Nicholas Wedgwood Evans: The True Story by @jmarshallcraig

Nicholas Wedgwood Evans: THE TRUE STORY …


Nicholas Wedgwood Evans
Nicholas Wedgwood Evans

BEVERLY HILLS, CA – The time has come for Nick Evans the actor to let the world meet Nicholas Wedgwood Evans the character.

Or should that be characters? Thespian, restaurateur, concert promoter, multi-media entrepreneur, pioneer of third-world cellular communications, and globe-circling captain of his own yacht: They’re all the son of the world-renowned stage and screen actor Michael Evans (Gigi, My Fair Lady and The Young and the Restless). Nick grew up in 1960s L.A. ~ which meant hippies, free love, wide-eyed exuberance and such seemingly everyday things like The Doors opening for Arthur Lee at one of Nick’s North Hollywood High school dances. It meant surfing, cruising Malibu and hitchhiking up to Nicholas Wedgwood Evans to see The Grateful Dead … smoking dope with weirdo “Topanga Charlie” (a couple of years later known to the world as Charles Manson).

Nick began following in his father’s footsteps, appearing on both stage and screen, and met with admirable success but few jobs. He found his calling behind the scenes. And in the case of sailing around the world for six years, beyond the sight of land.

“I’ve been thinking about this for years,” Evans says in his stylish Beverly Hills pied-à-terre, adored with collected artifacts and souvenirs from his world travels – including few choice samples of  rare handmade china from his Wedgwood ancestry) and, he humbly acknowledges, an exceptional portrait of him done by Rolling Stones guitarist (and acclaimed painter) Ronnie Wood.

“I think I’ve got some pretty good stories to tell. Neither my brother nor I have any kids … this is the end of the line for my family.”

Not that the end is anywhere near for Evans: The sixtysomething keeps in such good shape that he beats nearly every opponent he meets on his tennis court. Including, sometimes, his former Wimbledon-veteran tennis coach.

Like every young man his age in 1969, just graduated from high school, a draft card arrived in the mail one day. His horrified father packed up his son and promptly enrolled him in the Guildford School of Acting drama school in Surrey and put him on a boat back to his native England. No way was Michael Evans going to have his British son shipped over to be killed in Vietnam.

“That saved my life in more ways than one,” Nick says. “Those were great, crazy days and we were all having the time of our lives, but things started to get out of hand in L.A. I had no direction, didn’t know what I wanted to do, and I was getting caught up in some weird shit, man.

“My girlfriend was this really cool chick named Nancy Pitman. Suddenly, she disappeared. She’d been introduced to Charlie and Tex Watson and ‘The Family.’ Nancy’s parents called me and asked me to find her.  I really tried to get her out of there but I couldn’t do anything. By this time Charlie and I had a history. It was simply not a good scene. I split. And, what, a year later my former girlfriend’s in prison for murder. It was so tragic.”

When asked more about his “history” with Manson, Evans smiles and says, “buy my book. It will all be in there.”

Once back in England, Evans found his footing. After a year at the highly regarded Royal Academy of Dramatic Art and respectable notices in several large productions and three BBC television shows, he yearned to be a part of the crowd instead of a performer for it.

“I fell in love with this amazing girl, Brigitte. She was a German model who also worked as an assistant to Vidal Sassoon. In the beginning, she helped me open a stall in High Street Kensington Market, selling velvet jackets and all that kinda stuff to rock people. I laughed when I first saw Austin Powers, ‘cause I thought, ‘he could have bought all those clothes from me!’ ”

As Evans became closer to his celebrity clients, he reached out to Ringo Starr and Keith Moon with the idea of opening a nightclub.

“At that time there was almost nowhere in London where you could get a drink after 11 o’clock,” Nick says. “There was the Scotch of St. James, the Hard Rock … there were five places in all, I think. But for a city that size in the height of its rock-and-roll boom, the stars were clamoring for a place they could be until three or four in the morning.”

Ringo and Moon opened their phone books and sent out invites. From opening night, The Last Resort, at 294 Fulham Road, was THE place to be. It became a second home to Anita Pallenburg and Keith Richards, Ronnie Wood, Rod Stewart, Steve Marriot, Ian MacLagan, and the hottest horn section in rock and roll, Jim Price and Bobby Keys. Frequent patron David Bowie tended bar in drag as his wife Angie sweated it out on the dance floor.

Evans himself became a fixture on London’s hottest, hippest scene and was dubbed “American Nicky” by his superstar clients and friends.

But after several years, the constant party and all the hard work had exhausted Evans – as had the punitive British taxes.

“I couldn’t take it anymore,” he says. “It was a dream and the time of my life but it got to be too much and wasn’t fun anymore. I began to dread going to work and all I wanted to do was move to France and take a year off. So I did. I sold my interest in the club to partners Charlie Smith and Richard Burden and immediately flew to Paris.”

Evans began to reinvent himself and went to work on his dream of becoming a rock and roll concert promoter. “It wasn’t that big of a challenge,” he says, “because I knew just about everyone in the business. They all liked and trusted me and within the year I had started promoting everyone from Wings to Queen and Miles Davis.”

Having been introduced to South America on a vacation with Rolling Stone pal Mick Taylor, he fell in love with Rio, and relocated there – where some of the days’ hugest rock concerts were put on.

“I was in Brazil when I first started to hear about how things were getting hairy at the club.”

About a year after Evans sold his interest in The Last Resort and moved away from Britain, an Irish man was arrested in Sydney carrying a few thousand hits of LSD from London. He told police he was just a courier – and named The Last Resort owner Burden as the kingpin. The Australian police passed on the information to the UK police. It was a small tip in a much larger, Britain-wide drug sting called Operation Julie. By 1977 there were more than 800 police officers from 11 different law enforcement agencies involved. On the morning of March 26, 1977, after nearly three years of surveillance, the forces swept in on 87 locations all over England. More than 100 people were arrested and enough LSD to make 6.5 million ‘tabs’ (with a street value of £6.5M) was seized. Eventually £800,000 was discovered in Swiss bank accounts.

The 15 ringleaders were sentenced to a combined 120 years in jail. For his part, Richard Burden got six years.

Nick Evans was never even a suspect.

But his name still made the papers, since he was the founder of The Last Resort.

“That absolutely broke my heart,” Evans says. “The newspaper stories, the whole shocking scandal. I mean, of course I had nothing to do with it and had been out of there for more than a year, but my name still cropped up. It was absolutely devastating … my grandfather Josiah Wedgwood – the former manager of the Bank of England – reading his grandson’s name in the paper just because this happened at an establishment I used to own.”

Subsequent allegations that Evans’ phone was tapped and even that there was a warrant out for his arrest began to surface.

“All lies,” he says, “but once it’s in the papers people believe what they want to believe. It drowned my fond memories and destroyed such a great legacy of such a fabulous time and place. I get very angry when I think about it – maybe even more so now with the Internet and anyone who Goggles me can trip upon such slanderous untruths.

“That hurts. It’s one reason I’m writing my book – to set the record straight for once and for all.”

And the other reasons?

“Well … when I got tipped off that the Brazilian death squads had me on their radar to kidnap and shake down because of all the rock promotion money. I had all my cash converted into diamonds, emeralds and rubies and went straight to the airport and caught a flight to San Diego! That’s a pretty cool story.”

Then there is the sailing. Evans says he’s keeping most of his six-year journey around the planet a secret for his book ~ but promises it will be a page-turner.

“I had sailed all my life, and after the club and the music and other business ventures, I had quite a lot of money saved up, so it was time to turn it over to my OTHER passion: Sailing. I bought the Midnight Rambler … a Swan 46-foot … hull #9, manufactured in Finland. She was the Rolls Royce of racing sailboats. It was a gypsy dream of mine to sail around the world, and we set out from Monte Carlo…”

Along the way, Evans teases, there were pirates, a near-mutiny from a crew member, a near-fatal capsize from a 100-foot rogue wave in the Indian Ocean’s treacherous “Roaring Forties” seas that crippled the boat.

“We were adrift for eight days,” Nick says. “Remember, this was before GPS and satellites. We were 2,500 miles from the coast of Africa in the middle of the Indian Ocean on a 12,500-mile journey to Perth, Australia. My mast and main sail were gone but the crew and I managed to rig a slight sail and we limped to a supposedly deserted island that I knew was close because of sea birds overhead. Not only was it not deserted but it was a massive, secret spy naval installation. They were not happy to see us coming.

“What happened next … I’m saving for the book!”

Evans won’t reveal the title of his memoir but promises that it will be published sometime in early 2016.


#IRespectMusic Live #Twitter Discussion via @TheBlakeMorgan Sunday 2-8 7pm #music #artistsrights

Blake Morgan, and so many of us, have been battling for artists rights. We are winning! Here is a chance to add your voice. Tomorrow, Sunday, February 8th 7pm on Twitter #IRespectMusic
Sign the petition
Transcript: There are years that ask questions and there are years that answer them.
We’ve asked the question: “Why is the United States the only democratic country in the world where artists don’t get paid for radio airplay?”
Now, Congress is on the move. The United States Copyright Office is on the move. Music makers are on the move. Music Lovers are on the move.
It’s time for some answers from the people who believe that artists shouldn’t be paid for their work.
Join me tomorrow night on Twitter, Sunday February 8th at 7pm Eastern: hashtag #IRespectMusic.
It’s time to take the next step.

Take Action. Speak Up. Make History.

Join Blake Morgan on Twitter
Sunday, February 8, 2015 @ 7pm EST
It’s time to take the next step.

Irespectmusic indiestardust

Gloria Steinem
Gloria Steinem
Rosanne Cash
Rosanne Cash
Sir Patrick Stewart
Sir Patrick Stewart

Also please “like” us

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Indiestardust on #Tsu

#JeSuisCharlie | Original Song by @GeorgeReece

george reece

Heartbroken by the events that had taken place in France at Charlie Hedbo, singer/songwriter George Reece wrote and performed a profoundly beautiful song, titled, simply… “Je Suis Charlie”… have a listen.

You can follow George on Twitter @GeorgeReece
And on #Tsu

Je Suis Charlie | Original Song by George Reece | Saturday Song

Je Suis Charlie | Original Song by George Reece ♪ ♫ ♪
Give me something beautiful,
Something strong, satirical and free.
And if I have to die for it,
I will because it means that much to me.
Between the ways we see the world
There seems to be this big disparity.
Take exception, take offence,
But never try to take my liberty.

Je suis Charlie x2

The pencil doesn’t feel as if it’s
Mightier than the sword as it should be.
With all the talk of martyrdom
We’re looking at the art of them to see.
What kind of man has got it in his head
To have a shot at infamy?
Maybe there’s a feeling
We’re as much at fault in our society…

Je suis Charlie x4
Mais ils sont Charlie aussi.

Tant qu’il ya de la joie,
L’amour et de l’espoir,
Je veux continuer.
Il faut continuer.

Je suis Charlie x4
Mais ils sont Charlie aussi.
Je suis Charlie,
Mais ils sont Charlie aussi.

Cartoons, in order of appearance, by:

#TheGrimps @teenkidsnews Sat/10-18 9:30aEST Tune in! @TheGrimps by @Kartuneman via @Indiestardust #rock #kids #TV

by Karen A. Brown @IndieStardust @StardustBlu @StardustBluCEO

Several years ago, I met musician/cartoonist Richard Sirgiovanni. I’ve never seen someone so determined, so focused on getting a show made. Richard truly has something special! I’d love you to meet Richard and The Grimps! The Grimps will be on this Saturday morning at 9:30am Channel 5 in the NY-Tri state area & over 200 FOX television stations around the United States! Check local listings. This will be The Grimps national TV debut on Teen Kids News.

KAB: Thank you for joining us today Richard! How did you come up with the idea for The Grimps? When did you first create them?

RS:  It was about 5 years ago when I wanted to create a new project and wanted to combine my 2 passions which is cartoons and rock n’ roll but I didn’t just want to make a cartoon about a rock band. I wanted it to also be magical and fun for kids. So I began developing a story of how they lived 500 years ago and were cursed by an evil wizard to become these ugly little creatures and banished for eternity. Until one day, their friend and wizard who was also cursed found a spell to reverse the curse, but only temporary changing them back to humans from sunset to sunrise everyday. The show takes place in present time as The Grimps take their shot at being rock stars at night.

The GrimpsKAB: How fun! Who wrote these great songs?

RS: The theme song called “We’re The Grimps” was written by Ron Dante and Freddie Cannon for me. Many new original songs are currently being written and submitted by new young songwriters as well.  Some iconic writers in music history. The new songs and production will be the direction and sound we are creating for The Grimps.

The Grimps “We’re The Grimps” official TV show theme song

KAB: Where do you see the show going?

RS: The show is targeted at kids 8 to 12 years old but we believe it will be well received by adults and family entertainment for 3 generations. The social media efforts already show fans from around the world up to 70 years old. The Grimps are modern, but have a retro feel which I believe is attracting the parents and the grandparents. The grandparents, 55 to 70 are the classic rock generation and are attracted to this. I see the show being aired as a weekly animated show on a major network that focuses on kids’ entertainment. Each show will have a positive message in a fun and entertaining way and will feature a new original song in the episode that follows the theme of the story.

The Grimps

KAB: What is your dream for where The Grimps may end up?

RS:  My dream is that The Grimps can become a new entertainment brand that crosses over into TV, film, music, publishing, merchandise, licensing, electronics and more. I have some exciting plans for the live show when we take The Grimps on the road to a live audience.

KAB: Tell us about the show this Saturday?

RS:  This will be The Grimps first exposure on national TV in America. I was recently approached by the producers of Teen Kids News on FOX to do a segment and tell America about The Grimps. Although the show is not sold yet, the producers felt strongly about the idea of The Grimps… The positive messages… The music and the appeal and wanted to do a segment. Teen Kids news is a news program by kids and for kids. It has aired on Fox television every Saturday morning for over 12 years. Teen Kids News airs at 9:30 am every Saturday on over 200 Fox television station across the country.

Around here we don't look backwards for vey long. We keep moving forward, opening new doors and doing new things, because we're curious ... and curiosity keeps leading us down new paths. - Walt Disney
Around here we don’t look backwards for vey long. We keep moving forward, opening new doors and doing new things, because we’re curious … and curiosity keeps leading us down new paths.
– Walt Disney

KAB: Who were your influences?

RS: Too many to mention but here are some that have influenced me and whom I’ve admired for several reasons.  Walt Disney, probably the successful cartoonist of all time and a genius business man and visionary. The Beatles, they were more than a band that created the best music ever, they we’re artists and they canned the world in so many ways. Stan Lee, creator of Marvel and many of the legendary comic hero’s. I was very lucky to have met Stan out in LA about 10 years ago, he was such a wonderful guy and I was in awe to finally meet him thinking about all his creations I grew up with. Also, Pablo Picasso, Richard Branson and Charles Shultz.

KAB: Tell us a bit about your background?

RS: I graduated from The School of Visual Arts in Manhattan; I was always a freelance cartoonist, as well as a musician, in a very popular rock band in NYC during the late 70’s and early 80’s. While I continued as a cartoonist, I also made my living as a creative director in the advertising field for many years. All these roads led me to The Grimps.

KAB: Thank you so for joining us today, Richard! I know I will be tuning in!

@TheGrimps will be on this Saturday morning at 9:30am
Channel 5 in the NY-Tri state area & over 200 FOX television stations around the United States…check local listings
Tune in or set the DVR for The Grimps national TV debut on Teen Kids News. teen Kids news is an Emmy Award winning 1/2 hour weekly TV show that is informative,educational & fun. A news show for kids by kids.
Follow @TheGrimps on Twitter! 
Let FOX TV know The Grimps are great.
Show your support to the Grimps and write to Teen Kids News & Fox TV after the show has aired.
1,2,3,4 let Fox know what you want more. More GRIMPS !
Looney Tunes Cartoons Indiestardust Amazon
Looney Tunes on @Amazon! Order here!

#IRespectMusic: #California Court Rules for #TheTurtles, Deals Crushing Blow to #Sirius in Victory for Artist Rights on pre-72 via @MusicTechPolicy @howardkaylan

#irespectmusicA Huge Win for The Turtles and Songwriters everywhere! I rarely reblog an entire article, (in fact I never have), however this one was so exciting for songwriters and artists as a whole. Have a read! Special thank you’s to Blake Morgan, David Cloyd, Chris Castle, California Congress and, of course everyone at MusicTechPolicy! Congratulations to our friend Howard Kaylan and The Turtles!!! And click to sign the petition on!

#IRespectMusic: California Court Rules for The Turtles, Deals Crushing Blow to Sirius in Victory for Artist Rights on pre-72 
September 23, 2014 by Chris Castle

Original Artical via @MusicTechPolicy

Score Round One for the Duke, the Count and Satchmo–Flo & Eddie pka The Turtles have won a crushing victory over Sirius XM requiring Sirius to license and pay royalties for Flo & Eddie’s recordings published before 1972. Sirius had taken the position that because the Congress did not expressly include pre-1972 recordings when it established the performance right for sound recordings in 1995, Sirius did not have to pay royalties on pre-72 recordings it used on its service. This is a position held by Pandora and the Digital Media Association which includes Google among its membership. More about that later.

The case was brilliantly argued for Flo & Eddie by Henry Gradstein and Harvey Geller, two long time artist advocates (the firm is also representing Aimee Mann in her lawsuit against MediaNet). The theory is actually very simple, even biblical–thou shalt not steal. But then I’m an Old Testament kind of guy.

However, the case is based on a complex set of legal principles that need to be mastered and presented just so in order to prevail. Because Flo & Eddie managed to get back ownership of their masters years ago, they were able to bring the case themselves without any record company involvement. (After the artists led the way, the major labels also sued Sirius.) And Gradstein and Geller made a very effective and compelling argument to the Court that resulted in victory, a victory that will be available to artists and copyright owners everywhere seeking to correct the “Pandora loophole.”

Not only will this defeat for Sirius, Pandora and DiMA be encouraging to artists wishing to take action, it also provides what must be a tremendous sense of satisfaction to the sponsors of the RESPECT Act (HR 4772), introduced by Rep. George Holding and Rep. John Conyers. The cosponsors are a bipartisan group seeking to right the wrong of the Pandora loophole: Reps. Coble, Blackburn, Chu, Cooper, Deutch, Gohmert, Jeffries, Peterson, Rangel, Lowenthal, Collins, Rooney and Fincher.

The Pandora loophole is an effort to justify denying artists their right to satellite radio and webcasting royalties by playing with dates. Those dates are 1972, 1995 and 1998. (In Flo and Eddie’s California case, another date was 1982.) 1972 is important because that was the first year that Congress extended the federal copyright law to sound recordings. Before 1972, sound recordings are governed by state common law, sometimes included statutes as is the case in California that has an extensive state copyright act directly on point as one might expect. 1995 is important because that was the year that Congress established a limited public performance right in sound recordings transmitted digitally (including satellite radio and webcasting) and 1998 is important because that was the year that Congress fleshed out the law that established the compulsory license under Section 114(g), the royalty rate setting and put the finishing touches on establishing SoundExchange.

The Pandora loophole is some version of this argument: Because state law applies to pre-72 sound recordings and because Congress did not intend to extend the performance right to sound recordings in 1995, pre-72 artists and copyright owners (as well as the non featured singers and musicians) get none of the royalties established in 1998 under the compulsory license. But here’s the truly weird part: Sirius rejected the safety of the compulsory license established in 1998 to commercialize the limited performance rights established in 1995 in favor of no license at all under state law.

Yes, that’s right: Grown men thought this was a good idea.

The case boils down to a very simple concept: California has a carefully crafted state copyright law that the Court ruled includes the public performance right (and does not exclude it):

The Court finds that copyright ownership of a sound recording under § 980(a)(2) [the California copyright statute] includes the exclusive right to publicly perform that recording. See Cal. Civ. Code § 980(a)(2). Accordingly, the Court GRANTS summary judgment on copyright infringement in violation of §980(a)(2) in favor of Flo & Eddie.

The point–and one made recently by David Lowery–is that there is no language in either the California state law or in the 1995 amendment to the federal Copyright Law that excludes public performance royalties for pre72 recordings. So the RESPECT Act can be thought of as almost a technical amendment to fix this Pandora loophole.

Neither Pandora nor Sirius exactly trumpet to their users the fact that these companies are using the pre-72 recordings in multiple channels to their profit–but none of the fees paid by fans ever gets to the artists. Pandora even misappropriates the artist’s name in the music genome and uses association with artists by name in order to sell their service–and that’s not covered by the compulsory license, either. (And neither is the derivative work created by the music genome–but that’s another lawsuit.)

So you have to ask yourself–what were they thinking? Wouldn’t it have been better if Sirius really wanted to stiff old guys and dead cats that they paid the royalties and sought declaratory relief before cutting off America’s musical treasures?

Pandora and Sirius have a chance now to openly reject the bad advice they got (apparently from DiMA) and start paying on pre-72 IMMEDIATELY. Throw their support behind the RESPECT Act. Disassociate themselves from DiMA, CCIA, CES or whoever is giving them this horrible advice that it’s worth the downside liability risk and yet more bad PR to “save” a few bucks and stiff Miles Davis, Duke Ellington, Neil Young and so many greats who are responsible for putting American music on the map.

But if past behavior is any prediction of future action, they won’t. You get into these scrapes by being pig-headed, and you can’t waive a magic wand and make a pig into something else. You can fire them, however.

And when Wall Street gets a load of the level of liability that these companies have taken on without a care in the world, the reaction will be interesting.

Apparently Pandora’s CFO would like Pandora to be a better partner to artists. That’s easy.

All he has to do is act like it.

Save The Turtles: The Turtles Greatest Hits Original recording remastered
Save The Turtles: The Turtles Greatest Hits Original recording remastered click to order on Amazon!

#MindBlowing!!! Come Together:Robin Williams & Bobby McFerrin #Beatles “In My Life” George Martin #doc

I’m mind blown! I have no words for how incredible this is!
Just LISTEN!!!!

And watch!The story behind the process….

Come Together – Robin Williams and Bobby McFerrin George Martin – In My Life 1998 VHS

George Martin – In My Life (1998) [VHS] FULL Documentary

Jimmy Fallon’s beautiful Tribute to Robin Williams via @FallonTonight

Jimmy Pays Tribute to Robin

“O’ Captain my captain…. You will be missed.”

the beatles boxed set

“I Feel Fine” #TheBeatles Rare Takes and #Isolated Tracks via @IndieStardust

by Karen A. Brown for @IndieStardust

record player 1970sAs a kid, I was always singing.  I’d sit with a pencil and my small plastic record player. They looked like the Crosley Player to the left and came in colors, with a handle for simple carrying to outlets around the house or to a friends place.  There is nothing like vinyl. The textures sounds, the feeling that you are in the same room with the artist. It’s like being there. The sound is full spectrum. Not like what one downloads on an MP3 now. Kids today don’t realize they are missing so much of the true sound of a recording.

I’d move the needle methodically, writing down every word. We didn’t have any other way of finding the song lyrics ….waaay….back then.  Then I’d, hop on the bed a start singing at the top of my lungs. Once I had every word memorized, of course, there was the mirror with my hairbrush microphone.

So, geek that I am, this is the kind of thing I do in my spare time. I research a song, finding different takes and isolated tracks of the same song to hear sublties.

So, have a mghty listen to The Beatles: “I Feel Fine”. Listen to the textures, the harmonies… the subtle sounds and layers. Something tells me you too will feel fine…

“”I Feel Fine” is a riff-driven rock song written by John Lennon (credited to Lennon–McCartney) and released in 1964 by the Beatles as the A-side of their eighth British single. The song is notable for being one of the first uses of guitar feedback in popular music. “ – Wikipedia

The Beatles – I Feel Fine (Live at Paris) 1965

The Beatles HD – I Feel Fine Live in Germany (Remastered)


i feel fine“I Feel Fine” is written in 4/4 time with drummer Ringo Starr’s R&B-influenced beat (based on the “Latin” drumming in Ray Charles’s hit “What’d I Say”) featured through most of the song except for the bridge, which has a more conventional backbeat. After a brief note of heavy feedback (see below), the intro begins with a distinctive arpeggiated riff which starts in D major before quickly progressing to C major and then G major, at which point the vocals begin in G. Just before the coda, Lennon’s intro riff (or ostinato), is repeated with a bright sound by George Harrison on electric guitar (a Gretsch Tennessean), followed by the more “electric” sound of John’s amped acoustic. The song ends with a fadeout of the G major portion of the opening riff repeated several times. – wikipedia

“I Feel Fine” (Lennon–McCartney)

Baby’s good to me, you know
She’s happy as can be, you know
She said so
I’m in love with her and I feel fine

Baby says she’s mine, you know
She tells me all the time, you know
She said so
I’m in love with her and I feel fine

I’m so glad that she’s my little girl
She’s so glad, she’s telling all the world

That her baby buys her things, you know
He buys her diamond rings, you know
She said so
She’s in love with me and I feel fine, mmm

Baby says she’s mine, you know
She tells me all the time, you know
She said so
I’m in love with her and I feel fine

I’m so glad that she’s my little girl
She’s so glad, she’s telling all the world

That her baby buys her things, you know
He buys her diamond rings, you know
She said so
She’s in love with me and I feel fine
She’s in love with me and I feel fine, mmm, mmm

The Beatles “I Feel Fine” Isolated Vocals

The Beatles – I Feel Fine isolated guitar track, guitar only

Below we have some of the studio recorded versions

The Beatles – I Feel Fine (Take 1)

I Feel Fine (Take 5) – The Beatles Rare Takes

I Feel Fine Take 6, 7 / The Beatles


the beatles boxed set
The Beatles (The Original Studio Recordings) Box set, Original recording remastered on Amazon!

Chadwick Boseman stars as James Brown in director Tate Taylor’s biopic, produced by Mick Jagger. #GetonUp

#GetOnUp opens this weekend! Get on Up and go see it!

jagger producer get on up indiestardust“When I first saw James Brown at the Apollo, I copied his moves straight away.”
— Mick Jagger

Chadwick Boseman stars as James Brown in ‘The Help’ director Tate Taylor’s biopic, produced by Mick Jagger.

Get On Up – Official Trailer Extended (2014) – James Brown Biography HD

Mick Jagger – Talks James Brown Movie ‘Get On Up’ – MSNBC 3-6-14

James Brown “Sex Machine” Rome on April 24, 1971

James Brown on The Ed Sullivan Show 1966


Click to order on Amazon! Get On Up – The James Brown Story -Original Motion Picture Soundtrack!

Get on Up James Brown Indiestardust Soundtrack