More ...Signed Photos, LPs, Picture Sleeves, Promos, Memorabilia, Ephemera, etc.*

Bob & Tom ~ 1986

 

Bob Dylan ~ Chabad Telethon .. L.A. 1986

 

Bob Dylan ~ The Concert For The Pope

 

The other thing I noticed: Such erroneous lacquers were cut on a Scully lathe (model 601) fitted with a (Westrex 2B?) mono cutterhead that cut mono 45's for Columbia as early as late 1961 (in spurts including spring 1962 and late 1963, as well as fall 1965) - and would reach more full-time service the next year after Columbia's main recording, editing, mastering and cutting studios were moved from 799 Seventh Avenue to 49 East 52nd Street. Proper "Positively's" were cut on the older model 501 Scully which cut the bulk of 45's from early 1951 to summer 1966.

It should also be noted that at the time, Santa Maria pressings had the logohead on their labels moved about an eighth of an inch lower then their positioning on Pitman and Terre Haute pressings.

 

This is a cool very illustration!

 

Get ready Crimheads... Coming April 25th!!
LTIA .. Live with Muir from Dec, 1972.

 

John Lennon ~ Rare Signed Letter to George Martin
RE: The "Two Virgins" LP Distribution .. The John and Yoko letter goes to auction today at
R&R Auctions.
c., 1971.








#4036 - John Lennon Autograph Letter SignedEstimate: $20,000+

Extremely rare handwritten letter from Lennon to Beatles producer Sir George Martin—"they ****ed us about till November!"
Tremendous ALS signed “J & Y,” one page, 8.5 x 11, [September 12, 1971]. Letter to Beatles producer George Martin, who Lennon playfully refers to as "Martin George of Rock Ink," in full: "Yoko and I got Two Virgins out in spite of being past owners of Apple. We made it in May and they ****ed us about till November! Then E. M. I. (who have the real control) wrote warning letters to all their puppets around the world telling them not handle it in any way (this after Sir Joe had told us face to face that he would do 'everything he could' to help us with it—and asking us for autographed copies!!). In the States it came out on Tetragrammaton which vanished leaving a few thousand spares (it was sold discretely wrapped in a brown paper bags). Retailers here & there were too scared to handle it and it sold very few—it’s very well known but not many people could actually get it. In most other major markets, e.g. Japan, it has never been released. On my last album in U. K., E. M. I. allowed me to sing '****' wouldn't allow the lyrics to be printed! Yoko's 'Open Your Box' was banned (again by an E. M. I. letter) everywhere. It only came out in Britain in a censored form. Just thought you'd like to know." Lennon makes a few handwritten emendations in red felt tip. In fine condition, with a light paperclip impression to the top edge. Includes an original typed transcript dated September 12, 1971. Accompanied by a full letter of authenticity from noted Beatles expert Perry Cox, in part: "Very historic and incredible handwritten letter by John Lennon written to Beatles producer Sir George Martin in 1971. This is the most significant letter I've examined by Lennon to date…Within the text of this document is clear evidence of the mood and times for Mr. Lennon. Herein Mr. Lennon expresses his extreme dissatisfaction, lending the reader clear insight into John's mindset at the time."

Recorded on May 19, 1968, Unfinished Music No. 1: Two Virgins was the first of three experimental albums released by John Lennon and Yoko Ono on Apple Records and his first release after the breakup of the Beatles. In addition to its avant-garde content, the record’s front and back covers, featuring fully nude images of Lennon and Ono, resulted in parent label EMI refusing distribution. After a span of six months, the record was finally picked up by Track Records in the United Kingdom, and by Tetragrammaton Records in the United States, both of which released the album in discretely covered brown paper bag packaging. Despite their marketing troubles, the pair continued to push censorship boundaries, most notably with Lennon’s use of the word ‘****’ in the classic song ‘Working Class Hero,’ and then again with Ono’s ‘Open Your Box,’ a risque and universally banned track on the B-side of Lennon's 1971 single 'Power to the People.' This historic letter dates to just three days after the release of Imagine, and Lennon clearly hopes that the frustrating struggles he had in the past would not apply this time—they didn't, of course, and Imagine became an instant classic.

This item is Pre-Certified!
Purchase a third-party full letter of authenticity for $150.
No extra postage and no long delays!

 

Correction: that should read.. Coming April 26th.

 

King Crimson ~ #10 .. ''Prince Rupert Awakes''
The tenth entry in the weekly series celebrating 50 years of Crimson.
Features pianist Keith Tippett, who was asked to join the group by Fripp,
but decided to remain a session player on KC albums as needed.

 

Johnny Cash ~ "I Walk The Line" Gold Award
U.S. Memphis .. Sun Records in-house gold 45 award.
Rare .. from the photo archives.
c., 1956.

 

Never heard Prodigy (?) I assume they're extremely hardcore.
Always sad to hear things like this.. Johnny still has things to say.
He's spot on here. Be nice! .. Care.

 

Beep Beepm, Beep Beep Yeah...

John Lennon's Psychedelic Rolls Royce Phantom V (1967)




John & Yoko's Austin Maxi Hatchback (1969)
John quickly wrecked the car not long after getting it.. they were shook up.
He drove for awhile longer and then gave it up.




Paul McCartney has had many cars.. He always had preferred Aston Martins during the 60's.
This 1964 D35 was built to his specifications, including a record player in the dash.




George Harrison had a true love for Farrari's. We know how much George loved cars and racing.
He had a turntable in his also in '64 .. George and Patty had a bad accident in the 1969.




Ringo Starr drove a Facel Vega II during the mid 60's. I'm certain he could drive anything he wanted to, the French car was just more moderate than the others.. Now they're so rare, around
$450,000.

 

George and his Aston Martin

 

a little music to go with Aston Martin picture

​

 

Record producer remembers The Beatles relationship with Bob Dylan
Posted in Articles, Features, Now We're 64 | Tags: 1960s, Bob Dylan, George Harrison, jay jay french, john lennon, Mick Jagger, Now We're 64!, Richard Alderson, The Beatles
June 18, 2018 | Goldmine1
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Now We’re 64 by Jay Jay French


Richard Alderson today. Richard is holding the 36-disc Dylan Tour box set, “Bob Dylan: The 1966 Live Recordings,” which he initially recorded via mixing board tapes. Photo by John Peden; courtesy of Richard Alderson.

If I titled this story ‘The Strange Life and Times of Richard Alderson,’ chances are:

a) My editor wouldn’t be too excited.

b) You probably wouldn’t read past the title.

c) As this is a Beatles column, you would naturally wonder what could possibly be the tie-in that would warrant this entire exercise.

Fair enough.

In fact, this article is, in part, about the strange life of a NYC record producer named Richard Alderson and his experiences in the New York City music scene in the ‘60s that actually ties it all together.

To make all of this all the more convoluted and fascinating I will add this: In 1965 I was in my first band. It was a three-piece with Paul Herman on drums, vocals from a Chinese-American kid named Bing Gong and me (my birth name is John Segall).

We called ourselves John, Paul & Bingo!

We rehearsed two songs for an 8th grade school talent show: Bob Dylan’s “Like A Rolling Stone” and The Fugs “I Couldn’t Get High.”

Needless to say, halfway through “I Couldn’t Get High” my guidance counselor stopped the show and threw us off the stage. I guess that a 13-year-old singing about not getting high wasn’t exactly appropriate for my age.

At that very moment I was thrown off stage in Manhattan, Richard Alderson was preparing to be Dylan’s live sound engineer on his European tour and he also had just ironically produced the song “I Couldn’t Get High” for The Fugs.

At 13 years of age, although I didn’t know Richard Alderson at the time, I crossed some kind of path with Richard.

Now, that my friends, is some kind of coincidence but wait….there’s more.

Richard went on to marry one of my oldest and dearest High School friends Jane Raab. Jane has gone on to produce major TV shows like Sex and the City and currently Blue Bloods.

Over the years Richard would tell me stories about the Village in the early ‘60s; about seeing Dylan perform for the first time at the Gaslight Cafe when Richard was just 24.

Richard was doing live sound for Harry Belafonte who was one on the few artists who traveled with his own sound system.

Richard was also an archivist who just happened to be at the right place at the right time in music history.

JJ: When you saw Dylan at the Gaslight for the first time I presume the manager Albert Grossman wasn’t yet involved. Do you remember hearing that Dylan signed with him?

Richard : When I recorded Bob at the Gaslight he had just signed with Grossman. I knew both Bob and Grossman from the Village about a year before I recorded him at the Gaslight. I was at the Gaslight a lot. I knew the owners Clarence Hood and his sons. I had built the Gaslight a simple sound system, and I also built a larger sound system for the Village Gate at that time.

JJ: Did Dylan go back and forth from the Gaslight to Gerde’s Folk City?

Richard: No idea. Dylan was writing songs at Chip Monck’s digs behind the Village Gate when I was there and Bob was given some attention from Adele Suhl who was a coffeehouse waitress. who would eventually become my second wife.

As fate would have it, sometime in October of 1962, Richard brought his Nagra mono tape recorder to the Gaslight and on the second of a two-night stand, Dylan debuted his newly written material.

This is where Richard (and the rest of the world) heard, for the first time — in front of maybe 25 people — songs like “A Hard Rain’s a-Gonna Fall.’

“Dylan debuted the songs he wrote at Chip’s place and everyone at the Gaslight that night was gobsmacked! This was the night that Dylan became Dylan!”

In 1966, Albert Grossman called Richard because he really liked the way that Harry Belafonte sounded live and offered him the job of mixing Dylan’s entire Australian and European tour that April and May, billed as Dylan & The Hawks. The Hawks consisted of Robbie Robertson on guitar, Richard Manuel on piano, Garth Hudson on organ, Rick Danko on bass and Mickey Jones on drums.

Richard recorded most of those shows (somehow forgotten for many years by Columbia Records) but were finally found and released in a 36-disc box set via Sony Legacy in 2016 with Richard finally getting the recognition he so richly deserved.

As legendary as that Dylan tour was to the ongoing myth of Bob Dylan, what I didn’t know until recently was a story about Richard meeting The Beatles in England during Dylan’s tour.

The Beatles loved Dylan and some members came to the Royal Albert Hall shows. During the band’s time in London, Richard accompanied Dylan to one of The Beatle’s flats to hang out. During that afternoon they all listened to the Beach Boys’ Pet Sounds and were all blown away just like all the stories reported. (Except Richard was there!)

Richard then asked to go to Abbey Road to check out how recording was done in the U.K. and went by himself. As he was part of Dylan’s inner circle he was allowed into a Beatles recording session.

Richard was a producer and was as interested in the gear being used and as he was walking around while The Beatles were recording. Lennon quipped as Richard was walking around the studio, in a very Lennon-esque fashion, “Come to check out our wires, eh?”


John Lennon arrives at the EMI studios in Abbey Road, London in 1966. (Photo by Larry Ellis/Express/Getty Images)

After hanging out for a while, the session ended and Richard asked them if they wanted to go back to the hotel and hang out with Bob.

John and George took up the offer and gave Richard a ride to the hotel.

As they were driving to the hotel, they were smoking so much hash in the car that the windows were fogged over.

A small roadster pulled up next to their car and the window came down to reveal Mick Jagger driving alone and, having recognized the car that John and George were in, tapped on the window (with smoke billowing out). Jagger asked where they were all going.

According to Richard, it was commonly known in the inner sanctum of the hierarchy of the British music scene that Dylan did not like Mick Jagger personally. Moreover, John also knew this and teased Jagger with “We’re going over to Dylan’s hotel to hang out. Wanna join us?” Knowing full well that Jagger would come up with some excuse. And he did. Jagger said, “Can’t at the moment, I’m off to a recording session.” To which Lennon replied, according to Richard, “Call us if you need a real rhythm section!”

Richard, who still builds sound systems and recording studios, produced such legendary underground artists as The Fugs and Pearls Before Swine. He was also responsible for producing almost the entire output of the artists on the ESP label.

Richard Alderson has had an amazingly full life and you can read all about his incredible musical journey in his forthcoming book, co-written by Joe Hagan (the author of Sticky Fingers: The Life and Times of Jann Wenner and Rolling Stone Magazine), called Open The Door, Richard! Alderson also produced the soon-to-be-released CD set, Dylan at the Gaslight on Sony Legacy.


From Goldmine Magazine June 18, 2018.

 

***** ATTENTION SPORTSFANS *****

Heritage Auctions is having part one of the weekend Entertainment Auction NOW!
Watch it live .. right now on: www.ha.com

Bob Dylan's Fender XII 12 string ''Blonde On Blonde'' used and owned guitar is coming up
in minutes! .. Watch it LIVE now. Many Beatles and Dylan items later today.. Enjoy!


Good Luck to any bidders!

 

* www.ha.com


From a couple years back.

 

Crimson's Fourth Drummer... HA! She's G R E A T!




* Nirvana - Smells Like Teen Spirit / Drum Cover by Yoyoka, 9 year old

 

The Riverside Hotel ~ Clarksdale, MS.



I had the pleasure of visiting the Riverside 15 years ago. There is indeed a vibe.
Frank was very cool.. thanks Rat.
Frank Ratcliff + RIP

 

*

 

This is really interesting. Where is this information, please?