Yes....I'm here. Big Daddy will protect the flock.

Hey Big Daddy, or as I prefer to call you, Hypocrite

PLEASE REMOVE ME FROM YOUR BOARD FOREVER

thank you

You're the only person upset about this whole mob thing, here's an idea: get over it and stop boring everyone.

I could condense my remarks some. But whether I do or not, you're still going to endure the
rest of your life, as an offensive little man, who lays in wait on chatboards so you can pounce
on someone you perceive as weak. Or less than you.

The connections I pointed out, are quite interesting, maybe not to you, but then if you hear cries
of help from your neighbor's maybe you're inclined to say "thoughtless A Holes" instead of calling 911

I've spent my life in music, and I get sad when one of my heroic bands (the Beach Boys) step into business
with some hoods. But then Gene Landy might have been a hood of a different sort.

That must be a big weight on your shoulders to speak for the entire membership, "nobody cares"
a blanket "Paco speaks for everybody!"

and then the other guy who says "Phil Cohen is hacking into people's accounts, NOW he is a rude
cruel guy too, but at least he is funny!  cruel+ funny


Listen Eye of the Tiger was a hit, like an assembly line Journey type of music , no soul, just assembly line
that's bad enough, but when you throw in Scotti Brothers, and how it all ties in with "that's why God made the radio"
it's creepy

You know when I went into the Scotti brothers building on Sunset, I was just a kid, I was afraid they'd kill  us
and not let us out, they focused   attention on their mafia roots, they didn't hide it, they used it as a marketing
tool, while I was in the building, their A&R guy started talking about my health, these people are directly connected
to "That's why God Made the Radio". I felt it was an intersting story to discuss. That's all.

The Beach Boys are America's band, the same way people try and promote America's football team, or baseball team
that carries with it, a certain responsibility, to act a certain way. If you sing at Reagan's library, you shouldn't be involved
with mobsters., especially by choice.3

I don't like it Taco, when a guy like you, tries to pick on me, inferring, my mind is sick or I am delusional, I just pointed
out a story, about the backround of the people who wrote "that's why god made the radio" and the songs connection
with the Beach Boys. Read the article from Anthony Scotti's own lips,

I'll try and condense my remarks here, and be brief, you try and watch how you attack me personally little man, with
your "I speak for everyone here" bulls^^t


Back to the song, I find the title reminds me of what I would typically hear  in a new Country type of song, and I have
trouble imagining, complex, lush layered Beach Boy harmonies over that title, but maybe it's great, I am anxious to
hear a lush beach boy vocal arrangement over what sounds to me like a country song title.

The Brian Wilson Christmas album sounded like authentic, vintage Brian Wilson production to me, therefore, I hope
this new album has at least some vintage BW production. Beach Boys 65 that's the description everyone keeps using
I tend to believe them. Why not? They would know.

Finally Adam, I don't know if the mob is still involved with record companies and clubs, I suspect they are, but who knows.
that guy Peternik (that's why god made the radio) could answer that question I presume. Or Joe Thomas maybe,

Bring on That's Why God Made The Radio, I am excited as hell about a new real, authentic (mostly) Beach Boy album!
Far Out

Wait...the guy's name is PAULOS...not 'Paco' or 'Taco'. I sincerely hope you didn't choose those two words for the reason it seems like to me...

I think he might be trying to be insulting towards hispanic people, not realising I'm a white English guy! If he is then he should be banned for attempting to incite racial hatred. I loved the 'I don't like it Taco, when a guy like you, tries to pick on me, inferring, my mind is sick or I am delusional' - all I said that was he was getting upset and boring everyone, how does that translate as calling someone delusional? Oh and as for the 'offensive little man' comment I am 6ft 1 so not really so little. Also, you are the most boring poster on any board ever, but I am grateful for your helping my insomnia.

No in fact I lived in Mexico, married a Spanish girl,   have nothing against Latin American people. Just you, when I say you are a little man
I don't refer to your height or weight, but the puny value of your soul. You're a cyber bully who laid in wait to pounce and insult me with
a bunch of false remarks, you said you spoke for everyone else here, which is a huge ego trip on your part,  you said what I had to say
was uninteresting, and everyone agreed with you, you are small minded and worse still, a huge egomaniac, essentially telling me my views
or posts are worthless, an irritation, a waste of time, and you speak for all like some magnanimous host, trying to apologize to the membership
as you cuttingly demean me, while you act like you aren't doing that very thing. The reason I mispronounced your name isn't because I dislike
people of color or hispanics, it's because arrogant jerkoffs like you, I don't bother to remember your name, I try and forget you, and demean you
as you tried to do to me, for no reason whatsoever.. I've actually been in a room with the mobsters I spoke of, and some of the Beach Boys
whom I consider decent folks, and I was saddened, from personal experience I know some of those people mentored by the Scotti brothers
are the dregs of the earth, and I lamented the fact, and pointed it out to those who might be interested... I also dislike those barf bags for any
part they played in harming the career and life of my pal Leif Garrett from school, who was a nice kid before he got involved with the Scotti's

Maybe I am boring, and long winded, I thought I had some worthwhile interesting things to contribute here, but there are quite a few of you
younger, know nothing about music guys, who always attack with the knife and fork, like you can only get your sustenance at the expense of
putting someone like me down.  I misspoke your name because I was trying to tell you to shove it, drop dead, go back to pulling the wings off
butterflies, don't speak for the entire membership about me, and don't demean me in some cowardly English backhanded way, like you belong
to the upper crust and just insulted the janitor at your squash club, go watch a film about all the English royalty that wanted to side with Hitler
or go read Neville Chamberlains speech about the Sudetenland, go meet your boyfriend for tea, but don't tell me you weren't insulting me

Your attempt to censor anyone who doesn't fit your profile is a lot more common at places like Steve Hoffman, don't bring that poison attitude over
here. So you didn't like what I had to say. Didint think it had merit. I don't think countries in the developed world in the 21st century, should
have a billion dollar a year royal family like the British equivalent of a theme park or night time soap. I insulted you because you insulted me
it's just that simple, then you simper and say   you didn't do a thing.

Of all the people in the music business, all the hall of famers, A Lister's and super talents, I was surprised and caught off guard, that the Beach
Boys were working with people that were mentored by the mob. Maybe you should head a department here that checks credentials and bloodlines
for membership, and censors posts before they are allowed to be read by the general membership, Jesus you are an ass


I still hear the phonetics of the song title as something more akin to a country song, I am dying to hear it, the whole album in fact, Culturally
they had a big impact on my generation growing up in Los Angeles, Musically I admire them and have been influenced by them, like any other
pop musician, and To think they have an album, which reminds people of Beach Boys circa 1965 is just stunning, I am hoping for two great songs
as good as California Girls, or God Only Knows, I hope they really turn in a masterpiece as their swansong, I am really rooting for them.

Brian has worked with Joe Thomas and Jim Peternik in the past, so I don't get why the "mob links" would be a problem now. Frank Sinatra was rumored to work with the mob back in the day and he is an American icon.

Because when the link to Scotti Brothers, and all those music biz mobsters, became apparent to me, is when I mentioned it.
And I spoke about it at some length.

I hope wirestone is right in his prediction, or hope, 8-9 Brian Wilson co-writes, 3-4 with Love. One From Jardine
One From Johnston, something along those lines.

If "That's why God made the radio" sounds great, that will go a long, long way towards squashing any of the
backround people involved. If the record sounds like an assembly line hack job, by Old Scotti Brothers type people
then I think people will say, why didn't they call Carol King or Rick Rubin or Jackie Deshannon, or people they could
trust if they needed an outside song..

Correct me if I am wrong, but didn't Carol Bayer Sager or someone help on She Says that She needs me. We have the
much earlier Beach Boy track, with the melody and basic idea cut years before Joe Thomas ever worked with Wilson
so why is Thomas credited as a co writer on that song, what did he do? add the word "the" or some trivial thing, Thomas
is listed as a writer on that song right? Except for some of the lyrics, the Beach Boy demo has 80% of that song locked.


If the song is a great single, and Capitol uses all their expertise and muscle to push it, and they can get it on radio, and keep
doing TV and going on tour, it could be a monster hit, if it's good. We shall see. the $64 dollar question, will be answered soon.

Ironically, the mob probably gave its artists a fairer shake than a lot of labels did...the music industry attracts lots of unsavory types.  Read up on a guy named Stan Polley...that story will make your hair curl.  I actually prefer some of the sharks (not Polley though, Christ, someone should have put a bullet through his head) to some of the folks I've observed down at the bottom -- not talking Beach Boys specifically here, just a general observation.  The sharks are out to make money, whereas the hangers-on are trying to leech money and reflected glory.  You can chart the career of many successful bands by their ratio of the hanger-on types to actual competent people that got the work done.

Although come to think of it, I think Polley may have had mob ties too.  Kind of shoots a hole in my own argument.  Oh well.  It's amazing good music gets out there, some how, some way.  There are plenty of obstacles to it.

It's always been a crooked business. Yes certainly the mob probably helped some people have careers. I don't know of Polly, but
I have seen a gazillion suits, some are cool, some are not, and there are all kinds or were, of different types of mobs and what not.


Look at the state of the music business now, I sort of liked the old system, at least it functioned. Artists were groomed, they grew
Some people got signed and groomed who didn't deserve it, some didn't get signed who did deserve it. People got cheated, at least
we had a functioning music business, I don't even understand how it works now. There doesn't seem to be a center, where things
spring from. It's all very haphazard now. Something will emerge from this chaos,

The World needs a good hit single from the Beach Boys, regardless of who wrote the tune, I really believe it's a good thing for the world
, Karma, and hopefully a nudge that might point the music business back into the right direction. The world could use a few new rock stars
who have the talent and live up to the hype. I don't know if Jack White and Lady Ga Ga, are deserving of the mantle, of this generations
rock stars,

Sigh new Beach Boy album featuring Brian, Mike, Al, Bruce, Carl and David, in 2012, what the heck could be better than that, I just hope
they deliver the goods, and turn in a really fine album. On some level it will be good for the planet, music influences culture as much as
culture influences music. At least I think so.

You're the only person upset about this whole mob thing, here's an idea: get over it and stop boring everyone.

I could condense my remarks some. But whether I do or not, you're still going to endure the
rest of your life, as an offensive little man, who lays in wait on chatboards so you can pounce
on someone you perceive as weak. Or less than you.

The connections I pointed out, are quite interesting, maybe not to you, but then if you hear cries
of help from your neighbor's maybe you're inclined to say "thoughtless A Holes" instead of calling 911

I've spent my life in music, and I get sad when one of my heroic bands (the Beach Boys) step into business
with some hoods. But then Gene Landy might have been a hood of a different sort.

That must be a big weight on your shoulders to speak for the entire membership, "nobody cares"
a blanket "Paco speaks for everybody!"

and then the other guy who says "Phil Cohen is hacking into people's accounts,  now he is a rude
cruel guy too, but at least he is funny!  cruel+ funny


Listen Eye of the Tiger was a hit, like an assembly line Journey type of music , no soul, just assembly line
that's bad enough, but when you throw in Scotti Brothers, and how it all ties in with "that's why God made the radio"
it's creepy

You know when I went into the Scotti brothers building on Sunset, I was just a kid, I was afraid they'd kill  us
and not let us out, they focused   attention on their mafia roots, they didn't hide it, they used it as a marketing
tool, while I was in the building, their A&R guy started talking about my health, these people are directly connected
to "That's why God Made the Radio". I felt it was an intersting story to discuss. That's all.

The Beach Boys are America's band, the same way people try and promote America's football team, or baseball team
that carries with it, a certain responsibility, to act a certain way. If you sing at Reagan's library, you shouldn't be involved
with mobsters., especially by choice.3

I don't like it Taco, when a guy like you, tries to pick on me, inferring, my mind is sick or I am delusional, I just pointed
out a story, about the backround of the people who wrote "that's why god made the radio" and the songs connection
with the Beach Boys. Read the article from Anthony Scotti's own lips,

I'll try and condense my remarks here, and be brief, you try and watch how you attack me personally little man, with
your "I speak for everyone here" bulls^^t


Back to the song, I find the title reminds me of what I would typically hear  in a new Country type of song, and I have
trouble imagining, complex, lush layered Beach Boy harmonies over that title, but maybe it's great, I am anxious to
hear a lush beach boy vocal arrangement over what sounds to me like a country song title.

The Brian Wilson Christmas album sounded like authentic, vintage Brian Wilson production to me, therefore, I hope
this new album has at least some vintage BW production. Beach Boys 65 that's the description everyone keeps using
I tend to believe them. Why not? They would know.

Finally Adam, I don't know if the mob is still involved with record companies and clubs, I suspect they are, but who knows.
that guy Peternik (that's why god made the radio) could answer that question I presume. Or Joe Thomas maybe,

Bring on That's Why God Made The Radio, I am excited as hell about a new real, authentic (mostly) Beach Boy album!
Far Out

I like him, he was going to produce a single for me, perhaps for this Christmas.
I wouldn't call him friendly or warm, he's kind of shrill and rude, but he's smart
and get's things done.

That's a pretty good analogy, the new Roger Corman or Roger Corman of rock,
I found him to be rather honest also. He'll take advantage if you don't know
what you're doing, but he keeps his deals.Sticks to his word

Since I am a real sleuth, I did my homework. This is the songwriting team behind That's Why God Made The Radio:

I wouldn't be surprised if Gene Landy, was friendly with some of those people. If I ever meet his son Evan again
I'll ask him,

I think that is part of Brian Wilson's talent, taking a 3/4 written song, and making it his own
adding a bridge or whatever.

Paul McCartney added the Woke up got out of bed, to a basically complete Lennon song,  that
was great already, and just raised it to another level.

I have a co writer once in awhile, who writes just the bridge or embellishes 15% of the song, and
makes it twice as good.

That's a talent to take a raw song, write a bridge or verse or whatever it might be, and elevate it.

George Harrison after five years out of the studio, used the very obscure Rudy Clark song "got my mind
set on you" with a new totally different arrangement, the song skyrocketed to number one, restoring Mr
Harrison to the "A" list overnight.

Harry Nilsson wrote a lot of hit songs, One is the loneliest number for Three Dog Night, but his breakout hit
as an artist was written by Pete Ham "Cant Live if living is without you....



Sometimes reaching out for one or two outside songs, is a good idea, and finding one you can add a part to
is a legitimate method.. Hell Wilson finished a hundred year old, half done Gershwin tune recently, did he not?

People are reading too deep into nothing. The band has always worked with outside collaborators. Some sketchier than others, but sketchy folks nonetheless. I doubt these alleged mobsters were gonna break Brian's knuckles with a pair of pliers if the band didn't work with them.

I heard that in the mid-60s they worked with some pretentious goofy fool who took drugs with Brian. Now THAT is the kind of influence that is unneeded.

It's not like it's gonna be their first hit single written by somebody outside the band. http://www.youtube.com/watch?v=Grj7sjQ0_p4

No Hypehat, it is not much ado about nothing. These people are a part of the mafia, and the Beach Boys are choosing to use
a song, (the single) or perhaps multiple songs, from these people.

This is significant. However, it is hardly unusual in the music business, this case is somewhat extreme in that, many qualified people
with no connection to the mob so far as I know were available for songwriting or production help. Van Dyke Parks, Russ Titleman, Phil Ramone
Rick Rubin, Jack Douglas, or whoever, just using those people as examples.

They could have gotten a song off of Neil Diamond, Elton John, Paul McCartney, Jackie Deshannon, Tom Petty, Jeff  Lynne,Jackson brown
Cat Stevens, Don Mclean, Van Dyke Parks, Leo Sayer, Van Morrison, Don Mclean, Adam Marsland, Jewell, Sheryl Crow, Lucinda Williams

Or a gazzillion other people, if they needed a song, but its significant they found an outside tune to be a hit, from some people with a deep
and long history with the mob people.

No one would really argue it was no big deal the Beach Boys used a Charlie Manson song on the b side of a single, That's grotesque

The Beach Boys, have a reputation going back to the sixties, where they don't outright steal songs, but they put their name on songs mostly
created by other people, and many people got offers to write with one beach boy or another, and usually not much credit dribbles down.
some not too much.

Richie Podolor told me he walked away from one of those types of offers, a guy named Stan made an offer to me like that in the eighties from their crowd,     
What Makes   "that's why God made the radio" different, is the people involved have historic ties to the mafia.

But you're right there is plenty to talk about besides that, but no reason to sweep it under the rug or minimize it, it is what it is, and it kind of
confirms my feelings, about this "who the hell is this Joe Thomas guy, now I know. Kind of the reincarnation of Don Kirshner or something. that
guy Anthony Scotti, if you read that link, he says he is the son of Lucky Luciano! and he is proud of it, he says his father (Luciano) saved the United
States, he also says there is no such thing as the mob. no foolin that's what the guy said.


This may tarnish the album somewhat, and call into question the judgement of some of these decision making people around the Beach
Boys, but still it is their fiftieth, and by God, they are doing a new album, that supposedly sounds like Beach Boys circa 1965, I'd say that
trumps even the mob,though I wonder how the PBS crowd will react to this mob connection with the Beach Boys



 

I want to point out that this TWGMTR-revelation was posted on March 31, so it doesn't count as April Fools joke!

It's not a joke on my part. I linked the article to Anthony Scotti, in his own words. It's common
knowledge Scotti Brothers records was mobbed up, and the primary songwriter of Eye of the Tiger
and That's why God Made The Radio, is a protoge or was mentored by these people, for many years.

This is not uncommon, yes Tony Bennett, Frank Sinatra, many people their whole careers were enmeshed
with the original mob, it's not like those Italian singers had a choice. Yes they did well, regardless of
perhaps because of their mob connections.

Certainly many stories circulated around Hollywood with MCA Universal, Capitol, Film Studios, Vegas, the
night clubs, on the sunset strip, and in New York City.

The Beach Boys, I would hope, are in a position of strength, where these mellow surfers, creative singers
and songwriters, don't have to rely on mob connected songwriters, managers, or producers to find songs
go on tour or get their album happening.

These are some bad, very bad people. I'm sorry the Beach Boys didn't learn their lesson after the Manson
Family debacle, and do business with more above board sorts. Plenty of good songs around, that come with
a cleaner provenance than the old time Scotti Brother crowd.

It won't prevent me from enjoying the album. But how very sad, that in this day and age, they fell in with such
a crowd. Who knows, maybe they have to do a certain number of Joe Thomas inspired songs, just like John Lennon
had to do some Morris Levy songs to stay in one piece.

It's just sickening,  it shows decisions are not being made purely on artistic grounds, they have some rough partners.
I'm sure there are plenty of would be writers with plenty of demo's to send in, like the old days, if they needed a song.
This may be a good song, or maybe it's part of paying their bill to these people.

OK 30 days to go.


Did they get Van Dyke Parks to write some words? nah, they went with fringes of the mafia instead, ah I see.

i'm not bummed that there's a song on the album not written by them, that's not unsurprising at all.  it's that this is the song that has been hyped up, and now it isn't written by them?

it's the song probyn singled out.  It's the song Mike singled out.  Can we assume that this is the song that that drummer guy tweeted about too?  And what about Bruce, he said he'd been playing a Brian song over and over, so hopefully that's another tune.  i mean, talk about the songs the band wrote!!  this is like hyping up "i can hear music" instead of the other great tunes on 20/20.  

We don't know how much the other guys were told about who wrote the song for/with Brian.  Maybe they just don't know.  It's likely they were presented with a bunch of new songs from Brian and Joe, and got straight to work on them, but were not given all the details. 

sweet, so it seems the best song on the next beach boys album wasn't written by a beach boy, but the songwriting power house of Joe Thomas and the guy who wrote "eye of the tiger"

That Eye of the Tiger guy you speak of, Joe Peterik, was of course backed by Tony Scotti,,,,notorious mobbed up record executive, who claims to
be the son of Lucky Luciano, why the Beach Boys would willingly be involved with people from this crowd, I don't get it.

Here is a link with a long article from the New York Observer, with plenty of Quotes directly from Tony Scotti the long tie mentor of

Joe Peternik who apparently wrote, or gets credit for writing, the forthcoming Beach Boys single "that's Why God Made The Radio"
here is a story on his mentor Tony Scotti, mobster record man, from his own lips in the New York Observer.

http://www.observer.com/2000/04/my-pal-anthony-scptti-tells-me-hes-really-lucky-luciano-jr/


Scotti goes on to present scary bodyguards, make threats, explain conspiracies between area 51 the aliens, and himself..
This is the man the mafia guy, who mentored the guy who wrote "that's why God Made the radio"

These people are apparently all involved with Joe Thomas,   these are the people the Beach Boys involved for their swan song 50Th anniversary
album and tour.. If you think it's a joke just read the article and then do some google searches on the mob and Scotti Brothers, Anthony Scotti.,
cross check that with Joe Thomas and Joe Peternik, it's not rocket science, it's fairly easy to start piecing it together.

Of all the talented people in the world, this is who the Beach Boys are getting in bed with

Why ? This is the very antithesis of    Good Vibrations that's for sure

I'm not bummed that there's a song on the album not written by them, that's not unsurprising at all. it's that this is the song that has been hyped up, and now it isn't written by them?

it's the song probyn singled out.  It's the song Mike singled out.  Can we assume that this is the song that that drummer guy tweeted about too?  And what about Bruce, he said he'd been playing a Brian song over and over, so hopefully that's another tune.  i mean, talk about the songs the band wrote!!  this is like hyping up "i can hear music" instead of the other great tunes on 20/20.  

We don't know how much the other guys were told about who wrote the song for/with Brian.  Maybe they just don't know.  It's likely they were presented with a bunch of new songs from Brian and Joe, and got straight to work on them, but were not given all the details. 

sweet, so it seems the best song on the next beach boys album wasn't written by a beach boy, but the songwriting power house of Joe Thomas and the guy who wrote "eye of the tiger"

All those Eye of the tiger, Survivor Scotti Brothers people, were totally mobbed up, very bad vibes, complete total  stereotype Mafia,,, the Italian kind. Hey we hate to see you're health suffer,  that's the most important, thing capiche? take care of your health, now about these papers, my fiend's, Johnny Musso, Mr Scotti
we'd like you to sign these papers.


SO long story short, if this is where Joe Thomas and his musicians originated, it's almost as bad as another Dennis And Charlie Manson kind of thing.
But you know pop stars, for example put out a record written by their pal Charlie Manson, and suffer no consequences except maybe some jokes
at their expense. If Joe Thomas is hooked up with that old Scotti Brothers eye of the tiger crowd, well, I just lost about 60% of my interest in the
whole thing. It begs another question as well., Those kind of people wouldn't be beyond, taking songs from demo tapes, roadies, students, passerby
people they lock in closets... very very very bad karma to be involved with those people., and call this a creative artistic endeavor, of all the just typically
sketchy people in the music biz, to voluntarily   sign up to work with that crowd, you gotta be on heavy melds or owe somebody a piece of your income
for services rendered in the past...

That may all sound kooky and dramatic, but I'm telling you   straight up, the origins of those people are the Mob, it's common knowledge, it's not even
debatable. One of them threatened me  right in the building on Sunset, talked about your health (my health) why don't you do this. God knows who
actually wrote that song. If that's it's provenance.

I Just heard the Amazon clip of Waves Of Love, and based on the clip only.
Wow it's great. Sounds very 65 Beach Boys.

Don't Fight The Sea, sounded much better than the version I heard on youtube, either the fidelity
is vastly improved, or there are new overdubs, or maybe just a better mix. I think it is overdubs
that are not present on the youtube versions.

Waves of Love is really good. Which Beach Boys are singing on the Jardine version, I tried to buy
the song, but you have to purchase the whole album. Itunes didn't even have it at all. Sometimes
the clips at different vendors use different pieces of the song. It's advertised on ITUNES from Jardine's
site  I believe so I don't know why it's not there.

Don't Fight The Sea, has sort of that Terry Jacks sing song unpleasant vibe, but Waves Of Love Knocked me out
If the Beach Boy version is even better, look out, if they are bumping this song, because it's not good enough, then
the new material must be phenomenal, there is no way they could bump this song because it's not good enough, sometimes
these 30 second clips can be misleading, but this track is great, why on earth didn't he put it on the regular album

Bobby Hart was briefly in a twist band with someone called Barry Richards, and Boyce & Hart produced at least one single for him later on. Never heard of him hanging around with the Beach Boys though. Is that who you mean? He was still working with Hart as late as 1980, at least occasionally.

That;s it yeah! Oh thank you, Barry Richards, was married to a relative of mine in the 60's and I had a couple
friends who knew him or his songs.

When I say Beach Boys, uh yeah he or she, went way back to high school in the south bay area, so I think he
had some early, early connection, maybe he was raised in South Bay somewhere.

There was a songwriter, small time artist, Barry Somebody or other, he made a few records, he was a
protoge of Boyce and Hart, and hung out with that whole Beach Boy south bay crowd in the early and
mid sixties,

Does anybody remember this guys last name, I was trying to find him for something, I'm working on.
For the life of me, I can't remember his name. Except Barry.

He was married to a deceased relative of mine in the sixties, and I'd rather not say more. Except it
has to do with a historical family chronology

Mike Pinder's studio in Malibu Ca, later called "Indigo Ranch" where they did Octave, was the nicest
studio I have ever seen, up on a hill overlooking the pacific ocean, it was several miles from the
nearest store, and about 40-50 miles north of Los Angeles proper. The studio had two guest houses
and an engineer living on the premises. You could comfortably sleep perhaps 8 people. It wasn't
the kind of studio, where you would just drop by for a two hour overdub session.

They had a nice kitchen, and you would move up there for a week or a month, Neil Young, a lot of
the "Country Rock" people worked up there, Oingo Boingo.

But yeah mudslides, fires, in fact i think the place burned down a couple years ago.

Pinder sold the place to Richard Kaplan and his partner Mike Hoffman., the tracking room was amazing
designed by Pinder and had no right angles, it was like a dome in Taj Mahal or something, peaceful
Bob cats and coyotes, there are actually a couple of houses nearby on the road, so its' remote, but
there is civilization within 25 minutes The Surfers Paradise cove and Brian Wilsons old malibu house
aren't that far away.


They had two beautiful Studer 24 tracks, some kind of old board with great eq, lots of outboard gear
a world class microphone collection, and Kaplan was a great engineer.

Whatever the problems with Octave and Mike Pinder, Pinder had some money, he owned a studio
which he probably sold for a mint.  I think he had had it with being in the Moody Blues, maybe with
The great comback and success of Long Distance Voyager, he started having regrets, maybe he was
shafted by the guys, but he wasn't exactly suffering, he was in such a remote location, there was no
way the other four guys from England were gonna be able to work with him, unless he moved closer

I really liked John Lodge's writing, and Ray Thomas occasiional Timothy Leary type song.

If Thomas health would allow, and Lodge, Hayward, Edge and Thomas could make an album that wasn't
totally dominated by Hayward songs, I would be delighted. I don't see that happening or Pinder getting
back in the band...

But if you had been to Pinders remote studio, and the drive up the hill just to get there, and the distance
from town, it was a dirt road with a cliff on one side, no one would be able to make that drive everyday
and be happy. And the studio though nice was rustic, bunk beds, you really have to be motivated, to
go up there, to work, and get along with each other, you can't just leave and get a pizza or see a movie

I don't think Pinder ever intended to come back, until after they had another hit

Here is the Link of Peter Hodgson, seen in numerous photos in 1995 with Paul McCartney.
Several of the photos are taken with McCartney at his "Mill recording studio" on his property.

Hodgson explains in some detail, about the fourth Beatles reunion song "ALL FOR LOVE"

Hodgson's remarks, are directed to Journalist Rip Rense, who first broke the story on the
Beatles third reunion song called "Now And Then" and was elaborating for journalist Rense
and the remarks about the stunning fact, there was a fourth Beatles reunion song!, this time
not one of the Lennon demo's but a new song written apparently by McCartney/Harrison, and
recorded by Paul, George and Ringo, for two days in March 1995.

Oddly Wikipedia made this story disappear, however certain people archived the story, because
of it's importance,and for those of you interested, you can see the photos and read the text
yourself.

http://abbeyrd.best.vwh.net/news/411allforlove.html


Notice, that Hodgson also mentions "Hiroshima Sky is Blue" and of course that Paul/Yoko song
did indeed get released  in Japan, later.

Keith Badman the Beatles author of some good and decent reputation, also verified the story..

Hodgson made other public remarks, that he intended to speak with Paul McCartney and get more
information on ALL FOR LOVE, to clarify any confusion, a few years ago, Hodgson expected to do
that soon. Oddly we never heard another peep out of Hodgson, the story disappeared from Wikipedia
Hodgson who apparently knows McCartney pretty well, either never saw him again, or was somehow
silenced from ever speaking publicly on the matter again.

More info on the Beatles reunion recordings as it becomes available. If anyone knows anything, please
speak up, the Iron curtin of Beatle silence has really been keeping all this quiet, since McCartney spoke
so freely about all this in the mid and late nineties..

[That doesn't work. There are no Beatle tracks and nothing that isin't already out, you could make that compilation yourself right nowAll those years ago and I'm the greatest are both bonafide reunion tracks, but they have different contractual obligations and have beenavailable for decades on regular albums and compilation greatest hits albums.]

THE BEATLES SESSIONS ALBUM (studio recordings not found on any proper album or single)

1- Free As A Bird
2- Now and Then
3-All For Love
4- Real Love
5- Blue Moon Of Kentucky
6-Baby What you want me to do
7-Carnival Of Light
8-Sour Milk Sea (new mix from Lomax multitrack, lead vocal by Harrison)
9- I lost My LIttle Girl   (lennon vocal, let it be sessions)
10 All Things Must Pass  (composite mix from assorted Let it Be takes)
11 Etcetera  (McCartney white album ditty on acoustic ala Blackbird or Junk)
12  Who Slapped John  (abbey road outtake, Gene Vincent cover)
13  Peggy Sue Got Married   ( I me Mine outtake, Harrison on vocal)
14   Dig It Long Version    (from let it be, five minutes instead of fifty seconds)
15 Come And Get it
16 Leave My Kitten alone
17 Not Guilty
18 I'm Looking Through You (alternate version)
19 What's The New Mary Jane
20 How Do You Do It
21 Besame Mucho
22 One After 909 (1963 version)
23  If You've Got Trouble
24  That Mean's A Lot
25 While My Guitar Gently Weeps  (love version with George Martin strings)
26  Mailman Bring me No More Blues
27 Christmas Time is Here Again (new mix featuring only music and vocals, no spoken word overlay)

Yes, a CD release along these lines would be very exciting imo. Personally, I would place the four main 'reunion' tracks later in the album and perhaps include bits of the Friar Park reunion jam in there if the sound quality's up to it.

A shame that, due to the Beatles group vote thing, we can't have, say, Paul and Ringo take one or two Lennon and/or Harrison demos and 'develop' them into full tracks, ideally produced by Youth, the other half of McCartney's Fireman project. It appears that there now have to be all four Fabs present on a track to call it a Beatles track, when in their own time, with three, two or even one Beatle present on some tracks, it was still a 'Beatles' track. Strange, as not many people argue that Yesterday or Within You and Without You shouldn't be called Beatles tracks and they both have only one Fab present.    Interesting grey area that. This has been one of the most interesting threads on here for a long time, good stuff 

Good point, but if we go that direction, they could compile all the tracks post-Fab when the various members helped each other out. Ringo played drums on the John Lennon/Plastic Ono Band album: also played on All Things Must Pass. George and Ringo were both at the Bangadesh concert; all four members appear on various Ringo albums through the years; Ringo played on 3 Paul albums in the 80's; George has Paul and Ringo on "All Those Years Ago"; etc. Actually, the best tracks from those occasional moments together would make for very nice listening.

That doesn't work. There are no Beatle tracks and nothing that isin't already out, you could make that compilation yourself right now
All those years ago and I'm the greatest are both bonafide reunion tracks, but they have different contractual obligations and have been
available for decades on regular albums and compilation greatest hits albums.

I did include two of the Friar Park jams, in that tracklist.

That wasn't supposed to be a running order, just a basic idea
of what tracks should go on there. I probably forgot a couple.

I didn't get into legendary alternate takes at all "27 minute Helter Skelter"
"alternate Hold me Tight"

I didn't get into that.

For my money something along the lines I proposed sells, several million. With a couple new
videos, lots of promotion, and of course the new songs, no one ever heard before.

If you had a copy of that album I proposed, Along with Past Masters, and the regular
canon of 13 studio albums, you would then have, every decent studio track recorded
by the Beatles, as far as we know. Of course there are numerous, live, alternate take
and demos not included. Which could be used for other releases such as the Beatles
Christmas album, or white album demos.


It would be too simple, make the fans too happy, it won't happen that way. It's almost as if
the people in charge, hate the fans, and see them as less than human, and just feed them dog
crap and tell the to like it. I picture a bunch of Apple employees flitting through the halls in slippers
and bathrobes at midnight, blowing soap bubbles and making jokes about the stupid fans.

I notice the new McCartney Ram reissue, basically uses the paradigm started by Purple Chik several
years ago. I expect that's when we'll finally see the rare songs Like Carnival of Light and Now and Then
on the remixed albums, several years hence. God I hope not I hope not.

The revived sessions albums with Carnival and Now and then and Sour Milk sea, and some new videos
would see a freaking ton, several million easy,

Ladies and Gentleman, The last new Beatles songs in History. one two three four!


There is also about enough to compile an early 68 album, of the Lady Madonna, Across the Universe stuff
that would be like a brand new album, using all the unused 67 early 68 non album tracks.


Oh well, remember, they are flitting the halls in Apple, wearing slippers blowing soap bubbles and laughing
about the idiot fans, while they charge new expensive watches and lunches on their company accounts, I don't
think they are paying much attention to what we want to hear

God please let me be wrong.

Points well taken VM although I was specifically speaking of Beatles releases that actually had a chance of competing with solo Beatles releases.  With all due respect to the "Yellow Submarine" DVD or the "Love Me Do" reissue neither release falls into that category. 

As far as the other releases you cited, as I'm sure you can appreciate the seventies were a completely different market than the one that exists today.  I mean for godsakes we still had all four Beatles still roaming the earth and releasing new material.  Their music was also a lot closer to being viewed as contemporary than it is today where even Paul McCartney's legacy is mainly tied to his work with The Beatles.  So different environment, different era, different philosophy.  All you need to know is as far as the current market goes, The Beatles don't issue major releases in the years when they are trying to move their individual solo catalogs.  There seems to be a philosophy of group first, individual members second going back to what I initially noted which is the notion that given the current market people are far more likely to purchase a Beatles release than a solo Beatles release when they have the option of buying either/or.

As far as what releases I'd like to see: I'm actually pretty stoked for the Harrison rarities disc being released stateside along with the "RAM" deluxe edition.  I haven't picked up any of Macca's deluxe edition packages yet but I might make an exception for RAM being that it's both a quality record and apparently also a record with some interesting outtakes and demos attached to it.

John we don't know what the Love Me Do release is going to consist of, It's not that they  are trying to re-release the song Love Me Do necessarily, it's
that the song is the fiftieth anniversary of the Beatles first record, there are earlier pre Ringo demos, so one could argue, that the Beatles formed in 1958.
But 1962 is the fiftieth of John, Paul, George and Ringo, and rumblings are coming out of EMI, that something, (we don't know what) is in the works.
Heavy scuttlebutt about the Mystery Tour movie, but would that really be a big bang for such a significant date, There has to be more. So Ram is in May
by November maybe we will get a Christmas surprise. I Hope so, giving McCartney's and Ringo's albums six months, and Ram and Yellow Sub and Harrison's
bonus disc, six months seems like plenty of time. None of them are big projects really. So I hope for a big big release near the end of the year. Who know's
like you say maybe pie in the sky, But Jeff Jones has had literally years, to assemble something good, let's hope now is the time.That is late 2012. it would be
easy as heck to tack Carnival of Light onto the new Mystery Tour movie, in some fashion...

[PS]

The Early 1971 classic Paul McCartney solo album "RAM" with orchestrations by George Martin,
will be re-released in deluxe expanded form with never before released tracks, and other bonus
material, as well as a deluxe book on May 22ND. Pre Order is available now.

Can the remaining unreleased Beatles tracks be far behind?

Actually the fact that the solo Beatle catalogs are being expanded at the moment probably doesn't bode well for any Beatles projects in the near future.  There seems to be a loose framework when it comes to The Beatles where they don't release new Beatles projects (the recent remasters for instance) at the same time the individual members of the group are releasing solo material.  I would guess the general feeling is any Beatles related release would negatively affect the sales of any solo Beatles release as people are far more likely to buy Beatles releases than releases by John Lennon, George Harrison, Paul McCartney or Ringo Starr.

With Ringo and Paul having recently released new solo projects, this archive series from Paul and the recent Scorsese's documentary on George Harrison hitting the US Market this spring, I don't think any new Beatles releases are going to reach shelves this year perhaps with the exception of a reissue of the "Yellow Submarine" DVD.

Next year however might be a different story.  Who knows?

PS: I read some rumors that there seems to be some conjecture as to just how far McCartney plans to go with this archival series.  The ones that he's already released have not sold all that well and while Macca's solo catalog has it's fair share of great albums, he also has released his fair share of misses which probably would be better off remaining relegated to the bargain bin rather than revisited.

That may be partially true John, but often Beatle releases overlap with solo releases, several examples come to mind off the top of my head.
You yourself just said, Yellow Submarine is coming out yet again, and Ringo and Paul both just launched new studio albums, and the Ram archival
release, and we are just getting more marketing for the Harrison soundtrack bonus disc from the documentary, so that's four solo and one Beatle
thing, more or less happening all at once.

We also just got a second Beatle release of sorts, where the Itunes exclusive on digital content was partially broken allowing this jukebox company
to offer jukebox Beatles in 50,000 locations, I guess this is a substitute for the old fashioned juke box with the actual 45's inside.

Also we know of a plan developing to celebrate the Beatlels 50th anniversary of "Love Me Do" later this year. No word yet on what that might be
a new compilation album, previously unseen or remastered tv appearances, who know's. Possibly the (Hopefully) unreleased songs we have talked about..


In 1973 there was (at that time) the Biggest Beatles albums ever, the red and blue compilation albums. Along with solo releases by John, Paul,George and Ringo.
In fact McCartney released two solo albums in 73 as well as the Live and Let die single on the film soundtrack

In 99 there was Yellow Submarine Songtrack, and McCartney's Run Devil Run.

The Beatles Love, Chaos and Creation   nearly overlapped I think? and two Ringo albums, a live one and a studio one Choose Love, sometimes these albums
are just weeks or months apart.

But yes to some degree, they seem to alternate. At least sometimes.

Ram reissue was supposed to be paired with Venus and Mars reissue at the same time, maybe they just aren't selling, or they  are leaving room
for something special late this year. I don't think EMI/Universal can release anything without the Beatles agreement. At least for group albums.
There is a lot of belief that The Mystery Tour movie will be coming later this year. I don't think thats enough of a bang for fifty years, look what the Beach Boys
are doing, world tour, new studio album, the Smile Box Set and further archival releases, and the new Smile Book...

Again its been several years now, the remasters are long since peaked, the digital downloads are old news, fifty years is coming in just over six months I
hope against all hopes that to celebrate fifty years since the first record with Ringo, that they will release something special, namely the unreleased tracks,
if that isin't a great built in promotional tool then I don't know what to say.

We know many of the Beatles albums have been totally remixed, some of it was issued on the Rockband game. Unreleased tracks, remixed albums with
Bonus tracks, and a couple more films. I don't see what other cards they have to play, what's the point of the big staff then and Jeff Jones? hell they even
released all the other groups that were signed to Apple. all the singles and albums. Remixed albums, Mystery Tour Let it Be (the films) and the unreleased songs.
They could also get a hell of a release by compiling all the promotional song films on one or two cd's in remastered sound and restored video..


Next year is fine, with me, but the fiftieth anniversary is this year. They have to see the millions starting to be raked in by the Beach Boys for their fiftieth


I can see the promotional headline now John   something along these lines

" And now the greatest show on earth, The Beatles return to celebrate fifty years, with seven new tracks,& their greatest hits, remixed in modern digital sound
with a bonus disc of all the Beatles groundbreaking aheadof their time promotional song videos

Seven new songs! Never before heard,   Twenty five restored videos, and their 25 greatest hits all remixed, with new liner notes from Paul McCartney
& Ringo Starr and George and Giles Martin.. Also a new coffee table book written by Mark Lewishon, the beatles post 1970
New songs include, Now and Then, Carnival Of Light, Sour Milk Sea, All For Love and more!
Pre order now from Amazon, music only 59.95 or deluxe version with book, two discs of promotional videos, and four extra bonus tracks $199


I am all over that John, just as a hypothetical release, and if you pay for the ultra deluxe $319 five disc version, you get the complete Shea concert in HD
and  remixed versions of Free As A Bird, and Real Love, and the new Bonus video of Now and Then, included audio only on versions one and two, version
three super deluxe, also has the Now and Then Video, directed by Bob Smeaton.


So you tell me John, would you rather have that or  Magical Mystery tour with 11 minutes of new footage. and a deluxe writing pen for an additional
$179 USD


I think I'd rather have the hypothetical one I described.

The Early 1971 classic Paul McCartney solo album "RAM" with orchestrations by George Martin,
will be re-released in deluxe expanded form with never before released tracks, and other bonus
material, as well as a deluxe book on May 22ND. Pre Order is available now.

Can the remaining unreleased Beatles tracks be far behind?

FYI

This is an interview with Michael Lindsay-Hogg, who speculates that Let It Be "may" see the light of day on DVD/Blu Ray in the year 2012.

Wouldn't it be nice!  (Won't hold my breath though.)

http://www.masslive.com/entertainment/index.ssf/2011/10/the_beatles_let_it_be_and_magi.html

Well we know for certain that the Mystery Tour footage and Soundtrack was being cleaned up around three years ago by Giles Martin
and the remaster team. Big rumblings about a refurbished Mystery Tour film coming soon, unlike Help and Hard Day's Night, Mystery Tour
had tons of outtake film footage, even a couple of incidental music pieces like "Jessie's Dream" that didn't get used much in the original
film...

I think Mystery Tour (the film) coming out soon is almost a given. It does show the slow timetable used by the Apple gang.. Which bodes
well for things like Now and Then, for some unexplainable reason, it takes them years to bring these projects to completion and release.

When John Lennon was alive, he would write a song Thursday, record it Friday, and have it in the shops and on radio within ten days, things
like Instant Karma for example.

I have another post with more information on hidden reunion tracks, and all that reunion cloak and dagger stuff coming soon.. After that I may
feel that's it, I'm finished, some things were said to me in another thread, I didn't care for. But I did want to see this thread through, first.

As for Let It be coming this year, I just don't know. I do have one untapped source, very close to the top, I have never used the source, and
I think I want to ask about Now and Then and Carnival of Light, rather than Let It Be.

One last thought. With the newer clean copies of Free As A Bird and Real Love that have come to light it would be possible to do a huge sonic
upgrade on both songs, by simply remixing, dropping the cleaner Lennon vocals into the backing track. There was a particular problem with Real
Love it was down a generation or two more even, than Free As A Bird, this would be an easy thing to do, as those mixes were stored on computer
for an automated console I am sure. Sadly when Anthology came out on Itunes recently, it was remastered, but none of the bad mixes or edits had
been fixed.

Major news on this entire subject may be developing. But it may be awhile longer.

My feeling about archive releases from the Fabs is this: they are known as the #1 group of all time, and they don't like to put anything out unless it is a guaranteed #1. Yellow Submarine Songtrack and Let it Be Naked were exceptions. The Anthology albums were all chart toppers, although each sold less than the one before it. It was gonna be hard to top that network premiere of the Anthology series and Free As a Bird. You can only have the first new Beatles song in 25 years once. The 1 CD was a no brainer, fans had been clamoring for a single disc hits collection for years - still seems silly that the Red Album has to be spread out over 2 cd's, it could easily fit on one with room to spare. If they had any intention of putting out further rarities, they would have done so by now. The Beatles at the Hollywood Bowl should have been on cd years ago; Shea Stadium footage was cleaned up for use in the Anthology, ditto for Let it Be. Paul doesn't like LIB because parts of it show the Fabs being less than fab; Shea? Who knows. In a better world, they would have something similar to Dylan's Bootleg Series, or the FTD (Follow That Dream) label that releases rare Elvis stuff. Not gonna happen.

Well friend, your views are the prevailing views, of deep Beatles and classic rock fans who post on these type of forums.
I certainly hope you are wrong in spades.


Remember no one ever thought the anthology with several new songs being recorded would ever happen. It was unthinkable.
Now with only two Beatles left, and pushing 70 years old no new or additional Beatle recordings are possible. However there
are two more reunion songs in the can, and it was fair game for McCartney to finish off Now And Then, after all it was intended for
this purpose when Yoko gave them the tape. All For Love was created for the same reasons, except it gave Paul and George a chance
to write and sing, which any Beatle reunion needs, a writing/singing contribution from McCartney and Harrison. Sour Milk Sea can easily
be outfaked into a legit White Album type record, Carnival of light, though noncommercial, is a historic important piece. Plus all the other
songs and recordings we have talked about in the thread.

The Beatles are people like anybody else, who can change their mind anytime, and they have, and hopefully will again, McCartney
has wanted this stuff out, although this isn't a big issue to these Busy, wealthy ex Beatles and their widows, from time to time
they have an awareness of this issue, and I personally don't accept the idea it is taboo, or out of bounds, or some group of Apple
records lawyers or employees, have decreed it's out of bounds. Hell no. I believe the Beatles would be moved to reconsider if the
case was brought to their attention. We have an army of self serving employees, who believe it won't make money or it will damage
the legacy or whatever views they hold. I remind you again, Jeff Jones  was brought on board at Apple to take over for Neil Aspinall
and Jones is an archival specialist, whose greatest accomplishment in the professional world of music executives, was his oversight
and compilation of terrific sets of Archival music from name artists. This is the man's specialty. He doesn't come cheap.

The question in my mind becomes, how to best package this remaining material in a profitable and tasteful way. Simply an anthology
four or download bonus tracks, misses the boat on something, if done right could be very very big, true they shot their wad on the anthology
but in retrospect, as John Mill so clearly pointed out, there is a helluva lot of good stuff remaining in the archives.

very quiet whispers deep inside Apple, indicate two competing plans, one a new stand alone compilation album of some kind featuring
both well known and unreleased material, or two, some sort of remixed Beatle catalogue on the later albums, including bonus discs of
extra tracks, alternate mixes and so forth.


Maybe Olivia or Dhani Harrison, or someone else has temporarily put a deep six on it. Dhani Harrison wanted to pursue his own
career for a few years before diving back into his fathers archives. Maybe the demise of EMI has had an effect on plans, If you
noticed the ITUNES exclusive was ended the other day, A digital juke box company with fifty thousand machines was given the right
to play Beatles songs in 50,000 locations, that was a first. With the fiftieth anniversary fast approaching, and the Itunes exclusive ending,
with the demise of EMI whom the Beatles hated, for being treated and cheated so badly, there are signs something may be happening.
We are pretty certain a revamped Magical Mystery Tour is coming soon, the film that is. That is not a big release, although it will contain
new audio mixes and bonus footage.

I think in the next two years, many serious analysts expect possibly to see these songs begin to surface. But that is not a sure
thing by any means. But to say the archives is off the table is untrue. There is too much value and history there. Also look at McCartney's
new cloud service, they may be looking at that as a model, for future archival releases. We'll know  more as time goes on.

I certainly hope your views are wrong friend, that would be like the end of summer and no more Apple pie! There are some good
Beatle tracks, and we need to keep reminding them we want to hear it. What would you rather have another greatest hits album?
The archival material and new mixes is all they have left. Paul McCartney is a smart guy, he didn't go in an finish Now And Then not
to use it. I wonder if the engineers cried when they heard the playback, I think they might of.

Could be wrong, but I'm pretty sure it's legit.

I first heard it on a CD called "Control Room Monitor Mixes" which had earlier takes of stuff like "I Am The Walrus" and "For No One". Whoever made the tape (which sounds like a tape recorder capturing the sound of the master tapes being played on control room monitors.. hence the title) was isolating the different tracks as the tapes played. Vocals, guitars, drums etc. One cool thing was hearing the drum track on For No One which isn't audible on the final version.  All of the quality is the same, and they were definitely isolating stuff that can't just be OOPS'd. So I THINK it probably is a real guitar part that they mixed out of the final version.

I have no idea if that White album stuff is real, I suspect it is, and in those days, as you young guys may not know.
Multitrack recording machines, used to have a sync button, sometimes you had to overdub out of sync, and only later
when they patched in the mix, would you hear everything in sync. Maybe that board mix or rough mix, just wasn't in sync.


Anyway here is an interesting story to ponder. I am trying to keep better notes than I used to, because I think Beatle
employees delete these stories on the internet sometimes, when people try and go back and find them for research.

Anyway after George Harrison was stabbed by that lunatic, he did recover for awhile before getting sick again, and when
he was feeling vulnerable and out of sorts from the attack, he told someone, I forget who, a friend or reporter, he said
I really need to get Paul McCartney over here, and do some playing and recording with him. Meaning over to George's
home studio at Friar Park....

There is no further record in the public archives, about whether that ever happened or not.

Here is another interesting aside, that will tie all this together in a moment. In the 79 Rolling Stone interview
with George Harrison about his first new album in three years, (George Harrison 1979) the reporter tells us
Harrison just got back for the interview, because he (Harrison) had spent the day in the recording studio with Paul
McCartney. NO further details were ever given, what Harrison just spent the day in the studio with McCartney!

Then as I stated in an earlier post, in 1981 shortly after Lennon's death, McCartney, went over to Harrison's to sing
on the Beatle reunion track, "All Those Years Ago" a Harrison song about Lennon, with harmony vocals by McCartney,
Ringo on drums, and Harrison on Lead vocals and guitar, I think Herbie Flowers played bass, and George Martin adapted
or wrote the string line, played I believe by Al Kooper. I think.. Anyway just in the last couple years, McCartney talking
about that session, says that He went over to Harrisons, to get George To play guitar on Wanderlust from the Tug of War
album released in 1982. Ringo Plays on that album, and clearly McCartney wanted Tug Of War, to be some kind of Beatle
reunion, with George Martin producing. But crafty Harrison outfoxed him, got him on All Those Years ago, and begged off
never playing on the Tug of War tracks.

After the Beatle reunion in 94-95 McCartney releases the very very Beatley "flaming pie" album in 97, no doubt in my
mind again, McCartney would have like Harrison involved, Ringo plays drums and sings on two tracks, George Martin does
some Beatley string arrangements, and Harrison Pal Jeff Lynne co-produces, the song Flaming Pie, by the way, is about
a remark Lennon made to the press, when they asked him where the name Beatles came from. Lennon replied (around 1963)
" A man on a flaming pie came to me in a dream, and he said to me, you shall be Beatles with an A!!!!!"" That quote used
to be easily found on line with Lennon saying that. But the links to that seem to have disappeared, so if anybody has that?


OK so these are some nice obscure stories, what's my point?

Well Let me answer that. First a couple more examples, then I'll tie it together for you, if you haven't already come to
a conclusion. OK?

Sometime around pre Cloud Nine, lets say around 84 or so, And forgive my lack of citing sources, but this is all well known
stuff to Beatles freaks and scholars, sometime in the early eighties,  there was a big public story, McCartney wants to write
songs with George Harrison! The world press trumpets! All our little Beatle hearts skipped a beat I can tell you!

So Harrison goes on TV Maybe for Gone Troppo or Shanghai surprise, I forget what, and Harrison answers that question
he says, Paraphrasing now "Well I've been around for 25 years, Paul could have asked me anytime to do that, maybe
it's a little late now" then Harrison adds "maybe its a good idea I don't know, I'll have to think about it"

OK, Lets flashback to around 1977-79, McCartney drops by the Dakota in New York several times over the years to
hang out with Lennon,  They hang out a few times, Lennon finally says (Lennon talks about this to Rolling Stone in 1980)
Lennon says, hey it's not 1958 anymore, you cant just drop by I have the baby (Sean) etc etc. They also do the "they almost
went and played live on Saturday Night Live" for a hundred bucks one nights.

Also actually Lennon and McCartney actually had one songwriting session, nobody knows what the name of the song is,
and there was a second writing session, but Yoko and her staff intervened, and told Paul Lennon was not home, and they
told Lennon McCartney never showed up that day.

OK, finally recently Jack Douglas,   Lennon record producer on Double Fantasy, let slip, that Lennon and McCartney had
agreed, to record and write together, for Ringo's new album, which later became "Stop and Smell The Roses" 1981, both
McCartney and Harrison contribute heavily to the album, but Lennon's contributions were never used,because of his death.
Although we know two songs, Nobody Told Me There's be Days Like These, and Life Begins at 40 were slated for the album
Maybe One of those is the one McCartney co wrote with Lennon who knows.


There was also testimony by May Pang about 1974-5 Lennon was gonna go to New Orleans and record on McCartney's
Venus and Mars album, but he went back to Yoko instead, so he didn't, in fact McCartney acted as a go between and talked
to Yoko on John's behalf, and John went home to her instead. He didn't record in the studio again until Double Fantasy.


So what is the point of all those stories, well two points, One McCartney made strong overtures to write and record with
a Beatles reunion on several occasions, actually going t John's, going to George's, writing songs in a Beatley style, hooking
up with George Martin,   Ringo always went along and played with Paul, Lennon intended to, but died, and Harrison always
played hard to get, perhaps feeling some resentment, or stress, he loved Paul, but not until 94-95 did a reunion take place.

OK one more clue, this will put it in place for you,   in around 2008, or 2009, someone asked Dhani Harrison at a rock concert in
Coachella California, about a box set of Harrison rarities, Dhani Harrison, got upset, said he had a set ready for several years, but
EMI had given him grief about releasing the material he had chosen for the set.

Then Dhani Harrison said "you have no idea what's in my dad's archives, you have no freaking idea"

What does that mean? we know there are Beatle Demos, unreleased albums and songs, demos, all kinds of stuff, live
stuff from the Dark Horse tour, we know all that  already, what did Dhani Harrison mean? we already know Clapton, Ringo
Ray Cooper, The guys from Deep Purple, Neil Innes, Jools Holland from the Squeeze, Joe Brown, we know those guys went over
and recorded dozens or hundreds of songs, regular songs, ukulele songs from the thirties, we know all that...



OK so we know two things, one Paul McCartney tried very hard on numerous occasions to interest Lennon and Later
Harrison in recording.   We know Harrison recorded zillions of unrecorded songs, privately for his own amusement, this
is where the "Brainwashed tracks were culled from in part"


Are there secret Harrison, McCartney, Starr recordings in Harrison's archives, I tend to bet there a few, they did write and
record "ALL FOR LOVE" Together  in 1995 for the Anthology reunion, they argued, Harrison pulled the plug, then later
Harrison and McCartney got very close again, towards the end, are there more secret Harrison/McCartney   recordings,
Threetles recordings, done just for their own pleasure. I Think there are , do I have proof.

All I have is the circumstantial case I just laid out for you. There is a lot going on in Denmark (beatle world) Ladies and Gentleman
that we don't have a foggy clue about. Not only will the Beatles, so far, refuse to release Now and Then and All For Love, or even
talk about it, but I think the Harrison and McCartney archives have stuff that has never been discussed openly ever.
purely a circumstantial case, but after over a decade of study, that's what I think

The desire to not reignite Beatlemania,, the desire to stay low profile, Lennon was murdered, another nutcase tried to kill
Harrison, I saw Ringo at the studio, sure enough he travels with security, but I digress.

What was Harrison doing with McCartney in the studio in 1979? as he says in the Rolling Stone interview, what happened
to the song, Lennon McCartney wrote at the Dakota? where's the tape? Keith Badman says in his book, Lennon made a studio
recording of "Life Begins at 40 for Ringo" The Bootleg demo we have heard is clearly not the studio recording.


There is a lot more unreleased Beatles, and Beatle reunion stuff, that we have no idea about, that's my view. I have no interest
in intruding on the privacy of the Beatles, but I sure as hell want to hear the recordings, and read about the sessions as we did in
Lewishons. book. Guess who knows abut this,  Mark Lewishon, Guess when his book covering all this stuff is due to come out, in about
10-15 years. I"ll be dead by then probably, I'd like to read about, and hear that stuff, while I am still breathing

Anybody got something to add..