sábado, 31 de marzo de 2018

Peru will celebrate its own Beatle Day On April 21













rpp.pe
El Perú celebrará su propio Beatle Day en el Campo de Marte
El próximo 21 de abril, la banda Un Día en la Vida y otras reconocidas agrupaciones realizarán un concierto tributo a Los Beatles.
Redacción
21 de marzo del 2018


Un Día en la Vida, banda tributo a The Beatles, es una de las agrupaciones más reconocidas del Perú. Fuente: Edgard Lescano Torres

Las bandas tributo a The Beatles más representativas del Perú se reunirán en el Beatle Day, concierto que se celebrará el próximo 21 de abril en el Campo de Marte. La agrupación Un Día en la Vida -conformada por músicos de reconocidas bandas como Frágil y We All Together- compartirá escenerio con Revolver, Dirty Soul, Los Rigbys y Los Mapaches para rendir homenaje a los 'Fab Four'.
En 2014, la agrupación "Un Día en la Vida" fue invitada al ‘Beatle Week Festival’ de Liverpool-Inglaterra. Fuente: Edgard Lescano Torres

Un Día en la Vida, grupo organizador del tributo, está integrado por un grupo de músicos peruanos que desde hace 27 años, todos los 7 y 8 de diciembre, rinden tributo a John Lennon y a The Beatles con un show homónimo. Por esta razón fueron invitados en 2014 por la comisión organizadora del Beatle Week Festival de Liverpool para participar en el emblemático evento en honor al grupo conformado por Paul McCartney, John Lennon, Ringo Starr y George Harrison.
La banda peruana visitó el Abbey Road Studios en Inglaterra.
Fuente: Un Día en la Vida

La buena reputación precede a los ejecutantes del tributo en el Beatle Day: Revolver es un reconocido grupo de la movida Beatle limeña; Dirty Soul y Los Rigbys son bandas que participaron en el Beatle Week Festival de Liverpool; y Los Mapaches es un talentoso grupo de amigos que se dio a conocer en el programa de imitación “Yo Soy”.
Las entradas para este homenaje, que promete satisfacer a los seguidores más fieles de la banda inglesa, están disponibles en Teleticket.


Peru will celebrate its own Beatle Day
On April 21, the band Un Día en la Vida and other renowned groups will perform a tribute concert to The Beatles.

The most representative tribute bands to The Beatles of Peru will meet in the Beatle Day, a concert that will be held on April 21 at the Campo de Marte. The group Un Dia En La Vida (A Day in the Life) - made up of musicians from renowned bands like Fragile and We All Together - will share stage with Revolver, Dirty Soul, Los Rigbys and Los Mapaches to pay homage to the 'Fab Four'.

A Day in the Life, tribute organizer group, is integrated by a group of Peruvian musicians who for 27 years, all the 7 and 8 of December, pay tribute to John Lennon and The Beatles with a homonymous show. For this reason they were invited in 2014 by the organizing committee of the Beatle Week Festival of Liverpool to participate in the emblematic event in honor of the group consisting of Paul McCartney, John Lennon, Ringo Starr and George Harrison.

The good reputation precedes the performers of the tribute in the Beatle Day: Revolver is a recognized group of the moved Beatle Lima; Dirty Soul and The Rigbys are bands that participated in the Beatle Week Festival of Liverpool; and Los Mapaches is a talented group of friends that made themselves known in the imitation program "Yo Soy".

Tickets for this tribute, which promises to satisfy the most loyal fans of the English band, are available on Teleticket.





viernes, 30 de marzo de 2018

BEATLES ARRANGER WASN’T PAID MUCH FOR ‘THE LONG AND WINDING ROAD’

















ultimateclassicrock.com
BEATLES ARRANGER WASN’T PAID MUCH FOR ‘THE LONG AND WINDING ROAD’
MARTIN KIELTY
Mar 29, 2018


Evening Standard, Getty Images / BBC

The man who arranged the orchestration for the Beatles’ final U.S. No.1 single said he wasn't paid much for his work.
Richard Hewson collaborated on two tracks from the Fab Four’s last album, Let It Be, which was released in 1970, and received a total of £80 for his work. He also revealed that the engagement led to a year-long dispute with Paul McCartney, who didn't want his input.
“I did ‘I Me Mine’ and ‘The Long and Winding Road,’ total, £80,” Hewson told the BBC in a new interview. “They must have made £40 million out of that, at least. I really didn’t know how big these people were. I’d heard of the Beatles, obviously. … I didn’t realize when that record came out how huge it would be. I was just doing another gig.”
You can listen to the interview below.



The connection was made after Hewson started a jazz trio with Peter Asher, brother of actress Jane Asher, who was then dating McCartney. “We’d go round to Peter’s house to rehearse,” Hewson recalled. “There I met Paul McCartney. When Paul discovered Mary Hopkin as a Welsh folk singer, he wanted to make a record with her and he didn’t want to go down the usual route of hiring the normal people. Peter said, ‘Why not try Richard? He might be able to do an arranging job for you.’ I said, ‘I don’t know anything about pop music at all. I’m a jazz head. I don’t even like pop music. I thought Dusty Springfield was a cowboy!’”
But the success of that session led to what Hewson called “the bone of contention,” when Beatles manage Allen Klein decided Let It Be needed more work. Hewson said he was asked “to do an arrangement of a song that Paul McCartney didn’t want an arrangement on.” “[Klein] hired Phil Spector to come in and what he called ‘clean up’ the album, and the one tune that he wanted to put a massive orchestra on was ‘The Long and Winding Road.’ All we had was a piano [and] a bass that was taken off because Phil Spector said it was crap. He thought John Lennon had deliberately messed it up because he didn’t want to do the song.” He remembered Spector calling for 20 violins, a harp and a choir, and thinking, “On a Beatles record? Oh my God!”
McCartney “didn’t know anything about it at all” until the single was released, said Hewson, who later collaborated with Chris Rea, Diana Ross, Herbie Hancock and others. “I got into a hell of a lot of trouble with [producer] George Martin and Paul.” In fact, McCartney avoided contact for a year, until he eventually asked Hewson to work with his new band, Wings. “I think he’d simmered down," he said. "Because after all, it became a huge hit. And he toured with an orchestra – so, go on then Paul, it wasn’t so bad after all, was it?”





www.bbc.com
The Beatles: How Richard Hewson changed their sound
BBC
26 Mar 2018

A musician has told how he was paid just £40 for his work turning The Beatles' The Long and Winding Road into a number one hit.
Richard Hewson, 74, who was born in Norton, Stockton, helped add soaring orchestration to the track in 1969 - much to the annoyance of Paul McCartney.
The producer, who now lives in Washington, West Sussex, went on to work with Diana Ross, Chris Rea and many others.
Filmed and edited by Andy Bell, interview by Gary Philipson



Image result for The Beatles Richard Hewson


jueves, 29 de marzo de 2018

What the break-up of the Beatles teaches us about geopolitical security and stability



































www.marketwatch.com
What the break-up of the Beatles teaches us about geopolitical security and stability
By John C. Hulsman
Published: Mar 28, 2018

The Fab Four disbanding has parallels with the geopolitical 
state we’re in today


Keystone/ Getty Images
The Beatles at the EMI studios in Abbey Road in June 1967
One of the most vital political risk commandments to master is knowing the 
overall nature of the system you are evaluating in terms of its power distribution. 
Only by knowing the nature of the world you live in — and its stability — can any 
policy or any analysis actually hope to be successful.
The best (and most entertaining) way to look at the change of power dynamics 
in a world order is to chronicle the startlingly quick unraveling of the greatest 
pop group in history. The Beatles went in lightning fashion from a period of 
artistic and commercial dominance in the mid-1960s (with “Rubber Soul,” 
“Revolver,” and “Sgt. Pepper’s Lonely Hearts Club Band”) to their demise 
in 1970 (following “Let It Be” and “Abbey Road”) in a blink of a historical eye.
A basic reason for their collapse was the inability of John Lennon and Paul 
McCartney to make creative space for the burgeoning talents of their quiet 
and under-rated lead guitar player, George Harrison. By assuming, as 
geopolitical risk analysts so often do, that the present state of the dominant 
Lennon-McCartney duopoly would go on forever, the Beatles fell victim to 
a reactionary form of thinking that led directly to their downfall.
In this case, what is true for rock bands holds for the global order as well. A 
seminal geopolitical risk question of the present age revolves around 
whether a dominant but relatively declining West can cajole and entice the 
rising rest of the world to join a revamped global system, or whether — 
much like the Beatles’ guitarist — the world’s rising regional powers will 
simply go their own way.
Why was this and what can the sad demise of the Fab Four tell us about 
global systems?

Image result for the end the beatle
The Beatles’ System Falls Stunningly Apart
In the mid-1960s, the rather rigid structure lying behind the Beatles’ creative 
and commercial success — on most albums their lovable (and newly knighted) drummer Ringo Starr was given at most one song, George Harrison had at 
best two or three, with the rest being Lennon-McCartney originals — became 
the group’s unquestioned modus operandi.
The system worked because it reflected the genuine creative power realities 
within the group at the time.
This pattern — the accepted rules underlying a bipolar world dominated by 
Lennon-McCartney — was followed with metronomic efficiency. On “Rubber 
Soul,” there are eleven Lennon-McCartney tunes, two penned by Harrison, 
and one by Ringo. “Revolver” is graced by eleven Lennon-McCartney songs, 
while Harrison had three and Ringo none.
“Sgt. Pepper’s” in many ways amounts to the apogee of John and Paul’s 
creative dominance; fully twelve of the thirteen songs on this masterpiece 
were written by Lennon-McCartney, with George managing only one and 
Ringo none.
But by now George Harrison had had enough. In any other group he would 
have served as a first-rate front man, as both a performer and a writer; now 
he simply couldn’t get much of his increasingly prodigious output on the r
ecords.
The creative balance of power within the group was decidedly shifting, even 
as the Beatles’ modus operandi stayed the same. Chafing at the creative 
bit, and frustrated that he simply wasn’t allowed to crack the Lennon-McCartney duopoly, Harrison grew increasingly resentful that his efforts to grow as an 
artist were being given short shrift.
In a sense, such a rigid response to Harrison’s rise is entirely understandable. 
John and Paul echoed back to him what established status quo powers have 
been saying to rising powers since time immemorial: “Why should we change 
anything, given how well things are going for us?” While that certainly was true 
in this case — the Lennon-McCartney bipolar world had taken the Beatles to undreamed-of creative heights — so was the fact that George Harrison, an 
immensely talented man in his own right, was not being given real opportunities 
to rise in the Beatles’ system.



The Beatles as a Frightening Metaphor for Today’s World
So let’s jump through the looking glass, taking our Beatles analogy a 
geopolitical step further. View John Lennon in the mid- to late 1960s as a 
stand-in for the Europe of today: increasingly preoccupied with Yoko Ono, 
self-involved with the many demons of his past and present, more worried 
about his own personal problems and situation than about the Beatles as 
a whole, and eager to shed his responsibilities in the band.
See Paul McCartney as the United States, unhappily aware he is the l
ast man standing, the force (after the death of their unsung manager 
Brian Epstein in August 1967) holding the group together. It fell to Paul, 
both by virtue of his ambitious personality and John’s lack of interest, 
to take over the running of the band.
The others resented his increasing dominance, even as he resented the 
fact that they all benefited from his desire to keep the show on the road, 
the system ticking over. It is little wonder McCartney veered from unilateralism 
to isolationism in doing so.
Paul is the harassed ordering power. Imagine George Harrison as today’s 
rising powers (China, India, and the other emerging market powers), 
resentful and distrustful of the old system of dominance and eager to 
strike off on their own, either within a newly re-constituted group that 
makes room for their growth or in a new band.
And finally, conjure Ringo as the world’s smaller powers, desperate to 
work with everyone, to keep a stable system going, even as he is 
glumly aware that whatever happens will affect him far more than he 
can impact any outcome.
Strikingly, the Beatles of the late 1960s and the global political world 
of today are eerily in line with one another.
By the time of “Let It Be” in 1970, it is all over. For anyone who has 
watched the excruciating May 1970 film of the making of the album, 
the lowlight has to be when an exasperated Paul runs into a beyond-caring 
George, who mockingly tells him he will play whatever Paul wants, however 
Paul wants, all the while meaning exactly the opposite.
A Lennon-McCartney duopoly no longer makes sense to two of the 
three key protagonists. George Harrison no longer wants to wait for 
the other two to take notice of his creative flowering. John Lennon no 
longer wants to carry the significant burden of keeping the group together, 
given his other preoccupations and weariness at being the co-leader of 
a system he increasingly cares less and less about.
Neither of these systemic shifts happened out of the blue, and both had 
been commented on for several years. But nothing systematically changed 
to keep up with these altered creative and power realities. The world had 
changed.
The creative power constellation within the Beatles had changed. But the 
power dynamic within the group had not. This is the classic definition of 
a failed system. Everyone knew exactly what he was referring to when 
Harrison named his fine first post-Beatles record “All Things Must Pass.”


How the West can avoid the Beatles’ fate?
The first and foremost priority for the West is to accurately see the 
evolving power structure of the new world we live in, as the Beatles 
failed to do.
It must not fight to uphold a unipolar or bipolar status quo that is beyond 
saving. To paraphrase the great Italian writer Lampedusa, if things are 
to stay as they are, everything must change. For the relative decline of 
the West and the rise of the rest is a fact, it is the undoubted historical 
headline of our age. This reality does not call for the resigned fatalism 
so popular now in Europe, but instead to adjust the power realities of 
global governance to the rapidly changing multipolar world we now find 
ourselves in.
So the West must adopt a new strategy if it is to avoid the systemic fate 
of the Fab Four. It must re-engage George Harrison — particularly the 
emerging and established democratic powers such as India, Indonesia, 
South Africa, Israel, Brazil, Argentina, Australia, Japan — on new terms 
that actually reflect today’s changed multipolar global geopolitical and 
macro-economic realities.
It must forge a new global democratic alliance with these rising regional 
powers, making them partners in defending the global status quo.
Let it be.
Dr. John C. Hulsman is the President and Co-Founder of John C. Hulsman Enterprises, a prominent global political risk consulting firm. This is taken 
from Hulsman’s most recent book “To Dare More Boldly; The Audacious 
Story of Political Risk,” published by Princeton University Press on 
April 3 and available for order on Amazon.

















miércoles, 28 de marzo de 2018

PAUL McCARTNEY TO REISSUE FOUR CATALOG TITLES













www.PaulMcCartney.com

MAR
28
2018

Paul to Reissue Four Catalogue Titles

 Paul to Reissue Four Catalogue Titles
PAUL McCARTNEY 2018 CATALOGUE REISSUES OUT MAY 18 VIA MPL/Capitol
NEW
Chaos And Creation In The Backyard
Wings Greatest
Thrillington
FEATURING LIMITED EDITION 180g COLOR VINYL PRESSINGS
On 18th May, Paul will release four 2018 edition catalogue reissues via MPL/Capitol:
NEW, Chaos and Creation in the Backyard, Wings Greatest and Thrillington.
All four titles will be issued in affordable single CD digipak and 180gram black vinyl single LP formats and will be made available for the first time in limited edition 180gram color vinyl pressings. All vinyl LPs will include a download card.
The titles and corresponding limited edition vinyl colours are as follows:
PRE-ORDER
NEW - PINK - Click HERE!
Chaos and Creation in the Backyard - GOLD - Click HERE!
Wings Greatest - BLUE - Click HERE!
Thrillington - MARBLED - Click HERE!
Upon its release in 2013, NEW was lauded by Rolling Stone as "energized and full of joyous rock & roll invention." Produced by Giles Martin and also featuring production by Mark Ronson, Ethan Johns and Paul Epworth, NEW entered the U.S. chart at #3. The album scored positive reviews from Entertainment Weekly to Pitchfork and all points in between, while the title track, 'Queenie Eye' and 'Save Us' would become staples of the McCartney live show over the course of the 'Out There' and 'One On One' world tours. NEW's 2018 edition will feature the first vinyl pressing of the album since its 2013 release, including a limited edition pink vinyl 180gram vinyl LP with download card and 12x12" insert.
Released in 2005, Chaos and Creation in the Backyard was instantly hailed as continuing a hot streak that included 'Flaming Pie', 'Run Devil Run' and 'Driving Rain'. Produced by Nigel Godrich (Radiohead, Beck) and featuring the singles 'Fine Line' and the Grammy-winning 'Jenny Wren', 'Chaos And Creation'… debuted at #6 on the Billboard chart. It remained on the charts for nearly half a year, while Paul mounted the massive 'US' Tour. In 2007, 'Jenny Wren' won the Grammy for Best Male Pop Vocal Performance, while the album was nominated in three other categories including Album of the Year. The 2018 edition of Chaos and Creation in the Backyard will make the album available on vinyl for the first time since its initial run and will include a limited edition gold vinyl 180gram vinyl LP with download card and 12x12" insert.
Originally released in 1978, Wings Greatest was the first ever compilation of Paul's post-Beatles hits, featuring four classics that had previously been unavailable on any McCartney album: 'Another Day', 'Junior's Farm' 'Hi, Hi, Hi' and 'Mull of Kintyre.' The penultimate Wings album release, Wings Greatest was naturally a worldwide hit, and the soundtrack to the 70s for a generation. As part of its 2018 edition reissue, Wings Greatest will be available as a limited edition blue vinyl 180gram vinyl LP with download card and 20"x30" poster.
Recorded in 1971 but not released until 1977, Thrillington remains one of the most enigmatic entries in the storied McCartney discography. Credited to the pseudonym Percy "Thrills" Thrillington, a fictitious socialite whose activities were chronicled in UK newspaper ads, Thrillington was actually a fully reimagined instrumental lounge/jazz version of Paul and Linda's RAM. With Thrillington's 2018 edition, Percy is given a new lease on life with this collector's item available on vinyl for the first time since the 1977 first pressings that fetch hefty sums on the collectors' market, plus a limited edition red/black marbled 180gram vinyl LP with download card.

Every release is supervised by Paul himself, who oversees all aspects of each and every title





ultimateclassicrock.com
PAUL McCARTNEY TO REISSUE FOUR CATALOG TITLES
DAVE LIFTON
March 28 2018

Two of Paul McCartney's most recent records, along with one of his most obscure efforts and a Wings compilation, will be included in his next batch of albums to be reissued. New, Chaos and Creation in the Backyard, Thrillington and Wings Greatest will be re-released on CD and vinyl on May 18.
Thrillington is the one that will likely have the most appeal to collectors. In 1971, McCartney produced a lounge-jazz instrumental version of his newly released Ram LP. But he formed Wings shortly after completing the record and decided to shelve it until 1977. He used the pseudonym Percy "Thrills" Thrillington and created a backstory in the liner notes (written by McCartney under the name "Clint Harrigan") about a U.K. socialite who was friends with McCartney. The former Beatle even took out newspaper ads that chronicled Thrills' adventures. It was believed at the time that McCartney was behind Thrillington, but he didn't admit his role until 1989.
McCartney played most of the instruments on 2005's Chaos and Creation in the Backyard, but found him ceding the producer's chair for the first time since 1984 to Radiohead and Beck collaborator Nigel Godrich. New is McCartney's most recent album; it arrived in 2013 and featured four producers, Paul Epworth, Mark Ronson, Ethan Johns and Giles Martin. Wings Greatest originally came out in 1978 and marked the first album appearances of singles "Another Day," "Junior's Farm," "Hi, Hi, Hi" and "Mull of Kintyre."
In addition to CD and 180g black vinyl editions, all four reissues will be available on limited-edition colored vinyl: New (pink), Chaos and Creation in the Backyard (gold), Wings Greatest (blue) and Thrillington (red-and-black marbled). You can find pre-order links at McCartney's website.




martes, 27 de marzo de 2018

Ringo Starr, All Starr Band coming to Hard Rock















www.tulsaworld.com
Ringo Starr, All Starr Band coming to Hard Rock
By Jimmie Tramel
Tulsa World
March 26 2018

Image result for Ringo Starr, All Starr Band coming to Hard Rock
Ringo Starr and his All Starr Band will perform Sept. 1 at the Hard Rock Hotel & Casino Tulsa. TOM GILBERT/Tulsa World file

The Hard Rock Hotel & Casino Tulsa will play host to Ringo Starr and a cast of all-star musicians.

The All Starr Band will perform Sept. 1 at The Joint. Ticket information will be announced at a later date.

The band will include the former Beatle, plus Colin Hay (“Who Can It be Now,” “Land Down Under”), Steve Lukather (“Africa,” “Hold The Line,” “Roseanna”), Gregg Rolie (“Black Magic Woman,” “Evil Ways”) and new member Graham Gouldman of 10cc (“I’m Not In Love,” “Things We Do For Love”). The drummer is Gregg Bissonette. Warren Ham will be on percussion and sax.

Starr has called the All Starrs “the best 1-800-band in the land” and, regarding the tour, said this in a news release: “There is no greater joy for me than playing great music with great musicians. Every night we get to play for all those loving people and it makes the hassle of touring worth it. It is a peace and love fest and I can’t wait to see you all out there this summer and fall.”




The band will tour Europe in June and July before embarking on U.S. tour dates. Tulsa will be the first stop on the North American leg of the tour. The release said every show will feature classic hit after hit, with band members bringing their most popular songs to the set.

Starr released his 19th studio album, Give More Love, in September of 2017. He is the recipient of nine Grammy awars and has twice been inducted into the Rock and Roll Hall of Fame — first as a Beatle and then as solo artist. On March 20, Starr was knighted in England for his service to music.

Image result for Ringo Starr, All Starr Band coming to Hard Rock





lunes, 26 de marzo de 2018

Never-before-seen photos of Beatles at first US gig fetch $358K


















www.reviewjournal.com
Never-before-seen photos of Beatles at first US gig fetch $358K
The Associated Press
March 26, 2018

The centerfold of the 1967 Beatles album "Sgt. Pepper's Lonely Hearts Club Band" features the Fab Four in costume as an Edwardian-era military band. Ringo Starr, left. John Lennon, Paul McCartney  ...
The centerfold of the 1967 Beatles album "Sgt. Pepper's Lonely Hearts Club Band" features the Fab Four in costume as an Edwardian-era military band. Ringo Starr, left. John Lennon, Paul McCartney and George Harrison. (Courtesy)

Photograph of George Harrison
MIKE MITCHELL/OMEGA AUCTIONS
LONDON — Hundreds of previously unseen photographs of The Beatles’ first U.S. concerts have sold for $358,000 at an auction in England.
The photographer Mike Mitchell, who was 18 at the time, snapped the photos of the band’s performances at the Washington Coliseum and the Baltimore Civic Centre in 1964. He also took photos of the Fab Four at a pre-show press conference and their arrival at Union Station.
Photograph of The Beatles


Mike Mitchell photographed The Beatles' first US show, and one seven months later
MIKE MITCHELL/OMEGA AUCTIONS

A total of some 400 negatives with copyright were sold at Omega Auctions on Saturday in northwestern England. Apart from 46 images that were sold in 2011, the remainder has never been seen.
A 1984 black Mercedes once owned by George Harrison also sold for $61,047 at the same auction.



Mike Mitchell aged 18
Mitchell said he "was very motivated" to capture "unique" images
MIKE MITCHELL/OMEGA AUCTIONS