From the Ultimate 60s Fan Page
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From the Ultimate 60s Fan Page
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“They don’t work all those rules.” ~Paul McCartney
Interview with Peter Blake Sgt. Pepper cover designer — Get a behind the scenes look at the making of album art for: “The best POP album of all time” Sgt. Peppers Lonely Hearts Club Band
As with WB Yeats, whose muse grew younger as he aged, so too for his fellow Nobel laureate
There is something very consistent in Dylan’s desire to disappear. Terrified of pursuit by fans in his earlier tours, he would jump into hotel cupboards. Craving silence, he wrote in order to hide and he hid in order to write. Then there was the unexplained motorcycle accident which enabled a more total retreat.
The plagiarism of which he is often accused could be seen by a psychoanalyst as a desire for death. But by resorting to “love and theft”, he may be seeking something more subtle; re-entry to folk tradition under “anon” – the heroic anonymity achieved by “Napoleon in rags” or Odysseus seeking home.
Yet he zealously defends his copyrights against digital predators, wanting to be “there” and “not there” at the same time. Paul Morley and John Bauldie capture his multiple masks. The very list of chapters in The Cambridge World of Bob Dylan shows how he opened forms of modern music through ever-changing phases: pop, folk, protest, electro-rock, country, Christian, lounge-bar croon. He invented video (the flash-cards on Subterranean Homesick Blues); and he anticipated punk with his critiques of his own audience (recognising that those who oppose the age penetrate to essence far more than those who merely reflect it)
Read it all at Source: Bob Dylan at 80, by Declan Kiberd: He was so much older then, he’s younger than that now
By the following year, with Goude and Blackwell out of the picture, Jones wanted more involvement in her debut album for EMI subsidiary Manhattan Records, 1986’s Inside Story. Taking EMI A&R head Bruce Garfield’s direction to “imagine a leaf being blown through the streets of New York, twisting and turning in the sunshine” as a starting point, Jones and Woolley wrote every song together, then joined multi-platinum Svengali Nile Rodgers in New York to transform their demos. This mutually flattering union yielded her last R&B radio victory, “I’m Not Perfect (But I’m Perfect for You)”. Indicting white-collar criminals and Hollywood liars, Inside Story revealed the singer’s observant, socially conscious side, while the jagged arrangements meshed Rodgers’ ricocheting, jazz-schooled guitar with Woolley’s smart pop. It is a singer/songwriter record you can dance to.
read it all at source.
— click the source link below , then the picture link to the right for more great shots of the early band.
This live performance at The Kitchen’s former SoHo space was one of Talking Heads’s early performances. The group was formed in 1975, and this show preceded the release of the band’s first record the following year and subsequent international acclaim until they disbanded in 1991. Comprised of David Byrne on guitar and vocals, Chris Frantz on drums, and Tina Weymouth on bass, Talking Heads at the time was associated with the New York punk scene and described themselves as “a group of performing artists whose medium is rock and roll.” For this performance they played a selection of songs that demonstrated the range of styles they were developing, including the future hit “Psycho Killer.”