιξαν στο Wembley Empire Pool μαζί με τα κορυφαία ονόματα του κόσμου. The Beatles, The Rolling Stones, The Kinks, The Animals, The Searchers, The Moody Blues, Dusty Springfield etc. Εκεί έκαναν τόσο μεγάλη εντύπωση, ώστε ενθουσίασαν στον μεγαλύτερο βαθμό κοινό και κριτικούς.

Έμειναν διάσημοι για τις αντί-συνεντεύξεις τους. Αδιαφορούσαν για τις ερωτήσεις, μιλούσαν μεταξύ τους, απαντούσαν άλλα αντί άλλων κλπ. Είναι αυτοί που οδήγησαν την περίπτωση των αντί-συνεντεύξεων σε αρνητική μορφή υψηλής τέχνης. Πλήρωσαν βέβαια ακριβό τίμημα, διότι μερικές φορές προκάλεσαν αντί-ιρλανδικά συναισθήματα.

Η GLORIA γράφτηκε από τον Van Morrison σε ηλικία 18 ετών και είναι η μεγαλύτερη επιτυχία και σύνθεση του garage rock σε ολόκληρη την ιστορία της μουσικής.

The band’s 1964 recording of «Gloria» was inducted into the Grammy Hall of Fame in 1999.

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