I’m in love with someone that doesn’t exist
Keep looking for them everywhere I go
I’m in love with something that doesn’t get kissed
It doesn’t exist
As far as I know…
Paul Westerberg - As Far As I Know
thanks again for the heads up from Alice over at O My Soul
I note with shock that the poster doesn’t even mention John here on YouTube. . . . . . .
Photo : Martin O'Neill.
this choice of the day from O My Soul
start the day and the week with a Dylan of The Day from O My Soul (thanks as ever for the reminder)
Sunday you say? . . . . . . time to dance around the Living Room in your pants and then when you're done get over the Store. There’s alligators and Zydeco, Nawleans R n B and all . . . . . . honest
On January 28, 2016, Kantner died of multiple organ failure in his beloved San Francisco at the age of 74
In his prime he was up there (and out there) with the best. We miss him and as a species are the poorer for his no longer being around
Paul Kantner – vocals, guitars, banjo, glass harmonica, synthesizers on "Circle of Fire", lead guitar on "Underground"
Grace Slick – vocals, piano on "The Mountain Song" and "The Sky Is No Limit"
Jack Casady – bass
China Kantner – vocals on "Declaration of Independence" and "The Sky Is No Limit"
Alexander Kantner – vocals on "Underground"
Craig Chaquico – lead guitar
Pete Sears – piano on "The Planet Earth Rock and Roll Orchestra", "Lilith's Song", and "Science Friction", bass on "Circle of Fire"
Aynsley Dunbar – drums
Scott Mathews – guitar, percussion, pedal steel guitar, Linn drums, glass harmonica, vocoder, synthesizers on "Circle of Fire", saxophones on "Circle of Fire" and "The Sky Is No Limit", vocals on "Esperanto", mandolin on "Esperanto", harmonica on "Esperanto", piano on "Esperanto", organ on "Esperanto", bass drum on "Esperanto"
Ron Nagle – piano on "Esperanto", vocals on "Esperanto"
The DÅ«rocs – sound effects on "The Mountain Song"
Ronnie Montrose – lead guitar on "(She Is A) Telepath"
Flo & Eddie – vocals
Mickey Thomas – vocals on "Circle of Fire"
David Freiberg – synthesizers and vocals on "Circle of Fire"
John Blakeley – 2nd rhythm guitar on "Let's Go”
Thanks to Twilight Zone for this towards the end for the Spoonful but still with John B writing at his peak . . . . the more I see the more I see there is to see . . . . . . a bit hokey now not to say sexist and cloying but. . . . . .
How did the Beatles ‘Drop-T’ logo come about?
The second photo shows Ringo’s new Ludwig kit, which was delivered to the studios on the same day.
Although it was never shown on The Beatles’ original UK albums, it was a familiar sight throughout the group’s years and was registered as a trademark by Apple Corps.
The drop-T logo came about almost by accident. In April 1963, Ringo and Brian Epstein entered a store called Drum City to find a replacement for Ringo’s Premier kit.
“I had a phone call from the shop to say that someone called Brian Epstein was there with a drummer,” said store owner Ivan Arbiter.
“Here was this drummer, Ringo, Schmingo, whatever his name was. At that time I certainly hadn’t heard of the Beatles. Every band was going to be big in those days!”
At first they asked for an all-black kit, but Ringo changed his mind after seeing a swatch of Ludwig’s new oyster black pearl finish on Arbiter’s desk. When told that it was only available on Ludwig drums, his mind was made up.
“That’s what I want,” Ringo told Arbiter, who fortunately had a £238 Ludwig Downbeat kit with the finish in stock.
Epstein didn’t want to pay for the drums, but Arbiter refused to let him have them for nothing. They negotiated, and eventually Arbiter agreed to trade the drums in return for his battered old Premier kit.
Arbiter told Epstein he wanted Ludwig’s name to appear on the bass drum head, as he’d recently begun a distribution deal with the company. Epstein agreed, but asked for The Beatles’ name on it too.
On the spot, Arbiter designed the famous drop-T logo, hastily sketched onto a scrap of paper. The capital B and dropped T were to emphasize the word ‘beat’. Drum City was paid £5 for arranging the artwork, which was painted onto the drum head by a local sign writer.
On May 12, 1963 Ringo took delivery of his new Ludwig kit. The drums, along with new Paiste cymbals, were driven to Alpha Television Studios in Birmingham, where The Beatles were appearing on Thank Your Lucky Stars.
The kit had a 20 inch bass drum, 12×8 tom-tom, 14×14 floor tom, and a non-standard Ludwig Jazz Festival wooden snare.
“I took his old Premier drum kit from him and brought it back to the store,” said Arbiter.
“We renovated it in our workshop, and then sold it. I ripped off the bit of material from the bass drum head where he’d handwritten the Beatles’ name and threw it away. It was a terrible drum kit. It wasn’t old: he’d only had it six months or a year. But it was a brown finish, one of the worst finishes that Premier ever did… I don’t know why he got it in the first place, really. No wonder he wanted to change it. Anyway, we cleaned it up and sold it off the same week – and very, very cheaply. It would most likely be a collector’s item if we still had it today.”
At the end of 1963 the Ludwig sticker on the bass head was flaking away from all the carrying from show to show. It was taken back to Drum City, where the Ludwig logo was repainted, slightly larger than before.
This original drum head was last seen in public at the Beatles’ 1964 run of appearances at Paris’ Olympia Theatre. Ringo sold the kit at auction in 2015 and it was purchased by Jim Irsay, owner of the Indianapolis Colts NFL team.
Thank you to Boris for this story and these rare photos.
Last night’s Graham Norton show, ever the source of interesting music, played from the new album 'Audio Vertigo’ the new single ‘Lover’s Leap’ by Elbow and live so watch this . . . .the horn section are on fire and boy do those girls play and pay attention to the Bass and Drums on this . . . . . who sort of take the lead role!
Love it! really interesting song structure and as ever the beautiful vocals from Guy!
Taken from the new album AUDIO VERTIGO. Released 22nd March.Pre-Order from - https://Elbow.lnk.to/AudioVertigo#elbow #LoversLeap
This is a story that Alice Cooper told about John and Brian Wilson.
“I was sitting backstage after the 1974 Grammys with Bernie Taupin and John Lennon. This was when Brian was really having some mental issues,” said Cooper.
“During the course of the conversation, I kept seeing Brian out of the corner of my eye, just kind of staring at us from different angles.”
“Finally, he came up to the table, bent down and whispered in my ear ‘Hey Alice, introduce me to John Lennon.’ I couldn’t BELIEVE that these two men had never met! They were virtually neck and neck in the 60’s as the greatest bands on the planet, and I’m SURE they must have crossed paths at some point. But then I thought to myself, ‘Wow, I’m going to be the one to introduce them and become a part of rock history!’”
“So I merely said, ‘Brian Wilson, this is John Lennon. John Lennon, this is Brian Wilson.’ Lennon was very cordial and polite, saying things like ‘Hello Brian, I’ve always wanted to meet you. I’ve always admired your work, and Paul and I considered Pet Sounds one of the best albums ever made.’ Brian thanked him and walked away, at which point Lennon went right back to his conversation like nothing had happened.”
“About ten minutes later, Brian came by our table again, leaned down and whispered something to Bernie, and all of a sudden, Bernie was saying ‘Brian Wilson, this is John Lennon. John Lennon, Brian Wilson.’ Lennon was just as cordial and polite as the first time, saying essentially the same thing about always wanting to meet him.
As soon as Brian walked away, John looked at both of us and casually said in his typical Liverpudlian accent, ‘I’ve met him hundreds of times. He’s not well, you know.’”
We were impressed by John’s empathy and kindness in dealing with Brian and thankful that Brian has found some mental stability following tumultuous times.