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Paul McCartney: I always looked at life from a point of view of the public. I think I’ve got a good sense of that. The Beatles split up and we were sort of all equal. George did his record, John did his, I did mine, Ringo did his. It was as we were during the Beatles’ times. We were equal. When John got shot, aside from the pure horror of it, the lingering thing was, OK, well now John’s a martyr. A JFK. So what happened was, I started to get frustrated because people started to say, “Well, he was The Beatles.” And me, George and Ringo would go, “Er, hang on. It’s only a year ago we were all equal-ish.” Yeah, John was the witty one, sure. John did a lot of great work, yeah. And post-Beatles he did more great work, but he also did a lot of not-great work. Now the fact that he’s now martyred has elevated him to a James Dean, and beyond. So whilst I didn’t mind that – I agreed with it – I understood that now there was going to be revisionism. It was going to be: John was the one. That was basically the thing. And when I would talk to mates they’d say, “Don’t worry. People know [the truth]. It’s OK, they know what you did.” But then strange things would happen. Like Yoko would appear in the press, and I’d read it, and it said [comedy Yoko accent], “Paul did nothing! All he did was book the studio…” Like, “Fuck you, darling! Hang on! All I did was book the fucking studio?” Well, OK, now people know that’s not true. But that was just part of it. There was a lot of revisionism: John did this, John did that. I mean, if you just pull out all his great stuff and then stack it up against my not-so-great stuff, it’s an easy case to make.

What happened, when we were kids we were looking for what to call our songs. We had a meeting with Brian Epstein, John and me. I arrived late. John and Brian had been talking. “We were thinking we ought to call the songs, Lennon and McCartney.” I said, “That’s OK, but what about McCartney and Lennon? If I write it, what about that? It sounds good, too.” They said, “OK, what we’ll do is we’ll alternate it: Lennon and McCartney, McCartney and Lennon.” Well, that didn’t happen. And I didn’t mind. It’s a good logo, like Rogers and Hammerstein. Hammerstein and Rogers doesn’t work. So I thought, “OK”. But what happened was the Anthology came out [in 1996, with Epstein and Lennon now long dead]. And I said, “OK, what they’re now saying is, ‘Song by John Lennon and Paul McCartney.’” I said, if you’re doing that, it’s not Lennon and McCartney, it’s not the logo any more. So, in particular cases like ‘Yesterday’, which John actually had nothing to do with, none of the other Beatles had anything to do with – I wrote it on my own, sang it on my own, they’re not on the record, nobody is even involved with it, and they didn’t mind that and I didn’t mind, nobody minded, but that’s very much mine – so I said, “Could we have ‘By Paul McCartney and John Lennon’, wouldn’t that be a good idea? And then on ‘Strawberry Fields’ we’ll have, ‘By John Lennon and Paul McCartney’. ‘Nowhere Man’, ‘John Lennon and Paul McCartney’. ‘Penny Lane’, ‘Paul McCartney and John Lennon’. Seeing as we’re breaking it up, can we do that?” And at first Yoko said yeah. And then she rang back a few days later and she had this guy Sam Havadtoy who she was living with – she was co-Havadtoying – and she said she’d decided it wasn’t a good idea and no, no, no, no. And it became a bit of an issue for me. Particularly on that particular song, because the original artwork had ‘Yesterday’ by John Lennon and Paul McCartney and a photo of John above it. And I went, “Argh! Come on, lads!” Anyway they wouldn’t do it.

Well, what happened was there was a backlash from people who didn’t see where I was coming from. “Dancing on a dead man’s grave” was one of the phrases that came up. “What a bighead!” “Why does he want his name in front of John’s?” But it was nothing to do with bighead. It’s just to do with identifying who wrote what. John did a really good Playboy interview where he did that: “This is mine, this is Paul’s.” So I thought, “Just use that! John said it!” I thought that was perfectly reasonable and I still do, by the way. But I don’t think it’s achievable for some reason. The arguments I used was these days I’ll get a cinema ticket and I will go to a film called “Miss Congeni-”. The “-ality” is missed off. What starts to happen is, “A song by John Lennon and-”. You know how on your iPad there’s never enough room? So it’s kind of important who comes first. Late at night I was in a hotel room looking online and I happened to see this music book, which has got all the songs in it, and it was ‘Hey Jude’ by John Lennon and…” and the space ran out. There’s a poetry book, Blackbird by John Lennon and Paul McCartney.” No! He didn’t write those lyrics! So, at the risk of seeming like… I tell you what, if John was here he would definitely say that’s OK. Because he didn’t give a damn. It wasn’t anything that worried him. But I’ve given up on it. Suffice to say. In case it seems like I’m trying to do something to John.

Via Esquire

Sessions X, the online music series announces “One Shot” auditions for their second season. If you think you have the talent and the drive, they want to hear from you.

They’re looking for a new artist/band to participate in Sessions X upcoming season. Sessions X is based on the format of one take, live off the floor – giving fans your best performance. They’re using that same format to audition undiscovered talent. “One Shot” culminates with each of the 10 finalists giving their best live performance of an original song in one take.

Judging the acts and choosing the winner will be the responsibility of our music industry experts: Laurie Lee Boutet – A&R, Universal Music, Jeremy Taggart – drummer, formerly of Our Lady of Peace and Drew Khan – Music Programmer and DJ, SiriusXM.

The winning artist/band will receive a two song recording session at Noble Street Studios with award winning producer Gavin Brown. Lightbox Video will film these sessions and your performance will be included in our upcoming second season.

Last summer Gavin Brown teamed up with eighteen artists across various musical genres to craft their best in a live set of one-take studio performances. Sessions X is the result of those collaborations. The online web series features each artist’s performances, accompanied by an interview and behind the scenes coverage of the session. Visitors to Sessions X can watch a favourite artists entire set or cruise around and explore new artists.

For full audition details, rules and regulations on how to enter visit here. They’ll choose 10 artist/bands to perform their song in a live one-take audition and from that, one will be chosen as the winner.

Deadline for entries is midnight July 13, 2015. All genres are welcome, there is no entry fee and participants must be over 18 years of age.

There’s a piece of Jim Morrison artwork up for auction at Lelands, and Charles M. Schultz would be outraged! Doors front man Jim Morrison was quite the cut-up, as evidenced by this humorous original artwork incorporating pasted-on Peanuts character cut-outs with his own handwritten dialogue. It is, of course, loaded with sexual overtones. The first frame depicts Snoopy growling at Pigpen, who replies, “If you bite my balls, I’ll suck your c–k.” The second frame shows Lucy pleading with Charlie Brown: “I’ll give you 15 [cents] if you’ll f–k me, Charlie Brown,” to which he replies: “Throw in your tricycle and it’s a deal, Baby.” In the third frame, Charlie Brown asks Linus, “What’s wrong kid?” to which Linus answers: “I think I got Syphilis from that whore down the street.” Snoopy gets the last word, er, sort of: “Arf, growl, ruff, bark,” to which Pigpen replies: “Cut that damn swearing out dog.” The strip is done entirely in the hand of Morrison and signed “Jim” in the upper right corner. On construction paper, the “artwork” measures 13.5″ x 3” and it is in EX-MT condition. Good grief!

This week, in Masters in Business, Barry Ritholtz speaks with jazz guitarist and singer John Pizzarelli.

Pizzarelli has recorded 23 albums and appeared as a session musician or vocalist on hundreds of others. He has recorded jazz standards from the Great American Songbook and has backed or opened for Frank Sinatra, Paul McCartney, James Taylor, Natalie Cole and Rosemary Clooney among others.

Their conversation discusses how jazz musicians make a living in the age of downloading and hip hop.

Imagine Dragons’ Isolated Vocals for “Radioactive”

Death Cab for Cutie’s Ben Gibbard Deconstructs the Science of Songwriting

From the files: Wax Poetics – Al Green strives for perfection

As if Dolly Parton wasn’t cool enough, look what she’s been doing for kids — every single month.

The 10 best selling vinyl albums of 2015 in the US so far…with fun trivia for each one.

Interview with Roddy Bogawa on the Syd Barrett/Pink Floyd documentary film Taken By Storm.

A top audio engineer explains NPR’s signature sound

Hustlers Convention is one of rap music’s great classics. But few people even know it exists.

The Most Gut-Wrenching Jason Isbell Songs (With Guest Commentary by Jason Isbell)

The perfect storm that allowed blog rock to appear, thanks to online blogs, as if out of nowhere, a decade ago.

An interview with Pete Townshend: “I might retire… from making money…”

At just 35, Sean Parker has been public enemy No. 1 to the music industry and one of the first “friends” of Facebook, and he’s made billions along the way. In 1999, he co-founded Napster, a music-sharing site that attracted millions of users — and enough lawsuits from record labels to shut it down. Five years later, after seeing a site called “The Facebook” on the computer of his roommate’s girlfriend at Stanford, he met founder Mark Zuckerberg and soon became the president of Facebook.

Today, with a net worth of $2.6 billion, the serial entrepreneur is shifting his focus to his most personal and ambitious endeavor yet, the Parker Foundation. Katie Couric, Yahoo’s global news anchor, sat down with Parker to discuss his newfound commitment to philanthropy, the “unintended consequences” of technology, and how “The Social Network” got him all wrong.

Via Yahoo

For Malala Day, Malala’s 18th birthday on July 12th, Malala is done with wishes. She wants action.

Post a photo of yourself holding up your favorite book and share why YOU choose #BooksNotBullets – and tell world leaders to fund the real weapon for change, education. The Malala Fund will use them on Malala Day to show world leaders that the public wants global education to be a top priority.

The shocking truth is that world leaders have the money to fully fund primary AND secondary education around the world – but they are choosing to spend it on other things, like their military budgets.

In fact, if the whole world stopped spending money on the military for just 8 days, we could have the $39 billion still needed to provide 12 years of free, quality education to every child on the planet.

Malala shares why she choose The Diary of Anne Frank for her‪ #‎booksnotbullets‬ campaign.


“I chose ‘The Diary of Anne Frank’ because the book reveals the courage and strength of a young girl living under war and conflict. It inspires me to believe that every child deserves the right to dream, the right to learn and the right to live in peace. I urge world leaders to prioritize education because education is the only way through which we can defeat terrorism, fight against poverty and bring peace and prosperity. The money that is spent on just a few guns, if given to a child’s education, can change that child’s life. We cannot stop terrorism just by killing the terrorists and people. We need to fight against the ideology of terrorism and extremism, and that can be done successfully only through education. If a child, suffering from poverty and difficulties, is not given a book, he will pick up a gun. I call on my sisters and brothers all around the world to join me in this mission – #booksnotbullets.” -Malala

Join the world this Malala Day and share why you choose #BooksNotBullets