#George and Andy Newmark

[harrisonarchive]

Billy Preston, Willie Weeks, and George Harrison onstage during the Dark Horse Tour, November/December 1974. Photo by Jeffrey Mayer, © Jeffrey Mayer Photography.

“I mean, I’d rather have Willie Weeks‬ on bass than ‪Paul McCartney‬. I mean, that’s the truth, with all respect to Paul.” - George Harrison, pre-tour press conference, 23 October 1974

“George absolutely took the press to heart [during the Dark Horse Tour]. […] But in spite of all that, he remained very kind to all of us, always. He’d pull little surprises. You’d check into your hotel room, and there was no telling what would be waiting for you there. 
It was the classiest tour I’ve ever been on, the best hotels, the best everything. He wanted to make everybody happy. It was beautiful.” - Willie Weeks, Here Comes The Sun: The Musical and Spiritual Journey of ‪George Harrison (x)

Q: “The 1974 tour came under a lot of criticism.” Jim Keltner: “Yes it did. People didn’t know what to make of it. They paid to see George, they didn’t know Ravi Shankar, they didn’t know that Ravi had India’s finest musicians up there with him. It was like seeing Ravi with a big band, no one had seen that before. The only way you could see that is if you went to Bombay, on some sound stage. He literally brought those guys all together and put them on a big stage in America. It was something! There was a lot of criticism, but there were probably a lot of people won over as well, people who were awed.‬ […] By the time I joined, it was already different. George had to tell Ravi about the criticism that it was taking too long. They were doing it the proper way, setting it up and playing the very quiet and introspective stuff in the beginning, and they were losing the audience. So he had to do away with some of that. And it broke George’s heart, he knew it upset Ravi. But in any case, even with what they cut out, what they did leave in was more awesome than most of what those people will ever be blessed to see. Those people saw something very special.”

Q: “Why did you join the tour late?” JK: “I had been on another tour prior to that, and I really didn’t want to tour anymore, I didn’t want to leave home again. I told George I was tired of it. But George wanted his friends about him, he was very much a people person. It still just beaks my heart to think of him being gone… he was one of my closest friends. He cherished our friendship, and I cherished the fact that he cherished that friendship.” - The Dawn of Indian Music in the West (x)

“[During the Dark Horse Tour] he would look you in the eyes and wanted to know, ‘Do you like this? Are you having fun?’ [George] cared, he wondered how everyone was doing, and he wanted to know, ‘Are you happy on this tour, is this fun for you? This isn’t just a job, is it?’ You see, George was never relaxed, he was a worrier, and he was often preoccupied with worry. If something was wrong, he was always thinking, ‘Someone’s unhappy, what have I done wrong?’” - Andy Newmark, While My Guitar Gently Weeps: The Music of George Harrison (x)

[longliverockback]

John Lennon Double Fantasy [SACD] 1994 Mobile Fidelity Sound Lab ————————————————— Tracks: 01. (Just Like) Starting Over 02. Kiss Kiss Kiss 03. Cleanup Time 04. Give Me Something 05. I’m Losing You 06. I’m Moving On 07. Beautiful Boy (Darling Boy) 08. Watching the Wheels 09. I’m Your Angel 10. Woman 11. Beautiful Boys 12. Dear Yoko 13. Every Man Has a Woman Who Loves Him 14. Hard Times Are Over —————————————————

Arthur Jenkins, Jr

John Lennon

Tony Levin

Hugh McCracken

Andy Newmark

Yoko Ono

Earl Slick

George Small

Ed Walsh

* Long Live Rock Archive

[dreampoetryvisions]

NOBODY TOLD ME. (Ultimate Mix, 2020) - John Lennon (official music video HD) Intergalactic Radio Station wwwrhythmsectiongatlinburgcom [https://ift.tt/u7LXvEg] JOHN LENNON. GIMME SOME TRUTH. THE ULTIMATE MIXES. The Very Best of John Lennon. 36 tracks completely remixed from the original multitracks in Stereo, 5.1 and Dolby Atmos. Listen to JOHN LENNON like you've never heard him before. OUT NOW → http://bit.ly/JL-GST NOBODY TOLD ME Everybody's talking and no-one says a word Everybody's making love and no-one really cares There's Nazis in the bathroom just below the stairs Always something happening and nothing going on There's always something cooking and nothing in the pot They're starving back in China so finish what you got Nobody told me there'd be days like these Nobody told me there'd be days like these Nobody told me there'd be days like these Strange days indeed Everybody's running and no-one makes a move Well, everybody's a winner and nothing left to lose There's a little yellow idol to the north of Katmandu Everybody's flying And no-one leaves the ground Well, everybody's crying And no one makes a sound There's a place for us in movies You just gotta lay around Nobody told me there'd be days like these Nobody told me there'd be days like these Nobody told me there'd be days like these Strange days indeed Most peculiar, Mama Everybody's smoking - no one's getting high Everybody's flying and never touch the sky There's UFOs over New York and I ain't too surprised Nobody told me there'd be days like these Nobody told me there'd be days like these Nobody told me there'd be days like these Strange days indeed Most peculiar, Mama Roll! Written by John Lennon Vocals: John Lennon Guitars: John Lennon, Hugh McCracken, Earl Slick Bass Guitar: Tony Levin Drums: Andy Newmark Piano: George Small Percussion: Arthur Jenkins From the John Lennon & Yoko Ono album 'Milk and Honey' (recorded 1980) John Lennon Signature Box contains 9 Albums, all the singles, a disc of rarities & a book from Yoko, Julian & Sean. Available on Amazon: http://bit.ly/JLbox & iTunes http://bit.ly/JLboxi Video from Lennon Legend DVD: http://bit.ly/lenleg JL Videos on iTunes: http://apple.co/2hIilCu Notes from Lennon Legend DVD: A new (2003) video, edited from newly transferred footage and out-takes from John & Yoko's "Imagine" film and other previously unseen footage. It also features George Harrison, Dick Cavett, and Fred Astaire! The audio for this version is longer than the original album version. https://ift.tt/QBeKGzd

[rolloroberson]

Ronnie Wood “I’ve Got My Own Album To Do” cover session, featuring an all star cast, photographed by © Dick Polak. Rod Stewart, Ian McLagan, and Keith Richards lurk in the background while Mick Jagger, George Harrison, Mick Taylor, maybe even Paul McCartney and Bowie along with Andy Newmark and Willie Weeks appeared on the record or dropped by the Wick.

[myvinylplaylist]

John Lennon & Yoko Ono: Double Fantasy (1980)

Geffen Records

[mychameleondays]

John Lennon/Yoko Ono: Double Fantasy

Geffen GEF 99 131

Released: November 17, 1980

[harrisonarchive]

The Dark Horse Tour band, autumn (23 October?) 1974 (photos by Ed Caraeff, © Iconic Licensing); George and Olivia in Vancouver on 2 November 1974 (photos by Henry Grossman, screenshots from Living In The Material World, both the book and documentary).

The Dark Horse Tour kicked off on 2 November 1974. Musicians on the tour were: Chuck Findley, Tom Scott, Willie Weeks, Andy Newmark, Billy Preston, Alla Rakha, Ravi Shankar, Satyadev Pawar, Harihar Rao, Robben Ford, L. Subramaniam, Kamalesh Maitra, T.V. Gopalakrishnan, Hariprasad Chaurasia, Viji Shankar, Shivkumar Sharma, Lakshmi Shankar, Gopal Krishan, Kartick Kumar, Emil Richards, Sultan Khan, Rijram Desad, and George.

“He liked the 1974 tour, [George Harrison] said. ‘That is, except for the fact that I had too much work on that year. I was really tired and didn’t have a throat; I wasn’t physically in good condition. I thought the band was great. ‘I found the people who came to see it who didn’t have preconceived ideas enjoyed it. It was the people who came expecting to see the Beatles who didn’t enjoy it. That’s part of what I was trying to say, “I’m not the Beatles. I’m me, you know.”’” - Observer-Reporter, 8 December 1976

“[During] his 1974 tour, when, overworked, Harrison says, he felt at times like ‘a raving lunatic.’ Harrison produced three albums that year, including his own, then hustled to recruit 20 musicians from India and the West to play with him on tour. The crowning blow came when he blew out his voice in rehearsals. The guitarist justifiably notes that his blend of Eastern rhythms with rock ‘was ahead of its time,’ but many critics at the time didn't agree.” - Chicago Tribune, 13 July 1992

“He wasn’t going to quit, it just wasn’t the done thing, so he went on tour and took a lot of flak for not having a voice. He really took a beating, although some of it was self-inflicted. But he was out there. It was very brave to carry on.” - Olivia Harrison, Extra Texture 2014 remaster liner notes

“George was troubled when I met him. Everything in his life had changed at that point: getting divorced, Apple was in turmoil, he had his own personal demons. ‘74 was one of those breaking-through-the-sound barrier periods. You come through and it’s just quiet on the other side.” - Olivia Harrison, MOJO, November 2011

“Yeah, well after I split up from Patti[e], I went on a bit of a bender […]. I wasn’t ready to join Alcoholics Anonymous or anything — I don’t think I was that far gone — but I could put back a bottle of brandy occasionally, plus all the other naughty things that fly around. I just went on a binge, went on the road… all that sort of thing, until it got to the point where I had no voice and almost no body at times. Then I met Olivia and it all worked out fine.” - George Harrison, Rolling Stone, 19 April 1979 (x)

[adsmusiconstellations]

Yoko Ono - Nobody Sees Me Like You Do (Season Of Glass, 1981)

Official Audio / http://secretlycanadian.com

[hopebyperfectstrangers]

HOPE MUSICIANS & SINGERS

HOPE written by

Bermudian Tony Brannon and Barbadian James "Jimmy" Duncan

WILL LEE www.willlee.com

Bass

Will has played on more hit records than any bass player alive from The Bee Gees, Maria Carey, Carly Simon, Joan Armatrading, Barbara Streisand, Al Green, Michael Bolton Peabo Bryson, Dionne Warwick, Roberta Flack, Cher, Liza Minnelli, James Brown, Bette Midler, Cissy Houston, Ringo Starr, Chaka Khan, Barry Manilow.... the list goes on. Will was part of the Paul Shafer Orchestra on the David Letterman show for over 33 years from the 1st show in 1982 through to the end in 2015.

ANDY NEWMARK

Drums

This Bermudian has a list of credits including: Sly & The Family Stone, John Lennon, Eric Clapton, B.B. King, David Bowie, George Harrison, Pink Floyd, Carly Simon, James Taylor, George Benson, Roxy Music, David Gilmour & The Bermuda Jam.

DERIC DYER

Sax

Deric was raised in Bermuda and played, as a young man, in the Bermuda band The Altogether. His international career includes Tina Turner, Joe Cocker, John Miles, Belgium’s Night of The Proms with Roger Hodgson, Bryan Ferry, Al Jarreau, Tony Hadley and Andrea Bocelli.

MITCH CHAKOUR

Choir Arranger & Background Vocals

Mitch Chakour is a guitarist, keyboardist and music/vocal arranger in the Boston area and was the Musical Director for legendary Joe Cocker. Mitch also played for Peter Wolf & The J Geils Band for 5 years and a further 7 years with The J Geils Band.

TIM PIKE

Lead Vocal

Tim is a brilliant soul, blues & rock singer. Tim headed up vocals in Paul Allen's band

The Underthinkers (Paul Allen and Bill Gates were founding partners of Microsoft)

DAN REID Guitar

Dan is a guitarist and record producer. He has written music for the NFL, BBC, SKY SPORTS and has played on records by Will Young, Aled Jones & Light of the World.

JAMES "JIMMY" DUNCAN

Guitar, Keys, bv’s & co-writer of HOPE

Jimmy has been a part of the music scene in Barbados all his life. Drummer Andy Newmark introduced Tony Brannon to Jimmy in 1981. Jimmy's musical journey includes The Merry Boys, Ivory, The Splashband & Two Guitars. Jimmy wrote music for the James Bond movie Licensed To Kill, a song called Wedding Party via his friendship with composer Michael Kamen. Jimmy also recorded in 1981 with Paul McCartney in Barbados.

TONY BRANNON

Piano, Organ, Acoustic Guitar & co-writer of HOPE

Tony's musical career includes Bermuda club owner, Bermuda concert promoter and playing keyboards for Maxi Priest, Nils Lofgren (E Street Band) and numerous Bermudian bands.

THE HOPE SINGERS

Recorded by John Woolridge: Latosha Codrington, Samantha Smith, Dwayne Robinson & Wayne Caines

[oldieschool]

The Mysterious Flying Orchestra ‎– The Mysterious Flying Orchestra (1977) 00:00 - 07:01 01.Improvisational Rondo For Saxophone And Guitar Arranged By – Horace Ott Cello – Kermit Moore, Ronald DeVaughn Congas – Lawrence Killian Drums – Wilby Fletcher Electric Bass – Wilbur Bascomb Electric Guitar – Jerry Friedman, Larry Coryell Electric Piano – Don Grolnick Percussion – Bob Thiele, Guilherme Franco Saxophone [Soprano] – Steve Marcus Viola – Al Brown* Violin – Doreen Callender, Gene Orloff, Harry Lookofsky, Joseph Malignaggi, Julien Barber, Max Ellen, Noel DaCosta, W. Sanford Allen*, Selwart Clarke Written-By – Ott* 07:01 - 14:02 02.Shadows Arranged By – Horace Ott Cello – Kermit Moore, Ronald DeVaughn Congas – Lawrence Killian Drums – Charles Collins Electric Bass – Wilbur Bascomb Electric Guitar – Jerry Friedman Electric Piano – Lonnie Liston Smith Percussion – Guilherme Franco Saxophone [Tenor] – Bob Mintzer, Steve Marcus Trumpet – Jon Faddis, Lew Soloff Viola – Al Brown* Violin – Doreen Callender, Gene Orloff, Harry Lookofsky, Joseph Malignaggi, Julien Barber, Max Ellen, Noel DaCosta, W. Sanford Allen*, Selwart Clarke Written-By – Smith* 14:02 - 19:26 03.A Dream Deferred Arranged By – Glenn Osser Cello – Cal Fleisig, Michael Spivakovsky* Congas – Lawrence Killian Drums – Wilby Fletcher Electric Bass – Wilbur Bascomb Electric Guitar – Jerry Friedman Electric Piano – Don Grolnick Flute – Eddie Daniels Harp – Gloria Agostini Percussion – Guilherme Franco Trumpet – Jon Faddis, Lew Soloff Viola – Alan Shulman, Jesse Levy Violin – Emanuel Green, Gene Orloff, Harry Lookofsky, Joseph Malignaggi, Julie Held, Leo Kahn, Max Cahn, Sylvan Shulman Written-By – Thiele*, Osser* 19:26 - 24:48 04.Summer Days Acoustic Guitar – Gene Bertoncini Arranged By – Horace OttCello – Kermit Moore, Ronald DeVaughnCongas – Lawrence Killian Drums – Andy Newmark Electric Bass – Wilbur Bascomb Electric Guitar – Richard Resnicoff Electric Piano – Pat Rebillot Flugelhorn – Burt Collins, Jon Faddis, Lew Soloff, Victor Paz Flute – Donald Smith Percussion – Bob Thiele, Guilherme Franco Saxophone [Baritone] – Babe Clarke*Saxophone [Soprano] – Charlie MarianoSaxophone [Tenor] – Bob Mintzer, Eddie Daniels, Phil Bodner, Steve Marcus Trombone – Tony Studd Vibraphone, Percussion – George Devens Viola – Al Brown* Violin – Doreen Callender, Gene Orloff, Harry Lookofsky, Joseph Malignaggi, Julien Barber, Max Ellen, Noel DaCosta, W. Sanford Allen*, Selwart Clarke Written-By – Smith* 24:48 - 30:11 05.There Once Was A Man Named John Arranged By – Glenn Osser Cello – Cal Fleisig, Michael Spivakovsky* Congas – Lawrence Killian Drums – Wilby Fletcher Electric Bass – Wilbur Bascomb Electric Guitar – Jerry Friedman Electric Piano – Don Grolnick English Horn – Phil BodnerHarp – Gloria Agostini Percussion – Guilherme Franco Saxophone [Soprano] – Charlie Mariano Viola – Alan Shulman, Jesse Levy Violin – Emanuel Green, Gene Orloff, Harry Lookofsky, Joseph Malignaggi, Julie Held, Leo Kahn, Max Cahn, Sylvan Shulman Vocals – Teresa Brewer Written-By – Thiele*, Weiss* 30:11 - 36:39 06.Nice 'N Spicy Arranged By – Horace Ott Clavinet – Leon Pendarvis Congas – Lawrence Killian Drums – Charles Collins Electric Bass – Wilbur Bascomb Electric Guitar – Jerry Friedman Electric Piano – Don Grolnick Flute – Eddie Daniels Percussion – Guilherme Franco Saxophone [Tenor] – Bob Mintzer, Steve Marcus Trumpet – Jon Faddis, Lew Soloff Written-By – Ott*

[diceriadelluntore]

Storia Di Musica #69 - Carly Simon, No Secrets, 1972

Il disco di oggi contiene una delle canzoni più famose di tutti i tempi. Arriva anche molto presto nella carriera di Carly Simon, che di gavetta ne aveva già fatta. Figlia di una ricca famiglia newyorkese (il Signor Simon suo padre fu il fondatore della grande casa editrice Simon&Schuster) ha sin da adolescente una passione per la musica. A metà anni sessanta con la sorella Lucy si esibisce nei locali folk di New York come Simon Sisters e nel 1964 una loro registrazione, Winkin’, Blinkin’ And Nod arriva anche in classifica. Lucy si sposa e abbandona i palcoscenici fino a metà anni ‘70, quando inizierà a scrivere con successo musiche per gli spettacoli di Broadway. Carly ha però un’occasione colossale quando Albert Grossman, famoso produttore, le organizza delle sessioni con Robbie Robertson, Rick Dando e Richard Manuel della The Band, Al Kooper, Mike Bloomfield e persino l’aiuto di Dylan ai testi, ma le divergenze con il produttore mandano tutto all’aria. Si ritira per alcuni anni, salvo riapparire nel 1970 quando con l’aiuto di un famoso critico cinematografico dell’Esquire, Jacob Brackman, inizia a scrivere e aggiustare canzoni. Nel 1971 il debutto: registrato agli Electric Ladyland Studios di New York da Eddie Kramer, l’ingegnere del suono di Jimi Hendrix, l’omonimo Carly Simon, trascinato dal singolo That’s The Way I’ve Always Heard It Should Be, le apre le porte del successo, coronato l’anno successivo dalla vittoria del Grammy come miglior nuova voce femminile. Il successo è travolgente, e la Simon ne sfrutta l’onda con Anticipation nello stesso anno, il cui singolo Anticipation, usato per famosi all’epoca spot commerciali, racconta delle sue sensazioni in attesa di avere un appuntamento con Cat Stevens. L’album vende tantissimo e la Simon è ormai un’artista apprezzata per il suo gusto musicale, la sua voce calda e magnetica e per la sua bellezza, tanto che iniziano a circolare voci di relazioni con alcuni tra i nomi più importanti del panorama musicale. Nel 1972 la Simon va a Londra per registrare il suo nuovo disco: ad accompagnarla James Taylor, suo fidanzato e futuro marito l’anno successivo. Dopo due dischi di successo l’attesa è elevata e i due chiamano il meglio in produzione: Paul Buckmaster dirige un gruppo di tecnici e soprattutto musicisti che fanno la fila per lavorare con l’artista del momento. In No Secrets infatti suonano Andy Newmark (già con Sly & The Family Stone e poi batterista di fiducia di John Lennon), Peter Robinson, il basso leggendario di Klaus Voorman (che fu anche disegnatore, sua la leggendaria copertina di Revolver dei Beatles nel 1966), in una canzone Lowell George e Bill Payne dei Little Feat e ai cori in una canzone, Night Owl, già incisa da James Taylor, perfino Paul McCartney e Linda Eastman, che diventerà grande amica di Carly. Il disco vuole enfatizzare le scelte di gusto che la Simon aveva già fatto con gli album precedenti, in bilico tra un pop sofisticato e canzoni più elaborate in stile Joni Mitchell. L’album si apre con la delicata The Right Thing To Do, dedicata a Taylor, e contiene alcune canzoni davvero belle come We Have No Secrets, Waited So Long, When You Close Your Eyes e la già citata Night Owl. Ma una canzone diventerà davvero iconica, una delle canzoni del secolo. You’re So Vain, con il suo inizio mitico di basso (opera di Voorman), i violini di Buckmaster e quel ritmo irresistibile diviene mitica per tre motivi: in primis, per le leggende che iniziarono a girare su chi fosse il protagonista del brano, un elegante mascalzone sciupa-femmine, che molti indizi suggeriscono fosse Warren Beatty, anche se la Simon non ha mai confermato; il testo è famoso per alcune invenzioni della Simon, tra cui la sciarpa color albicocca, la gavotta (gavotte) evocata nella prima strofa, che è una danza francese originaria della regione del Gap (i cui abitanti sono detti gavots) e che in questo caso ha valore metaforico di pretenzioso, di uomo troppo in fiducia di sè ma soprattutto il famoso verso clouds in my coffee, metafora di sogni infranti e illusori, da allora diventato un modo di dire; nei cori, riconoscibilissimi dal secondo ritornello, ci sono Mick Jagger e Harry Nilsson, altri due indiziati dal gossip come destinatari del brano. Sia come sia il disco vende tantissimo, e il successo si ripete nel 1974 con Hot Cakes, uno dei dieci dischi più venduti d’America quell’anno, trascinato dal singolo Mockinbird cantato con James Taylor. I successivi sono anni di colonne sonore (come Nobody Does It Better per il film di 007 La Spia Che Mi Amava), la partecipazione al grande concerto No Nukes e molte canzoni che perdono lo smalto dei primi dischi e virano pericolosamente sull’easy listening. Negli anni ‘80 divorzia dal marito ma, dopo un disco interessante, Torch, dove pesca nel grande repertorio jazz, il lampo: nel 1989 vince l’Oscar come miglior tema di colonna sonora con Let The River Run, colonna sonora di Una Donna In Carriera con Melanie Griffith e Harrison Ford. La Simon diventerà paladina della prevenzione contro il cancro al seno dopo che ella stessa ne fu malata, e di tanto in tanto ritorna con lavori di classico pop retrospettivo: lontano dal clamore e dal talento di quegli anni ruggenti dove cantò in maniera indimenticabile la vanità di qualcuno che aveva conosciuto.