Ahmad Jamal Interview (Part 1 of 1) [Listen 34:00] – Reading The Stop Signs With Ahmad Jamal S03 Ep09
Podcast: Play in new window | Download
S03 Ep09 (Part1 of 1) - Reading Stop Signs With Ahmad Jamal
Special Guest: Ahmad Jamal - is without question one of the greatest names in jazz living today. His lyrical and minimal approach combined with his otherworldly sense of timing and innovative use of silence set him apart in the jazz world (or as he prefers to call it - American classical music). Ironically, it was a left-field hit in 1958 with “Ahmad Jamal at the Pershing: But Not for Me”; a live album that reached number three in the pop charts which set his career spinning in diverse and broad directions. First, by making some of the hardcore jazz critics question his loyalty to the jazz world because charting in the pop charts was frowned upon and secondly, and more importantly, it changed his career because the album grabbed the attention of a trumpet player by the name of Miles Davis. In fact, Davis openly talked about borrowing heavily from Jamal and his unique use of silence within his playing. He often covered Jamal's repertoire like “New Rumba” and standards from his set like “Autumn Leaves” and “But Not For Me.” Jamal’s career has alway remained strong and consistent. In fact, at age 81 he has released his strongest albums in years, harking back to his time with Chess and Impulse Records. His latest album, Blue Moon, won second place for the best jazz album of 2012 in the readers' poll choice for DownBeat magazine and is widely considered a modern masterpiece.
12 cheap and easy tips to instantly improve your record collection
1. Putting dust cover jackets on your records
Nothing says I care more than a guy who has his collection all wrapped up.* Taking records in and out from storage can be quite harsh to a collection when not stored in plastic. The plastic record cover sleeves avoid cover damage, the spread of any mildew or dust and allow you to try tip 3.
2. Protective paper or plastic record covers
This is the best way to avoid scuffs on the outside and/or worse undesirables from getting into the grooves. You will often come across cheap records where the protective inner cover is missing. My advice is inspect before buying, consider cleaning it before exposing it to your turntable, and invest a buck to protect that record. I know you may have got it for a buck, but you need to consider your record needle as well.
3. Combine tip 1 and 2
Store the vinyl record outside the dust cover but still inside the vinyl covers – Ever noticed the first place to have damage is the bottom or sides of the cardboard record cover. When your record moves, the sharp hard vinyl record moves inside the cardboard sleeve, cutting into it. I avoid this by storing the vinyl records and cardboard sleeves separately. I still put the sleeve, record, and any artwork that the record has inside the dust cover jacket side by side. I still have the record sleeve covers protecting the vinyl from dust and finger prints.
4. Store them vertically
The more severe the angle, the more damage you are causing to your records. Like most everything else in life, time is not your friend, and storing your records on an angle will eventually cause your records to warp. Laying them flat like a pizza is also damaging and can also cause warps.
5. Don’t over crowd your shelf
I know I’ve done it in the past. You are trying to squeeze that record in an overcrowded space and you end up bending the cardboard. The best way to avoid this as well as avoiding putting a record imprint from another record into on the record cover.
6. Buy yourself a nice Cleaning brush
I always clean the surface of a record before I drop the needle. Another tip is to be sure not to touch the cleaning brush bristles (no matter how soft and luxurious they feel) otherwise, you risk transferring the oils from your fingers onto your records.
7. Get yourself a nice tiny brush to clean off the dust that eventually builds up on the needle
Most high end stereo stores will have one of these specific brushes for cheap.
8. Buy needle cleaning fluid to clean your record needle
No matter how clean or new the records you play you will accumulate grime and dirt where the needle runs along the record. The liquid doesn't cost much and will probably last you the rest of your life. One note, be sure that you only clean the tip and not touch any of the movements further up by the cartridge body itself.
9. Keep records out of direct light
I only say this because I had it happen to me. It sounds obvious, but it can happen to you too. I had a record pulled out getting ready to put it on next; carelessly I set it in direct light by a window thinking that I wouldn't be long. I got distracted and when I came back to the record was a warp in a ripple effect. Sunlight can also cause fading, dulling the records covers as well.
10. Even moisture and Temperature
Garages and sheds are far from ideal and should be avoided whenever possible. Swings in temperature can cause your records to become warped (especially in high heat). Moisture is another thing altogether. Mildew will spread through records like mold in a loaf of bread. Plastic is only a partial solution to quarantining these bad boys the best solution is take it as a learning lesson and throw them out. Cleaning is questionable at best and in my opinion, not worth the risk.
11. Dust and Smoke Free
When I’m buying used records, nothing sets off the alarm more than seeing dust on a record or noticing that the record has an odour. Dust and smoke particles act like sandpaper on your turntable, damaging your needles and potentially all the records after it. Quarantine that puppy and say goodbye..
12. Record Cleaners
To be honest, I haven’t actually tried all types or configurations of record cleaners that are out in the market today. Personally, I’ve had mixed results with cleaning records and recommend it with a caution. When dealing with an obviously dirty record, cleaning really helps; with new records the verdict is still out. If you want to try cleaning a record to test it yourself I have a cheap alternative that you can try. All you need is a broken record player, a tooth brush, Nitty Gritty Cleaner (buy a small amount at first) and a hand-held modified shop vac. You place your dirty record on the table put the Nitty Gritty Cleaner on it, clean the surface and inside the groove with the tooth brush then carefully vacuum the liquid. Place the record on a clean surface to dry then repeat for side two when side one is dry. The downside to cleaning records is that I find the process slow, awkward to dry and that multiple cleanings is required in order for optimal results. That said, official record cleaners seem to be the best and if I had one I would probably clean more often. You also need to put a piece of soft rubber on the hand vac to avoid causing surface scratches.
*Practice safe record collecting and help stop the spread of bad moldy record covers and other RDP’s. (Record Damaging Practices)
I would love to hear back from you about your experience with record cleaning and tips of your own. Please feel free to leave a comment.
--Jason Hoffer
John McLaughlin “Now Here This” Interview Part 2 [Listen 28:44] – Sitting in the control room with Teo Macero and John McLaughlin S03 Ep04 (Part 2 of 2)
Podcast: Play in new window | Download
S03 Ep04 (Part2 of 2)- Sitting in the control room with Teo Macero and John McLaughlin
Special Guest: John McLaughlin: McLaughlin started his career off as a 19 year old trailblazing guitar master, blowing away audiences just as the British blues was exploding on the scene. Bands like Cream and the Yardbirds were just starting to take shape, and guitarists like Jimmy Page, Eric Clapton, Keith Richards, and Jimi Hendrix were just starting out and hoping to cut their teeth. My next guest had a different calling, going on a different tangent and taking his sound away from the blues-rock world of guitar hooks and classic rock solos and instead schooling himself on some of the most beautiful but also technically challenging music styles known in music. He delved into playing styles like flamenco guitar with Al Di Meola and Paco de Lucia; world music with people like Carlos Santana and Trilok Gurtu, and straight ahead jazz with too many jazz legends to mention. John McLaughlin was a major player in helping take jazz on one of most extreme and interesting rides ever with the sub-genre 'jazz fusion.' He is so highly respected that Miles Davis immortalized him in two songs, one of them on his landmark album, Bitches Brew, with the honorarily titled "John McLaughlin." Currently, McLaughlin and his band, The 4th Dimension, have a brand new album out called “Now Here This” an album about which McLaughlin has been quoted as saying “It’s the best thing I ever did, from the beginning until today.” In this podcast we talk about the elder blues statesman Alexis Korner and his effect on the British Blues world, John McLaughlin's days with Ginger Baker and Jack Bruce previous to the formation of their band Cream, we also get into anecdotes with Eric Clapton, Carlos Santana, Jimi Hendrix, the album Emergency!, Tony Williams, Larry Young, Joey DeFrancesco, Elvin Jones, John Mayall and finish off with the story of how Miles Davis came to write the song titled "John McLaughlin."
Going Thru a Miles Davis collection
Getting into Miles Davis' music for the first time can be a daunting undertaking. First off, he released many records, and many of them groundbreaking. He also changed his style quite dramatically at different time periods in his career, so where to start, and what to look for can be a little overwhelming. Of course, there are the albums that must be in the collection which are well known and loved by everyone and need to be there to say that they're into Miles Davis, according to aficionados. Then there are albums that are not necessarily must-haves but come down to being just as good, or very close to just as good, and ones that the neophyte would do better to try after they've gained some familiarity into his music. Of course, it can all come down to a matter of opinion, but take the advice from those who have gone through it and are willing to impart what they've found.
For those who get it in their blood, rich appreciation takes hold, it gets to be a hunger, and later, after having spent hours upon hours savouring every nuance and note, the albums get to be second nature and fans couldn't imagine being without the albums in their collection. For the music fan, it truly becomes a thing of beauty. But for the beginner, all these different albums and musical periods can be hard to sort through. The good news is, that for those starting out, Davis may be the most accessible jazz artist – easier to get into than later period John Coltrane, Eric Dolphy or say Ornette Coleman.
For myself, I have never come across a Miles Davis record that I didn’t like.
Here is a small sample of Davis albums. Though most fans categorize Davis’ collection according to time periods; I personally separate Davis’ playing into tempos to put on according to my mood. I have sorted this list with both categorizations in mind. If you're new to it, try it out; I hope it broadens your horizon.
Early Period
Generally Davis’ playing during this period tends to be of a quick and agile straight ahead jazz. All of it is pretty accessible and sound like “Jazz” in a traditional sense.
Birth of Cool (Released in 1957) (Tempo : Mid-slow)
This is Miles Davis in a big band setting and is notable for among other things, one being the first time he worked with arranger Gil Evans. Though released in 1957, the recordings themselves actually date from 1949 and 1950. This pivotal album was Miles Davis’ first big change to the jazz world – ushering in the switch from Bebop Jazz, playing with Charlie Parker in these years, to what became to be known as “cool jazz" (in no small part because of this monumental album.) In short, a great album that goes well with any occasion.
'Round About Midnight (Released in 1957) (Tempo: mixed - Slow and Quick tracks)
A phenomenal record. After recording for smaller labels like Prestige, Davis decided to move to Columbia Records to record ‘Round About Midnight (his first album in a long career with the label). Considered his first great quintet, the album has John Coltrane, Red Garland, Paul Chambers and Philly Joe Jones. They really clicked on this album.
Bags Groove (1957) (Tempo: Mid to Quick)
Although this it a lot of people’s favourite record; I personally just put this record on when I feel like changing it up and listen to a Miles Davis record I haven’t heard in a while. The players on this album are an all-star roster playing at their best.
Milestones (1958) (Tempo: Quick)
Another straight ahead jazz style record and one that I reach for more often than any other of this time period; in short one of his best.
Ascenseur Pour L’echafaud (1958) (Tempo: Very slow)
This has to be one of Davis' easiest records to listen to, and one that gets frequent play. While touring Europe, Davis decided to record a soundtrack (Ascenseur Pour L’echafaud) – it doesn’t have any star players on it apart from Davis himself, but it's a great album. It has a cool minimalist quality to it. The only problem with this record is that it’s hard to find. Get it if you see it.
Mid Period
Generally marked by his work with Gil Evans; these are some of his most loved and sought after records.
Kind of Blue (1959) (Tempo: Mid)
Maybe the most loved Jazz record of all time. For me what differentiates this from his other records is the inclusion of Bill Evans. Not to say that Evans was the star, but I just think that he mixed really well with Davis, John Coltrane and the rest of the band.
Sketches of Spain (1960) (Tempo: Low to Mid)
A great collaboration between Gil Evans and Miles Davis that is set to Spanish folk tunes; a much loved Miles Davis record. Although I rarely put it on myself.
At Carnegie Hall (1961) (Tempo: Quick)
Having heard Kind of Blue so often, it took me a while to get into the rendition of “So What” and the other classic tunes that Davis plays with orchestration. If you find you have the same difficulty, my advice is to not give up on it; you will most likely fall in love with it after some time.
ESP (1965) (Tempo: Quick and Agile)
This album rings in his second great quintet and consists of Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams. Each member of this band have gone on to change jazz in their own unique way.
Live at the Plugged Nickel (1965) (Tempo: Quick and Agile)
Recorded at a club called Plugged Nickel in Chicago 1965; this stuff is legendary. I play this a lot.
Jazz Fusion/Electric
For some, this was where jazz stopped being jazz and turned into a free-for-all with musicians focused only onto what they were doing individually. I think less people hold this opinion in general these days; that said, this stuff isn't for everyone. Miles Davis was one of the first to plug in and has some of the most extreme examples of "Jazz-Fusion."
In a Silent Way (1969) (Tempo: Ultra slow)
Albums don`t come any better than this one. The first record that John McLaughlin played on – this record is one of the most relaxing and awe-inspiring records in my collection.
Bitches Brew (1970) (Tempo: Slow to Mid)
This is where the rubber hits the road as far as electric instruments and jazz being combined. This is a record that I didn't originally warm up to but is now one of my favorite albums of all time. If I had one complaint it would be that the `Complete Bitches Brew` needs to be easier to find and cost much less on vinyl.
Post Retirement Period
After releasing "On the Corner," Davis called it quits (for five years). After reading his autobiography, I think this wasn't the healthiest move on his part. Luckily, he released some stuff from the vaults during this time period and eventually came out of retirement. Though he didn't bring out any career changing albums, for me, he still brought out some good stuff.
Agharta (1975) (Tempo: Funky/Crazy)
Recorded February 1, 1975 in Japan, Agharta (the afternoon set) was part of a two part live release (the evening set was also released; called Pangaea). Davis has never been more crazy, wild or unapologetically funky than he was here. In fact, he was so wild that critics at the time were accusing him of not acting his age and borrowing too much from Jimi Hendrix, Sly and the Family Stone, and James Brown. What do critics know. On this album, the band is absolutely stellar and the music is totally moving. Although it's definitely not the album to start with. Not for a gentle immersion anyway.
Tutu (1986) (Tempo: Mellow/Smooth with an 80's flair)
Once you get past the dated 80’s drum machines and synthesizers sounds and settle into what's being played, you will realize that this is a great record. No, this is not as good as “In a Silent Way” or “Kind of Blue,” but it's still a great Miles Davis record.
-- Jason Hoffer
Next week: Steve Albini
Plus a bonus interview with Brett Anderson (of the Stripminers and the Donnas)
John McLaughlin “Now Here This” Interview [Listen 23:36] – Being happy and proud of what I do S03 Ep04 (Part 1 of 2)
Podcast: Play in new window | Download
S03 Ep04 (Part1 of 2)- Being happy and proud of what I do with John McLaughlin
Special Guests: John McLaughlin: McLaughlin started his career off as a 19 year old trailblazing guitar master, blowing away audiences just as the British blues was exploding on the scene. Bands like Cream and the Yardbirds were just starting to take shape, and guitarists like Jimmy Page, Eric Clapton, Keith Richards, and Jimi Hendrix were just starting out and hoping to cut their teeth. My next guest had a different calling, going on a different tangent and taking his sound away from the blues-rock world of guitar hooks and classic rock solos and instead schooling himself on some of the most beautiful but also technically challenging music styles known to music. He delved into playing styles like: flamenco guitar with Al Di Meola and Paco de Lucia; world music with people like Carlos Santana and Trilok Gurtu, and straight ahead jazz with too many jazz legends to mention. John McLaughlin was a major player in helping take jazz on one of most extreme and fun rides ever with the sub-genre 'jazz fusion." He is so respected that Miles Davis immortalized him in two songs, one of them on his landmark album, Bitches Brew, the honorary titled "John McLaughlin." Currently, McLaughlin and his band, The 4th Dimension have a brand new album out called “Now Here This” - an album about which McLaughlin has been quoted as saying “It’s the best thing I ever did, from the beginning until today.” In this podcast John McLaughlin and I talk about about the atmosphere in the studio while recording the songs: "Echoes From Then," "Take It or Leave It," "Guitar Love," and "Not Here Not There." You can hear the excitement in John McLaughlin’s voice when talking about this new album and the band he has put together.
Check out more here: http://www.johnmclaughlin.com/ or get your limited edition vinyl copy here (while supplies last): AbstractLogix Label
Jazz guitarists you should know
Besides John McLaughlin, we wanted to showcase some of the other guitar legends in jazz to give you an introduction and give you some pretty pictures to look at. But besides that, look into the music they've done. Give them a listen. These guys are pioneers in the field and have pushed the frontiers of music beyond conception. While we can't cover every guitarist that should be mentioned, which often leads to objections and bitterness from fans, take note of the ones listed here, and wait for the rest to be mentioned in a later episode.
Jim Hall.
Innovative and constantly pushing the boundaries, he takes a unique approach to his music and believes music is a ways to peace.
Pat Metheney
Innovative primarily in sound and always challenging himself Metheny has evolved into new forms and a passionate fan-base. I recommend starting off with his album "We Live Here."
Charlie Christian
One of the first jazz guitarists to use an electric guitar, he influenced many others. Phenomenal skills, he apparently could match Django Reinhardt note for note.
Tal Farlow
Nicknamed "The Octopus" for his incredibly large hands and clean playing style. He only started playing guitar at age 21, but soon was playing guitar professionally. Known for only playing publicly very rarely.
George Benson
Said to be the best guitar players Joey DeFancesco played with. Benson was a child prodigy, and can play a multitude of styles. He possesses impeccable technique, and can mimic his heroes perfectly at will.
Allan Holdsworth
A jazz guitarist of a different vein, this jazz fusion guitarist is known to have influenced players like: Eddie Van Halen, Joe Satriani, and even Frank Zappa. Like John McLaughlin, Holdsworth played with drumming legend Tony Williams.
Django Reinhardt
Django Reinhardt deserves all the prestige placed on him. After he injured his hand in a fire, he developed a new way of playing to accommodate losing the use of his last two fingers. He's influenced multitudes of guitarists, and cemented his place as one of the greatest.
Wes Montgomery
Considered by many to be the greatest Jazz guitarist of them all. Like Django Reinhardt, he is the high-watermark by which all guitarists are measured.
Joe Pass
A sleeping giant of sorts in the guitar world, Joe Pass broke away from drug addiction and prison culture to become one of the most respected guitarists of all time.
Kenny Burrell
Playing with people like Dizzy Gillespie, Bill Evans, Ike Quebec, Sonny Rollins, Jimmy Smith, Paul Chambers, and Stanley Turrentine, Kenny Burrell may have played on more of the best loved jazz albums than anyone else.
John Scofield
One of the world's most admired and respected guitarists living today. His style focuses more on the music rather than showing off guitar chops. He has been able to revitalize the bebop movement and make it current. One of the best for certain, and with a good helping of integrity.
Parting thoughts:
Get your Going Thru Vinyl T-shirt. Just $15 Bucks!!!
(hurry while supplies last)
Tortoise Live from the Blind Pig in Ann Arbor [Listen 1:25:54] S02 Ep08 (Part 3 of 3)
Podcast: Play in new window | Download
S02 Ep08 (Part 3 of 3) - Tortoise Live in Ann Arbour
Interview Date: April 27, 2012 @8pm EDT
Bands and Musicians Battle Royale (Part 1 - The Attack of the Classic Rock)
It’s time to play battle of the bands. Choose which band or artist you prefer from the sides given, and back up your choice with reasons why. Debate with your friends when you've run out of religion and politics. The battles are obviously more fun with more people involved. Come up with your own for the next battle (you can post battles & your results in the comments). We start off with the most classic example and build from there. Enjoy.
The Beatles versus The Stones
The classic battle. The introspective artists vs. the bad boys. Tom Wolfe is reputed to have said "The Beatles want to hold your hand, but the Stones want to burn down your town."
Beatles versus Bob Dylan
Addictive melodies vs. snarling lyrical genius.
The Stones versus Bob Dylan
Dylan challenged the bad boy throne by going electric. Et tu Judas?
The Stones versus The Kinks
Before you say "No Contest" in favour of the Stones, consider that the Kinks had a resurgence
Doug McCombs of Tortoise interviewed [Listen 44:00 min] – Starting With A Bass Line
Podcast: Play in new window | Download
S02 Ep08 -Doug McCombs-Starting with a bassline
Interview Date: April 27, 2012 @8pm EDT
Special Guest:
Doug McCombs of Tortoise (Part 1 of 1) This multi-instrumentalists is one of the founding members of Tortoise. Tortoise is an instrumental band that is considered by most critics as one of the main forces behind changing the grunge scene and bringing a fresh sound to the 2000’s. McCombs also plays in bands Brokeback, and Eleventh Dream Day. Tortoise also has connections and/or collaborated with The Sea And Cake, Beck, Eleventh Dream Day, Poster Children, Slint, The For Carnation, Isotope 217, Zwan, and even put out a collaboration album with Bonnie "Prince" Billy. Most of these great works have been released by Tortoise’s long time record label, Thrill Jockey. Currently they are touring Europe. http://www.trts.com/ Please note: We are posting a full concert by Tortoise next week!
Album Cover Artwork Trivia and Questions
This week I thought I would change things up a bit and test your “record cover art knowledge.” Some are easier than others; let’s see how you do?
1)On the 1974 North American cover, what two cars are recognizable on Kraftwork's famous album "Autobahn"?
2) Tom Waits is sitting in a diner on the record “Nighthawks at the Diner”; how much does the sign in the window show a breakfast costs?
3) What is Bob Dylan holding on the album “Bring It All Back Home”? Follow up question: which records are noticeable in the picture?
4) The inside gatefold of Zeppelin IV is a picture of what?
5) The Abbey Road cover was said to depict a funeral, with each member being a different character. Can you remember who was what?
6) What colors were used in the Elvis Presley letters on his first album?
7) What is Amy Winehouse sitting behind on the album “Back To Black “?
8 ) On the record “Elephant” what are Meg and Jack White both sitting on?
9) Radiohead's "Kid A" cover art is a picture of white and blue mountain range. What color is the sky?
10) In CSN&Y's "Deja Vu", what does the gun that Crosby is holding appear to be pointing at?
11) What title takes centre space on P.I.L's album "Album"?
12) On Randy Newman's "12 Songs", what are the chairs in the yard turned towards?
13) Who painted the cover art work on Charles Mingus's "Mingus Ah Um"
14) Where did David Montgomery get the models from for the nude cover of Jimi Hendrix's "Electric Ladyland"
15) Did Jimi like the cover?
16) Who were the people who were originally intended for the front cover but were excluded afterward on the Beatles "Sgt. Pepper's Lonely Hearts Club Band"?:
17) What was the name of the cow on the front cover of Pink Floyd's "Atom Heart Mother"?
18) What's the design on the cover of Joy Division's "Unknown Pleasures"?
19) What happened to the boy pictured on U2's "Boy", and "War" albums?
Answers: (No Cheating!)
1) a Mercedes and Volkswagen Bug
2) $1.85; but the Breakfast Steak with French Fries is only $0.10 more.
3) Dylan is holding a cat and a magazine. The records are: The Folk Blues of Eric Von Schmidt (Prestige Label), The Impressions (Keep on Pushing), Robert Johnson (King of the Delta Blues Singers), Ravi Shankar (India's Master Musician), Lotte Lenya (Sings Berlin Theatre Songs by Kurt Weill) and Another Side of Bob Dylan appears behind Sally Grossman (wife of Dylan's manager, Albert Grossman).
4) a tarot card called “the hermit” ; if the image is held vertically against a mirror, a man's face can be seen hidden in the rocks below the hermit.
5) George Harrison was supposed to be the Grave digger, Ringo was the undertaker, Lennon was the priest and of course Paul was ‘Dead’. http://www.iamthebeatles.com/article1044.html
6) Elvis (pink), Presley (green). the knockoffs: the Clash’s London Calling and maybe Rain Dogs by Tom Waits.
7) A Chalk board.
8 ) A travel trunk. There are six different versions of the cover and the image is supposed to be a picture of an elephant face with Mag and Jack being the Ears.
9) Red. The image chosen by Tom Yorke was meant to represent the War in Kosovo in Serbia http://en.wikipedia.org/wiki/Kosovo_War
10) Dallas Taylor's gonads
11) "Album”
12) a TV
13) Neil Fujita
14) Random girls picked up from clubs and bars in central London.
15) No. He hated it.
16) · Leo Gorcey - was modelled and originally included to the left of Huntz Hall, but was subsequently removed when a fee of $400 was requested for the use of the actor's likeness.
· Mohandas Gandhi - was modelled and originally included to the right of Lewis Carroll, but was subsequently removed. According to McCartney, "Gandhi also had to go because the head of EMI, Sir Joe Lockwood, said that in India they wouldn't allow the record to be printed".
· Jesus Christ - was requested by Lennon, but not modelled because the LP would be released only a few months after Lennon's Jesus statement.
· Adolf Hitler - was modelled and was visible in early photographs of the montage, positioned to the right of Larry Bell, but was eventually obscured by Johnny Weissmuller in the final image.
· Germán Valdés - was considered to appear in the first row, but he declined the offer and suggested to replace his image by a Mexican craftmanship known as "Tree of Life". Ringo Starr agreed and placed it in the lower right corner of the cover.
17) Lullabelle III
18) Graphic transcription of the signal of a star going nova
19) He became Ireland's skateboard champion
Source for Sgt Pepper's Lonely Hearts Club Band: http://en.wikipedia.org/wiki/Sgt._Pepper%27s_Lonely_Hearts_Club_Band (5/29/12)
Picture sources: http://en.wikipedia.org/wiki/File:Bob_Dylan_in_Toronto2.jpg