Showing posts with label John Paul George and Ringo. Show all posts
Showing posts with label John Paul George and Ringo. Show all posts

Thursday, 4 September 2014

The Beatles at the Hollywood Bowl.

                                             The Beatles at The Hollywood Bowl! 
I love this record! It came out in 1977 when I was 12! After getting my copy of the album I played it over and over on my mum and dads HMV record player.
The set list is taken from the best played songs from the 1964 and 1965 concerts.
Side one
  1. "Twist and Shout" (Phil Medley and Bert Russell) (30 August 1965) – 1:32
  2. "She's a Woman" (30 August 1965) – 2:53
  3. "Dizzy, Miss Lizzy" (Larry Williams) (29/30 August 1965) – 3:37
  4. "Ticket to Ride" (29 August 1965) – 2:51
  5. "Can't Buy Me Love" (30 August 1965) – 2:16
  6. "Things We Said Today" (23 August 1964) – 2:20
  7. "Roll Over Beethoven" (Chuck Berry) (23 August 1964) – 2:28
Side two
  1. "Boys" (Luther Dixon and Wes Farrell) (23 August 1964) – 2:12
  2. "A Hard Day's Night" (30 August 1965) – 3:15
  3. "Help!" (29 August 1965) – 2:46
  4. "All My Loving" (23 August 1964) – 2:14
  5. "She Loves You" (23 August 1964) – 2:31
  6. "Long Tall Sally" (Enotris JohnsonRichard Penniman, and Robert Blackwell) (23 August 1964) – 2:53
Link to concert footage.
Link to The Oompah Roundabouts website.



















Monday, 17 February 2014

A Hard Days Night.

                                                               A Hard Days Night.

A Hard Day's Night is a 1964 British black-and-white comedy film directed by Richard Lester and starring the BeatlesJohn LennonPaul McCartneyGeorge Harrison andRingo Starr—during the height of Beatlemania. It was written by Alun Owen and originally released by United Artists. The film portrays a couple of days in the lives of the group. The film is considered to be one of the best and most influential musical films of all time.

It was successful both financially and critically; it was rated by Time magazine as one of the all-time great 100 films. British critic Leslie Halliwell described it as a "comic fantasia with music; an enormous commercial success with the director trying every cinematic gag in the book" and awarded it a full four stars.  The film is credited as being one of the most influential musical films of all time, inspiring numerous spy filmsthe Monkeestelevision show and pop music videos.

Halliwell encapsulates the plot as "harassed by their manager and Paul's grandpa, the Beatles embark from Liverpool by train for a London TV show." Having escaped a horde of fans, once aboard the train and trying to relax, various interruptions begin to test their patience, prompting George to go to the goods van for some peace and quiet. Paul, Ringo, George and John play a card game and sing to a schoolgirl before arriving at their destination.

On arrival in London, the Beatles are driven to a hotel where they feel trapped. After a night out during which Paul's grandfather causes minor trouble at a casino, the group is taken to the theatre where their performance is to be filmed. The preparations are lengthy so Ringo decides to spend some time alone reading a book. Paul's grandfather, a "villain, a real mixer," convinces him that he should be outside experiencing life instead of reading books, so Ringo goes off by himself. He tries to have a quiet drink in a pub, walks alongside a canal and at one point rides a bicycle along a railway station platform.  Meanwhile, the rest of the band frantically (and unsuccessfully) attempts to find Ringo. Finally, however, he returns, after being arrested by the police along with Paul's grandfather, and the concert goes ahead as planned.

The film was shot for United Artists (UA) using a cinéma vérité style in black-and-white and produced over a period of sixteen weeks. It had a low budget for its time of £200,000 ($500,000) and filming was finished in under seven weeks.  At first, the film itself was something of a secondary consideration to UA, whose primary interest was in being able to release the soundtrack album in the United States before Capitol Records (the American EMI affiliate who had first shot at releasing Beatles music in the States) got around to issuing their material in the US; in the words of Bud Ornstein, the European head of production for United Artists: "Our record division wants to get the soundtrack album to distribute in the States, and what we lose on the film we'll get back on this disc."  As film historian Stephen Glynn put it, A Hard Day's Night was intended as, "a low-budget exploitation movie to milk the latest brief musical craze for all it was worth."

Unlike most productions, it was filmed in near sequential order, as stated by Lennon in 1964.[16] Filming began on 2 March 1964 at Marylebone station in London (although the station used is often wrongly quoted as being Paddington). The Beatles having only joined the actors' union, Equity, that morning.  The first week of filming was on a train travelling between London and Minehead. On 10 March, scenes with Ringo were shot at the Turk's Head pub in Twickenham, and over the following week various interior scenes were filmed at Twickenham Studios. From 23 to 30 March, filming moved to the Scala Theatre, and on 31 March, concert footage was shot there, although the group mimed to backing tracks. The "Can't Buy Me Love" segment, which featured creative camera work and the band running and jumping around in a field was shot on 23 April 1964 at Thornbury Playing Fields, Isleworth, Middlesex.  The final scene was filmed the following day in West Ealing, London, where Ringo obligingly drops his coat over puddles for a lady to step on, only to discover that the final puddle is actually a large hole in the road.

Before A Hard Day’s Night was released in America, a United Artists executive asked Lester to dub the voices of the group with mid-Atlantic accents. McCartney angrily replied, “Look, if we can understand a fuckin' cowboy talking Texan, they can understand us talking Liverpool.”  Lester subsequently directed The Beatles' 1965 film, Help!.























Thursday, 5 December 2013

The Beatles and Vox!

                                                              The Beatles and Vox!
Back in early 1962 the band were little more than local heroes, returning back from honing their live performance skills playing night after night in Hamburg for over two years. Soon after they were dazzling punters in Liverpool’s famous Cavern Club with their new songs and incendiary live shows. Up until that point, Paul McCartney and the rest of the group used any gear they could scrape together. It was not until The Beatles were taken under the wing of manager Brian Epstein that they truly begin to hone not just their image but also their live sound. Unheard of in those times, the maverick Epstein quickly managed to strike up an endorsement deal with a small amp company out of Dartford that would come to define the sound of the British Invasion.
In a time when highly desired American brands were rarely imported to the UK, local manufacturers recognised a demand to create their own line of instruments and amplifiers to supply the burgeoning Rock and Pop explosion on the British side of the pond. Back in the early 1960’s VOX was a relatively fresh brand and new to the scene, though known and desired in the UK amongst aspiring guitarists due to emerging guitar hero Hank Marvin of The Shadows. Around the time The Beatles were signed by George Martin’s Parlophone label in 1962, Brian Epstein signed an endorsement deal with VOX for the band to exclusively use VOX gear in their backline. Soon the band started using a combination of VOX AC15 and AC30 amps. Throughout their live career and the majority of their time in the studio, VOX would go on to supply a variety of different amps and equipment to the band. The group pushed VOX engineers to expand the boundaries of their designs with their ever-increasing requirements for more volume and headroom. If you ever had the opportunity to see the Beatles, chances are you were hearing Paul McCartney and the rest of the lads play through VOX gear. From the sweaty gigs in the clubs of the North of England to the Ed Sullivan Show & defining Shea Stadium gig, when you heard The Beatles, you heard VOX. The timeless British VOX tone is there in all of its grandeur in those classic early recordings.

THE EARLY DAYS

In the early days the band plugged straight into AC30s and as a result it is the amplifier most identified with the British invasion and early Beatles sound. In late 1962 Paul transitioned to the all-new VOX T-60 bass amp, which was one of the world’s first musical transistor amplifiers (did not need valves/tubes). George and Johns AC30s were soon modified to sport the new 'top-boost' unit, which enabled the band to drive the amps harder for a more cutting and saturated tone. Pushing his T-60 harder and harder night after night, Paul eventually replaced it in favour of an AC30 head and a new vertical bass cabinet loaded with combo of 12 & 15 inch Celestion speakers. As the Beatles started acclimating themselves to the recording studio, much of the character of those early records came from George Martin’s approach to capturing the band playing live in the room through their VOX amps with minimal overdubs, The opening riff of 'Day Tripper', the jangly intro to 'I Feel Fine' and the raucous rhythm to 'All My Loving' all provide great examples of the classic 1960’s VOX tone, not to mention the genius of Lennon and McCartney’s songwriting.

THE BEATLES RISE TO STARDOM

As The Beatles rose to stardom it was clear that they were going to need even more power to be heard over the deafening screams of crazed teenage fans going to their shows in even greater numbers. In the days before the modern multi channel high-powered PA systems taken for granted today, VOX would again have to answer the band’s call for more volume with more powerful amps. VOX’s answer was to construct a single channel 50 watt head which would be paired with a 'closed back' 2 x 12" speaker cabinet. These cabinets also uniquely featured an additional Midax Horn to accentuate the high frequencies. In development since late 1963, VOX further beefed up the head design to 80 watts with the AC80/100. This powerful new head, coupled with larger speaker cabinets provided more power and projection onstage. The increase in power proved to be a revelation for Paul who quickly upgraded to the AC100 head and had VOX construct a vertical 2 x 15" closed back bass cabinet. Paul’s bass lines would now have more presence and was a great partner for his Hofner 'Violin' Bass. As demand for the band increased it saw their performances move away from medium sized gigs to concert halls, outdoor shows and eventually stadiums. From late 1964 the entire band would all eventually adopt AC100’s for maximum headroom and power on stage. The band found however that the weak PA systems of the time simply could not match the increasingly deafening screams directed at them by thousands of adoring fans. Tired of the incessant touring and frequently complaining of the inability to hear themselves on stage they eventually made the decision to stop touring and focus on work in the studio after their final public show at San Francisco’s Candlestick Park in 1966.