Tubular Bells II (Live In Edinburgh Castle 1992) - Mike Oldfield

I can't listen to song lyrics anymore. Tubular Bells II and Ommadawn are a comfort to me.


Two people I care such a lot about are suffering and it’s been torture for me to witness. Know there’s no more listening or eavesdropping; can’t bear it anymore, I’m gone.

Gets So Lonely - Stealers Wheel

Nothing is lost and nothing's gained,
It's the same old situation again,
No, I can't give or take anymore.

Gets so lonely there's really nothing left to say,
Gets so lonely and everything's so far away.

No one is right and no one's wrong,
How can I say right now which side I'm on?
No, I can't give or take anymore.

Gets so lonely there's really nothing left to say,
Gets so lonely and everything's so far away.

Waiting For Death

to you 'twas a game
for me it was shame
and fear; ruled my world
nowt but worry unfurled
lost freedom of thought
and the comfort I sought
all taken away
no need to stay
alone messed my head
i want to be dead
SJS Monday 25th June 2018

Carpool Karaoke - Paul McCartney

Oldfield Instruments

Today someone asked, 'Does anyone still play instruments?' Well, yes!

I like most of multi-instrumentalist Mike Oldfield’s music. I know It's not everyone’s cup of tea. Due to the return of Mike's old style of playing/recording I decided to look up Mike Oldfield’s comments on recording ‘Return To Ommadawn’. Here are a few….


“The first thing I did was rebuild the original instruments I played on Ommadawn, starting with the bodhrán which I learned to play back in the ‘70s, and then the mandolin. Then I got a wonderful hand-built guitar which features heavily, then a flamenco guitar. While Ommadawn had a recorder, I can’t play it, so instead had penny whistles in different keys. I played a Gibson SG electric guitar on the original album, and got a new one, but after trying loads of plug-ins could only get almost that same sound again by playing through a Boogie acoustic amplifier. And I played the acoustic bass guitar and a ukulele, which I love, and the African drums myself, and a Celtic harp. I find it very easy to play these things — not properly, of course, but enough…."

“I’m put off by an electronic click track so to set the tempo I got an old-fashioned wind-up metronome which I recorded on a microphone. Some sections I didn’t want a click track at all so played them free so they speed up and slow down. There’s no sequencing at all on it….”

“As for keyboards, living out in the Bahamas I couldn’t get a real Mellotron, a massive thing, nor a Solina string synthesizer, nor the organs, a Vox Continental and Farfisa Professional. Luckily people have recreated virtual reality versions of all these things as plug-ins, even the Clavioline, the main instrument on Telstar by The Tornados, one of the first singles I ever bought. And I had to have a real glockenspiel….”

“I thought there should be a few little things of the original album in there so took some vocal bits of the original Ommadawn, cut them in pieces, sound effects treated them, reversed them and edited them back together, and gradually over an afternoon a new melody appeared with a strange otherworldly sound.”

The Beatles' 'Being For The Benefit Of Mr. Kite' comes to mind here. George Martin: 'I got hold of old calliope tapes, playing Stars And Stripes Forever and other Sousa marches, chopped the tapes up into small sections and had Geoff Emerick throw them up in the air, re-assembling them at random.'

I find Mike’s music needs 5 or 6 listens to really get into it and I’m hooked on Return To Ommadawn right now. I don't think it'll oust my joint-favourite, the brilliant original Ommadawn (joint with Tubular Bells II) but thank goodness Mike returned to the style of his first 3 albums!

Read all about it.

Wildflower - Skylark

She's faced the hardest times you could imagine
And many times her eyes fought back the tears
And when her youthful world was about to fall in
Each time her slender shoulders
Bore the weight of all her fears
And a sorrow no one hears
Still rings in midnight silence
in her ears

Let her cry, for she's a lady
Let her dream, for she's a child
Let the rain fall down upon her
She's a free and gentle flower
growing wild

And if by chance that I should hold her
Let me hold her for a time
But if allowed just one possession
I would pick her from the garden to be mine

Be careful how you touch her for she’ll awaken
And sleep’s the only freedom that she knows
And when you walk into her eyes you won’t believe
The way she’s always paying for a debt she never owes
And a silent wind still blows that only she can hear
And so she goes

Let her cry, for she’s a lady
Let her dream, for she’s a child
Let the rain fall down upon her
She’s a free and gentle flower
growing wild



Springwatch is back! Nests and chirping from the live cam feeds. Full screen. Calming for 3 whole weeks. Laugh

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Mike Oldfield - Serpent Dream (Live)

Mental Health Hotline


Yesterday I deleted Facebook, Twitter, Tumblr, Flickr and Instagram. Where's the delete me button?

My Last Post On Audioboo(m)

My last post on Audioboo(m).

(2017-09-22 - I included a thank you to Shannon @gwenllian, I hope she heard it.) RIP dear Shannon.

2017-02-09 #Febooary17 Day 7 - Something Believed In

Click through for Picture Stockton and Gazette newspaper article links.

Robert Stigwood and The Beatles

On hearing today of the death of Robert Stigwood, I went to Wikipedia to refresh my memory on the Beatles connection:

"Merger with NEMS

On 13 January 1967 Stigwood signed a deal with his friend and colleague Brian Epstein to merge their two companies. The Beatles were by now no longer touring, and Epstein was tiring of the demands of his ever-expanding business. He was keen to reduce his involvement in NEMS Enterprises, the company he had founded in 1963, so he decided to strike a deal with Stigwood.

Why Epstein decided to merge with Stigwood is uncertain. There had been numerous other offers made for NEMS over the previous couple of years and Epstein is reported to have turned down more than one multimillion-dollar offer from American interests, so it is unlikely that he chose to become a partner with Stigwood simply for financial reasons.

According to author George Gunby, Epstein told The Beatles' publicist Alistair Taylor that Stigwood had originally offered to buy NEMS, but the deal eventually became a merger, in which Stigwood would have to put all his company assets into NEMS; in return he would received a reciprocal shareholding in NEMS, plus a salary, an executive position as co-managing director, and access to all of NEMS now-considerable financial and other resources.

It was a beneficial arrangement for Stigwood, and it effectively placed him at the pinnacle of the British pop industry in one step, but Epstein seems to have been about the only person in NEMS who was keen on the idea. Alastair Taylor is reported to have exclaimed "You must be joking!" when Epstein told him of the merger. Epstein was also considering handing over his role as manager of The Beatles, but when the Fab Four learned of this they were outraged. They evidently disliked Stigwood intensely. Interviewed in 2000 by Greil Marcus, Paul McCartney recalled the group's angry reaction:

"We said, 'In fact, if you do, if you somehow manage to pull this off, we can promise you one thing. We will record God Save the Queen for every single record we make from now on and we'll sing it out of tune. That's a promise. So if this guy buys us, that's what he's buying.'"

Consequently, Epstein stayed on as manager of The Beatles but he handed responsibility for most of his other acts to Stigwood.

The NEMS' staff were also reportedly unhappy about the deal. The company had expanded rapidly growing from fifteen staff in 1964 to eighty in 1966. Epstein had taken over the Vic Lewis agency in 1965, (bringing in Donovan, Petula Clark and Matt Monro) and Lewis became a NEMS director, but many staff members found Lewis' abrasive manner difficult to handle. According to Gunby: "...(they) could see the same problems arising, multiplied tenfold, when Stigwood moved in. His autocratic style would be a time bomb ticking beneath people who had stuck by Epstein through thick and thin."

Gunby says that Epstein told Derek Taylor that the merger with Stigwood would bring new talent into the fold and would strengthen the operation. Taylor remained unconvinced—Stigwood, he said, had "a ruthless reputation, a cavalier style that upset more people than it pleased." Epstein himself soon found himself at odds with his new partner—he was reportedly unhappy about Stigwood's spending, was upset by Stigwood renting a yacht for The Bee Gees, and was also angered by Stigwood's unilateral decision to send Alastair Taylor to America on a business trip, a plan Epstein overruled. It is claimed that Epstein subsequently decided that he didn't want Stigwood in the company."

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Kenny Everett

Kenny Everett was such fun and I miss him a lot. I know The Beatles liked fellow Liverpudlian Kenny and he used to occasionally play interesting private recordings of the Beatles on his Radio 2 shows.

These are his explanations of his sackings. He didn't have much of a filter when it came to expressing his opinions, bless him. But that's why I loved him.

Bletchley Park: Gordon Welchman

This made me laugh today whilst watching 'Bletchley Park: Code-breaking's Forgotten Genius'…

A German Enigma user used to communicate 'Lone aircraft approaching' - so Hut 6 at Bletchley used to send a plane out there to him - to help with cracking enigma's fresh daily code. So clever!

EDIT: 2018-05-22 Here's the programme…

2015-09-11 Bletchley Park Gordon Welchman

2015-09-11 Bletchey Park

No Milk Today

The glass milk-bottle holder left out for the early morning milkman complete with a choice of messages - including ‘No Milk To-day’…… 'the bottle stands forlorn, a symbol of the dawn'

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‘Just two up two down’ - two rooms upstairs and two rooms downstairs - terraced house.....


Klaus Voormann And Paul McCartney In Hog Hill Mill Studios c2008

Meet Me On The Corner (Live 1971) - Lindisfarne

Local Geordie group Lindisfarne with a good live performance of Meet Me On The Corner from 1971.


George Peckham's Story (A Porky Prime Cut)

Music lovers of a certain age will remember liking to examine their vinyl records by the inner groove for messages. Many times "A Porky Prime Cut" was found. This interesting story is about the man who wrote that message and most probably other (sometimes humourous) messages too, George Peckham. In the late 60s he worked with the Beatles at Savile Row and I didn’t know that until today.

Valued writer Bill Harry, Editor of Liverpool's
Mersey Beat paper, known for his association with The Beatles and the lively Liverpool music scene published this article on the internet - it can be found here. Bill, one of the Beatles 'Inner Circle', continues to inform and entertain via his books and Facebook. Many thanks to George Peckham for telling his story and many thanks to Bill for sharing extensive knowledge.

‘I was brought up in and around Liverpool and up to the Sixties I played with pals trying to learn guitar and to form a group. I did form a group called the Renegades. At first I was on guitar and my friend from school Peter Jones was on lead guitar. Our drummer was Bob Evans of Bob Evans & his Five Shillings fame. He was a great driving drummer. On bass guitar was David Harrop who later had to leave the band as it was just a bit too much for him. I had been teaching my younger brother Derek to play rhythm guitar and when Dave Harrop decided to leave my brother jumped in to play the bass, and I was surprised he was reasonable.
I had to build a bass cabinet for him as he only had a 15 watt Gibson single speaker amplifier and that was for rhythm, so off I went and bought an 18” bass driver speaker. Then I went to the local wood yard to get wood for four sides and a top and bottom (I had seen Adrian Barber of the Big Three, who made cabinets for bands and they sounded powerful and loud). I noticed that Adrian used Kapok padding and weights in the base of the cabinets to help with the transmission on the bass end and of course stopped the cabinet traveling across the stage too. He had also cut a bass port in the lower front of the cabinet which he told me helped the air to move in and out and gave better transmission.
Whilst playing in many of the clubs and dance halls I remember seeing a band called the Beatles who had been doing gigs in Germany and each time they came back they seemed to have a more driving beat and looked more like motorbikers with their leather jackets and leather trousers, but it didn’t deter from their music at all.
We did a gig at the Tower Ballroom in New Brighton one night and low and behold who else was on the bill but the up and coming Beatles. After we had done our spot Paul McCartney came up to us and asked if we would lend him our bass amp and speaker as his had failed backstage. In those days it was no problem as bands used to help each other out.
They played their gig and a few comments were pointed out at me for leaving George some Coasters numbers for him to sing (as we did a lot of the Coasters numbers). Later on after the gig had finished Paul McCartney came up to my brother and asked him if he would sell the bass set up to him, but we wouldn’t. That has been my brothers claim to fame ever since!
Later on I gave up the Renegades as I had seen a group around Liverpool called the Pawns. They had a singer called Dave Percy who I thought had the most magnificent voice that I had ever heard and equally a fantastic drummer named Sid Knapper. They told me that the bass player was leaving and were not sure how things would go. I chatted to them for a few hours explaining that I would dearly love to join their band on guitar and vocals.

I also told them I knew of a really great bass guitarist named Dave ‘Mushy’ Cooper who was a pal of mine (Mushy or Dave Cooper). He used to play bass with the Undertakers who were a big contender band in Liverpool and for whatever reason Mushy had left and was looking for another band. We did get the Pawns really well liked and gigs were coming fast and furious. Then Dave Percy said that he wanted to leave the band as his girlfriend was giving him a hard time as she now saw very little of him. It was now “The band or me” syndrome which loads of jealous girlfriends laid on them. Some stars fell by the wayside, whilst others blossomed and found this new popular life with as many girlfriends as you could handle, and they didn’t suffer from earache any more!
Anyway the ‘pop’ industry was now well on it’s way. Everyone in a band found loads of work and got paid too, and they also got to travel not just the full length of Britain but Germany opened up more alleyways with the Star Club.
Manfred Weissleder owned the Star Club and had started opening other ones using the same name. His gig’s always had really big artists and of course some smaller bands as ours from Liverpool.
I first played at the Star Club when a friend of Mushy and me called around to see us to tell us that Lee Curtis had a falling out with his band, so he asked Mushy and me to get a band together. Lee had lots of commitments and as he was to record for Decca Records and he had contracts with the Star Club coming up soon, we both were looking around for a drummer and a lead guitarist. 
We came across a drummer named Don Alcyd who was the most competent drummer I had ever seen, he’d previously played a lot of jazz and lots of drum solo’s at gigs as he was really the business, so professional, and just so good. By his standards we had to work really very hard to match his quality work and this became so good for us we improved daily.
We then had to find a guitarist, which we did. His name was Paul Pilnick, a very good guitarist indeed. Mr. Moody was his nickname as we kept calling him the James Dean of Rock. This was because of his stance and his dead pan look while laying some very decent licks on the guitar.
We did the sessions for Decca Records, a number “I’ve Got My Eyes On You,” and the session went like a dream. The Decca people were well impressed and released the record.
Then we were off to Hamburg for a month of working through the night, gigging, drinking, and a couple of drugs may have been consumed as well. It was great, we all just loved it there, life was magic and Germany loved us too. It felt that we had been there months when we got back home and everyone said just how fantastic we now sounded. But, when everything seems rosy, trouble is always around the corner. Arguments kept breaking out between Mushy and Don. It just seemed that we were reaching a magic situation with everything going our way, and, “I’m leaving the band” words popped out of Don’s mouth. “I’ve had enough of that little shit,” he said. I tried to make the two of them see eye to eye but it wasn’t to be. Then Paul said, “I’ve seen another band I fancy joining and they don’t seem to argue like you lot.” So low and behold here we are again, Mushy and me.

“Hey” said Mushy “let’s get Sid Knapper and re-form the Pawns. We were good when we were together and there were no arguments at all.” I thought long and hard - would Sid come back to us and want to play with us again? Well, would you believe it, “YES” was the word and we started rehearsing. But we still needed a lead guitarist and started looking around. The first guy we decided immediately should be Dave Myers as he was such a good guitarist and a nice personality too. This guy could also drive so if we shared the driving we could save ourselves some of the expenses till we got better known.
We did fall together really well and gigs started flying in fast again, and we later on got Howie Casey to join us. He was a fantastic saxophone player and had been in some great Liverpool bands with Derry Wilke and Freddie Starr. He’d also led bands in his own right.
Talking of Freddie Starr there are so many stories that could be told as Freddie is a one-off guy. If you have ever seen him perform there is no way you could imagine what he will get up to next. I used to be made aware of this as just before Freddie gets up to anything his eyes go just like a kitten before it goes mad, runs around and eventually runs up the curtains.
Freddie has always been this way. One of the tales I remember was when a load of bands played an all-nighter at the Iron Door Club in Liverpool in aid of a children’s charity to help to raise money. It was really successful and did raise quite a lot which caught the press praising the bands. It also caught the eye of Lady Pilkington of the glass company. She had arranged for the Liverpool Echo and a couple of local papers to attend at the Iron Door Club as she wanted to personally shake all our hands and thank us for our efforts in this.
I remember us all lining up as she came along thanking each of us one by one. Freddie was standing next to me and low and behold he had ‘that look’ in his eyes. As I looked down: what met my eyes was his cock hanging out - and it was by no measure a small one. He said to me “I want her to shake my dick as a thank you.” I said, “No Freddie put it away we’ll all finish up in the police station.” Eventually he did put it away to the relief of all of us standing close to him and it all went smoothly after that.
Another time I was out with Freddie we had been to the Tatler Cinema. We used to try to copy all of the cartoon characters voices and the next stop was to be the Kardomah Café for a drink and to see who else might be in there. We met some other members of different bands and were chatting when Freddie walked over to a girl who was serving there.

I said “She’d better watch out because he’s in one of those mad moods at the moment,” and true as usual he was walking around with her. But he had got a handful of plastic knives, forks, and spoons behind his back and was making out that he loved her hair and was stroking it and inserting a knife or fork or spoon each time. The poor girl had one of those bouffant hair do’s which stand up quite high off the head and now looked like she had just arrived from outer space with all these plastic things sticking out. Sadly, the manageress caught sight and that was that. We were all barred out of the coffee bar.
I remember many years later Freddie was appearing at the Palladium in London and I had popped around to see him with a couple of pals. When we got there Freddie was very pleased to see us all, and when he saw that I had a Monkey Bike (miniature motor bike) he wanted to have a go on it. So off he went up and down Argyle Street, at the front entrance of the Palladium. A crowd of people were queuing for the next performance and here was Freddie as usual playing to the crowd, giving them a free show of him kneeling, side saddling generally messing about on my Monkey Bike. He was having a great time and the crowd loved it too, then Freddie said that he had to go into the dressing room to get changed in readiness for the performance and said to us “Come on in we’ll have a laugh before I have to go onstage”
We did and one of my pals, John, asked Freddie if he could use the toilet. Now John was wearing white trousers, and Freddie said “They don’t have toilets in the Palladium, you have to Piss in the sink.” So poor John hung his thing over the edge of the sink and Freddie waited till he was in full flow and then made a loud knocking sound on the wall and shouted as loud as he could “Come in.”
John tried to stuff his member into his trousers which of course now had urine all over the front of them, and Freddie being Freddie opened the dressing room door and promptly pushed John outside. We were all laughing and Freddie wouldn’t let him back in despite his pleas, the poor man what a state he was in, which made Freddie laugh even more.
Anyway, to resume the story: We were booked to go to Germany again but not to the Star Club. This time it was the New York City Club in the south of Germany. We found out later that it was run by gangsters who really didn’t want to pay us what was owed at the end of each week. I was sent in each time to collect the money and had to go through all sorts of excuses that there didn’t seem enough money to pay the full amount. This went on for weeks and weeks and in the end I told everyone that I would rather be back home than have to go through this all the time.
The master plan: I rang up Manfred Weissleder and told him that we were here in Germany and wondered if he had any use for us to come up to Hamburg and give us some work in his club. Luckily he said that he had opened up some more Star Clubs and ‘Yes’ he liked us and would give us a couple of months work if we drove up to the Star Club. When I told the rest of the band they were over the moon and said we should get our wages from the New York City Club and sneak our gear out and do a runner.
We did sneak the equipment out and I went over to the hotel. The Frau there said that she hadn’t been paid and she wouldn’t let anybody leave till she got her money. Oh Oh, here I am in the Hotel and the rest of them had already taken their clothes out to the van around the back and I was stuck. So I opened the window and threw my case down to the ground. Then I had to shin down the drainpipe as I wouldn’t be allowed out of reception. My hands were covered in tar from the drainpipe and I had nowhere to clean them so I dashed around to the van. Then Howie announced that he was going to go to France with a pal of his and wouldn’t be coming with us up to Hamburg.
Just then one of the girls we knew from the club ran over and told us to get out of town as the boss and his thugs were looking for us as they’d been to the club and found there was no equipment there, so now they were going to shoot us. I believed this as they used to like to show us their guns now and again.
“Right in the van and we drive straight to Hamburg now” I said, and there was mega agreement too. We waved goodbye to Howie and one of the girls said that she would come with us and show us the way to the motorway. She said that she thought we were nice guys so she would come to Hamburg with us if we would look after her. YES, resounded from our sheepish group, now rearing to go and get out of the area as fast as possible. We’d been on the road for about half an hour when I said to Dave “Pull off the motorway and park on the slip road.” I don’t know why I said it at that time maybe a sixth sense, but about five minutes passed and the girl said “Look there it’s their car, the big Mercedes they always drive.”

Then it was to be hell for leather up to Hamburg into the safer zone of Manfred Weissleder, knowing full that the gangsters from down the south wouldn’t want to mess with him as he had a reputation as a very tough man and the people who worked for him also had a reputation: people such as Horst Fascher and his brother Freddie, a couple of nice guys to us lot but anyone else used to give them the largest berth one could or one’s facial designs could be speeded up to ugly quite quickly.
Manfred had us work in Koln for a month and then to Gelsenkirchen for a month, and eventually back to the Star Club in Hamburg for a month. He used to get us to do one night stands too. I remember doing Harburg just outside Hamburg and Itzehoe. These gigs I believe were for some friends of his and the word came back that Manfred was very proud indeed that his friends were very impressed with us and of course he made it known that we were his little blue eyed boys which, Horst and Freddie told us, was a good compliment. Manfred was always really kind to us and we never felt worried as if anyone tried to give us any trouble on the street we would only have to mention that our boss might get annoyed and have a word with them. When they asked who our boss was and we said Manfred they just disappeared very quickly.
Anyway it was time for us to head back to England so we eventually made our way back to the Hotel to find that the van wasn’t there. We rang the Police in case it had been stolen, only to be told that as it had been parked there so long they thought that it had been dumped and so they had it scrapped: which means they took it to a scrap yard and had it squashed! Our faithful mode of transport was now dead and we now had no means to drive back home.
We all stood there and said a little prayer for our poor van which had never let us down considering all of the miles it had taken us without a single moan ever, we spoke to Manfred about our van, but he said that there was nothing anyone could do as the Police are a law to themselves and there is never any comeback even if we tried to file a complaint. In fact, if we did, the Police would ensure that we would never get back into Germany they would always find some excuse not to let us back in.
So we arranged transport to get us to the ship leaving from the Hook of Holland to Harwich then we would have to hire a van to get us back to Liverpool with all our guitars and drums. We were a little disgruntled I must add, as now we would have to try to get another van.

We carried on gigging around for about another six months or so and things within the band started to look like a split up was on the cards so I started to keep my eyes open as to what other bands would be doing the same. Out of the blue I was in the Peppermint Lounge club watching Earl Royce and the Olympics play when Brian the bass player in the band ‘dragged’ me to the bar for a drink. He said that he’d heard that our band may be breaking up and would I be interested in playing with his band as their lead guitarist was leaving.
They had lots of gigs still to honour, so he arranged a meeting with the band and their manager George Blott. I got on with him immediately. I really liked him he seemed so genuine in amongst all the lots of dodgy ‘Managers’ about. He really did care about the band, so even though I hadn’t plied my trade as a lead guitarist, I thought “Into the deep end I’ve got to have a go”.’

Editor’s Notes: The Renegades were a Wallasey-based group who formed in 1961. They comprised George Peckham on guitar/vocals, Dave Myers on lead guitar, Bob Evans on drums and Derek Peckham on bass guitar. Immediately following the Renegades, George became rhythm guitarist in Lee Curtis And The All Stars. The other members comprised Lee Curtis on vocals, Mushy Cooper on bass guitar, Paul Pilnick on lead and Don Alcyd on drums. Don left to join the Delmont Four and Paul to the Big Three. The record they cut at the time ‘What About Me?’ c/w ‘I’ve Got My Eyes On You’ was released on Decca F 11830 in February 1964. The Pawns appeared regularly at the Iron Door, which was then managed by Les Ackerley, who also managed the group. The group traveled to London to make a record, ‘Casting My Spell’, but it was never released. The group comprised George Peckham on guitar/vocals, Mushy Cooper on bass guitar, Howie Casey on sax, Syd Knapper on drums and Dave Myers on lead. The group appeared in Germany between February and July 1964 – and as Syd was so young at the time, the group had to agree to chaperone him. Howie left them to join the Krew. George Blott, with the help from his brothers, ran the Peppermint Lounge, a particularly good club situated above Sampson & Barlow’s restaurant in London Road. George also managed several groups including Denny Seyton & the Sabres and the Blackwells. Virginia once went to work for his agency.

John Lennon's "Can You Hear Me Mother?"

On October 24th 2010, I posted in my Posterous Sair’s Lair a snippet of John Lennon yelling “Can You Hear Me Mother?” during the recording of Whatever Gets You Through The Night. This morning I’ve been listening to a recording of the Savile Row Rooftop Concert 30th January 1969 and find another, clearer yelling of the same thing.

Here’s the blurb I put together for my blog back then…

‘John Lennon Shouts Catchphrase “Can You Hear Me Mother?”

I have just discovered John Lennon shouting Sandy Powell's catchphrase, "Can You Hear Me Mother?" - an oft heard phrase in our home from my Dad who copied Sandy's voice accent too.  John does exactly the same sing-song voice - copying Sandy as if singing the notes of his spoken voice (if you know what I mean).

This can be heard towards the end of the long note on "Whatever Gets You Through The Night" at about 2:42.

Something about Sandy...


Sandy Powell (b 30 Jan 1900 d 26 Jun 1982) Sandy Powell was one of the most successful comedians of his generation. He started performing at the age of five when his mother lied and said he was eleven! He was one of the first comedians to realise the importance of records and released a whole series of 78s of his sketches that sold in the millions. Rather than take an outright fee he was canny enough to take a penny per disc.

Sandy showed the same Yorkshire acumen in his film career starting in 1933 with Pathe Pictorials' short two-reelers of his stage shows before moving into feature films with The Third String (1933) and Can You Hear Me Mother (1935). Inevitably he was invited by John E Blakeley to Manchester where he starred in the first film to be produced at the Dickenson Road Studios - Cup Tie Honeymoon (1947). Until his death, he remained a huge success on television and the stage, being awarded an MBE in 1975.’

Here’s the Whatever Gets You Through The Night “Can you hear me mother?”

and here’s the Savile Row Rooftop “Can you hear me mother?”

Interesting isn’t it?! Happy

Publishing Success!

A new fresh start in the New Year and EasySpace - after spending months promising they’d sort out my settings - have finally got it right. As I eventually got the ftp settings for publishing correct and *their* settings were correct too, I blurted out “Bloody Hell!” several times as the “Test Connection” did *not* provide an error message, but reported success. I hit the publish button and several more “Bloody Hell” outbursts and seconds later, my site is now viewable in my browser! I can’t quite believe it!