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John Lennon and Adelaide: A Love Story

Jimmie Nicol, a Ringo "lookalike", John, Paul and George in Adelaide
Jimmie Nicol, a Ringo “lookalike”, John, Paul and George in Adelaide

Adelaide can rightly claim to have honoured—and even enriched—Lennon’s life at times. For instance, Adelaide astronaut Andy Thomas used to enjoy listening to Sgt. Pepper’s in space. And in 1964, the Beatles had the biggest reception of their career, with 300 000 fans screeching like corellas along Anzac Highway to the Adelaide Town Hall.

Lennon described the Adelaide crowd as bigger than New York.

George Harrison and Paul McCartney both returned to Adelaide more than once in later years. Although tonsillitis prevented Ringo Starr from making it to Adelaide in ’64 (and made Jimmy Nicol an instant Beatle), Starr finally found his way here in 2013.

Lennon never revisited Adelaide, but Adelaide kept visiting Lennon.

Adelaide cameraman John Howard filmed the Beatles in Adelaide and also co-filmed the Beatles song ‘Revolution’ in London’s Twickenham Studios in 1968. During a break, Lennon approached Howard. They discussed Adelaide and Lennon said: “Jesus. I’ve never seen so many bloody people in my entire life.”

One of those bloody people, in the crowd at Adelaide Town Hall, was Chantal Contouri. The future international film and TV star found herself suspended from Adelaide High for escaping school to see the Beatles. Unfortunately for her, a front-page story in The Advertiser had quoted Contouri as saying “my school is a prison”.

Fast forward to London, 1969. Contouri was working as a waitress at the exclusive Revolution Club. She rubbed shoulders (and her pink suede boots) with the likes of the Rolling Stones, Raquel Welch and bands of brothers famous and infamous, from the Bee Gees to the Krays.

At the Revolution Club, Contouri became friendly with Lennon, who called her by her nickname, Chunky. He was unfailingly nice and polite and always said “thank you” to her.

Contouri arranged for a nervous Molly Meldrum to enter the club and meet Lennon for the first time. Meldrum proceeded to fall over and spill a drink on John and himself. Says Contouri: “John just laughed and then invited him to sit down.” A good friendship was born, thanks to an Adelaidean midwife.

A fellow Adelaide youth who saw Lennon in Adelaide and then London was Jim Keays, the charismatic frontman from Masters Apprentices. In ’64, Keays watched the Beatles travel in their open-top car along Anzac Highway. He froze when Lennon looked straight at him.

In 1970, Lennon made Keays freeze again. Keays was recording an album with the Masters at Abbey Road at the same time Lennon was recording his first solo album. Keays was left speechless when Lennon stood alongside him to pee at the Abbey Road urinal. “Because it was John Lennon, I couldn’t utter a syllable, and I went ‘Aaah, aah, waah, waah!’ And he finished his wee and walked out.”

Another time, Keays sneaked into Abbey Road’s Studio Two, where the Beatles recorded. He thought everyone was at lunch. To his surprise, Lennon was alone in the studio, so Keays hid behind some speakers and watched. “Lennon was fiddling around with a song, and he was singing, ‘A working-class hero is something to be.’ I thought, ‘Ah, that sounds good.’”

In a strangely similar pattern, Glenn Shorrock, lead singer with the Twilights and Little River Band, also experienced the Beatlemania on Anzac Highway. He then heard the Beatles record ‘Penny Lane’ at Abbey Road in 1967.

Shorrock, whose songs were ultimately produced by Beatles producer Sir George Martin, would later switch roles when Lennon listened to Shorrock’s music.

Enter May Pang. Lennon’s lover from 1973 to 1975 during his so-called lost weekend, Pang claims that she and Lennon continued to have secret trysts after Lennon and Ono re-united.

Jim Keays recreating his bathroom encounter with John Lennon. Photo: Michael X. Savvas

“In 1978,” says Pang, “John called me and asked me to come by for a visit. He told me there was a song on the radio that stuck in his head because it reminded him of us. He couldn’t remember the words, but he did know the tune and hummed it to me. That tune was ‘Reminiscing’ by [Adelaide’s] Little River Band, which surprised him. That became an ‘our song’ for us, and as it turned out, the last. Today, every time I hear the song, I know ‘Dr Winston O’Boogie’ is around.”

John Lennon’s son Julian is also convinced his father has shown him he’s still around. John had told him that after he died, he would reveal his presence through a white feather.

When Julian Lennon came to Adelaide in 1998, Aboriginal elders of South Australia’s Mirning people met him at Glenelg’s Grand Hotel. They presented Julian with a white feather (unaware of John’s statement about this). Julian felt John was watching over him, and as result, started his White Feather Foundation.

Perhaps John Lennon had revisited the site of his band’s greatest reception after all. 

Michael X. Savvas is co-author (with daughter Olivia Savvas) of One Dream Ago: The Beatles’ South Australian Connections (Single X Publications, 2010).

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12th October 1962: Little Richard and The Beatles

Little Richard with The Beatles
Little Richard with The Beatles
Little Richard with The Beatles

The Beatles and Little Richard

Little Richard was The Beatles hero.

Out on stage was a lone black grand piano. Lined up behind it was Sounds Incorporated: two sax players, a guitarist, a bass player, drummer, and keyboard player with a Vox Continental electronic organ. All the musicians white guys, yet they looked so damn cool, so hip, in shiny Italian suits and real American ‘shades’. Their bodies, heads, hands, feet in ever-fluid locomotion, readying the audience for what was to come. Pumping out a single, pulsing, bass-heavy chord, over and over again, that made everything electric.

The atmosphere fully charged, crackled for release.

Bob Wooler Production

Bob Wooler’s voice purred into the microphone. His dulcet tones like shiny-black fur on a cat. A sudden wave of clapping and cheering, all but eclipsed his words: “Ladies and Gentlemen, NEMS Enterprises presents ‘A Bob Wooler Production’.” A roar erupted, enough to blow the roof off. “It’s the brightest star in all the Rock ‘n’ Roll galaxy! It’s…Little Richard…at the Tower!”

Then there he was. Little Richard.

Little Richard – Yeah, Yeah, Yeah!

Twisting. Twirling. Leaping. Strutting. Careening from one side of the stage to the other. And not one word yet, sung or screamed. There was only him—Little Richard. Black. Beautiful. Hair ‘conked’, moustache pencil-thin, smile utterly radiant; a rocking body not of this world; a whirling mass of energy—whooping, wheeling, waving, and bouncing nonstop. His sharkskin suit, shiny, sharp, attracting all eyes, both male and female.

And just when it seemed that nothing could cut through the riot and pandemonium in the auditorium, Richard skidded to a stop, twirled, and screamed: “Do you wanna hear it?”

The drummer cracked the snare. Richard screamed: “Yeah?” Everyone in the place screamed: “Yeah!”

Richard twirled, dived; screamed again: “Do you gotta hear it?” Screamed again: “Yeah?” Everyone screamed back: “Yeah!”

Richard shouted: “Do I gotta give it to you?” The crowd shouted: “Yeeeah!”

Lordy, Lord-dee

Then Richard let loose with a scream to end all screams—a long, drawn-out sound that slid up the scale, higher and higher and higher, until it broke into: “Lordy, Lord-dee, Lord-deee, Lord-deeee…Yeeeeaaaah!

Before the sound had time to echo off the walls, Little Richard ran full-pelt across the stage¾sliding, sliding, sliding¾until, magically, he came to a stop right beside the grand piano.

Aaaah-wop…bop-aah-wop!

He spun around, hit every note on the keyboard with a thundering hand and just stopped dead, a lone finger sounding, ringing out the lowest bass note. Then he threw back his glistening head and gave forth with a wild fevered cry that hit you like a drumstick in the eye. “Aaaah-wop…bop-aah-wop!”

Saxes, guitars, electronic organ, and drums slammed down the first beat of the bar. A wall of rocking, rolling, pulsating sound crashed over him like a tidal wave heralding the end of the old world and the coming of the new.

Tutti-Frutti

“Aaaah…Tutti-Frutti…” The magical incantation repeated over and over and over again until the last incandescent full-throated call for everyone to rock ‘n’ roll.

“Aaaah-wop…bop-aah-wop…bop-aah…Whoooooo!”

Little Richard stood at the keyboard his hands pounding up and down like pneumatic drills. Tireless. Relentless. Unstoppable. Hammering on and on and on. Smashing the piano keys with fists, elbows, his backside and his feet. Screaming, calling, whooping, squealing, singing songs Spike had only ever heard coming out of jukeboxes and record players. Singing with such force, such passion, such belief, it turned rock ‘n’ roll into a living breathing entity you’d willingly give your life to for as long as you lived.

Ripped It Up

Richard sang all his hits. He rocked it up. He ripped it up. He shook it up. He balled it up. He sang so long and so loud it made Spike’s ears ring and his head spin. And the only prayer Spike could pray was: “Dear God, please never ever let Little Richard finish. And if I gotta die, take me right now, right out of this towering cradle of rock.”

Boom-boom-boom-boom…Aaaah-lop-bam-boom!” 

Paul McCartney

PAUL McCARTNEY was in seventh heaven because, after Elvis, Little Richard was his ‘number one man’ and he the ‘number one fan’ and every time Richard squealed, whooped or screamed, he did, too. And for one magical moment, he was free to be a rocking schoolboy again, his heart filled to bursting with happiness and joy. Unable to contain himself, wanting to share the moment, he glanced over at John, a huge grin on his face.

John Lennon

JOHN LENNON—a huge grin on his face, too—stood, arms crossed, eyes narrowed, oblivious to all but Little Richard. Nodding in time to the beat. Not missing a thing. Marvelling at the black singer’s effortless display of command. Full of admiration at how Richard could hold the entire audience with a look, a nod, a grin, or a sneer. Then get everyone going again with a single shake of his head or a simple falsetto ‘Whooooooo!

Brian Epstein

BRIAN EPSTEIN nodded his head, almost in time with the beat. He couldn’t help but smile and feel more than a little pleased with himself. His ‘boys’ were playing the same stage as the great Little Richard and had more than held their own. It was nothing less than the passing of the torch, from one legend to the next, just as he’d always envisioned. Smiling, he turned, stopped short, stood staring at a good-looking young man in an ill-fitting stage suit. It was the same boy he’d seen coming out of Rex Makin’s office; the one he’d seen that night, in Hamburg; the one he’d been meaning to call. “Excuse me, but I think we’ve met somewhere, before, haven’t we?”

Tony Broadbent

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The Beatles: In My Life

The Beatles In My Life
The Beatles In My Life
The Beatles “In My Life”

“In My Life” from Rubber Soul

“In My Life” is one of the most critically acclaimed Beatles songs, and one that John Lennon himself, so exacting and self-critical, called “my first real major piece of work.” The song was written in 1965, in part spurred by a conversation he had with a British journalist named Kenneth Allsop. Commenting in the David Sheff biography All We Are Saying, Lennon talked about the song:

I think “In My Life” was the first song that I wrote that was really, consciously about my life, and it was sparked by a remark a journalist and writer in England [Allsop] made after ‘[Lennon’s book] In His Own Write came out…. But he said to me, “Why don’t you put some of the way you write in the book, as it were, in the songs? Or why don’t you put something about your childhood into the songs?” Which came out later as “Penny Lane” from Paul – although it was actually me who lived in Penny Lane – and “Strawberry Fields.”

John Lennon on “In My Life”

Lennon first started writing lyrics as if he were on a bus from home, mentioning all the things he saw. He quickly saw that this was not working. From the same interview for All We Are Saying:

                And it was ridiculous…. [I]t was the most boring sort of “What I Did on My Holidays Bus Trip” song and it wasn’t working at all. I cannot do this! I cannot do this!

But then I laid back and these lyrics started coming to me about the places I remember. Now Paul helped write the middle-eight melody. The whole lyrics were already written before Paul had even heard it…. [His contribution melodically was the harmony and the middle eight itself].

Recording “In My Life”

When it came time to record the finished song in the studio, Lennon asked producer George Martin if he could write a Baroque-influenced piano solo for the song. Martin did this with beautiful Bach-sounding section that he could not play well at the tempo of “In My Life.” So, as an experiment, the solo was recorded at half speed, then played back at full speed and higher in pitch. It sounded not like a piano, but a harpsichord, and it worked memorably.

The song’s origin has often sparked speculation, parlor game style, about who Lennon was writing about. He never spoke of this, but years later Yoko Ono said that John wrote it for Paul. And over the years, it has been covered by innumerable artists, including Bette Midler. She didn’t sing “In My Life” then, but it would have fit.

What Can We Learn?

In challenging times our task is somehow to continue to do what we can, day by day, to be whole. Perhaps this can be nurtured by some reflection on “the people and things” that have mattered to us, that can help sustain us when it can feel like we are in basic survival mode. 

Tim Hatfield

Discover the meaning behind Beatles songs and how we can apply these lessons in our own lives in Tim’s great book.

httpss://www.youtube.com/watch?v=mBqqeqcJM_0
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The Beatles Merchandise: the Beatles Banjo?

The Beatles banjo
The Beatles banjo
The Beatles banjo

Beatles Merchandise – Part 2

Beatles merchandise was the subject of so much interest and fascination in the 1960s.

Beatles-themed musical instruments became hot ticket items to manufacture in the mid-1960s. One piece that went into production was the banjo. It seemed to be a stretch in keeping with the theme since the band did not feature that musical instrument. However, it did have a legendary connection to John Lennon, as his mother, Julia, taught him to play Buddy Holly’s classic, That’ll Be The Day, on her banjo. This appreciation of a stringed instrument carried his fascination over to the next instrument…the guitar.

The Beatles Banjo with its packaging
The Beatles Banjo with its packaging

The Beatles Banjo

Mastro Musical Instruments in New York manufactured the 22″ long (56cm) piece. The instrument had four strings, accompanied by an instruction booklet (labeled as a “self-teaching method”). The creation was gold and cream with four headpins and a bridge. Along with facsimile signatures, the banjo’s white head exhibited headshots of each member of the group in either red or blue ink. The description on the skin read “The Beatles Banjo” with “Mastro Industries…The Beatles…Made in the U.S.A. under license.” The gold headstock displayed the words “Mastro Banjo” in red and blue ink.

Advert for The Beatles Banjo
Advert for The Beatles Banjo

Licensed by NEMS

The plastic banjo arrived either in a cardboard box or attached to a colorful sealed card. The creamy cardboard Mastro Banjo box measured 23½” x9½” x3¾” (59.5cm x 24cm x 9.5cm) and displayed a red and black print. Licensed by NEMS, the banjo initially sold for around $12. Additionally, Mastro included an official leaflet from Mastro, and it advertised various instrumental Beatles items for sale, including the Banjo, Bongos, and a Drum.

Mastro Industries Incorporated was located at 3040 Webster Avenue, New York 67, New York 10467. Their telephone number in the Sixties was 212-KI-7-5600.

Terry Crain

Read PART! here

Discover this and many more stories in Terry Crain‘s excellent book on Beatles Merchandise

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The Beatles: “Love Me Do”. Did Ringo Play on their First Single?

The Beatles first single, "Love Me Do"
The Beatles first single "Love Me Do"
The Beatles “Love Me Do”

5TH OCTOBER 1962: THE BEATLES FIRST SINGLE IISSUED ITHE UK

After the first session with George Martin on 4th September 1962, Martin decided to bring in a session drummer. As a result, Andy White was recruited for the second session a week later.

“RINGO DIDN’T DRUM ON THE FIRST SINGLE”

Paul was convinced that Ringo didn’t play drums on the group’s first Parlophone single, “Love Me Do” – and Ringo agreed. But, history has shown that he was indeed on the UK single release. Considering that Andy White was hired to drum on the recording, there are questions. Was Ringo’s version mistakenly released on the UK single? After all, the White version of “Love Me Do” appeared on The Beatles’ debut studio album Please Please Me, the UK EP release The Beatles’ Hits, and also on their U.S. single release.

“Love Me Do” The Beatles’ first single released on 5th October 1962

WAS IT RELEASED BY MISTAKE? ANY EVIDENCE?

If the Ringo version wasn’t considered good enough after 4th September, why release that first version? Neither George Martin nor Ron Richards were sure if it was selected intentionally or not.

Releases of “Love Me Do” issued after The Beatles’ Hits on 21st September 1963 contained Andy White’s version. Why? The original master recording of Ringo’s version of “Love Me Do” destroyed or recorded over. EMI only had Andy White’s 11th September recording to use. It was the only remaining – and arguably the superior – version. When “Love Me Do” was released in the U.S. in April 1964, it was Andy White’s version that was used.

MCARTNEY NOT MCCARTNEY!

A further mistake was made when 250 promo discs of “Love Me Do” were released, misspelling Paul’s name as McArtney; something he was used to in Mersey Beat. One of these discs was sold in October 2017 for $14,757, the most expensive 7-inch single ever sold.

50TH ANNIVERSARY MISTAKE?

In a twist of fate – or was it an inside joke – when Apple decided to reissue “Love Me Do” on the 50th anniversary, they initially used Andy White’s version. They then had to quickly recall those records, so that Ringo’s version could be issued.

The final piece of evidence is one of omission. With the group’s popularity increasing, why did they not ask Ringo to re-record “Love Me Do” for the album? The conclusion is that Ringo’ version was most likely released by accident. That is not uncommon in the recording industry, even today. Nothing else really makes sense.

Excerpt from Finding the Fourth Beatle the story of the 23 drummers who put the beat into The Beatles

David Bedford

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The Beatles “Nowhere Man” on Rubber Soul

Nowhere Man by The Beatles
"Nowhere Man" by The Beatles on Rubber Soul
“Nowhere Man” by The Beatles on Rubber Soul

“Nowhere Man”

What was the story behind “Nowhere Man” by The Beatles?

John Lennon wrote “Nowhere Man” when he was struggling, as was Paul McCartney, to write new material for the album that eventually became Rubber Soul.

Lennon was working at home in Weybridge, feeling isolated and unproductive. In his biography All We are Saying, David Sheff quoted Lennon’s recollection of that time:

I’d spent five hours that morning trying to write a song that was meaningful and good and I finally gave up and lay down. Then “Nowhere Man” came, words and music, the whole damn thing, as I lay down.

So, at least at that moment, it was Lennon himself who was going nowhere, doing nothing. But something beautiful came of it, indeed. In the studio in October 1965, John, Paul, and George began with the harmonious a cappella introduction, John double-tracked his lead vocal, and the group pestered the recording engineers to make the guitar sound as trebly as they could. Add to that George and John’s tandem guitar solo, followed by the one perfect little note that sounded like a bell, and you have the makings of a beautiful song. It remained in the Beatles’ on-stage repertoire, too, all the way to their last concert performance in San Francisco’s Candlestick Park in late August of 1966.

There must be moments while enduring the uncertainties of the hard times in our lives that we all feel like we, too, have been stopped in our tracks. It’s up to us to persevere, though, until we ourselves or someone else lends us a hand.

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Listen Now to “Nowhere Man” by The Beatles

httpss://www.youtube.com/watch?v=8scSwaKbE64