The man famous for putting the beat in The Beatles is coming back to Caesars Windsor.
Ringo Starr and his All Starr Band are set to perform at The Colosseum on Aug. 1 — the only Canadian date of the 78-year-old drummer’s latest tour.
Starr last played Caesars Windsor in 2010.
This time around, his All Starr Band features former members of Men at Work, Toto, Santana, Journey and Average White Band.
Fans can expect renditions of songs from the 30-year history of the All Starr Band, as well as singalong tracks that Starr recorded with The Beatles, including Yellow Submarine and Don’t Pass Me By.
Concert begins at 8 p.m., 19 and older only.
Ticket prices start at $43, with sales beginning Jan. 25 at noon.
Source:Dalson Chen/Windsor Star
Sir Ringo Starr is planning to celebrate the 30th anniversary of his All Starr Band in grand style.
The Beatles legend is hitting the road with fellow musicians Steve Lukather, Colin Hay, Gregg Rolie, Warren Ham, Gregg Bissonette and Hamish Stuart for a 2019 tour.
The trek includes a stop at the Paramount Theatre in Oakland on Aug. 28.
Tickets go on sale at 10 a.m. Jan. 18, www.ticketmaster.com.
Starr has been busy of late.
Besides making plans for the 30th anniversary tour with his All Starr Band, the former Beatle released his third book, “Another Day In the Life,” last year.
A tribute to British music hall. A “fantasy song.” A curious throwback, considering its 1968 origins. No matter how one chooses to describe it, “Honey Pie” reveals Paul McCartney’s continuing love of British music hall, big bands, and Hollywood musicals. It even owes a debt to jazz, as John Lennon performs a Django Reinhardt-inflected guitar solo. Like so many other Beatles tracks, “Honey Pie” results from a melting pot of influences, music that the foursome were reared on through television and film.
Despite being released on an album widely considered to be a time capsule of a turbulent year, “Honey Pie” traces its roots to the 1920s, specifically through a hugely popular London bandleader. Billy Cotton formed the London Savannah Band, his first orchestra, in 1924; originally a traditional English dance band, they transitioned into a music hall-style show featuring humor and even a tap dancer. After building a large following, Cotton debuted his first BBC radio show, the Billy Cotton Band Show, in 1949. The show proved so popular that hit was also broadcast on BBC television, beginning in 1957.
Source: Kit O'Toole/somethingelsereviews.com
The Beatles, like gravity and tacos, are easy to take for granted. You could live without them, maybe, but would life be the same? One day we might discover they’re the source of dark energy, the magical mystery stuff that drives the expansion of the universe.
Truth is, the lads from Liverpool weren’t just a band, they were a force that pushed the boundaries of culture. UC Santa Barbara’s Carsey-Wolf Center (CWC) will explore the group’s influence in “Beatles: Revolutions,” a five-film series beginning with the groundbreaking “A Hard Day’s Night,” screening Thursday, Jan. 17, at 7 p.m. in the campus’s Pollock Theater. All films in the series are free and open to the public, but reservations are recommended to guarantee a seat.
“We believe it is important to revisit the Beatles as a phenomenon at this moment because they serve as a lens for understanding the major cultural and political shifts of the long 1960s and the reverberations of those changes 50 years later — in and beyond popular culture,” said Patrice Petro, the Dick Wolf Director of the CWC and Presidential Chair in Media Studies.
Source: Jim Logan/news.ucsb.edu
Led Zeppelin’s music engineer, Glyn Johns spoke in an interview with SiriusXM and remembered the time when The Beatles guitarist George Harrison reacted to Led Zeppelin.
Here’s the story:
“I was working with The Stones around the same time this record [‘Led Zeppelin’] was made. We were putting together [1968’s] ‘The Rolling Stones Rock and Roll Circus,’ which was a TV show which had a lot of different artists on it.
Just after I’d finished this record [‘Led Zeppelin’], I was going to a production meeting for that [‘The Rolling Stones Rock and Roll Circus’].
We were all kicking around ideas of who should be on it and I took this record and played it at the production meeting to Mick [Jagger]. ‘Jimmy [Page] put this band together with John Paul Jones. It’s gonna be absolutely huge!’ But Mick didn’t get one side of it. Probably still doesn’t.
Source: Feyyaz Ustaer/metalheadzone.com
For all of their obvious populism—the ootsy-cutesy singalongs, the exhortations to love everyone and everything—the Beatles, in their most beat-loving, insectoid hearts, were purveyors of oddities. Not to the degree of a Frank Zappa or a Syd Barrett, but they loved getting their weird on, going back to John Lennon’s youthful days as a Goon Show nut who liked nothing more than drawing figures copulating in the margins of his school books, then making his classmates giggle.
Sometimes Beatles oddness took the form of early covers, especially in the early days—a show tune like “Till There Was You,” a girl-group number like “Boys,” pronouns and gender notions be damned. This put them far ahead of their time, and it also set them up for sonic experimentation that no one was yet dabbling in—Revolver and Sgt. Pepper, obviously. Paul McCartney has cited 1970 B-side “You Know My Name (Look Up the Number)”—the official cut a Beatles nut is most unlikely to know—as his all-time fave by the band, precisely because of the spirit it invokes, a mad hatter’s call of We Will Not Be Hemmed In.
Source: Colin Fleming/thedailybeast.com