John Lennon ‘Whatever Gets You Thru The Night’

Meanwhile, the follow‑up single to ‘Whatever Gets You Thru The Night’ began life with the working title of ‘So Long Ago’ and took its initial melody from the orchestral arrangement to Harry Nilsson’s version of ‘Many Rivers To Cross’, the opening track on his Pussy Cats album which Lennon had produced earlier in the year. This was then embellished by words that came to John in a dream, involving a couple of women echoing his name. Hence the eventual title, ‘#9 Dream’, which continued Lennon’s fascination with the number that followed him from birth to the grave. Born on October 9th, 1940, his first home was at 9 Newcastle Road in Liverpool; Beatles manager Brian Epstein first saw the group play on November 9th, 1961; John met Yoko on November 9th, 1966; in 1968, he constructed the sound collage ‘Revolution 9′ for the Beatles’ ‘White Album’; in New York, he and Yoko lived in the Dakota building on West 72nd Street (seven and two is nine); in 1975, their son, Sean, was born on John’s birthday, October 9th; and when John was shot and killed just after 11pm on December 8th, 1980, it was December 9th back in England. Source: John Lennon ‘Whatever Gets You Thru The Night’

What’s So Bad About Playing Cover Songs? –

The recurring question that I ask myself when the haters speak up is: “Why?”Why is there so much contempt for cover musicians?Why do some players feel that you’re not a real musician unless you write your own songs?Why is it so much better to be an original artist…especially in today’s music climate?I try to answer it with logic, but I don’t always succeed.Maybe it’s the way some people were taught.Maybe they have never seen or played in a really good cover band.Maybe some people are just plain ignorant. Source: What’s So Bad About Playing Cover Songs? –

The song Bob Dylan wrote to insult John Lennon

They never entirely saw eye to eye. It’s hard to ignore, too. Before their meeting, The Beatles’ lyrics were never the forefront of their songs with the melody always being the most essential factor, the group were happy to include “nonsense” lyrics if they sounded correct. The art of storytelling was never their forte until Dylan changed that and John Lennon was especially inspired by the singer-songwriter’s style, a factor which led him to write in more of a storytelling tongue than he previously had done. The Beatles’ popularity was on a different stratosphere in comparison to Dylan at this time and, considering what he was doing was incredibly original, to have a watered-down version of his sound being lapped up by the masses quite rightly arrived as irritation. That said, whether the annoyance warranted him to write ‘Fourth Time Around’ is still questionable. There is a degree of pettiness to Dylan’s actions, one which essentially saw him write a more eloquent version of ‘Norwegian Wood’ and showing Lennon how it’s done — which is hard not to admire. Dylan even left Lennon a not-so-subtle message at the end of the track as he knew that his number one fan would undoubtedly study it. The last two lines see him sing, “I never asked for your crutch, Now don’t askContinue Reading

Interview Goddo

What a great read! On your radio show, some of the guests included Denny Doherty of the Mamas and the Papas (who you’ve said was one of your best interviews), Meatloaf, Alice Cooper and George Harrison’s ex, Pattie Boyd. You also met Bruce Springsteen at Maple Leaf Gardens in 1977, and talked with him about ulcers. But surely meeting Paul McCartney must have been the greatest celebrity meeting of ‘em all. McCartney is definitely the one. When I walked in his dressing room it was like seeing a cousin. I talked to him for about thirty minutes. McCartney is expert at making everyone feel at ease. His wife Linda was hovering about and she spotted the hand painted shoes I had on. She got right on me about them. I knew what she was driving at when she asked, “what are those made of?” But I assured her they were made of plastic, just like her. Like we’ve never seen photos of Linda in a fur coat. I don’t know if he’s read it, but Paul has a copy of Travels with My Amp, as does Elton John. Elton’s partner, David Furnish is a GODDO fan. Source: Interview Goddo

Joey Jordison, Former Slipknot Drummer, Dead at 46 | Revolver

Although he’s best known for his tenure in Slipknot, Jordison was a prolific musician who played in a bevy of other projects throughout his fruitful career. In 2001, he co-founded the horror-punk band the Murderdolls, which was technically a revival of a local band he played in years before dubbed The Rejects. Jordison put down his sticks to play guitar in Murderdolls, and he recruited fellow horror-punk figure Wednesday 13 to be the band’s lead singer. They were only active for a sporadic handful of years due to Jordison’s priorities in Slipknot, but they released an album called Beyond the Valley of the Murderdolls in 2002 and a follow-up called Women and Children Last in 2010 that earned their own cult following. Source: Joey Jordison, Former Slipknot Drummer, Dead at 46 | Revolver

Billy Gibbons Hardware interview

There’s a song on Hardware called Spanish Fly. The title refers to a hot rod – inevitable, given Gibbons’s love of fast and loud cars. “One of my buddies down the street has got a 1946 Ford two-door sedan, which he named Spanish Fly,” he says admiringly. “It’s quite dazzling, this piece of machinery. He wouldn’t sell it. He wouldn’t even give me a ride in it.” But there’s another meaning as well. Spanish Fly is an old, old herbal love potion that comes in many different forms and guises. “Of course, growing up in Texas and making the pilgrimage to the Mexican border, you gotta come back with Spanish Fly,” says Gibbons. “It was this aphrodisiac, supposedly.” And did it work? “That’s a good question.” He leans forward conspiratorially. “I’ve always been afraid to ask.” Source: Billy Gibbons Hardware interview | Louder

Bob Dylan: Rough and Rowdy Ways Album Review | Pitchfork

Since 1997’s Time Out of Mind, an atmospheric return-to-form after a long period of wandering, death has been Dylan’s chief concern, to the extent that some have read it as a personal obsession. Which, of course, has only aggravated him. Yes, his recent songs deal with mortality. “But I didn’t see any one critic say: ‘It deals with my mortality’—you know, his own,” Dylan observed. It seems that he has accepted this grievance as an artistic failure and has returned with songs whose subjects cannot be misinterpreted. The last two tracks on Tempest addressed the sinking of the Titanic and the murder of John Lennon—historical events that now exist through a greater cultural consciousness. He continues and improves upon this method throughout Rough and Rowdy Ways, using notes from history to reflect something universal about our own brief, ordinary legacies. “I hope that the gods go easy with me,” he sings in “I’ve Made Up My Mind to Give Myself to You.” For a minute, you forget the status of the man singing; his prayer sounds as humble, as fragile as anyone’s. Source: Bob Dylan: Rough and Rowdy Ways Album Review | Pitchfork

‘The Velvet Underground’: Film Review | Cannes 2021 – The Hollywood Reporter

IN a minute they will dazzle. Any second they could blow your mind. The wealth of archival photography and footage of news and cultural events that shaped the era is extraordinary. Haynes’ use not just of clips from the work of Warhol, Mekas and Smith, but also Stan Brakhage, Kenneth Anger, Maya Deren, Marie Menken, Barbara Rubin, Shirley Clarke and others — often playing in mind-bending juxtaposition on multiple screens within the screen — makes this an uncommonly cine-literate music doc and a rapturous homage to experimental art. Mekas says it all in one succinct interview snippet: “We are not part of the counterculture. We are the culture.” Source: ‘The Velvet Underground’: Film Review | Cannes 2021 – The Hollywood Reporter