#Starr piano

[xivclaymoore]

"Sing us a song, you're the piano man

Sing us a song tonight

Well, we're all in the mood for a melody

And you've got us feelin' alright"

this took so long to restore oh my god.. finally,,, total time was 8 hours and 46 mins

[stopandimagineloveforever]

BEST. PIANO. DUET. EVER. ☺️

*if you'd like a clip from Let It Be, message me 💜

[cheezy-str33t]

wp5 doodle i forgot to post

[pearl-plays-piano]

Here Comes The Sun

The Beatles, 1969

[uyuforu]

Hi! When you draw a solar/lunar return/natal chart on astro.com, what asteroids would you recommend to include? Apart from the ones you get if you choose the "Astrodienst w. asteroids“ drawing style. I‘ve been ignoring them for years and I feel like I‘m missing out lmao, but having to type the asteroid numbers out is really bothersome to me 😭💀 Thank you in advance <3. Also sorry if you have a post where you talked about something similar. I tried to look before asking but I couldn’t find anything

I have a list of all asteroids I have, and depending on what you wanna see, you can check those here ^^

Romance Asteroids

° Juno (3) (marriage and soulmate)

° Destinn (6583) (destiny)

° Groom (5129) (groom)

° Boda (1487) (marriage)

° Briede (19029) (bride)

° Union (1585) (how do we meet fs)

° Eros (433) (kinks and sex)

° Kiss (8267) (kiss style)

° Lovelock (51663) (how do we fall in love)

° Cupido (763) (how do we fall in love)

° Valentine (447) (cute, pure, tender love)

° Amor (1221) (passionate love)

° Alma (390) (Soulmates/ Twin Flames/ Karmics/ Soul Links)

° Alinda (887) (kissing, making out)

Fame Asteroids

° Fama (408) (fame, rumors, gossips)

° Europa (52) (fame and recognition)

° Mireille (594) (easily gaining people’s love and admiration)

° Glo (3267) (glowing shining, attention)

° Lumier (775) (where do you shine)

° Populus (8647) (being popular and well known)

° Musa (600) (inspiring other)

° Starr (4150) (shining, standing out)

° Zeus (5731) (gaining fame)

° Varuna (amazing and incredible fame) (20000)

° Fan (151590)

Money Asteroids

°Abundantia (151) (having a lot of money, abundance and inheritance)

° Mony (7782) (how can we obtain money)

° Fortuna (19)

° Tyche (258)

° Banks (13956)

° Gold (4955)

° Midas (1981)

Spiritual Asteroids

° Teller (5006) (Tarot abilities)

° Apollo (1862) (talents)

° Kalchas (4138) (divination talents)

° Horus (1924) (linked to 3rd eye)

° Arrokoth (486958) (astrology talents)

° Estrella (11697) (shining, beauty and talents of astrology)

° Merlin (2598) (magic and prophetic abilities)

° Spirit (37452) (seeing spirits and entities and communicating with them)

° Telephus (5264) (linked to telepathy)

° Aura (1488) (Ability to see the real aura or intentions of people)

° Karma (3811)

° Erda (894) (our past life)

° Spirit (37452) (our spirit guys)

Talents Asteroids

° Dones (21965) (our natural gift)

° Probitas (902) (being good and excellent)

° Carrera (3050) (our career)

° Industria (389) (our career)

° webb (3041) (the internet)

Psychology & Medical Talents Asteroids

° Hylonome (10370) (psychologist abilities)

° Makhaon (3063) (talent for medicine and healing)

° Anahita (270) (creative and therapeutic talents)

Writing & Communication Asteroids

° Calliope (22) (writing and singing)

° Erato (62) (writing poetry, romance and erotic matters)

° Biblialexa (51895) (writing or reading books)

° Murray (941) (excellent communicator, writer, speeches, etc)

° Elatus (31834) (good at speaking in public, amazing speeches)

° Kleopatra (216) (being loved and admired by our communicating skills)

° Mnemosyne (57) (good communicator, good at telling stories, good at acting with our voice)

Acting Asteroids

° Thalia (23) (ability to entertain and comedy)

° Lumiere (775) (acting abilities)

° Melpomene (18) (acting abilities and dark writing)

° Actor (12238) (being an actor)

° Mnemosyne (57) (good communicator, good at telling stories, good at acting with our voice)

° Fantomas (242492) (Acting skills)

Singing & Musical Asteroids

° Cantor (16246) (sings a lot and talent in singing)

° Harmonia (40) (singing abilities)

° Singer (10698) (singing abilities and talent)

° Terpsichore (81) (dancing and singing)

° Piani (10573) (related to piano and playing instruments)

° Euterpe (27) (musical talent)

° Echo (60) (beautiful voice)

° Melpomene (18) (Muse of Singing)

Painting & Cooking Asteroids

° Pintar (33103) (painting)

° Van Gogh (4457) (painting)

° Picasso (4221) (painting)

° Cook (3061) (cooking abilities)

° Baker (2549) (baking abilities)

Sexual Asteroids

° Eros (433) (kinks & sex)

° 1988 XB (7753) (extreme sexual activity)

° 1996 TL66 (15874) (discharge, squirting)

° 2002 XW93 (78799) (group sex)

° 2005 PQ21 (134210) (porn, extreme sexual activity)

° 2010 EN65 (316179) (discharge, orgasm)

° 2000 CO104 (999004) (orgasm, ecstasy)

° Alinda (887) (rough, passionate sex)

° Ignatius (3562) (our kinks, the one we keep as secret)

° Kama (1387) (how we have sex, our sex style)

° Lust (4386) (our sex style, what turn us on, our sexual desires)

Children & Home Asteroids

° Child (4580) (inner child)

° DNA (55555) (our DNA, children)

° House (4950) (our home)

Hoping it can help! You can also check those on other types of chart ^^

[idontwanttospoiltheparty]

HAPPY 83RD BIRTHDAY, RINGO STARR!

“I’ve never been able to sit around on my own and play drums, practice in the back room, never been able to. I’ve always played with other musicians. It’s how I play, there’s no joy for me in playing on my own, bashing away. I need a bass, a piano, guitar, whatever, and then I can play.”

[bizarre-blorbo-bracket]

FINAL for real this time: Davis (Juror 8) from Twelve Angry Men vs the Bimodal Distribution from statistics

Propaganda under the cut, and it's REALLY worth it:

Davis (Juror 8) (these are all from the single submitter)

a quick lil list babes, and I apologise for all of this in advance:

He's from the fucking film 12 angry men. like, aside from letterbox bootlickers and middle school hass students NO ONE has watched this film let alone care about it, it was made in 1957, is shot almost exclusively in one room and the entire film is just middle aged white men yelling at each other over whether some not white poor kid should be sent to the electric chair. what the fuck.

Henry Fonda, the actor, was 52 years old at the time of filming

Henry Fonda is the father of Jane Fonda, the woman who would revolutionise the 80's with her home workouts and her blindingly neon leg warmers.

His name wasn't revealed until the very end of the film and even then it's just "Davis."

I could honestly give him a lil smooch

He's absolutely not girlypop but he's the ally-iest ally who's ever allied

He's categorised as a "Benevolent Leader" on the Heroes Wiki

instead of the overwhelming urge for me to coddle him like most all other blorbos, i would appreciate it switched

I have a photo of him inside my saxophone case and sometimes i forget he's in there, then he creeps into my saxophone bell and when I play it he shoots out like a ballistic missile

Dude, on ao3 there's more fanfiction about the real life 80's British punk band The Clash than the entire film of 12 angry men, let alone Davis (80 fics come up under the clash, while 10 come up for 12 angry men)

I have a counter, and I've watched 12 Angry men a total of 145 times. The figure is up on my wall in tallies. whenever the number goes up, I like to watch it in 5's so then I can put another full group of tallies on my wall.

I have incredibly detailed stories about how Davis would boogie down to ringo starr's solo career, and they're written within the margins of a book called Tobruk written by Peter Fitzsimons. The only reason I reread that book is to wonder at my elaborate works of fiction

My HASS teacher was the one to introduce me to 12 Angry Men as he played it for the entire class. He gave us a set of questions to complete on the film and a few Law based questions as a little treat, and he expected it to be handed in the next day. What he didn't expect was an 11 page monster of a response that included social commentary, 4 paragraphs dissecting the character of Davis alone, deeply discussed comparisons between the landscapes of politics and law in the 50's to the present, and basically an entire point-for-point summarisation of the film, completed with obscure quotes from Truman, Eisenhower, Nixon and Presley (Elvis). He presented the printed masterpiece in front of the entire class to shame me.

After class he explained how his favourite Juror would either be 6 or 5, because 6 seems like a big dumb teddybear and he just liked 5. I explained how I liked Davis because he didn't want to send a kid to die, then he told me how Davis would make a good cowboy (at this point in time I was unaware of Henry Fonda's role in Once Upon A Time in The West) and I proceeded to go home and write a 3 part orchestral composition that I could pretend would play as the soundtrack to Juror 8: A Cowboy's Tale or something like that

I had started to make an animation meme starring Davis but only gave up when photoshop literally deleted itself from my laptop

I didn't even hear that Juror 8's name was Davis when I first watched it in class, somehow I only heard it on my 6th rewatch but when I did I literally got so excited I literally got winded and cried a little bit, I had to take a panadol because I got so lightheaded

I have learned the musical motif that plays throughout the film on saxophone, clarinet, recorder, guitar, bass, ukulele, piano and trumpet

I have visions of him

One of Davis' 3 children HAS to be gay and nothing can convince me otherwise

honest to god I'd be a home wrecker if it came to him

I quote not only Davis but the film a lot, and sometimes in the dead silence of all my friends I go on about how the old man couldn't have possibly made it to the door in such a short amount of time to see the kid running down the stairs (because the old man has a limp, and Davis proved it my limping around the room, which I have to say was incredibly attractive of him)

He's literally an architect

I once had a dream where Davis was in my bass guitar case when I opened it, and i literally just picked him up and started picking him like a bass guitar until I tried to play a full chord and he bit the hand that was meant to be on the fretboard. I dropped him and he fell on his ass, and when I said "what the hell dude what was that for" he said bass chords are lowkey ugly to listen to, and since then i don't like playing bass chords because now they're lowkey ugly to listen to. before this ordeal, i enjoyed them, but alas

i once got my romantic partner to write me a davis x reader fanfiction as a birthday present

my parents believe that Davis is my first celebrity crush, and while they're actually wrong it's still actually so embarrassing they believe that because OH MY GOD it's literally JUROR 8 FROM 12 ANGRY MEN

I've attempted slam poetry about him

I've eaten a paper printed full a4 size photo of his hand

I would also not mind him to be literally my father, but given the rest of the things I've just said about him that's really weird and I recognise that

the Bimodal Distribution

First of all, it's a math concept. that is already pretty bizarre of a thing to be blorbo-ifying. Second of all, I don't know any calculus, and I don't consider myself a math person (because I hate arithmetic), but I really like this guy for some reason. I mean this graph clearly holds the secrets of the universe. don't you just want to l o o k at it . like you could solve everything in the world with that boy

[biancathebrawler]

Dexter, Damian, Draco, and Dorian😁

Y’all can you maybe share some headcanons pls ? :3 for any on them :333

Mine (in order from youngest to oldest in the picture)

⭐️🎸Draco - He/Him/They/Them - (star t-shit)🎸⭐️

- Well, brawler and entertainer at Starr Park

- he’s 19 here :3

- loves getting tattoos

- Autism 👍🏻

- loves dinosaurs and dragons

- bi with fem preference :D

🛠️🦇Dexter - He/Him/Them - (long bangs)🦇🛠️

- Mechanic

- he’s 24 here :3

- used to be very s*i*idal (scars on his arms :(

- got a tattoo at age 15, (illegally ofc)

- trying to propose to his high school gf, Trixy, but too nervous :3

- Anxiety

- did bad in school

- very sensitive

- surprisingly straight

-LOVES Music

👾🎹Dorian He/Him - (glasses)🎹👾

- Video Game editor

- 26 here

- trans 🏳️‍⚧️ girl—>guy

- also very sensitive

- dead name - Daisy

- awful vision -_-

- he’s most close with Dexter and also kinda has a crush on Trixy😅

- plays the piano

- loves video games!

- REALLY SMART🤓

- straight… technically…

���🎲Damian - He/Him - (burn mark)🎲🪖

- Was in the army now he helps people who are recovering from trauma that they got from wars 👏🏻

- 31

- Lost his wife to cancer :(

- blind in one eye from an explosion that happened:(

- loves cats 🐈‍⬛

- AMAZING at board games :D

- loves his brothers more than anything

- loves heavy metal music

- big on tea :3

- straight

Anywayyyy I doubt any of y’all read this far down, but if you did, thank you🫶🏻🫶🏻🤭

Pls share yours!

[i-am-the-oyster]

ALBUMS

Where's The Beef?

According to the man himself, Paul can bash out a song in the time it takes Linda to whip up a soyasome supper. But is this necessarily a good thing?

By Chris Ingham. Illustration by Richard Camps.

Paul McCartney

Flaming Pie PARLOPHONE

McCartney sans band again. Self-penned, played and produced, apart from contributions by Jeff Lynne, Ringo Starr, Steve Miller and son James McCartney.

I'VE STOPPED TRYING TO JUSTIFY LOVING solo McCartney. Of course some of the work of the last 27 years has been slack and misjudged. Yes, his trust in stream-of-consciousness and the inspiration of the moment ("If you're working too hard on something, it probably means its not very good") has left a catalogue with at least as much eccentric, cavalier material as substantial. But if you respond to someone, you respond. A lot of minor McCartney means as much to me as the major. The aloof will sigh; we expect more from a pop giant.

But there is more - the gargantuan Liverpool Oratorio has its moments, his minimalist-impressionist chamber piano piece A Leaf is a charmer, the forthcoming Standing Stones symphony is an intriguing prospect - it's just that these days, pop is only part of what he does. In pop, he's changed the world already, he's had his purple patch, and he hasn't had another genius to run his new songs by for quite a while; that can do things to a man's quality control.

However, though less spectacularly ambitious than the serious work, there is much to be enjoyed here. The indisputable melodic flair, the uplifting, doe-eyed optimism, the daft rockers, all here on Flaming Pie, an album in the McCartney tradition of pretty good, nudging upper middle. If you're hip to him, that's all you'll need.

Though not reaching the coherent, miraculous heights of Band On The Run (1973), it's miles better than the interminable live albums or his last, the heart-sinkingly ordinary Off The Ground ('93). Better, too, than the aberration of Give My Regards To Broad Street ('84) and the not-as-bad-as-you've-heard Press To Play ('86). So, it's probably on a par with Flowers In The Dirt ('89) which, though lauded at the time as a major return to form (prompted, no doubt, by the red herrings that were the awkward McCartney-McManus collaborations), now seems no better/no worse than the slick, unfailingly tunesome Tug Of War ('82) or Pipes Of Peace ('83).

What noses Flaming Pie ahead of the pack, however, is a return to the engaging home-made quality of his earliest solo work. Back in do-it-your-self, down-home primitive miniaturist mode, back on deep-groove drums and bluesy guitar, there are echoes of McCartney (1970) and Ram (1971) here, and it all has an authentic ring of auteur about it. It's not that Beatley, but it's very McCartney.

Some of it is positively reckless, there's a determination to follow the mood, have a laugh, see what happens. Three songs here are little more than jams. Flaming Pie was a self-imposed challenge to finish a track with Jeff Lynne in four hours (like you do). Funny, surreal lyrics, a cracking 3 Legs-type vocal, a thunderous Why Don't We Do It In The Road/Don't Bring Me Down groove and some hilarious, cack-handed barrel-house piano; this is the track I'm playing visitors.

Ringo and Paul lock into a super-taut, muscled riff on Really Love You and McCartney makes up the song as he goes (like Mumbo from Wild Life but with words); mad, indulgent, but kind of happening. Only the duet with Steve Miller on a slinky Texas 12-bar palls. Two minutes of this good-vibe, one-take blues would have been a treat, four minutes feels like eight.

Interspersing this japery is good and OK Macca fare made better, perhaps, by co-producer Jeff Lynne's ear for detail on over half the tracks. There are no obvious ELO/Wilbury mannerisms and, oddly, the ones that sound most like Lynne don't involve him (both the strangely sinister If You Wanna and lightweight, damnably catchy Young Boy - the one he completed in a couple of hours while Linda was tinkering in the kitchen - feature orchestras of acoustic guitars), though the dry-as-a-bone sound and upfront vocals elsewhere betray Lynne's welcome presence.

Track Listing

The Song We Were Singing

The World Tonight

Somedays

If You Wanna

Young Boy

Calico Skies Flaming Pie

Heaven On A Sunday

Used To Be Bad Souvenir

Little Willo w

Really Love You Beautiful Night

Great Day

The Song We Were Singing is a vivid evocation of an evening with friends in the '60s; the sweet, hazy vocal, the trippy twang of the guitar, the struggle to make "...discuss the vast intricacies of life" scan, the soaring, singalong chorus all combine to give the track an enchanting, stoned elegance. Heaven On A Sunday is prime, dreamy Macca with gorgeously textured sound. It also features his son's debut as Dad trades his Oo You guitar licks with 20-year-old James McCartney's Dave Gilmour ones. Souvenir is an oddball beauty; a soulful, lazy thing with a surprise guitar-riff-from-hell and a psychedelic fade. This is all very encouraging, Lynne appears to have helped McCartney sound more like himself, somehow. To be continued, hopefully.

There are three finger-pickin' solo numbers. Calico Skies is an earnest little love song which develops into an anti-war prayer. Somedays is a portentous song of doubt, always threatening to mean something, beautifully decorated by George Martin's arrangement. Great Day manages to allude metrically to the Vincent Youmans's 1930 standard of the same title and melodically to McCartney's own Big Barn Bed in a sweet, throwaway piece of unfeasible optimism. They ain't Blackbird, but they're fine.

It must be noted that the man's singing is a marvel. The grey-around-the-edges folk-balladeering of Calico Skies, the falsetto blues-croon of Heaven On A Sunday, the deliriously uninhibited rock-shriek of Really Love You re-confirm that McCartney's vocal-style range is without equal in pop. Sinatra's pipes had virtually cracked at 55. What is this guy on?

"No sleepless nights over this one," he told Steve Miller. What with the serious stuff people keep asking him to write, who can blame him? Making this will have been a holiday by comparison.

The World's Greatest Living Melodist crown must lay heavy; here McCartney is sporting his Eccentric Primitive Miniaturist colours. Flaming Pie is a fine reminder of how much they suit him.

Paul McCartney talks to Chris Ingham live from his car somewhere in the great British countryside.

Flaming Pie. Pleased with it?

Yeah, like it a lot actually. It's always good when you're proud of what you've done, because when you're not you're always moaning at the record company about how they don't put posters up, or how they don t get plays and all that. But I sort of don't care. Even if radio doesn't take to it, posters don't get put up and people don't say the right things, I've got a feeling that because I like it, I don't give a shit. I'm not sure that's 100 per cent true but the feeling's there. It feels good. I'm comfortable; there's a lot to be said for that.

Don't you feel like this after each new record?

No, not really. You always enjoy like having a new baby, as it were, but this one feels a bit special. It's like Anthology, people would ask, "Are you worried? Should you have done it? Is it right to do Free As A Bird?" I would say to them, listen, once The Beatles and George Martin have signed off on it, I always get a great feeling that it doesn't really matter what anyone thinks, we're a sufficiently cool enough gang of dudes, it's a question of sod the rest of them. I always used to get that feeling on Beatles albums; hey, it's The Beatles, we all like it, that's a pretty strong opinion.

It's not as easy to get that on my solo records because it's mainly me. I don't have the strength of the Woolwich around me. But on this one, there wasn't much pressure because the record people said, "We don't actually need a record from you for a while, so l started making music just for my own fun.

I think I've given the Anthology a decent interval, my stuff is suddenly ready, asked Linda if she had any photos, she had a great little selection, banged it together and it all suddenly seemed to work and it was, "Oh, there you go.

And I've told the marketing guys, "I don't want any sweat on this record, I don't care if you don't come up with a good idea, we're just gonna have a laugh." It's funny, they don't know where you're coming from, they re so used to that 'gotta get it right, get the right image desperation. Whereas I'm saying it'd be nice, but it's only a record. It really does cool things down.

One big thing with The Beatles, once in the early days we broke down on the motorway going back up to Liverpool in the severe winter, somewhere. One of us said, "Oh, what are we going to do now?" and another said, "Well, something'll happen." And it sounded so naive, we all laughed, "Yeah, something'll happen." Immediately a lorry came up and said, "Wanna lift, lads?" We all piled in. I'm a great believer in that "something'll happen" syndrome. It's like if you allow that space, that bit of peace in your mind, something sort of comes in to fill it. It's all very metaphysical.

You've said, "Songwriting's like the thumb in the mouth." It's interesting that through a worrying time with Linda being ill, you've made an upbeat kind of record. Is there a connection?

Yes, I think there is. When you have a major problem like that, it focuses what's important. I know everyone says that but it really does. For me, my family comes first, and a close second is music and working. I think it stopped me pissing around. I might have made a record and thought, Oh that's OK. But with that and having just done Anthology I thought, No I'm gonna make sure I'm happy with every song on this album. I don't want to waste time. I think that's the main force. If you're just breezing along you can think, Aah I've got forever, it's all great - you can find yourself wasting time. And also having looked at The Beatles albums and running your finger down the tracklist and it's Nowhere Man, Here There And Everywhere, Taxman, bang, bang, bang, every single one is a song you remember. I thought, I'm gonna make an album like that. I sorted a lot of songs and didn't bother with things I was in doubt about. So the whole episode focused me up quite a bit.

You've admitted in the past to feeling daunted by the Beatles' achievements, yet all this full-on Beatlosity of the past 18 months or so seems to have spurred you on.

Yeah well, the sort of plan was to take a holiday. But I'd just be sitting around with my acoustic, writing a song in a power cut in America, played it to a few people and it's "Ooh yeah, that's a good 'un." So I started stockpiling a few with nothing in mind, stuck 'em on a cassette and called them New Songs. Suddenly I had a lot of them. Called Steve Miller, who I'd known and played with once in the '60s after a Beatle session which was aborted because of, ahem, business differences. God, I've just come across a big field full of sheep here. Amazing. But I digress... I'd say to Steve, "look we don't need to get into heavy breathing, let's just knock it off", the way we did that track of his, My Dark Hour. He'd invited me up to his studio in Sun Valley, Idaho, did a track. Returned the hospitality, knocked off a couple more.

You're working with Jeff Lynne again. He'd passed the Free As A Bird test then?

Yeah, that was the audition (laughs). He was sort of George's boyfriend, if you know what I mean, and, you know, you don't want to tread on people's toes. But I'd enjoyed working with him and found him really easy to get on with, we always had a laugh. And I said, "Do you want to come over for a couple of weeks?" He said, "Well, you can't do much in a couple of weeks." I said, "Well, we can do a couple of tracks and mix 'em.."

What was the dynamic between you and Jeff?

I'd show him the song. And then first of all we'd bang it down with a couple of acoustics so we'd have a wash to go against, instead of a click track. It's an old Beatle trick, really. Everything used to have two acoustics, at least. It was mainly me and John showing the guys the song. That's one of Jeff's production tricks, too. I can't think where he got it. A lot of people when I mentioned working with Jeff their eyebrows raised, and I picked up what they meant was he's going to make an ELO of you. I actually had that worry with Free As A Bird. But then I thought, No, we'd worked around it, and even though it was a Jeff Lynne-type production I still thought it sounded very like The Beatles. So I had a chat with him and I said, "I don't want to get into your recognisable sound." He was actually a little bit surprised, I don't think he thinks he has a sound (in surprised Brummie voice), "What do you mean?" He's a very innocent kind of bloke. I said, "If I feel we re getting into a bit of a Jeff Lynne formula, let's find a trick to get round it, subvert it." He was quite into it, actually.

John Lennon said in the late '70s that if The Beatles were still making records, they'd sound like ELO.

Yeah, it was important to Jeff to meet John and have him say, "Oh I love some of those ELO tracks." I liked them, too. It's a bit like Oasis. Anyone who gives such an obvious tribute to you, you either hate it or you love it, and I love it. They're taking our style and proliferating it, if that's the word. ELO were good, you know, pity about the haircut. (Pause) I'm only kidding about the haircut, you'd better put in brackets - he'd kill me. He's still got it.

Given Ringo's and George Martin's cameos, George Harrison remains conspicuous by his continued absence. Is it difficult, given your history and the reported 'artistic tension' on the Free As A Bird/Real Love sessions, to contemplate a Harrison/McCartney collaboration?

I don't know really. To tell you the truth, when I was working with John, it was so, I don't know, so full, you never had a minute, so if working with George never really came up, I got in the habit of not working with him, I never really learned how to do it. When we did Free As A Bird there were one or two little bits of tension, but it was actually cool for the record. For instance, I had a couple of ideas that he didn't like, and he was right. I'm the first one to accept that. So that was OK. We did then say that we might work together but the truth is, after Real Love I think George had some business problems. Er, it didn't do a lot for his moods over the last couple of years. He's been having a bit of a hard time, actually, he's not been that easy to get on with. I've rung him and maybe he hasn't rung back. No big deal. But when I ring Ringo, he rings back immediately, we're quite close that way. You know, I'll write George a letter and he might not reply to it. I don't think he means not to reply to it but it makes me wonder whether he actually wants to do it or not. And if you're not sure, you back off a little. But I love him, he's a lovely guy and I would love to do it. It'd be fun, he's good.

[thislovintime]

Happy birthday to Ringo Starr!

“[Ringo,] whom I found to be very down to earth and calm… even wise.” - Peter, Beachwood Confidential Newsletter, 1995 “First social call was to Peter Tork’s house. When we arrived Peter was wearing a string of beads and very little else, since it was far too hot to be anywhere but a swimming pool that day. Dave Crosby (Byrds) was there, too, and we had a good get-together. […] I suppose the highlight of L.A. this time for us was the session we had at Peter Tork’s place. Peter Asher joined us there — he played bass, Peter Tork was on piano, George and Dave Crosby on guitars and Ringo drumming.” - Mal Evans, The Beatles Monthly, August 1968 “Just relaxed, just played what you could play. […] I played with Ringo Starr, Ringo, and George once, played with those guys. Same thing: bam, everything settles down, everything’s in order, everything is taken care of, and play what you can play.” - Peter, Musicgroups, 2007 Peter: “Steve [Stills] was there [too], and he was embarrassed; he shook hands with George and kind of turned his back on him, the way shy guys will do. […] We all jammed, Stephen and George and Ringo, and I was on keyboards, and I don’t remember who played bass. It was fabulous to hear Ringo play. My God, what a drummer. God, he was good. He was so solid, and the authority was astounding. I learned so much just by playing with him for five minutes; it was a wonderful experience.” Q: “It’s a bummer it didn’t get recorded.” Peter: “It is too bad, nobody thought to record it. The best we had at the time was cassettes, but even so, that would have been a wonderful jam.” - Rolling Stone, 2007 “He does his 'Ringo All-Star' show every so often and whenever it’s in the neighborhood I catch it and go backstage and say hi. We have a number of interests in common and we catch up. He’s a sweetie. He’s just a total sweetheart.” - Peter Tork, Clevescene, 2017 (x)

[krispyweiss]

“Let it Be” Rich

- Ringo Starr gets his own trailer in run up to May 8 premiere on Disney +

Ringo Starr didn’t have a song on Let it Be. So, “Octopus’s Garden” is the soundtrack to Rich’s “Let it Be” trailer.

Georges Harrison and Martin look on paternalistically as Starr plays a rough sketch on piano before the clip switches to the finished Abbey Road version.

Following similar treatments for John Lennon, Paul McCartney and Harrison, Starr finally gets the star treatment one day before the May 8 debut of the restored “Let it Be” Disney +.

Don’t pass it by.

See the original trailer and read Sound Bites’ previous coverage by clicking the hyperlinks scattered throughout this post.

5/7/24

[swamphelminth]

Okay, I decided to post my HCs about Chuck. Let's go!

His first education is organist (at early years he worked in the church), conductor is second;

His favorite music composition is Pacific 231 by Arthur Honegger. That's exactly what they played at his fateful concert; 2.1 This is a cruel joke of fate, because he didn't want to perform at this concert. He was going through a creative crisis and this concert was supposed to be his last; 2.2 It almost became really his last concert. Chuck became disabled as a result of a shooting, where a bullet hit the lumbar region and led to complete paralysis of his legs; 2.3 Chuck was standing on a special ledge so that the musicians could see him. When he was shot, the musicians scattered, leaving their instruments. This momentary chaos of sounds was firmly etched into Chuck's memory and literally left him in this world. In the hospital, he sat for several days with his fingers definitely moving, as if on a piano, playing the tune he had heard. He hardly talked or slept, because he was afraid to forget, and only after a while did he dare and asked for paper and a pen; 2.4 He got to the ghost station under an impulsive decision. When he was fired, he gave up and decided to radically change his environment by getting a job at Starr Park;

The Ghost Station is a mystical abnormal zone. Chuck feels it so close, he really can hear GS and catch it's mood. It's like a big invisible matter;

He didn't die. The Ghost Station as a living matter accepted Chuck and gave him some ghostly abilities like lighting eyes, a terrible distortion of body (a terrible distortion of your body (from someone else's point of view), foaming at the mouth, train control with music and etc.

How did he end up in Colt and Shelly's jail? He came there himself. Let's face it, the topic of crime belongs to a dark category, and this is what our maestro needs. He wanted to "rent" one of the detention cells for work, but our buddies decided to give him the cell in which the most inveterate bastards were, so that the atmosphere would feel "better". And Chuck was grateful for the opportunity!

Chuck is very tenacious and hardy to physical injury. He has excellent muscle memory, well-developed intuition and observation skills;

Chuck has had tinnitus since childhood, he has never heard silence. 7.1 Chuck is a sound-sensitive person. He takes the train horns, the sound of an announcement and just a call calmly. But if it's a loud alarm sound (for example, a car) this causes Chuck to have an instant feeling of anger, irritation and anxiety. It feels like his brain is being torn apart, he almost screams from it;

He was greatly influenced by Italian horror films, in which the atmosphere is inflated by illusions, hallucinations and as if another reality. He likes gothic theme, an avant-garde and industrial; 8.1 And with ghostly ability Chuck can add these things in his music. He can hypnotize his listeners, put them in a trance and make them feel something that is almost impossible to feel (for example, the presence of another organ in the body);

Chuck was once a teacher at the conservatory. He loves children and is very forgiving towards them. Chuck always has candy in case Gus comes alone or with friends to visit him;

Speaking of Gus. They quickly developed a good relationship. Gus has been at the Station for a long time, but he is still scared by some of the sounds that come from the tunnels. He is prone to panic, and if Chuck is around, Gus will immediately go to him to feel safe;

Chuck is smoker; 11.1 But he never smokes if there are children around. Chuck wants to set a good example;

Calm to the sweet. Bitter chocolate and strong espresso are forever in the heart;

His deeply loved genre of music is a symphonic metal. This is a combination of his two most cherished destinations. He rarely listens to it, so that when he turns it on, he can feel the full force and juiciness of the sound. As a reward for himself.

His heart is given to little creatures. He loves rodents, arthropods, reptiles;

He has a bad sleep and eating schedule. He is too fixated on work and music that he'll eventually be able to sleep when his body says, "Bye!";

Chuck has two wheelchairs. One is casual, the second (which is stylized as a train) is for brawl;

He is very nervous about heights;

The Ghost Station is home to large bats, which often interfere with work. Chuck, like the other workers, has a whistle to scare them away;

Chuck can cook BUT! he also likes to listen to the radio in his room. And if at this moment he is listening to rock or symphonic music, then there is a high probability that he will be distracted by gesticulating and as a result his breakfast will burn;

It's really better not to distract him from his work, if you don't want to hear Italian swearing in your address or get a conductor's baton in your eye. Chuck is prone to short-term outbursts of anger and can't always control his actions; 20.1 Because of the ghostly abilities, if Chuck is very angry, the light bulbs or lanterns nearby start flashing and even burst; 20.2 He has sensitive shoulders and neck. If he is angry, then you can massage his shoulders and he will become calmer;

Libra. Cyclotimic. Choleric. ENFJ (Protagonist);

Chuck is prone to depression and only an insane involvement in music saves him. He is also prone to feelings of nostalgia;

He loves art, but has mixed feelings if someone starts painting on trains. If it's beautiful and not some stupid tags, he won't interfere. But if he catches someone painting stupid tags, Chuck will immediately contact the station staff and ask them to sort it out;

This may be expected, but his favorite flowers are lilies;

The theme of trains has a spiritual significance for him. He often visits European countries for the sake of education, Chuck certainly was in Germany, England, France, when he became conductor, also visited USSR. Many of his tours were accompanied by the sound of train wheels, and it became his symbol of change, inspiration and hope;

Chuck may be a gloomy man, but he has a very broad soul. How it was in his youth, that in middle age he is still romantic and easily in love with the people around him. He may fall in love not even with a person, but, for example, with eyes, hands, and the color of a blouse. He can think about these details day and night, and it will inspire him to work; 26.1 He likes to talk, but not everyone can stand him. If he is in a great mood, his "Ciao!" may be accompanied by a triple kiss on the cheek;

He has very fluffy hair. Sometimes he can't comb them without pulling out a clump of hair;

Chuck has a deep tenor voice with a hoarseness that can really charm and immerse you in a special atmosphere. His passion for rock music prompted him to practice screaming and growling;

Songs that I strongly associate with Chuck (not counting the compositions that I mentioned earlier): Metallica - The Unnamed feeling; Insane Clown Posse - Halls of Illusions; Will Wood - 2econd-2ight-2eer.

Inferno Chuck is his postmortem form. Inferno is the personification of an absurdly high hypertrophied obsession. Chuck was despaired that he coudn't hear rightful sound. He was very tired and upset so he decided to stop his trying. His ringing in his ear suddenly disappeared and Chuck finally heard REAL silence. It was as if he had caught a trance and nirvana. Chuck's head was empty and soundless. This went on for a while until it suddenly dawned on him. He caught something otherworldly, something that he had been trying to hear all this time. And that was the fatal note. Chuck was burned to death for to be reborn and become an obsessed eternal spirit.

[stopandimagineloveforever]

Paul McCartney's piano intro in LET IT BE

[pleasantlyinsincere]

THE BEATLES - NEVER BEFORE HEARD RINGO STARR PERSONAL TAPE RECORDINGS FROM 1966 TOUR - SAMPLE CLIP.

Two Philips C-90 cassette tapes and one Philips C-60, two with handwritten labels (very likely in the hand of Ringo Starr) 'INDIA' and 'MAHARESHI' the third with a sticker affixed bearing handwritten label 'MANILLA (sic) INDIA'. All three contain recordings made by Ringo Starr, likely on a personal tape recorder (see here for image of Ringo returning from tour carrying what appears to be a tape recorder), of various events throughout (mostly) 1966. All recordings have very likely never before been published. Approx 248 minutes of recordings across the tapes. At one point Ringo describes the tapes as 'a talking record of our trip to Germany and Japan'. Across the three tapes, which contain hours of candid conversations with The Beatles, Brian Epstein and others within the inner circle during that period, a small selection of 'highlights' includes: - Brian Epstein discussing how to avoid paying tax/import/export charges when leaving Japan. - Numerous humorous interludes with Ringo recording his thoughts on the tours - often in an array of voices. - Band discussions of the set list for the Japan tour. - Recordings from the Budokan concerts (segments of 'If I Needed Someone' and 'Day Tripper') possibly from stage or close to stage itself, seemingly more likely from the band listening back to the recordings, whilst still in Japan. Also John asking Brian Epstein what he thought of the show. - Recordings from Manila inc thoughts on the hotel ‘pretty crappy’. - Extensive recordings from July 1966 whilst in India including the group experimenting with Indian musical instruments. - Extensive recordings of the Maharishi Mahesh Yogi - possibly recorded later than ‘66- approx 38 minutes worth. - Recordings of Ringo solo with piano performing ‘Don’t Pass Me By’, an early version without full lyrics. - Recordings of Ringo at piano performing two likely unreleased demos - one with refrain ‘have you seen the tulips grow’ and one seemingly a version of 'I Bought A Picasso' Provenance: purchased by the vendor as part of a collection of Beatles memorabilia. By repute - the original owner had been an acquaintance of Ringo Starr during the 1960s. Accompanied by CDs containing copies of recordings.

[harrisonarchive]

George taking a photograph from the side of the stage at a Crosby Stills Nash & Young concert at Wembley Stadium in September 1974 (photo by Gijsbert Hanekroot/Redferns/Getty Images); with David Crosby in 1967 (photo by Leslie Bryce); George and Stephen Stills in the studio, 1970 (scanned from the CD liner notes for Doris Troy‘s Apple Records album).

“I first met George in 1959. We kept in touch throughout our lives, meeting up over the years. I miss him very much. He was a good friend. He was a gentleman, and I don’t say that lightly.” - Graham Nash, Liverpool Echo, November 28, 2011

“Some of the stuff we did in the studio [for Troy’s self-titled Apple album], I’d be messing around on the piano and somebody would walk over and say, what is that? I’d say, this is what I got so far. And they’d go, okay, try this, try this, and that’s how come on the [songwriting credits] you see Ringo [Starr] on some of it, Stephen Stills on some of it, and George.” - Doris Troy, Unknown Legends of Rock ‘n’ Roll (1998)

"I’d worked on a Doris Troy album for Apple. And I was hanging out with George Harrison, Ringo and Eric Clapton, among others when I made my first solo album, Stephen Stills. Eric was coming by the house for a tickle, and a lot of work got done in between a two-year party at Ronnie Wood’s place. Not that Ronnie ever invited me. Going to Apple while The Beatles were breaking up was heavy for a kid from Florida. I’m in a studio with the fucking Beatles? Huh? It was very affirming when they told me: 'Go ahead and do your thing.' But then they’d say: 'But don’t get too successful. This is a small island, there’s not enough room at the top for everyone.'" - Stephen Stills, Louder, May 12, 2014

“George would invite me over for dinner. Actually, George was the one I connected with the most. He was my best friend in that band, although I'm still really good friends with Ringo.” - David Crosby, Music Radar, February 8, 2014

“[George] was my favorite Beatle” - David Crosby, Twitter, February 20, 2015

Q: “memory of George Harrison?” David Crosby: “Wonderful man” - Twitter, March 22, 2015

“They were much more real than we thought, and they were much nicer to us. And particularly George, who’s like, was just the nicest guy you could ask for. He was tough and he was smart and he didn’t kiss your butt, but he was — he was a kind human being, right? I became friends with George to the point where he started talking to me about stuff that mattered. I had just been turned on to Ravi Shankar. Somebody gave me his record, and I had it in my suitcase. And I gave it to George. And that had repercussions. He goes to India because he loves Indian music, and he meets this teacher, right? The Maharishi Mahesh Yogi. […] And I wanted to tell him, ‘Take it with a grain of salt.’ Hell, I wanted to tell him, ‘Take it with a whole shaker full of salt,’ I wanted to say that to George, I wanted to say, ‘Be skeptical.’ […] I was afraid I’d blow the friendship, absolutely. Because he was so valuable to me, and the guy was — he knew everything that I needed to know, he was doing what I wanted to do, he was nice about it, he was, like, my hero. So I couldn’t tell him the truth. Well, so I wrote him a song, I wrote him a song called ‘Laughing.’” - Storytime With Seth Rogen, October 12, 2021 (x) (x)

[ceofjohnlennon]

John Lennon, George Harrison and Ringo Starr relaxing during a recording session for Side By Side at the BBC Paris Theatre in Lower Regent Street, London, April 4, 1963. None of The Beatles songs recorded for the BBC featured piano playing.

ㅡ From the book "The Beatles: British Broadcasting Corporation (BBC Archives)" by Kevin Howlett.