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MovieMaker484 favorited a video
(1 day ago)
The Beatles - Run For Your Life
Well I'd rather see you dead, little girl...
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The Beatles - Run For Your Life
Well I'd rather see you dead, little girl
Than to be with another man
You better keep your head, little girl
Or I won't know where I am
You better run for your life if you can, little girl
Hide your head in the sand little girl
Catch you with another man
That's the end, little girl
Well you know that I'm a wicked guy
And I was born with a jealous mind
And I can't spend my whole life
Trying just to make you toe the line
You better run for your life if you can, little girl
Hide your head in the sand little girl
Catch you with another man
That's the end, little girl
Let this be a sermon
I mean everything I've said
Baby, I'm determined
And I'd rather see you dead
You better run for your life if you can, little girl
Hide your head in the sand little girl
Catch you with another man
That's the end, little girl
I'd rather see you dead, little girl
Than to be with another man
You better keep your head, little girl
Or you won't know where I am
You better run for your life if you can, little girl
Hide your head in the sand little girl
Catch you with another man
That's the end, little girl
Na, na, na
Na, na, na
Na, na, na
Na, na, na
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MovieMaker484 favorited a video
(3 days ago)
First song from the album "John Lennon/Plastic Ono Band".
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MovieMaker484 favorited a video
(3 days ago)
http://gravitywor...
It was a pleasantly warm September afternoon in Lond...
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http://gravitywor...
It was a pleasantly warm September afternoon in London circa 1969 when I dropped in at the Apple Corps offices on Savile Row — not knowing that music history was about to unfold.
I'd come in to confirm an interview with George Harrison that had been scheduled after the weekend
to discuss the about-to-be-released Abbey Road album. But hearing me chatting in the corridor outside the Bag One offices — I had interviewed him earlier that year in Canada — John Lennon called me in for "some advice." Can you imagine? The honor of being asked by a sage such as John for any kind of advice . . .
Turned out that a Toronto promoter named John Brower was on the phone trying to convince John and Yoko they should attend a September 13 musical event in Canada featuring a host of '50s rock 'n' roll legends. Maybe, suggested the ever-keen and eager Brower, John might even consider a performance piece? I knew Brower and his partner, and I instinctively felt they would try to do right by an inquisitive and frustrated John . . .
Two days later, the Lennons had gathered at Heathrow Airport with guitarist Eric Clapton, Klaus
Voormann (bass player with Manfred Mann), Alan White (drummer working with Alan Price), Beatles
manager Allen Klein and roadie Mal Evans for the flight to Toronto and a show later that evening.
Only three first-class tickets were available, so the newly formed Plastic Ono Band gathered in the
rear of the 707 jet, vamping their acoustic way through a cluster of classic rock 'n' roll favorites.
Songs that the principal players worshipped.
Perhaps this in-flight camaraderie inspired the bout of intense honesty that unfolded en route to the
Toronto Rock 'N' Roll Revival concert. Later it came out that John had informed both Eric Clapton
and Klaus Voormann that he was thinking about starting a new group. It seems he went as far as to
enquire about their interest in joining him in this new enterprise . . .
At Varsity Stadium the jet-lagged John was extremely nervous. He hadn't been onstage in three years, and he admitted to throwing up from nervousness before the show — with abundant reason. "Imagine if you were in The Beatles from the beginning, and you were never in any other band?" he postulated. "Then all of a sudden you're going onstage with this group who've never played live together, anywhere. We formed on the plane coming over here, and now we're gonna play in front of 20,000 people."
A quick backstage rehearsal, and guest emcee Kim Fowley urged the audience to fire up their lighters and matches — and in the process light their communal fire, the early uprising of a collective
consciousness — to welcome onstage the Plastic Ono Band, in their debut performance.
"It was just getting dark, and the lights were just going down. This was the first time I'd ever seen an
audience light candles or lights all together . . . it was incredible!" John would comment.
What a night it was! All faithfully and creatively recorded on camera by award-winning filmmaker
D.A. Pennebaker, to follow his Monterey Pop and Don't Look Back triumphs. The audio would be
released in December of that year as the Plastic Ono Band's Live Peace In Toronto LP.
John bounced out onstage, bedecked in a white tropical suit overpinning a black shirt, and was
bedeviling with his new band. The Toronto audience was equally uplifted. After whipping through a
number of rock 'n' roll chestnuts, John plunged into "Yer Blues" from the White Album. And then, to
take proceedings to another level, he unleashed the debut of a new single that would be released five weeks hence, the hard-edged classic "Cold Turkey."
This was followed by a centerpiece selection that John graphically set up as: "This is what we really
came here for . . . Ev'rybody's talkin' 'bout Bagism . . . " They plunged into the tune that he and
Yoko — and assorted luminaries — had recorded at the historic Bed-In for Peace in a Montreal hotel
room some four months earlier, the paean to nonviolence: "Give Peace A Chance." And Yoko added
to the street-theatre vibe by performing two tunes in a bag!
Back in London after the momentous weekend in Canada, John was exuberant about the experience of being onstage again.
"I can't remember when I had such a good time," he enthused. "We did all the old things from the
Cavern days in Liverpool. Yoko, who you could say was playing 'bag,' was holding a piece of paper
with the words to the songs in front of me. But then she suddenly disappeared into her bag in the
middle of the performance, and I had to make [the words] up because it's so long since I sang them
that I've forgotten most of them. But it didn't seem to matter.''
History has shown it was this concert that finally convinced John there was indeed life beyond
The Beatles.
—Ritchie Yorke, 2009
Consultant, author, journalist, broadcaster, speaker
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MovieMaker484 favorited a video
(3 days ago)
-The Concert For Bangladesh 1971-
The Concert For Bangladesh es el título...
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-The Concert For Bangladesh 1971-
The Concert For Bangladesh es el título del evento organizado por George Harrison y Ravi Shankar el 1 de agosto de 1971 consistente en dos conciertos en el Madison Square Garden de Nueva York con el fin de recaudar fondos para los refugiados de Pakistán del Este, hoy en día Bangladesh. El evento supuso el primer concierto benéfico de la historia musical, en el cual participaron, entre otros, Bob Dylan, Eric Clapton, Ringo Starr, Billy Preston y Leon Russell.
Un álbum sería publicado a finales de 1971, mientras el largometraje sería estrenado en 1972, con la posterior publicación en video. En 2005, la película fue reeditada en DVD acompañada de nuevo material.
El concierto recaudó 243.418,50 dólares para los regufiados bangladesíes que fueron administrados por UNICEF.
-The Concert For Bangladesh DVD 2005-
Una edición especial de The Concert for Bangladesh fue publicada en 2005 en formato DVD, con el concierto completo en un primer disco y un documental titulado The Concert for Bangladesh Revisited with George Harrison and Friends en el segundo. Éste contiene entrevistas de Ravi Shankar, Eric Clapton, Billy Preston, Jim Keltner, Jim Horn, Leon Russell y Klaus Voormann. Asimismo, muestra la voz de George Harrison, procedente de entrevistas realizadas a lo largo de su vida, explicando la organización del concierto. Otras entrevistas incluyen al fundador de la revista Rolling Stone Jann Wenner y el organizador de Live Aid Bob Geldof, que detallan la importancia histórica del evento, así como el productor ejecutivo de Apple Corps Neil Aspinall.
El documental revela la rapidez a la hora de organizar el concierto, con Harrison haciendo llamadas entre junio y julio de 1971 para solicitar a sus amigos su presencia en el evento. La fecha del concierto, el 1 de agosto de 1971, fue elegida por tratarse del único día en que estaba disponible el Madison Square Garden. Apenas una semana antes del evento, dieron comienzo las pruebas de sonido.
El segundo disco contiene material adicional sobre la produción del largometraje, la publicación del álbum y el diseño del mismo. Entre la colección de instantáneas procedentes del concierto, el fotógrafo Barry Feinstein revela que la foto usada en el recopilatorio de Dylan Bob Dylan's Greatest Hits Vol. II fue tomada durante el evento.
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