Saturday, October 30, 2004
Beatle Bits # 249
The latest Forbes top 10 earning dead celebrities list is upon us again, and John Lennon (4) and George Harrison (7) figure prominently.
Lennon comes in at $21 million, and Harrison at a more modest $7 mill.
Elvis Presley is still "The King," of dead earners though, at close to $50 million.
Here's hoping that neither Yoko Ono nor Olivia Harrison aspire to catch the King, or else we may be seeing John and George's mugs on mugs, and even worse indignities.
Actually, I'd say George's total is quite amazing, given that he has but a small percentage of publishing rights money that is owed to John's estate, but I guess the Dark Horse Years box set added to the Harrison coffers quite nicely.
And with more reissues to follow for George, I'd also say it was a good bet that he will be in the top 10 for many years to follow, although I doubt he will ever overtake John.
Yet with all the merchandizing that Ms. Ono does with John's work now, I am a bit surprised that the Lennon take was not larger, what with all of the artwork being peddled and usually at least one Lennon/Beatles CD every year or what not or have you.
Wouldn't John get a larf to know that he still made enough money to have as he once noted, acountants hired to watch other accountants that were hired to watch the first accountants who are now watching those accountants, and so on.
Money, that's what I want.
Lennon comes in at $21 million, and Harrison at a more modest $7 mill.
Elvis Presley is still "The King," of dead earners though, at close to $50 million.
Here's hoping that neither Yoko Ono nor Olivia Harrison aspire to catch the King, or else we may be seeing John and George's mugs on mugs, and even worse indignities.
Actually, I'd say George's total is quite amazing, given that he has but a small percentage of publishing rights money that is owed to John's estate, but I guess the Dark Horse Years box set added to the Harrison coffers quite nicely.
And with more reissues to follow for George, I'd also say it was a good bet that he will be in the top 10 for many years to follow, although I doubt he will ever overtake John.
Yet with all the merchandizing that Ms. Ono does with John's work now, I am a bit surprised that the Lennon take was not larger, what with all of the artwork being peddled and usually at least one Lennon/Beatles CD every year or what not or have you.
Wouldn't John get a larf to know that he still made enough money to have as he once noted, acountants hired to watch other accountants that were hired to watch the first accountants who are now watching those accountants, and so on.
Money, that's what I want.
Thursday, October 28, 2004
Beatle Bits #248
I have really gotten a kick out of the bitching, pissing and moaning, and all 'round second guessing and complaining about the Beatles Capitol Albums Volume 1 boxset.
Give the people what they want-and SO many peeps have been calling for this release for SO long-and even the ones who were screaming for it, get cold feet.
Really, all the talk has been so much rubbish, but what I AM looking forward to is the run-up to the skedded Nov. 16 release date.
Will Capitol/Apple behave the way they did for the March 2003 release of the Anthology DVD set where at first they wouldn't even let the bloody New York Times have an advance copy!
This whole "worldwide embargo" nonsense is just that, and un-enforceable, as long as record companies and distributers are allowed to pre-ship.
I managed to purchase the Anthology set a full 7 days before the offical release date, and then a day later, there were reports on AbbeyRd of the set being sold in Europe, and then several days later, many stores in Canada and the US were like Mother Superior, jumping the gun.
So even though there were still several thousand "get a lifers" lining up at midnight to be the first to purchase the set on the day of its release, the cat had been definately, already out of the bag.
We now sit 20 days from official release of the Fabs' next big thing, and if Capitol is going to send out advance copies-or even highlights-of the set, it may be a little early for them to do so.
Will Cap/App try to build the hype like 2003?
Will they try to mess with the Times again?
Stay tuned.
Give the people what they want-and SO many peeps have been calling for this release for SO long-and even the ones who were screaming for it, get cold feet.
Really, all the talk has been so much rubbish, but what I AM looking forward to is the run-up to the skedded Nov. 16 release date.
Will Capitol/Apple behave the way they did for the March 2003 release of the Anthology DVD set where at first they wouldn't even let the bloody New York Times have an advance copy!
This whole "worldwide embargo" nonsense is just that, and un-enforceable, as long as record companies and distributers are allowed to pre-ship.
I managed to purchase the Anthology set a full 7 days before the offical release date, and then a day later, there were reports on AbbeyRd of the set being sold in Europe, and then several days later, many stores in Canada and the US were like Mother Superior, jumping the gun.
So even though there were still several thousand "get a lifers" lining up at midnight to be the first to purchase the set on the day of its release, the cat had been definately, already out of the bag.
We now sit 20 days from official release of the Fabs' next big thing, and if Capitol is going to send out advance copies-or even highlights-of the set, it may be a little early for them to do so.
Will Cap/App try to build the hype like 2003?
Will they try to mess with the Times again?
Stay tuned.
Tuesday, October 26, 2004
Beatle Bits # 247
By now, most of you have heard about the new Rolling Stones and friends Rock and Roll Circus DVD release.
The (in)famous planned but aborted televison special dates to December of 1968, when Swinging England was at its peak.
So the Stones figured it would be a good idea to call out some of the biggest pop acts at the time-including John Lennon and Yoko Ono-along with circus freaks and recruits, film it all, and then put it on TV as sort of an updated version of the Magical Mystery Tour.
Suffice to say, the whole thing was deemed unairable at the time by the Stones, whom were about to embark on a very important US tour the following year, and did not need the dogs breakfest of the R&R Circus around their necks.
But 35 years on, this DVD with copious extras IS worth watching.
John and Yoko appeared as the Dirty Mac, playing the Beatles White Album track Yer Blues, backed up by Eric Clapton, as well as an interesting jam session in which Ms. Ono did some wailing.
(And at the risk of re-awakening the legion of Macca Madhatters, where the hell was Paul McCartney? He claimed to have discovered the avant garde even before Lennon.)
For Beatle fans, the interaction between Jagger and Lennon may be worth the price of admission alone. One word? Weird. But still part of history, as John and Yoko and a small Julian Lennon yuk it up backstage and on with the heavy pop stars of the day.
This disc also has an outtake of Yer Blues,wherein John messes up the lyrics.
I encourage all to check this DVD out, even if you are not stoned.
The (in)famous planned but aborted televison special dates to December of 1968, when Swinging England was at its peak.
So the Stones figured it would be a good idea to call out some of the biggest pop acts at the time-including John Lennon and Yoko Ono-along with circus freaks and recruits, film it all, and then put it on TV as sort of an updated version of the Magical Mystery Tour.
Suffice to say, the whole thing was deemed unairable at the time by the Stones, whom were about to embark on a very important US tour the following year, and did not need the dogs breakfest of the R&R Circus around their necks.
But 35 years on, this DVD with copious extras IS worth watching.
John and Yoko appeared as the Dirty Mac, playing the Beatles White Album track Yer Blues, backed up by Eric Clapton, as well as an interesting jam session in which Ms. Ono did some wailing.
(And at the risk of re-awakening the legion of Macca Madhatters, where the hell was Paul McCartney? He claimed to have discovered the avant garde even before Lennon.)
For Beatle fans, the interaction between Jagger and Lennon may be worth the price of admission alone. One word? Weird. But still part of history, as John and Yoko and a small Julian Lennon yuk it up backstage and on with the heavy pop stars of the day.
This disc also has an outtake of Yer Blues,wherein John messes up the lyrics.
I encourage all to check this DVD out, even if you are not stoned.
Thursday, October 21, 2004
Beatle Bits # 246
I see that Amazon.com has posted ALL of the tracks from the forthcoming reissue of John Lennon's 1975 Rock 'n Roll LP.
And of course ALL means the bonus tracks, which perhaps the most interesting is the album closer, a reprise of Just Because, wherein John says "hello to Ringo, Paul and George."
I never really cared that much for this release when I first heard it almost 3 decades ago, but it has grown on me through the years.
Of course, I always loved Stand By Me, but many of the other tracks I thought were a bit "greasy," although once again in hindsight Mr.Lennon sure knew what he was doing.
The only reservation I have with this release is that for reasons that may include mo money, mo money, mo money, Yoko Ono has decided that only 4 bonus tracks will appear, some of them previously available.
Like I mentioned in a previous BB, there are tons of R&R session tapes, both from Los Angeles and New York City recording sessions, and to waste with nothing audible approx. 30 minutes on a CD is an "ain't that a shame," situation.
Still, the sound improvement alone will be worth the price of admission, and I suspect this release will be a big stocking stuffer this X-Mas.
And of course ALL means the bonus tracks, which perhaps the most interesting is the album closer, a reprise of Just Because, wherein John says "hello to Ringo, Paul and George."
I never really cared that much for this release when I first heard it almost 3 decades ago, but it has grown on me through the years.
Of course, I always loved Stand By Me, but many of the other tracks I thought were a bit "greasy," although once again in hindsight Mr.Lennon sure knew what he was doing.
The only reservation I have with this release is that for reasons that may include mo money, mo money, mo money, Yoko Ono has decided that only 4 bonus tracks will appear, some of them previously available.
Like I mentioned in a previous BB, there are tons of R&R session tapes, both from Los Angeles and New York City recording sessions, and to waste with nothing audible approx. 30 minutes on a CD is an "ain't that a shame," situation.
Still, the sound improvement alone will be worth the price of admission, and I suspect this release will be a big stocking stuffer this X-Mas.
Tuesday, October 19, 2004
Beatle Bits # 245
Yes, my good friend Gotham Johnny came through once again with some primo John Lennon Double Fantasy sessions material.
Listening as like a fly on the New York City Record Plant wall is so much fun, and demonstrates just how in control John was at this point of his life and career.
Much has been made, even before John was killed, about how Yoko Ono had directed or even taken over these sessions. Well, if she did, she must have done it by telepathy, because I don't think in all of the 80 minutes of sessions I heard was her name even mentioned.
John is SO MUCH in control of these sessions, sometimes micro-managing the other musicians perhaps even to their distraction. Yet how does one go about saying "no" to Mr. Lennon?
Some naysayers have said that Double Fantasy was a tepid come-back, and was only made a hit due to Lennon's murder.
I disagree. I have liked all of the tracks on the LP by John-and even some by Yoko- and I think (Just Like) Starting Over is a great tune, and so hopeful.
At the time of his death, John had amassed enough new material to consider touring, and I'm quite sure that a tour in 1981 backing up Double Fantasy as well as the tracks that would entually find their way on to the posthumus Milk and Honey-plus some Beatle tunes mixed in for good measure-would have made John's comeback complete.
Hopefully, Ms. Ono is busy working on another box set of outs and alts, with a heavy accent on the Double Fantasy/Milk and Honey sessions.
It is great stuff.
Listening as like a fly on the New York City Record Plant wall is so much fun, and demonstrates just how in control John was at this point of his life and career.
Much has been made, even before John was killed, about how Yoko Ono had directed or even taken over these sessions. Well, if she did, she must have done it by telepathy, because I don't think in all of the 80 minutes of sessions I heard was her name even mentioned.
John is SO MUCH in control of these sessions, sometimes micro-managing the other musicians perhaps even to their distraction. Yet how does one go about saying "no" to Mr. Lennon?
Some naysayers have said that Double Fantasy was a tepid come-back, and was only made a hit due to Lennon's murder.
I disagree. I have liked all of the tracks on the LP by John-and even some by Yoko- and I think (Just Like) Starting Over is a great tune, and so hopeful.
At the time of his death, John had amassed enough new material to consider touring, and I'm quite sure that a tour in 1981 backing up Double Fantasy as well as the tracks that would entually find their way on to the posthumus Milk and Honey-plus some Beatle tunes mixed in for good measure-would have made John's comeback complete.
Hopefully, Ms. Ono is busy working on another box set of outs and alts, with a heavy accent on the Double Fantasy/Milk and Honey sessions.
It is great stuff.
Saturday, October 16, 2004
Beatle Bits # 244
For all those desirious of Mark Chapman's blood and hide for the 1980 murder of John Lennon, I direct you to www.thesmokinggun.com
There you will find the complete-minus several small blacked out portions-New York State Parole Board hearing, report and decision on Chapman's second bid for parole.
Take the time to read the whole thing because I think it is one of the most revelatory documents on John's killer since the controversial book Let Me Take You Down.
In response to a question by one of 3 parole judges regarding what Chapman himself feels he is due, perhaps one of the most loathed men in America replies that he "deserves nothing."
Chapman told the panel that he used "bad judgement" in attempting to "steal John Lennon's fame," but admits that he is a "bigger nobody (now) because people hate me."
It is also revealed that Chapman finds himself in a classic Catch 22 situation in that his high security risk status prevents him from receiving anger management treatment-evidently some kind of prison bureaucratic buggaboo-and it is doubtful that he will ever be released without successfully completing such a program.
But really, take the time to read all 20 odd pages of this report, because what struck me-and was echoed by some of the panel- was just how "normal" Chapman was until he was overcome by whatever madness and demons drove him to the senseless crime of killing someone who was once his personal hero.
Chapman admits his eventual negative thoughts about Lennon was "of course, just mirroring myself," a statement that shows at the very least, Chapman has undergone exstensive psychiatric counselling.
After reading the report, and the parole board's extremely negative comments issued after their decision, it is hard to envision a scenario in which Chapman is released any time soon, if ever.
Chapman is now a jailhouse lawyer, and plans to start a prison ministry with his wife.
I would appreciate your thoughts after you read the report.
There you will find the complete-minus several small blacked out portions-New York State Parole Board hearing, report and decision on Chapman's second bid for parole.
Take the time to read the whole thing because I think it is one of the most revelatory documents on John's killer since the controversial book Let Me Take You Down.
In response to a question by one of 3 parole judges regarding what Chapman himself feels he is due, perhaps one of the most loathed men in America replies that he "deserves nothing."
Chapman told the panel that he used "bad judgement" in attempting to "steal John Lennon's fame," but admits that he is a "bigger nobody (now) because people hate me."
It is also revealed that Chapman finds himself in a classic Catch 22 situation in that his high security risk status prevents him from receiving anger management treatment-evidently some kind of prison bureaucratic buggaboo-and it is doubtful that he will ever be released without successfully completing such a program.
But really, take the time to read all 20 odd pages of this report, because what struck me-and was echoed by some of the panel- was just how "normal" Chapman was until he was overcome by whatever madness and demons drove him to the senseless crime of killing someone who was once his personal hero.
Chapman admits his eventual negative thoughts about Lennon was "of course, just mirroring myself," a statement that shows at the very least, Chapman has undergone exstensive psychiatric counselling.
After reading the report, and the parole board's extremely negative comments issued after their decision, it is hard to envision a scenario in which Chapman is released any time soon, if ever.
Chapman is now a jailhouse lawyer, and plans to start a prison ministry with his wife.
I would appreciate your thoughts after you read the report.
Friday, October 15, 2004
Beatle Bits # 243
As George Harrison sang, I want to tell you, that there are some mighty talented and highly intelligent and creative Beatle buffs out there.
One such individual, actually 2 of 'em-who like to go by the monicker of "TOUP" (Two of Us Productions)-and not just for modesty reasons- has upon this day provided me with what my 2 ears tell me are excellent faux 5.1 mixes of Help, Revolver, Sgt. P, and MMT.
Working with just the commerically available stereo and mono tracks- not the multi-tracks-and PC music mixing software, TOUP has achieved what I thought was not really possible: ie. "real," or at least real sounding, 5.1 DTS mixes.
I like everything about these mixes. The bass is just about right on; neither too boomy or hidden. And there is actually some mid-range in these mixes, something that is sometimes missing in some 5.1 mixes, even commerically issued ones.
Opening up the soundstage does wonders for Sgt. P and especially MMT, which to my ears always sounded compressed, and muddy, even in stereo.
I'd even have to say that in my opinion, these TOUP mixes come close to the excellent versions prepared by Abbey Road engineers for the Anthology DVD set. And we all know what they had to work with, which was/is miles of multi-tracks which makes Surround Sound mixes a breeze to compile compared to the method employed on the TOUPster mixes.
I think the TOUP mixes are definately a shot across the bow of the listless good ship Apple/EMI/Capitol which appears to be drifting aimlessly on the sea of high end audio for far too long now, whilst others are busy burning.
Oh, I suppose we will see legit stand-alone Beatle album and singles 5.1 mixes in our lifetime, but for now, some lucky Beatle fans have these from TOUP.
One such individual, actually 2 of 'em-who like to go by the monicker of "TOUP" (Two of Us Productions)-and not just for modesty reasons- has upon this day provided me with what my 2 ears tell me are excellent faux 5.1 mixes of Help, Revolver, Sgt. P, and MMT.
Working with just the commerically available stereo and mono tracks- not the multi-tracks-and PC music mixing software, TOUP has achieved what I thought was not really possible: ie. "real," or at least real sounding, 5.1 DTS mixes.
I like everything about these mixes. The bass is just about right on; neither too boomy or hidden. And there is actually some mid-range in these mixes, something that is sometimes missing in some 5.1 mixes, even commerically issued ones.
Opening up the soundstage does wonders for Sgt. P and especially MMT, which to my ears always sounded compressed, and muddy, even in stereo.
I'd even have to say that in my opinion, these TOUP mixes come close to the excellent versions prepared by Abbey Road engineers for the Anthology DVD set. And we all know what they had to work with, which was/is miles of multi-tracks which makes Surround Sound mixes a breeze to compile compared to the method employed on the TOUPster mixes.
I think the TOUP mixes are definately a shot across the bow of the listless good ship Apple/EMI/Capitol which appears to be drifting aimlessly on the sea of high end audio for far too long now, whilst others are busy burning.
Oh, I suppose we will see legit stand-alone Beatle album and singles 5.1 mixes in our lifetime, but for now, some lucky Beatle fans have these from TOUP.
Wednesday, October 13, 2004
Beatle Bits # 242
Leave it to Stevie wonder at Abbey Rd to be first to get his paws on the official announcement of the Beatles Capitol Albums Vol. 1, but he did, picture and all.
Now, I am as enthused as many other Beatles fans with any new release, but a close reading of the PR gave rise to some questions.
For instance, it's news to me, and probably most everyone else that acccording to Capitol the reason that we fans here in North America got Beatle albums back in the early to mid 60s with only 12 or even sometimes 11 measly tracks was due to song publishing issues in the United States.
Ha! And here all this time I thought it was just a rip-off, and a way to sell more LPs by making up as many albums as possible from the tapes EMI shipped to them.
And then I got an e-mail from the very Beatle smart Veech Malone, directing me to a website that had an incredible treatise on the in's and out's of the Capitol releases, apparently, information gleaned from one of Bruce "I don't answer my e-mails and even have the moderator of a discussion group nix questions why" Spizer.
According to this information, many of the mixes assembled by Capitol engineers for the first 4 US albums were-as has been widely reported before-laden with echo, reverb, fake "duophonic" stereo when real stereo was available, as well as the crazy idea of taking stereo mixes from EMI and dubbing then down to mono, when true original EMI mono mixes were available.
And just what the heck is "custom valve playback," referred to in the PR? Sounds like a Rutles thing to me!
I really urge those who are interested to read Mr. Spizer's books on the subject, or barring that, go to: http://home.comcast.net/~ecmahart/capitolrecords.htm
It's a bit of an involved read, but it is well worth the time to try to understand exactly what we got 40 years ago, and what we may get in 2004.
My guess is that there is no way that Capitol will use the inferior mixes used for many of the tracks, although they may retain some of the oddities, such as longer and shorter tracks, and a few mistakes and false starts.
In any event, time will tell, but will Bruce?
Now, I am as enthused as many other Beatles fans with any new release, but a close reading of the PR gave rise to some questions.
For instance, it's news to me, and probably most everyone else that acccording to Capitol the reason that we fans here in North America got Beatle albums back in the early to mid 60s with only 12 or even sometimes 11 measly tracks was due to song publishing issues in the United States.
Ha! And here all this time I thought it was just a rip-off, and a way to sell more LPs by making up as many albums as possible from the tapes EMI shipped to them.
And then I got an e-mail from the very Beatle smart Veech Malone, directing me to a website that had an incredible treatise on the in's and out's of the Capitol releases, apparently, information gleaned from one of Bruce "I don't answer my e-mails and even have the moderator of a discussion group nix questions why" Spizer.
According to this information, many of the mixes assembled by Capitol engineers for the first 4 US albums were-as has been widely reported before-laden with echo, reverb, fake "duophonic" stereo when real stereo was available, as well as the crazy idea of taking stereo mixes from EMI and dubbing then down to mono, when true original EMI mono mixes were available.
And just what the heck is "custom valve playback," referred to in the PR? Sounds like a Rutles thing to me!
I really urge those who are interested to read Mr. Spizer's books on the subject, or barring that, go to: http://home.comcast.net/~ecmahart/capitolrecords.htm
It's a bit of an involved read, but it is well worth the time to try to understand exactly what we got 40 years ago, and what we may get in 2004.
My guess is that there is no way that Capitol will use the inferior mixes used for many of the tracks, although they may retain some of the oddities, such as longer and shorter tracks, and a few mistakes and false starts.
In any event, time will tell, but will Bruce?
Monday, October 11, 2004
Beatle Bits # 241
Well, well, well. So it looks like we WILL (finally) be seeing the long awaited, long rumoured, long speculated on Beatles Capitol Albums Volume 1 set by mid November, that is, if all the stars and Apple legalists line up.
Beatle bookster knowitall-and there's nothing wrong with that-Bruce "Buy my books but wait for my e-mails" Spizer let the cat out of the bag with a post to a Yahoo Beatles Website group a couple of days ago, saying that he had been a consultant on the project, and telling all that the set will contain the first 4 US 1964 issue albums-minus A Hard Day's Night And Beatles Story-in both stereo and mono mixes.
Then, some helpful soul-shurely not from Bruce!- posted what is claimed to be the cover artwork for the project, a generic 1964 era, colorized type pix of the Fabs beside the Capitol swirl label.
If this is in fact the cover artwork, then I say it sucks.
After all, those 1964 North American LP covers was/is a major reason why this project is even appearing, and not to have the covers on the front of this set is, well, wrong.
Then online again, some really intelligent questions began popping up such as "why is this project not on SACD?" and "why are there no bonus tracks?" as well as the usual wanking about price and shipping charges and what not. (Some of these people really, really need to get some sort of life besides the Beatles.)
I would have loved to tell you the answers to some of the above questions, but several e-mails to Mr. Spizer went unanswered, although I'm sure it's because he is just too damn busy.
But before old Bruce went incommunicado, he did tell the Yahoo-isters that 7 of the tracks would be in special "duophonic" mixes, which in 1964 meant electronically reprossessed, shitty, fake stereo, but in 2004, must surely mean much more. You think?
And while it is really great to finally get the legit release of these famous North American Capitol Beatle LPs, I have to say I also think that it is a major mistake not to include the United Artists issue of A Hard Day's Night.
Yes, the one with all the crappy instrumentals, but the one that was so much a major component of Beatlemania in 1964 for us NA baby boomer fans.
Oh well, get ready for a special twofer of the UA AHDN and Help! next year.
After all, the well will never run dry.
NB: I will be on 900 CHML-which you can listen online to at www.900chml.com-between 4 and 5PM Eastern Daylight Time on Monday, Oct. 11, talking about the Fabs, and their trousers.
Beatle bookster knowitall-and there's nothing wrong with that-Bruce "Buy my books but wait for my e-mails" Spizer let the cat out of the bag with a post to a Yahoo Beatles Website group a couple of days ago, saying that he had been a consultant on the project, and telling all that the set will contain the first 4 US 1964 issue albums-minus A Hard Day's Night And Beatles Story-in both stereo and mono mixes.
Then, some helpful soul-shurely not from Bruce!- posted what is claimed to be the cover artwork for the project, a generic 1964 era, colorized type pix of the Fabs beside the Capitol swirl label.
If this is in fact the cover artwork, then I say it sucks.
After all, those 1964 North American LP covers was/is a major reason why this project is even appearing, and not to have the covers on the front of this set is, well, wrong.
Then online again, some really intelligent questions began popping up such as "why is this project not on SACD?" and "why are there no bonus tracks?" as well as the usual wanking about price and shipping charges and what not. (Some of these people really, really need to get some sort of life besides the Beatles.)
I would have loved to tell you the answers to some of the above questions, but several e-mails to Mr. Spizer went unanswered, although I'm sure it's because he is just too damn busy.
But before old Bruce went incommunicado, he did tell the Yahoo-isters that 7 of the tracks would be in special "duophonic" mixes, which in 1964 meant electronically reprossessed, shitty, fake stereo, but in 2004, must surely mean much more. You think?
And while it is really great to finally get the legit release of these famous North American Capitol Beatle LPs, I have to say I also think that it is a major mistake not to include the United Artists issue of A Hard Day's Night.
Yes, the one with all the crappy instrumentals, but the one that was so much a major component of Beatlemania in 1964 for us NA baby boomer fans.
Oh well, get ready for a special twofer of the UA AHDN and Help! next year.
After all, the well will never run dry.
NB: I will be on 900 CHML-which you can listen online to at www.900chml.com-between 4 and 5PM Eastern Daylight Time on Monday, Oct. 11, talking about the Fabs, and their trousers.
Wednesday, October 06, 2004
Beatle Bits # 240
To the surprise of no one, Mark Chapman was today denied parole for the second time, for his 1980 murder of John Lennon in New York City.
The New York State Parole Board minced no words in their judgement.
"Your course of conduct over a lengthy period shows a clear lack of respect for life...(and to release Chapman now) would significantly undermine respect for the law."
The board did not explain in detail comments made in their one page statement other than to say that the rational given by Chapman for his crime-that he wanted to be famous-was "bizarre and morally corrupt."
Please, tell us something we don't already know.
The decision, posted almost immediately after being rendered, on the The Smoking Gun Website, also noted the "extreme malicious intent" showed by Chapman, in gunning down Lennon in front of Yoko Ono, who once again and quite understandably vehemently opposed Chapman's release.
The board did note Chapman's good conduct while in prison, but realistically, I doubt Chapman will get out anytime soon, if ever.
As I wrote in a previous BB, I suspect that the continued incarceration of Chapman is not really a fair and uniform application of the penal code, but he'll hardly be missed.
Like the murderous members of the Manson Family who remain in jail 35 years after their also senseless crimes- with no real chance of parole- I guess some tragedies are just too terrible to forget, let alone forgive.
Still, the ultimate irony is no matter how long they keep this guy locked up, his "bizarre and morally corrupt" fame, lives on.
How long do you figure it will be before the infamous Doublle Fantasy album signed by John for Chapman on Dec 8. 1980, will be up "for sale," yet again?
The New York State Parole Board minced no words in their judgement.
"Your course of conduct over a lengthy period shows a clear lack of respect for life...(and to release Chapman now) would significantly undermine respect for the law."
The board did not explain in detail comments made in their one page statement other than to say that the rational given by Chapman for his crime-that he wanted to be famous-was "bizarre and morally corrupt."
Please, tell us something we don't already know.
The decision, posted almost immediately after being rendered, on the The Smoking Gun Website, also noted the "extreme malicious intent" showed by Chapman, in gunning down Lennon in front of Yoko Ono, who once again and quite understandably vehemently opposed Chapman's release.
The board did note Chapman's good conduct while in prison, but realistically, I doubt Chapman will get out anytime soon, if ever.
As I wrote in a previous BB, I suspect that the continued incarceration of Chapman is not really a fair and uniform application of the penal code, but he'll hardly be missed.
Like the murderous members of the Manson Family who remain in jail 35 years after their also senseless crimes- with no real chance of parole- I guess some tragedies are just too terrible to forget, let alone forgive.
Still, the ultimate irony is no matter how long they keep this guy locked up, his "bizarre and morally corrupt" fame, lives on.
How long do you figure it will be before the infamous Doublle Fantasy album signed by John for Chapman on Dec 8. 1980, will be up "for sale," yet again?
Saturday, October 02, 2004
Beatle Bits # 239
So Brian Wilson's Smile arrived this week, only 37 odd years late.
And some Beatles Internet diss-cussion forums have been busy burbling with talk about whether Smile-if it had been released as was originally intended in the period between December 1966 and May 1967-would have equaled or even surpassed the Fabs' seminal Sgt. Pepper's Lonely Hearts Club Band.
Here's my diagnonsense:
Although it's really not fair to compare the 2004 Smile with Sgt.P-other than in relative terms-I'd say as do most fans that I have heard and read about would agree that Smile as presented in '04 couldn't hold a candle to Sgt.P in any year.
Even in 1967, Smile was a bunch of song fragments-as was a lot Sgt. P-but the important difference is that the Beatles and producer George Martin managed to connect all the dots with those fragments, while even today Wilson has in my opinion, not.
Don't get me wrong; I really like the 2004 Smile, even the remakes of Heroes and Villans, Surfs Up and yes, even Good Vibrations. But the album still seems to me to be a bunch of incomplete or worse, unfinished songs, that could have been great if taken to conclusion. It's not like Wilson didn't have enough time!
My take is that if Smile would have come out 37 or so years ago in anywhere near the form of the '04 version, or even resembling the many versions of Smile era tunes dribbled out over the last 4 decades, the record would have been even more of a commercial failure than Pet Sounds, and may in fact have totally destroyed Brian Wilson's confidence.
I suspect he can handle it today, even if the new Smile flops, or at best, fails to live up to 37 years worth of expectations.
And some Beatles Internet diss-cussion forums have been busy burbling with talk about whether Smile-if it had been released as was originally intended in the period between December 1966 and May 1967-would have equaled or even surpassed the Fabs' seminal Sgt. Pepper's Lonely Hearts Club Band.
Here's my diagnonsense:
Although it's really not fair to compare the 2004 Smile with Sgt.P-other than in relative terms-I'd say as do most fans that I have heard and read about would agree that Smile as presented in '04 couldn't hold a candle to Sgt.P in any year.
Even in 1967, Smile was a bunch of song fragments-as was a lot Sgt. P-but the important difference is that the Beatles and producer George Martin managed to connect all the dots with those fragments, while even today Wilson has in my opinion, not.
Don't get me wrong; I really like the 2004 Smile, even the remakes of Heroes and Villans, Surfs Up and yes, even Good Vibrations. But the album still seems to me to be a bunch of incomplete or worse, unfinished songs, that could have been great if taken to conclusion. It's not like Wilson didn't have enough time!
My take is that if Smile would have come out 37 or so years ago in anywhere near the form of the '04 version, or even resembling the many versions of Smile era tunes dribbled out over the last 4 decades, the record would have been even more of a commercial failure than Pet Sounds, and may in fact have totally destroyed Brian Wilson's confidence.
I suspect he can handle it today, even if the new Smile flops, or at best, fails to live up to 37 years worth of expectations.
