I enjoyed reading about The Beatles during their two American tours, as witnessed by reporter Larry Kane who worked as part of their traveling press on both U.S. tours. The book can be a little dull at times (would have given the book 3.5 stars if 1/2 stars were possible), but I enjoyed learning little details about the band like the fact that George and John were both very afraid of flying, and John feared dying in a plane crash like Buddy Holly. Other good tidbits include who helped the
When playing a vintage guitar one gets the rush of history that guitar has been through and Fender vintage guitars have over 60 years of rock, jazz, country, and funk to feel. Four of the more famous models are the Stratocaster, the Telecaster, the Mustang, and the Precision Bass.
The Fender Startocaster is a solid body, double-cut electric guitar released in 1954 and still in production today. The original model had a solid maple neck, with 21 frets, 2 or 3 single-coil pickups, and came in a 2-color sunburst finish. This model guitar is the original Strat although because its style and features have been so often copied Strat often refers to similar guitars of any manufacturer. The Startocaster has been played by famous people from Buddy Holly in 1958 to Eric Clapton in 2005 and has had over a dozen other famous musicians endorse various signature models.
The Fender Telecaster, originally called the Esquire and the Broadcaster, was released in 1949 and is still in production. This 1964 Fender Telecaster Neck Brazilian Rosewood Board is the oldest model of the four Fender vintage guitars and hold the title as the longest continually produced solid-body electric guitar. This is a solid-body with two single coil pickups and a fixed bridge. The Telecaster has been played by dozens of famous musicians over the years including Eric Clapton, Jimmy Page, and Jeff Beck. Variations of the Telecaster include the Telecaster Thinline with two Fender Wide Range pickups, the Deluxe with two Fender Wide Range humbucking pickups, and the Custom with single-coil pickup in the bridge and a Fender Wide Range pickup in the neck position. All originally released in 1972 and still produced today.
The Fender Mustang is a solid-body electric guitar with 2 single-coil pickups. Originally produced from 1964 through 1982 it has since been reintroduced and continues to be produced. The 1960s models can now sell for over $1,500.
The Fender Precision Bas (P-Bass) was the first mass-produced electric vintage bass guitar. It was released in 1951 and is still produced today. The original model had a single pickup, 20 frets, and was styled after the Telecaster. In 1957 the P-Bass was redesigned to resemble the Stratocaster and in three years later 1960 had its single pickup replaced with a split-coil pickup wired in humbucking mode. The Telecaster like model was brought back in 1968 as the Telecaster Bass.
The Fender Electric Instrument Manufacturing Company was founded by Clarence Fender in 1946 originally based in California. Now called Fender Musical Instruments Corporation it is located in Arizona however it still has manufacturing facility in California as well as Mexico. Other Fender vintage guitars include the Duo-Sonic (1956-1969), the Jaguar (1962-1975), and the Starcaster (1976-1982). Some of these have been reintroduced and are being produced today.
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I’m 15 and I have a red 1964 Hagstrom 1 electric guitar with Fender bullet strings. I know it’s pretty obscure, but my favourite band The Kills has this exact same guitar, so that’s why I got it. Here’s a picture of Alison Mosshart in The Kills playing it: http://i328.photobucket.com/albums/l325/Nouvelle_VagueImages/kills3.jpgI’m 1964 Fender Telecaster Neck Brazilian Rosewood Board not a total novice to guitar. I played acoustic for 3 years, then I switched to viola for 5 years, but I was forced to play that and never really enjoyed it, so I’m quitting and going back to guitar.Only thing is, because I spent US $750 on it, I don’t have much money left to get amps, so I want some pretty good beginner ones that won’t break the bank. I don’t need them to go to loud either, because it will drive my parents crazy with my practicing if they are too loud.It’s not really an option to go to a music store to try amps out, so I really need some suggestions here of what to get. And can you tell me why you suggest them as well?
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These troubled times getting you down? Travel back to a more optimistic era with Larry Kane’s Beatle memoir, “Ticket to Ride”. Kane was news director for a Miami Radio Station when he joined the Beatles’ press group for the band’s first two Amercian Tours in ’64 and ’65. Oh how times have changed. Tickets for the Beatles’ concert went for a whopping $5.50 back then! There’s plenty of sex, drugs, rock & roll and hordes of screaming teens but there’s also Kane’s conversations and interviews with “the boys”. “Ticket to Ride” is a rare, intimate look at John, Paul, George and Ringo from the guy sitting across the aisle from them on the tour plane. Later chapters about the ’65 Tour get more somber and, at times, tedious but overall “Ticket to Ride” is very enjoyable. So if you need a pleasant escape from the 21st Century, get a tall drink, a comfy chair and travel back in time and hang out with “the boys”.
At first, it looked like this book was going to be a dud. The author would ask the Beatles different questions, and they would say things like “Yeah. Uh huh. Is that what you think?”
But the author was the only official American reporter who had insider access to the Beatles while they toured America.. He gives an interesting firsthand account on what Beatlemania was like (screaming fans, girls following the Fab Four to their hotel rooms, the frustration of the Beatles that they couldn’t seem to get much alone time. You can see how this could get old after a while and how it convinced the Beatles to stop touring and to focus on their studio albums.
One thing I did not know was that George Harrison liked jelly beans, and that when fans found this out, they started winging them at the Beatles while they were performing on stage. The jelly beans in America are hard and solid, so it really hurt to get hit in the head (I guess jelly beans in Britain are softer).
Another interesting tidbit was that Kane was there on the plane while Lennon and Mccartney were practicing and writing the song that would become “Eight Days a Week.” Kane thinks of this every time the song gets played on the radio.
Kane notes that there was so much screaming at Beatles’ concerts that you couldn’t always hear the music. But the concerts at the Hollywood Bowl and at Shea Stadium are highlights. Some of the Beatles looked back on the Hollywood Bowl concert with fond memories of how well the band played that night.
This book is not the first Beatles book a person should read, but it is a nice souvenir and supplement of their American tour.
No doubt Larry Kane really did forge a sort of friendship with the Beatles as he got swept along with them in their North American tours. His accounts of the mayhem and the love affair that was the Beatlemania are a delight to read, and his perspectives on the less-known moments of the group definitely provide interesting insights into the normalcy of the individual members as well as the abnormal circumstances the band found themselves in once stepping into the shores of USA.
But what I just find a bit disconcerting about this book and Kane’s narrative was his seeming need to state again and again how the FabFour liked having him on the tours (a bit egoistic, maybe?). And I felt that he was being quite delusional when he mentioned the propensity of some members of the press in the 60′s to ask dumb questions when interviewing the Beatles–since when I read some of the snippets of his own interviews of the band, it appeared to me that he himself also had a tendency to ask the most obvious “duh” questions, most of which were even leading, whilst some felt like he was just trying to suck up to them (understandable, I’m sure…but I wish he owned up to it…).
I somehow got the impression that, since he had the privilege of being the only American journalist to be with the band for the entirety of their tours, he got it in his head that, naturally, his questions and rapport with them were quite exceptional. (And what is up with him always referring to John as “John Lennon,” while, when talking about the others, he just writes their first names? So weird…)
I also felt that the book was not that well edited. Some parts of earlier chapters would again be mentioned word-for-word in a later one, like he just wrote segments of the book in no particular order or cohesion (or even recall that he already mentioned it), and just organized the chapters based on the timeline, without being particular if the narration was seamless or not. Anyway, that’s just the impression that I got.
Still…still…this book is a must-read if only to glimpse another dimension of the Beatles and the madcap experience that they had from across the Atlantic.
Along with Geoff Emerick’s fascinating book HERE, THERE & EVERYWHERE, TICKET TO RIDE by Larry Kane is a must read for all Beatles fans and historians.
While Emerick covers the Beatles’ recording history from 1962 to their final days together (and beyond), Larry Kane zeroes in on the two North American tours of 1964 and 1965, a time representing the peak of Beatlemania. Indeed, from the crazed, tumultuous, and mind-boggling experiences of those two tours, Kane was literally thrust into the eye of the hurricane.
Kane describes in rivetting and action-packed details the joys and horrors of travelling with the Beatles – - from overly exuberrant fans running wild through hotels, to shady dealings in Atlantic City, to near fatal airplane mishaps. Kane wonderfully and insightfully captures the essence of a bygone era, an era when Beatlemania reigned supreme.
A most enjoyable book full of first-hand information about the Band of the Century!
Beatles 4ever!