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Although not lucrative, our south-of-England residencies proved a success for us in other ways as we built up loyal followings in both Bournemouth and on the Isle of Wight, much as we had at the Marquee. Again, this was encouraging as we knew we were always welcome, unlike some of the out-of-the-way places we played where we may as well have come from Mars for all the audience knew (though we probably didn’t play them ‘Mars’, being out-of-town folk and all).

*

All the groups travelled with their equipment on the ferry, the gear having been loaded in to a removal van. We then all piled in the back of this removal van at the other end for the ride to the gig (often both bands and crew together). Bouncing about in the back, it was not unusual to see my drum cases used as a makeshift table to roll makeshift joints.

The man whose removal van it was (a company called Mews and based on the island) became our regular Mr Shifter and got to know us quite well in a bemused sort of way, for example calling me ‘the vicar’ because of the stand up collar on a ‘shorty-mac’ that I always wore at the time.

Our removal van man was not always so jocular, though, and wasn’t averse to creating a bit of drama. Around this time Dave was becoming more aloof and it had become his habit not to join in manhandling the equipment on to the van. On one particular hot Sunday morning it was time to load the van up to catch the ferry back to Bournemouth, and Dave was doing his latest not-doing-anything-to-help type of thing. I took exception to this and decided that, if that was how it was going to be, I wouldn’t do anything either. It was a sort of childish protest, but I felt I had to make a stand. As it turned out, I wasn’t very good at it.

The bloke whose responsibility it was to get us and his van on to the ferry before it sailed was slogging away, loading amps and shouting at me to get my arse in gear. When I didn’t respond, he flew at me, literally picking me up by my shirtfront to shake me into action. That did the trick. I’m pretty sure that Dave still didn’t join in, it didn’t register with him at all, and I lost half of my shirt buttons.


http://tiny-files.com/5cae3ffb2533b95d62ab87b0/5137605/At%20the%20Birth%20of%20Bowie--L...

‘It was almost as if I was committing an unholy act’

Paul’s legal action was launched on New Year’s Eve 1970, in the Chancery division of the High Court in London. A writ issued in his name against the other three Beatles and Apple Corps sought ‘a declaration that the partnership business carried on by the plaintiff and the defendants under the name of the Beatles and Co., and constituted by a deed of partnership dated 19 April, 1967, ought to be dissolved and that accordingly the same be dissolved’.

In an accompanying personal affidavit, Paul said he’d been ‘driven to make this application because (a) the Beatles have long since ceased to perform as a group, (b) the defendants have sought to impose on me a manager who is unacceptable to me, (c) my artistic freedom is liable to be interfered with as long as the partnership continues and (d) no partnership accounts have been prepared since the Deed of Partnership was entered into’.

His writ further sought the appointment of an official receiver – a measure normally adopted in bankruptcy cases – to take charge of the Beatles’ finances pending a final resolution of the case. The implication, therefore, was that Apple was insolvent and Allen Klein unfit to handle the Beatles’ finances. ‘It was the only way to get the money out of Klein’s hands,’ John Eastman says. ‘Dissolving the partnership, I knew, would be pretty straightforward, but getting a receiver in a case like that was a very rare and extreme measure. At the beginning, no British lawyer I approached would take the case.’

Eastman rose to the challenge, feeling more than his brother-in-law’s finances to be at stake. ‘I knew that if I failed, it would be the end of my career . . . this preppy journeyman lawyer from New York had been seen off by the British establishment. So I set out to get us the imprimatur of the British establishment.’

Though Paul’s resources at this point were anything but bottomless, Eastman persuaded one of the City of London’s most powerful and exclusive merchant banks, N.M. Rothschild, to act as his bankers in the case. ‘They agreed to do it on the basis of £1.5 million in loan stock Paul held that wasn’t due to mature for five years.’ With that unbeatable imprimatur, Eastman began to assemble a legal team headed by a newly-qualified Queen’s Counsel, or ‘silk’, named David Hirst, a libel specialist who’d never taken on a commercial brief before.

The six months the case took to prepare seemed to confirm that the Beatles’ creative partnership was no more. In that time, each of the others released an album under his own name which seemed as much a declaration of independence as McCartney had been – but enjoyed notably greater critical success.

September had brought Ringo’s second solo album, Beaucoups of Blues, actually a collection of country songs which one American critic ranked with Bob Dylan’s Nashville Skyline. In November came George’s monumental triple-disc All Things Must Pass,

http://tiny-files.com/5cacbe0e2533b95d62ab5e51/14336878/Paul%20McCartney%3A%20The%20Bio...

This collection of over fifty years of writing about the South and its music by Stanley Booth, one of the undisputedly great chroniclers of the subject, is a classic, essential read. Booth's close contacts with many of the musicians he writes about provide a gateway to truly understanding the music and culture of Memphis and other blues strongholds in the South. Subjects include Elvis Presley, Otis Redding, William Eggleston, Ma Rainey, Blind Willie McTell, Graceland, Beale Street and much more.

http://longfiles.com/8bcu4j9uvs22/Red_Hot_and_Blue_Fifty_Years_of_Writing_About_Music,_...

http://longfiles.com/87o6jzqx6w2y/Mother_of_Rock_The_Lillian_Roxon_Story.epub.html

From the pubs of the Sydney Push to New York's legendary nightclubs, Lillian Roxon set the pace for an era that changed the world.

Audacious, independent and fiercely intelligent, by eighteen she was cutting her writing teeth in the colourful world of Sydney tabloid journalism. She moved to New York in 1959, just in time for a cultural revolution that celebrated youth, sexual freedom, women's liberation - and rock and roll.

Roxon quickly became the centre of a circle that included Andy Warhol, Lou Reed, Jim Morrison and David Bowie. Linda Eastman confided in her about her first dates with Paul McCartney. Germaine Greer dedicated The Female Eunuch to her. Roxon's Rock Encyclopedia, published in 1969, was the first book of its kind and established her as a leading chronicler of rock and youth culture. When she died suddenly in 1973, she left behind a collection of work full of the energy, irreverence and idealism of her times.

Drawing on Roxon's personal papers and extensive interviews with those who knew her, Mother of Rock is a riveting portrait of an Australian trailblazer. It also contains a generous selection of Roxon's own writing, including extracts from her Rock Encyclopedia, which revolutionised the way rock music was perceived.

'This book is dedicated to Lillian, who lives with nobody but a colony of New York roaches, whose energy has never failed despite her anxieties and her asthma and her overweight, who is always interested in everybody, often angry, sometimes bitchy, but always involved ...'-Germaine Greer, The Female Eunuch

'Germaine Greer in London has just written a book called The Female Eunuch with lots of four-letter words. She is seven feet tall and a bully and about the only female I know who is NOT a eunuch.'-Lillian Roxon, 1970

"Robert Milliken has taken this bright and shining life and allowed it to live again. The research is immaculate and the style and crafting of it a fitting tribute to someone of whom we should all be more aware." - Courier Mail

'I don't think I'd ever have written a song if it weren't for Lillian. I have to attribute to her my first awareness of the women's movement, and the fact that it might be OK to write something and show it to someone without being laughed off the planet.'-Helen Reddy

'Lillian represented Sydney. That very lucky, fearless kind of experimentation with everything, whether it was thoughts or style. It belonged to Sydney.'-David Malouf

Robert Milliken is a Sydney-based journalist and author.

Instead of returning to my office I went home and wrote a reply to be faxed straight back to him:

Danny,

Thanks for your fax of 10/02/90. I was beginning to give you up. Difficult questions Danny.

1) A question I’ve often asked myself. I operate a successful commercial and industrial photographic business here in Cambridge which was established 10 years ago. I am also a freelance photojournalist with a reputation to back it up. I am dedicated and determined to follow investigative journalism. It can be like ‘flogging a dead horse’ at times.

2) I am a 35 year old American without innate breeding and grateful for it. Therefore, I shall always remain an American. I have lived in many countries during my life and arrived in the UK late 1971. A somewhat boring story. I hope to return to the USA one day.

3) I am not responsible for that one.

4) Yes, recently returned from Paris. My interest there was not Alan Ronay or Agnes Varda, although it would be interesting to interview them. Hervé Muller is not on the top of my list. I am aware of his book and its contents. Prefer the pictures. My journey was to clear up the mystery surrounding Jim Morrison’s demise. My research is nearing completion but there are a number of details I am still awaiting confirmation on. What I do have however already contradicts what is known in the public domain. I have the documents.

With regard to an article or a book my options are open, but my talents are not for the written word. I appreciate good music and clever lyrics but I do not consider myself a “fan”.

I regret the ‘English trait of presumptuousness’ but you grow to be like the people you live and work with.

Kind regards, Bob.

https://tiny-files.com/5ccfe77bde992101b6b937f3/3951825/The%20End%20by%20Bob%20Seymore....

“C’mon, Chris, let’s go over to Keith’s.”

Mick and I were sitting on the floor of the wood-paneled study of the grand old Bel Air mansion I had rented for him. Bianca was out for dinner with friends, and their infant daughter, Jade, and her nanny, Sally, were upstairs in the nursery. The study was filled with deep-cushioned furniture and floor-to-ceiling bookcases. Heavy gold curtains lined the windows. Despite its elegance, though, the room had a musty, heavy, even slightly depressing feel.

I yawned and stretched. I was exhausted. I’d been working all day on the song lyrics for the Stones album Exile on Main street, and now the typed sheets were spread out in front of us on the floor as we listened to the acetates and checked them for accuracy. Mick had a pen in hand and was correcting the words I had typed in preparation to send them to the record company for the final go-through on the album. For the past week or so, it seemed that all I did was sit in front of the stereo, straining to decipher the lyrics—Mick’s words weren’t always easy to understand—writing them down and playing the same song over and over again to make sure I got it right. Then I’d type them, double and triple checking the finished version as Mick looked over my shoulder.

I looked at my watch—it was almost 10:00 p.m.—then gathered up the sheets of paper and grabbed my purse. I wasn’t all that excited to go to Keith and Anita’s place because I found it dark and depressing. I often stopped by there to do errands for Keith—deliver laundry from the dry cleaner, pick up a check to be cashed, get his signature on a legal document—but I rarely stayed for long. I wasn’t crazy about the hard-drug crowd that was always hanging around, and I wasn’t comfortable with Anita, who had a way of dismissing people with a flick of her hand and a few well-chosen words delivered in her heavy German-Italian accent. I didn’t take her bad manners or drugged-out behavior personally because I felt absolutely no connection to her. She was a man’s woman, not a woman’s woman like Pattie, and we pretty much ignored each other.

I liked Keith a lot. He had such a gentle way about him, and he was always kind to me and quick to express his gratitude for any little errand I would run for him. I worked for both Keith and Mick, but unlike Mick, Keith didn’t need much. He’d sign a bunch of blank checks, hand them over to me, and when he needed something—cigarettes, magazines, or cash for drugs—he’d call me. “Hey, Chris, would you have time to stop by the bank today?” he’d ask. I’d fill out the check for however much he needed and bring him the cash, the cigarettes, or the magazines.

“Thanks, Chris,” he’d always say with a smile and a little nod of gratitude. “Wanna hang out for a while?”

“Not today,

https://tiny-files.com/5cc76840de992101b6b8ccd8/3338261/Miss%20O%27Dell%20by%20Chris%20...

The Rolling Thunder Revue, which actually consisted of two distinct concert tours, was many things: a guerrilla-style road show influenced by 1960s street theater; a movable feast and party; an attempt to recapture the hootenanny spirit of Greenwich Village in its folk heyday by reuniting many of the key figures from that era and putting them all on a traveling stage; an expression of bicentennial fervor; a setting for Dylan’s attempt to make his great film masterpiece and a means to bankroll the film; an effort to spread awareness of and raise funds for Hurricane Carter’s defense fund; an attempt to capitalize on the popularity of two of Dylan’s most successful albums by touring behind Blood on the Tracks and Desire; an escape from the painful reality of a marriage that was dissolving; an attempt to salvage that marriage through performances almost wholly dedicated to winning back his wife through song; and an attempt to create a new kind of never-ending concert tour in which musicians would just drop in and drop out as their schedules allowed.

Overall, the balance sheet wound up in Dylan’s favor, despite several setbacks along the way. His dream that a phone line would be set up which superstar rockers like Neil Young, Eric Clapton, and Keith Richards could call to find out where the next show was taking place (many of the concerts on the first leg of the tour were announced only a day or two in advance) and drop in to perform never materialized. While he was successful in making Hurricane Carter’s case a cause célèbre, culminating in a sold-out, star-studded Night of the Hurricane benefit concert at Madison Square Garden, the victory seemed pyrrhic when Carter was reconvicted after a retrial (the conviction was eventually thrown out by a federal appeals court). The good feelings initially created by Dylan’s inviting a host of Greenwich Village folkies, who had been somewhat left in the dust by his rise to pop star heights, to share in his spotlight—including Ramblin’ Jack Elliott, Bob Neuwirth, and David Blue—soon devolved, as these things almost always do, into bitterness and backstabbing, as egotism replaced harmony, bringing old resentments to the surface, as Dylan remained aloof from many of these people (although not all). Elliott found himself uninvited to the second leg of the tour merely by omission, his place in the roster taken by the Texas singer-songwriter Kinky Friedman (who led a group called the Texas Jewboys). Phil Ochs, who always had a troubled, competitive relationship with Dylan, was plagued by manic depression, personality disorders and drug and alcohol addiction; in no shape to take part in the tour, he committed suicide at his sister’s home in April 1976, casting a pall on the proceedings.
https://tiny-files.com/5cc5d1352533b90376e879e0/1967720/Bob%20Dylan%20by%20Seth%20Rogov...

Punk the thriving movement in the '70s that rebelled against boring, sterile culture was captured by one revolutionary 'zine. This book examines the finest moments from the pages of "Punk". Photos & illustrations.

https://novafile.com/4iary9edvamf

The Rock History Reader is an eclectic compilation of readings that tells the history of rock as it has been received and explained as a social and musical practice throughout its six decade history. The readings range from the vivid autobiographical accounts of such rock icons as Ronnie Spector and David Lee Roth to the writings of noted rock critics like Lester Bangs and Chuck Klosterman. It also includes a variety of selections from media critics, musicologists, fanzine writers, legal experts, sociologists and prominent political figures. Many entries also deal specifically with distinctive styles such as Motown, punk, disco, grunge, rap and indie rock. Each entry includes headnotes, which place it in its historical context.
This second edition includes new readings on the early years of rhythm & blues and rock n roll, as well as entries on payola, mods, the rise of FM rock, progressive rock and the PMRC congressional hearings. In addition, there is a wealth of new material on the 2000s that explores such relatively recent developments as emo, mash ups, the explosion of internet culture and new media, and iconic figures like Radiohead and Lady Gaga.
With numerous readings that delve into the often explosive issues surrounding censorship, copyright, race relations, feminism, youth subcultures, and the meaning of musical value,The Rock History Reader continues to appeal to scholars and students from a variety of disciplines.

https://novafile.com/7ch3qedtaoif

Learn to play bottleneck guitar!!!
With your kindle device all videos and interactive material can be used with just one touch. Videos in "Superslow motion" with standard pitch sound and with "XXL-Zoom" make learning easy.

Svenson breaks down the use of the bottleneck-technique.

Example is with transcription and TAB, easily understandable!!!

https://tezfiles.com/file/ec6ceb3f54a87

The first and only biography of Jann Wenner, the iconic founder of Rolling Stone magazine, and a romp through the hothouses of rock and roll, politics, media, and Hollywood, from the Summer of Love to the Internet age.

Lennon. Dylan. Jagger. Belushi. Leibovitz. The story of Jann Wenner, Rolling Stone's founder, editor, and publisher, is an insider's trip through the backstages of storied concert venues, rock-star hotel rooms, and the political ups and downs of the latter half of the Twentieth Century, right up through the digital age: connecting the counterculture of Haight Ashbury to the "straight world."

Supplemented by a cache of extraordinary documents and letters from Wenner's personal archives, Sticky Fingers is the story of a mercurial, wide-eyed rock and roll fan of ambiguous sexuality but unambiguous ambition who reinvents youth culture, marketing the libertine world of the late sixties counterculture in a stylish, glossy package that would stand for decades as a testament to the cultural power of American youth. Joe Hagan captures in stunning detail the extraordinary lives constellated around a magazine that began as a scrappy rebellion and became a locus of power, influence, and access–using hundreds of hours of reporting and exclusive interviews.

The result is a fascinating and complex portrait of Jann Wenner that is also a biography of popular culture, celebrity, music, and politics in America over the last fifty years.
http://nitroflare.com/view/B4877E4D8F280DE/fingers.sanet.st.epub

in the beginning there was ska...
Before reggae there was rock steady, and before that, ska.
Everyone knows that, or should, by now. But never before Ska: An
Oral History has the story been told by those who were actually there,
creating the music.
https://psv4.userapi.com/c848024/u348852382/docs/d2/349e2cd8a940/Ska-An_Oral_History.pd...

Dylan: Disc by Disc features each of Bob Dylan’s studio LPs–thirty-six releases in all. Rock ‘n’ roll musicians, songwriters, and critics sound off about each release, bringing from the shadows not only Dylan’s extraordinary musical accomplishments but the factors in his life that influenced his musical expressions. From The Freewheelin’ Bob Dylan to Blonde on Blonde, from Blood on the Tracks to Shadows in the Night, Dylan: Disc by Disc rouses generations of Dylan fans with a unique, hip, stunning exposition spanning the music legend’s storied career.
Few figures in American music have compiled a body of work as impressive as that created by Dylan. Winner of the Presidential Medal of Freedom, eleven Grammys, and one Oscar, and a Rock and Roll Hall of Fame inductee, Dylan is one of the most honored musicians of our time. He has arguably done more to shape American music culture than any singer/songwriter. Beginning with his early acoustic folk releases, Dylan showed an early penchant for doing whatever he wanted with his music by electrifying his sound at the Newport Folk Festival in 1965, playing a leading role in the late 1960s protest culture, and playing with the Band. His long career far from over, he moved into his “Christian” period, his struggle for artistic identity in the 1980s, his return to critical success in 1997, and his release of an album of songs Frank Sinatra sang in 2015. The son of an appliance salesman from Hibbing, Minnesota, always accommodated his own muse, critics be damned.
Commentators include Questlove of the Roots and the Tonight Show with Jimmy Fallon, Rodney Crowell, Jason Isbell, Suzanne Vega, Ric Ocasek of the Cars, Wesley Stace (aka John Wesley Harding), longtime Dylan pal Eric Andersen and Minnesota musicians Tony Glover and Kevin Odegard, both of whom have been in the studio with Dylan. Other well-known voices in Dylan: Disc by Disc include Robert Christgau, Anthony DeCurtis, Alan Light, Joe Levy, Holly George-Warren, Joel Selvin, Jim Fusilli, Geoffrey Himes, Charles R. Cross, and David Browne.
Dylan: Disc by Disc is beautifully illustrated with LP art and period photography, as well as performance and candid backstage images. The book contains liner notes-like details about the recordings and session musicians, and provides context and perspective on Dylan’s life, concerts, and career.
Dylan: Disc by Disc presents Dylan fans and all lovers of music with a compelling, handsome, one-of-a-kind retrospective of the life and music of an American legend.


https://vk.com/doc348852382_486368689...G:1546948550:bca5cda0190ed6e020&api=1&no_preview=1

Syd Barrett was an art-school student when he founded Pink Floyd, with whom he served as vocalist, guitarist and principal songwriter in the original line-up. Famous before his twentieth birthday, Barrett led the charge of psychedelia onstage at London’s famed UFO club and his acid-inspired lyrics became a hallmark of London’s 1967 Summer of Love.
Improvisatory and whimsical, Zen-like and hard-living, Barrett pushed the boundaries of music into new realms of artistic expression while battling his inner-demons. This probing and comprehensive biography, a full ten years in the writing, features a wealth of interviews with Syd’s family, intimates, friends and band mates, providing an unvarnished look at Barrett’s life and work.
Author Julian Palacios authoritatively traces Barrett’s swift evolution from precocious youth to psychedelic rock star, examining both his wide-ranging inspirations and his influence on generations of musicians, and presenting an extensive overview of his musical, artistic and literary influences. A never-to-be forgotten casualty of the excess, innovation and idealism of the 1960s, Syd Barrett channeled the gestalt of the era and is one of the most heavily mythologized men in rock. Syd Barrett & Pink Floyd: Dark Globe offers a rare portrayal of this unique spirit in flight and freefall.
https://vk.com/doc348852382_464157826...G:1524559608:8fd5e93b8c04106ef6&api=1&no_preview=1

А чё, по-русски слабО дать перевод?

А разве слабО выучить язык? Или воспользоваться переводчиками?

English | June30, 2015 | ASIN: B00ZYCQYV8, ISBN: 1494564742 | M4B@64 kbps | 11h 45m | 320 MB

Allen Klein was like no one the music industry had seen before. The hard-nosed business manager became infamous for allegedly catalyzing the Beatles' breakup and robbing the Rolling Stones, but the truth is both more complex and more fascinating. As the manager of the Stones and then the Beatles - not to mention Sam Cooke, the Who, Donovan, the Kinks, and numerous other performers - he taught young soon-to-be legends how to be businessmen as well as rock stars. In so doing, Klein made millions for his clients and changed music forever.

But Klein was as merciless with his clients as he was with anyone else, earning himself an outsize reputation for villainy that has gone unchallenged until now. Through unique, unprecedented access to Klein's archives, veteran music journalist Fred Goodman tells the full story of how the Beatles broke up, how the Stones achieved the greatest commercial success in rock history, and how the music business became what it is today.

http://nitroflare.com/view/E31605A7A74E41C/sanet.st_Allen.Klein.m4b

Street-Fighting Years: An Autobiography of the Sixties by Tariq Ali
Keeping Faith: Memoirs of a President by Jimmy Carter
While You Were Drinking: A daughter’s journey by Lydia Bird
Aristocrats: Caroline, Emily, Louisa and Sarah Lennox 1740 – 1832 by Stella Tillyard
Candy Girl: A Year in the Life of an Unlikely Stripper by Diablo Cody

Street-Fighting Years: An Autobiography of the Sixties by Tariq Ali

English | 2005 | ISBN: 1844670295 | 403 Pages | PDF | 60.4 MB

In this new edition of his memoirs, Tariq Ali revisits his formative years as a young radical. It is a story that takes us from Paris and Prague to Hanoi and Bolivia, encountering along the way Malcolm X, Bertrand Russell, Marlon Brando, Henry Kissinger, and Mick Jagger.
Ali captures the mood and energy of those years as he tracks the growing significance of the nascent protest movement. This edition includes a new introduction, as well as the famous interview conducted by Tariq Ali and Robin Blackburn with John Lennon and Yoko Ono in 1971.

https://vk.com/doc348852382_464698926...G:1525262568:b566179995463ee15d&api=1&no_preview=1