I used to have a Ken Kesey recording that was put on as filler on a long lost dead show tape. I think it was a recording from the World Poetry Conference. Ken tells the story of the night a wook shows up at his door in Oregon. He takes him in for the night so he won't freeze to death. After dinner they are watching Monday Night Football and Howard Cosell breaks the news about John. Great story wish I could find the recording.
Low-quality monitor mixes of the full-length version of "Revolution" appeared on various bootlegs, such as From Kinfauns to Chaos, throughout the 1990s. Then in 2009, a high-quality version labelled "Revolution Take 20" appeared on the bootleg CD Revolution: Take ... Your Knickers Off! The release triggered considerable interest among the media and fans of the group. This version, RM1 (Remix in Mono #1) of Take 20, runs to 10 minutes 46 seconds (at the correct speed) and was created at the end of the 4 June session, with a copy taken away by Lennon. It was an attempt by Lennon to augment the full-length version of "Revolution" in a way that satisfied him before he chose to split the piece between the edited "Revolution 1" and themusique concrete "Revolution 9".
The bootlegged recording starts with engineer Geoff Emerick announcing the remix as "RM1 of Take ..." and then momentarily forgetting the take number, which Lennon jokingly finishes with "Take your knickers off and let's go", hence the name of the bootleg CD. The first half of the recording is almost identical to the released track "Revolution 1". It lacks the electric guitar and horn overdubs of the final version, but features two tape loops in the key of A (same as the song) that are faded in and out at various points. After the final chorus, the song launches into an extended coda similar to that in "Hey Jude". (The album version only features about 40 seconds of this coda.) Beyond the point where the album version fades out, the basic instrumental backing keeps repeating while the vocals and overdubs become increasingly chaotic: Harrison andMcCartney repeatedly sing "dada, mama" in a childlike register; Lennon's histrionic vocals are randomly distorted in speed (a little of this can be heard in the fade of "Revolution 1"); and radio tuning noises à la "I Am the Walrus" appear. Several elements of this coda appear in the officially released "Revolution 9". Throughout the body of that song, Lennon's histrionic vocal track periodically appears (albeit minus the speed distortion), as do the tape loops.
After the band track ends, the song moves into avant-garde territory, with Yoko Ono reciting some prose over an unknown, vaguely operatic recording (possibly captured live from the radio). Ono's piece begins with the words "Maybe, it's not that …", with her voice trailing off at the end; Lennon or Harrison jokingly replies, "It is 'that'!" As the piece continues, Lennon quietly mumbles "Gonna be alright" a few times. Then follows a brief piano riff, some comments from Lennon and Ono on how well the track has preceded, and final appearances of the tape loops. Most of this coda was lifted for the end of "Revolution 9", with a little more piano at the beginning (which monitor mixes reveal was present in earlier mixes of "Revolution") and minus Lennon's (or Harrison's) joking reply.
Splitting of Revolution 1 and Revolution 9
Lennon soon decided to divide the existing ten-minute recording into two parts: a more conventional Beatles track and an avant-garde sound collage. Within days after take 20, work began on "Revolution 9" using the last six minutes of the take as a starting point. Numerous sound effects, tape loops, and overdubs were recorded and compiled over several sessions almost exclusively by Lennon and Ono, although Harrison provided assistance for additional spoken overdubs.With more than 40 sources used for "Revolution 9", only small portions of the take 20 coda are heard in the final mix; most prominent from take 20 are Lennon's multiple screams of "right" and "alright", and around a minute near the end featuring Ono's lines up to "you become naked".
On 21 June, the first part of take 20 received several overdubs and became officially titled "Revolution 1". The overdubs included a lead guitar line by Harrison and a brass section of two trumpets and four trombones. Final stereo mixing was completed on 25 June. The final mix included the hurried announcement of "take two" by Geoff Emerick at the beginning of the song.
He is still revered around the world as a peace-loving working class hero.
But by the time he died, John Lennon was a closet conservative embarrassed by his radical past, according to his former personal assistant.
Fred Seaman claims that the former Beatle was a fan of Ronald Reagan, who went on to become America’s Republican president in 1981 and forged a close political alliance with Margaret Thatcher.
‘John, basically, made it very clear that if he were an American he would vote for Reagan because he was really sour on [Democrat] Jimmy Carter,’ he says in a documentary film.
Seaman worked for Lennon during the year leading up to the star’s death in December 1980 aged 40.
He tells Beatles Stories filmmaker Seth Swirsky that in his final months Lennon was not the left-wing militant worshipped by many of his fans.
‘He was a very different person back in 1979 and 80 than he’d been when he wrote Imagine,’ he says.
Share
‘By 1979 he looked back on that guy and was embarrassed by that guy’s naivete.
Last day: John Lennon signing an autograph on an album cover for his killer Mark Chapman on December 8 1980 the day he was shot dead
‘He’d met Reagan back, I think, in the 70s at some sporting event.
'Reagan was the guy who had ordered the National Guard, I believe, to go after the young [peace] demonstrators in Berkeley, so I think that John maybe forgot about that.
‘He did express support for Reagan, which shocked me.’
Honeymoon: John Lennon and Yoko Ono Bed-In for Peace in 1969, Amsterdam, Netherlands
He adds: ‘I also saw John embark in some really brutal arguments with my uncle, who’s an old-time communist. He enjoyed really provoking my uncle.
'Maybe he was being provocative but it was pretty obvious to me he had moved away from his earlier radicalism.’
Lennon’s anti-war songs had not endeared him to Richard Nixon’s previous Republican administration and the FBI kept him under surveillance in 1971 after he met peace activists in New York.
Family confidante: Fred Seaman with John Lennon's first wife Cynthia
The U.S. immigration service tried unsuccessfully to deport him a year later.
Lennon’s radicalism and support of left-wing causes were well-known. He and wife Yoko staged ‘Bed-Ins for Peace’ after getting married in 1969.
He wrote the anti-Vietnam war anthem Give Peace a Chance, sided with Glaswegian shipyard workers and backed the IRA.
Another political song that became famous was Working Class Hero.
Driving force: Paul McCartney provided the backbone to the Beatles, according to assistant Tony Bramwell
Seaman, 58, was forced to apologise in court to Lennon’s widow in 2002 after he was accused of stealing hundreds of the star’s personal photographs and letters.
In the documentary, the group’s long-time assistant, Tony Bramwell, says he is convinced the Beatles would not have recorded so many classics in their later years had it not been for Paul McCartney because Lennon was often too lazy to make it into the studio. McCartney drove the band on to make new recordings.
Dec 8 1980 is a day I will never forget.
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***
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Didn't see you had created
Didn't see you had created this thread three minutes before mine. Apologies. I was only six years old when this happened
but even at a young age John's music touched me. Here's a song by his son Sean.
https://m.youtube.com/watch?v=rhN7_NzdpGU&feature=youtu.be
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RIP John
RIP John
(Love the last photograph Redneck posted)
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Love is the answer
Love is the answer
https://www.youtube.com/watch?v=zge6UEwUGn0
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Give Peace A Chance
Give Peace A Chance
https://www.youtube.com/watch?v=0yU0JuE1jTk
Top of Page Bottom of Page PermalinkFull Name: cb
I was devastated.
I was devastated.
What a wonderful talent, so many great tunes. (click photo)
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I used to have a Ken Kesey
I used to have a Ken Kesey recording that was put on as filler on a long lost dead show tape. I think it was a recording from the World Poetry Conference. Ken tells the story of the night a wook shows up at his door in Oregon. He takes him in for the night so he won't freeze to death. After dinner they are watching Monday Night Football and Howard Cosell breaks the news about John. Great story wish I could find the recording.
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((John)) Imagine....
((John))
Imagine....
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https://www.youtube.com/watch
https://www.youtube.com/watch?v=ziwsjE1O4Ow
working class hero
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Happy Xmas (War is Over)
Happy Xmas (War is Over)
https://www.youtube.com/watch?v=z8Vfp48laS8
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What? When did this happen?
What? When did this happen?
2016 you shithole!
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El Niño, I know it's not the
El Niño, I know it's not the same, but that whole story can be found
in Kesey's book Demon Box.
It's a classic.
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Trippiest version of
Trippiest version of Revolution you will ever hear:
https://www.youtube.com/watch?v=nnHw-LgVeCY
Take 20
Low-quality monitor mixes of the full-length version of "Revolution" appeared on various bootlegs, such as From Kinfauns to Chaos, throughout the 1990s. Then in 2009, a high-quality version labelled "Revolution Take 20" appeared on the bootleg CD Revolution: Take ... Your Knickers Off! The release triggered considerable interest among the media and fans of the group. This version, RM1 (Remix in Mono #1) of Take 20, runs to 10 minutes 46 seconds (at the correct speed) and was created at the end of the 4 June session, with a copy taken away by Lennon. It was an attempt by Lennon to augment the full-length version of "Revolution" in a way that satisfied him before he chose to split the piece between the edited "Revolution 1" and themusique concrete "Revolution 9".
The bootlegged recording starts with engineer Geoff Emerick announcing the remix as "RM1 of Take ..." and then momentarily forgetting the take number, which Lennon jokingly finishes with "Take your knickers off and let's go", hence the name of the bootleg CD. The first half of the recording is almost identical to the released track "Revolution 1". It lacks the electric guitar and horn overdubs of the final version, but features two tape loops in the key of A (same as the song) that are faded in and out at various points. After the final chorus, the song launches into an extended coda similar to that in "Hey Jude". (The album version only features about 40 seconds of this coda.) Beyond the point where the album version fades out, the basic instrumental backing keeps repeating while the vocals and overdubs become increasingly chaotic: Harrison andMcCartney repeatedly sing "dada, mama" in a childlike register; Lennon's histrionic vocals are randomly distorted in speed (a little of this can be heard in the fade of "Revolution 1"); and radio tuning noises à la "I Am the Walrus" appear. Several elements of this coda appear in the officially released "Revolution 9". Throughout the body of that song, Lennon's histrionic vocal track periodically appears (albeit minus the speed distortion), as do the tape loops.
After the band track ends, the song moves into avant-garde territory, with Yoko Ono reciting some prose over an unknown, vaguely operatic recording (possibly captured live from the radio). Ono's piece begins with the words "Maybe, it's not that …", with her voice trailing off at the end; Lennon or Harrison jokingly replies, "It is 'that'!" As the piece continues, Lennon quietly mumbles "Gonna be alright" a few times. Then follows a brief piano riff, some comments from Lennon and Ono on how well the track has preceded, and final appearances of the tape loops. Most of this coda was lifted for the end of "Revolution 9", with a little more piano at the beginning (which monitor mixes reveal was present in earlier mixes of "Revolution") and minus Lennon's (or Harrison's) joking reply.
Splitting of Revolution 1 and Revolution 9
Lennon soon decided to divide the existing ten-minute recording into two parts: a more conventional Beatles track and an avant-garde sound collage. Within days after take 20, work began on "Revolution 9" using the last six minutes of the take as a starting point. Numerous sound effects, tape loops, and overdubs were recorded and compiled over several sessions almost exclusively by Lennon and Ono, although Harrison provided assistance for additional spoken overdubs.With more than 40 sources used for "Revolution 9", only small portions of the take 20 coda are heard in the final mix; most prominent from take 20 are Lennon's multiple screams of "right" and "alright", and around a minute near the end featuring Ono's lines up to "you become naked".
On 21 June, the first part of take 20 received several overdubs and became officially titled "Revolution 1". The overdubs included a lead guitar line by Harrison and a brass section of two trumpets and four trombones. Final stereo mixing was completed on 25 June. The final mix included the hurried announcement of "take two" by Geoff Emerick at the beginning of the song.
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And apparently he could see
And apparently he could see the future!
http://www.dailymail.co.uk/news/article-2009562/John-Lennon-closet-conse...
Working class hero? John Lennon 'was closet conservative and fan of Reagan'
By David Gardner for MailOnline
Updated: 06:23 EST, 30 June 2011
Read more: http://www.dailymail.co.uk/news/article-2009562/John-Lennon-closet-conservative-fan-Reagan.html#ixzz4SHh3LxSw
Follow us: @MailOnline on Twitter | DailyMail on Facebook
He is still revered around the world as a peace-loving working class hero.
But by the time he died, John Lennon was a closet conservative embarrassed by his radical past, according to his former personal assistant.
Fred Seaman claims that the former Beatle was a fan of Ronald Reagan, who went on to become America’s Republican president in 1981 and forged a close political alliance with Margaret Thatcher.
‘John, basically, made it very clear that if he were an American he would vote for Reagan because he was really sour on [Democrat] Jimmy Carter,’ he says in a documentary film.
Seaman worked for Lennon during the year leading up to the star’s death in December 1980 aged 40.
He tells Beatles Stories filmmaker Seth Swirsky that in his final months Lennon was not the left-wing militant worshipped by many of his fans.
‘He was a very different person back in 1979 and 80 than he’d been when he wrote Imagine,’ he says.
Share
‘By 1979 he looked back on that guy and was embarrassed by that guy’s naivete.
Last day: John Lennon signing an autograph on an album cover for his killer Mark Chapman on December 8 1980 the day he was shot dead
‘He’d met Reagan back, I think, in the 70s at some sporting event.
'Reagan was the guy who had ordered the National Guard, I believe, to go after the young [peace] demonstrators in Berkeley, so I think that John maybe forgot about that.
‘He did express support for Reagan, which shocked me.’
Honeymoon: John Lennon and Yoko Ono Bed-In for Peace in 1969, Amsterdam, Netherlands
He adds: ‘I also saw John embark in some really brutal arguments with my uncle, who’s an old-time communist. He enjoyed really provoking my uncle.
'Maybe he was being provocative but it was pretty obvious to me he had moved away from his earlier radicalism.’
Lennon’s anti-war songs had not endeared him to Richard Nixon’s previous Republican administration and the FBI kept him under surveillance in 1971 after he met peace activists in New York.
Family confidante: Fred Seaman with John Lennon's first wife Cynthia
The U.S. immigration service tried unsuccessfully to deport him a year later.
Lennon’s radicalism and support of left-wing causes were well-known. He and wife Yoko staged ‘Bed-Ins for Peace’ after getting married in 1969.
He wrote the anti-Vietnam war anthem Give Peace a Chance, sided with Glaswegian shipyard workers and backed the IRA.
Another political song that became famous was Working Class Hero.
Driving force: Paul McCartney provided the backbone to the Beatles, according to assistant Tony Bramwell
Seaman, 58, was forced to apologise in court to Lennon’s widow in 2002 after he was accused of stealing hundreds of the star’s personal photographs and letters.
In the documentary, the group’s long-time assistant, Tony Bramwell, says he is convinced the Beatles would not have recorded so many classics in their later years had it not been for Paul McCartney because Lennon was often too lazy to make it into the studio. McCartney drove the band on to make new recordings.
Read more: http://www.dailymail.co.uk/news/article-2009562/John-Lennon-closet-conservative-fan-Reagan.html#ixzz4SHh0yZ6m
Follow us: @MailOnline on Twitter | DailyMail on Facebook
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Yes, that story from Demon
Yes, that story from Demon Box is a classic.
It raises the question that gets asked every year. Who else got the news from Howard Cosell on Monday Night Football?
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It was a huge loss for the
It was a huge loss for the world. I remember my high school morning announcements played Paul songs that morning.
I have been re-reading "Catcher In The Rye". Mark David Chapman had a copy with him when he was apprehended.
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Who else got the news from
Who else got the news from Howard Cosell on Monday Night Football?<<<
*raises hand*
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He's gone 12/12/80: https:/
He's gone 12/12/80: https://archive.org/details/gd1980-12-12.124542.aud.goldshine.sennheiser-mkh406-flyingm.flac16#