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You make me wanna SHOUT: The Beatles, Bowie, Bee Gees, Jimi Hendrix, Sinatra and… Lulu

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Scenes from an imaginary documentary about Lulu…

Prologue.

Glasgow 1951. Exterior night. A busy city street. Fogbound. Trams and buses gridlocked—their windows steamy, yellow-lit, blurred faces peering out into the darkness.

Inside one of the buses—a mother and daughter. The girl is about three years old. She is happy, singing quietly. The bus halts. People onboard groan frustratedly, complain about getting home. The girl looks at her mother. She wriggles free and stands in the middle of the lower deck of the bus. The girl is Marie McDonald McLaughlin Lawrie. She starts to sing. She has the voice of a “nuclear reactor” with the face of an angel. The passengers on the bus are enthralled. They can’t believe this tiny child has such a powerful voice. Marie belts out one song after another. The traffic starts to move. The passengers applaud and throw coins. This is Lulu’s first experience of fame.

Scene One.

Glasgow 1962: Exterior twilight. W/S of cranes and ships along the River Clyde and docks. The evening sky is bright orange. The buildings sparkle with the light from tenement windows. There’s a sound of distant traffic—blue trains rattling to the suburbs.

Cut to:

Interior Night: The Lindella Nightclub. Blue wisps of cigarette smoke, tables along one side of room, a bar with a scrum of customers, eager to get drunk, happy to be out for the night. Backstage - a band, The Gleneagles, are ready to go on. They can hear the audience getting restless. The bass player asks if everything is okay? Over the sound system, the voice of the compere introduces the band. This is it. A ripple of applause, a rush, then the band is on stage.

At the rear, a young girl, who looks hardly in her teens, her hair bright red, sprayed with lacquer, and rolled in curlers. She has a cold, but smiles, and looks confident. She holds a beret in her hand—wondering of she should wear it or not. The girl goes on stage. A pause. There’s feedback from the speakers. She checks with the band. The audience are getting uneasy. There are mutters, snide comments (“Away back to school, hen”) and sense of menace. Now fourteen years old, Marie Lawrie is about to change her life. The band are ready. Marie starts to sing.

Lulu: Wwwwwwwweeeeeeeelllllllllllllllllllllllllllll!!!!!!!

The voice is incredible. Little Richard, Jerry Lewis and The Isley Brothers all rolled into this tiny redhead at the front of the stage.

At the back of the room—a woman stands slightly away from the crowd. She is mesmerized by the young girl’s performance. The audience that were about to riot are now lapdogs to this girl. The woman is Marion Massey—she is an agent—and she has just found her biggest act.

Lulu: (V/O) When I was fourteen, I was very lucky. I was discovered - to use a terrible term - by a person who was absolutely sincere. Since I was five, people had been coming up to me saying: “Stick with me, baby, and I’ll make you a star.” In fact, nobody ever did anything for me. Then Marion came along.

CU of Marion watching Lulu perform.

Marion Massey: (V/O) She looked so peculiar that first time I saw her. Her hair was in curlers underneath a fur beret. She had a terrible cold, was very pale and wore three jumpers. But I was very intrigued by her. There was something tremendously magnetic about this girl. I knew she had the makings of a great star.

Cut to:

London, 1964. Interior Day: Lulu performs on television.
 

 
Scene Two.

London 1965. Interior Day—a busy press conference. Behind a table covered with microphones sits Lulu with a vigilant Marion Massey. Cameras flash, TV crews jostle for best coverage, journalists talk over each other, shout their questions.

Reporter One: With all this success are you rich?

Lulu: I get £10 a week pocket money. I get through about £5 a week on taxis alone. They’re terribly expensive in London, but I don’t know my way about well enough to take buses and the only time I went on the tube by myself I got lost…

Reporter Two: What do you spend your money on?

Lulu: Shoes are my weakness, I’ve got eight pairs going at the moment plus two that have just about had it.

Reporter Three: Where are you staying?”

Lulu: At Aunt Janey’s.

Marion Massey: My Mother’s.

Lulu: Auntie Janey’s a wonderful cook. She does gefilte fish, boiled or fried.

Reporter One: Do you like it?

Lulu: Yes. I like it fried. (Pause) With ketchup.

Reporter Four: What’s going to be your next hit?

Cut to:
 

 
Interior Night: Lulu comes off-stage having finished singing “The Boat That I Row”. She is approached by writer and film director James Clavell.

James Clavell: That was wonderful.

Lulu: Thank you.

(Lulu is surrounded by fans who ask for autograph. The fans disperse happy with their prized signature. Lulu turns to Clavell.)

Lulu: Are you wanting an autograph?

James Clavell: No, no. I just want to tell you…that er…well…You’ve got the part.

Lulu: What are you on about? What part?

James Clavell: I’m doing this feature film and I want you to be in it.

Lulu: Aye, right. Your patter’s pish by the way.

James Clavell: No seriously, you’ve got the part.

Cut to: Footage of Lulu in from To Sir, With Love.
 
More hits and scenes from Lulu’s legendary life, after the jump…
 

Posted by Paul Gallagher | Leave a comment
Bee Gee Maurice Gibb’s drunken John Lennon impression fooled even Yoko (and many Beatles fans, too)
09.10.2013
01:19 pm

Topics:
Music

Tags:
Beatles
Maurice Gibb
Bee Gees


 
“Have You Heard The Word” used to appear—frequently—on Beatles bootlegs as a ‘long lost’ Beatles recording. It’s not, but it’s easy to see why the bootleggers thought that it was. In fact the song was recorded by Maurice Gibb, who showed up at a recording session for an Aussie band he was working with called Tin Tin, the story goes, totally fucked up on painkillers after he’d broken his arm falling down the stairs of the mansion he shared with his then-wife, Lulu.

Taking advantage of some booze around the studio, the well-lubricated Bee Gee, his brother-in-law Billy Laurie and the two members of Tin Tin, Steve Kipner and Steve Groves, crowded around the mics and did, apparently, a single take of “Have You Heard The Word” with Gibb very deliberately doing his absolutely spot-on John Lennon impression.

It was a bunch of drunk guys clowning around, too drunk to sing properly, just having a good time. Never intended for release, nevertheless the song appeared on a 45 in 1970 on the Beacon record label in the UK credited to “The Fut” with an (unrelated) instrumental on the b-side. How it got released remains mysterious to this day and although the initial release should surely be considered a bootleg, the single was sold in regular record stores at the time.

As would later happen with an album release by the Canadian prog rock group Klaatu, the single was rumored to be a “clandestine” Beatles number. Again, it’s fairly easy to see why folks might have thought this.

In 1975, “Have You Heard The Word” was released AS an unreleased Beatles number on a bootleg of the same name and then it kept appearing on subsequent Beatles boots.

In 1985, Yoko Ono tried to register a US trademark on “Have You Heard The Word” as a John Lennon composition, but the request was refused due to a 1974 US copyright that had already been granted to the composers, Kipner and Groves. Even when certain Beatlemaniacs would know, for sure, that it wasn’t the actual Fab Four on the track, they still had no idea who was behind this rather convincing Beatles pissed-take and it wasn’t until the Internet era that the real story was sorted out.

Steve Kipner went on to write and produce Olivia Newton-John’s “Physical” hit and write “Genie in a Bottle” for Christina Aguilera. He’s also worked with acts like Heart, Janet Jackson, Diana Ross, Neil Diamond, Laura Branigan,The Temptations, America, Cheap Trick, LFO, Westlife, Huey Lewis & the News, Joe Cocker, Al Jarreau, Wilson Phillips and Rod Stewart.

Now here’s the odd part, found on a newsgroup:

On Saturday, October 13, 2007 3:22:24 PM UTC-7, Steve Worek wrote:

I was just flipping through “Tales From The Brothers Gibb”, that several hundred page massive official biography of the Bee Gees, and something caught my eye - on page 265, Maurice Gibb, despite stories to the otherwise, actually ADMITS that John and Paul were on “Have You Heard The Word”! He tells a story about how they showed up to the session drunk, and with Maurice and the members of Tin Tin had a little jam session… which is what came out on the record.

The exact quote: “It was me, Steve Kipner, and Steve Groves, Tin Tin guys.. [John and Paul] turned up and we were having drinks. We were just jamming, everyone just started jamming, and the tapes were going. John was smashed as usual, and everyone was pissed.” He then goes on to mention that while John denied his involvement in the record, Paul didn’t! (Bizarrely, the book goes on to COMPLETELY contradict this on the very next page, by claiming that the vocals were simply Maurice doing a Lennon impression.)

Stranger and stranger… that book also claims that the word “fuck” pops up in that song too, but being that it’s total gibberish, who could tell?!

Let’s take Steve Kipner’s word for it, shall we? What’s really odd about this is why did Maurice Gibb feel the need to embellish the story to say that Lennon and McCartney were present???
 

Posted by Richard Metzger | Leave a comment
‘Shout!’: Scenes from an imaginary film on the life and music of superstar Lulu

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Scene 1

Exterior Night: Glasgow.

W/S of cranes and ships along the river and docks, tinged orange by winter’s twilight. City lights sparkle, the small theaters of tenement windows, the sound of distant traffic, blue trains rattling to the suburbs.

Caption

: Glasgow, 1963

Interior Night: The Lindella Nightclub. Wisps of smoke, tables along one side of room, a bar with a scrum of customers, eager to get drunk, enjoying themselves. Backstage - a band, The Gleneagles, are ready to go on. They can hear the audience getting restless. The bass player asks if everything is okay? Over the sound system, the voice of the compere introducing the band. This is it. A ripple of applause, a rush, then the band is on stage. At the rear, a young girl, who looks hardly in her teens, her hair bright red, sprayed with lacquer, and set in rollers. She has a cold, but smiles, and looks confident. A pause. She checks with the band. The audience are uneasy, mutter quick comments (“Away back to school, hen”). Laughter. Then 14-year-old Marie McDonald McLaughlin Lawrie, opens her mouth and sings:

Lulu

: Wwwwwwwweeeeeeeelllllllllllllllllllllllllllll!!!!!!!

The voice is incredible. Little Richard, Jerry Lewis and The Isley brothers all rolled into this tiny figure at the front of the stage.

At the back of the room, a woman stands slightly away from the crowd, which is now mesmerized by the young girl’s singing. The woman is Marion Massey, and she will become Lulu’s manager.

Lulu

: (V/O) When I was fourteen, I was very lucky. I was discovered - to use a terrible term - by a person who was absolutely sincere. Since I was five, people had been coming up to me saying: ‘Stick with me, baby, and I’ll make you a star’. In fact, nobody ever did anything for me. Then Marion came along.

CU of Marion watching Lulu perform.

Marion Massey

: (V/O) She looked so peculiar that first time I saw her. Her hair was in curlers underneath a fur beret. She had a terrible cold, was very pale and wore three jumpers. But I was very intrigued by her. It wasn’t her singing;There was something tremendously magnetic about this girl. I knew she had the makings of a great star.

Cut To:

Scene 2

Caption

: London, 1964

Interior Day: Lulu performs on Ready Steady Go
 

 
More scenes from Lulu’s life co-starring David Bowie, Sidney Poitier, Maurice Gibb and Red Skelton, after the jump…
 

Posted by Paul Gallagher | Leave a comment