Tag Archives: Klaus Voormann

More Info on the Photographs Used for the Revolver Cover

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We’ve had readers doing a lot more detective work and research into the photographs that Klaus Voormann used for his collage and line drawings for the famous Revolver cover.

In case you’ve missed it the story on our blog started here and here when we stumbled across a terrific montage detailing all the then known images used for the cover.

Turns out the author of that montage was Ukrainian Beatle fan Sergey, one of our readers! He wrote to us letting us know he’d first created it (way back in 2012!) for a Russian Beatles discussion forum called beatles.ru.

Sergey has since tracked down the source of the image of Ringo used as inspiration for the line drawing of him Klaus placed at the bottom left of the Revolver cover – the one where he is looking skywards.

We’re still not sure of the photographer, but it was published in a German booklet Das sind die Beatles which features a series of black-and-white photographs and short comments about each. It was produced by Bravo magazine for the 1966 Bravo Blitztournee tour, under the auspices of Beat Publication Ltd. The photographer details are not indicated, but Sergey sent us these photographs of the actual publication:

We then published what we feel is another piece in the mystery – the photograph of John Lennon that was very likely the inspiration for Klaus’s line drawing of John at the top right-hand side of Revolver. You can read about that here.

That prompted two other readers – Tom and burnham42 – to offer up even more clues. These revolve around the source images for the three small Beatle faces (and two hands) on this part of the cover:

burnham42 wrote:

I think the one of the three small photos top left is in The Beatles Anthology book page 70 (in my French edition). You can also find it on pinterest. The photo was taken on the way to Hamburg. There is John, Paul, George and Gerry and the Pacemakers in the photo. The man on the floor (George?) is pulling a face and you even have the hands that Klaus also used.

Well, drag out your English edition of The Beatles Anthology book too if you have one because the image is also on page 70 there as well:

The Anthology Book says the photo is from George Harrison’s private collection. The caption in the book reads: In a lay-by on the road to Hamburg and the Ost See. Me, Paul and John with Gerry and the Pacemakers.

We have George and Paul, who are standing on the left, and John sitting on the ground pulling a funny face.

Voormann has cut out three sections of this image. Paul has been placed to the left, his raised arm now just below George’s face. And he’s cropped John’s face to make it appear he has a Beatles hair-cut, and tilted it so that it is more upright. His hand from the image is also used, but also at a different angle.

So, one more mystery solved!

Following all this, Sergey has been back in touch and has offered up a revised, updated version of his original Revolver cover “sources” montage. Here it is:

Please click on the image to see a larger version.

Another Piece in the ‘Revolver’ Cover Mystery?

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Could this be another piece in the jigsaw puzzle that is the famous Revolver cover montage by Klaus Voormann?

In this explainer collage below there’s a question mark about the origins of the photograph Voormann used as inspiration for his drawing of John Lennon:

(Click on the image to see a larger version)

It is the drawing on the top right-hand side:

Could it have been this image?

The eyes, mouth and hair all look very similar.

We don’t think this has been identified in other Revolver photo research info before. See our previous posts on this here and here.

We’re still looking to confirm who might have taken the photo (more on this soon) but beatlesblogger.com reader naturalkatsup, who kindly sent it in, says it was taken at Reed Pigman’s “Pigman Ranch” in Missouri on September 19th, 1964. They say it seems to be taken by a photographer named Curt Gunther? We’re not sure if the image was published in a magazine that Klaus had access to, but naturalkatsup has found other photos from the same day on the web. Here’s the full photo:

And here are a couple of other shots from the same photo shoot:

What do you think? Could this be the source for Klaus Voormann’s Revolver drawing of John?

If you definitely know who the photographer is please get in touch.

UPDATE:

We can now confirm that this image was in fact taken by photographer Curt Gunther:

Thanks to the info supplied by naturalketsup, we checked our own Beatle library, and found this book:

It was published in 1989 and chronicles the Beatles’ 1964 tour of the U.S. and Canada in great detail. It includes 150 never-before-seen photographs at the time by freelance photographer, Curt Gunther.

Although Beatle manager Brian Epstein had ordered that no photographers accompany The Beatles on the tour, Derek Taylor, their Press Officer and friend, had persuaded Epstein to allow Gunther to tag along with the touring party. And he captured some amazing images. They were issued in 2000 in an expensive Genesis Publications book called Mania Days.

But prior to that came another more affordable book called Beatles ’64 – A Hard Day’s Night In America, with text by A.J.S Rayl and many of the same photographs by Curt Gunther. Here’s the rear cover:

The book has the details a day the band had off in their hectic schedule and their visit to Reed Pigman’s “Pigman Ranch” in Missouri on September 19th, 1964, including a very scary night flight from Arkansas in a small plane to get there. George Harrison feared they’d perish, just like Buddy Holly, Ritchie Valens and the Big Bopper had in a small plane crash in 1959:

So, this confirms the origins of the image:

And the photographer:

The meetthebeatlesforreal.com site has some more images from the Pigman ranch stay.

The only question is, did Klaus Voormann use one of Gunther’s photos as his inspiration for John Lennon’s image on the cover of Revolver?

We reckon it’s likely.

More ‘Revolver’ Cover Photo Mysteries Solved

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With the 2022 remaster and remix of The Beatles‘ Revolver album due to hit stores next month, there’s renewed interest in solving some of the remaining mysteries of just where cover designer Klaus Voormann sourced all those little images that make up the collage he created for this now-famous cover:

As you know last year we published an article about the latest thinking. There were still at least four images (circled in yellow) that remain mysterious as to their source (click on the image to see a larger version):

Now at least three of those four yellow circles have been solved (to an extent) by German fan and YouTuber, Yaacov (Jack) Edisherashvili.

Jack actually took a trip to visit Klaus Voormann in person and spoke with him about the Revolver cover. While there he asked him about where he’d sourced some of those photos.

You can see that video below. It’s interesting because in this first video Klaus talks about the cover and how it will be explained in the new book that’ll be included in the new 2022 release:

After Jack visited Klaus he wrote to us to say:

“The image on the top left corner – the three faces – was never published. This was given privately to Klaus by the band.

The one on far right – the tiny image of Klaus himself – was shot by the late Astrid Kirchherr while Klaus was in his band Paddy, Klaus & Gibson.

The Ringo image – on top right corner – Klaus says was shot on a boat trip.

The John Lennon image with cigarette – I forgot to ask, but looks to me taken from press conference pictures?“

So, that’s more information than we’ve had previously. Following his visit to Klaus, Jack has also uploaded this comprehensively researched YouTube with a detailed breakdown of the Revolver cover:

As you can see still a couple of mysteries remain.

If anyone knows the origins of the John Lennon photo with the cigarette – please let us know.

Also, two other outstanding questions are around the origins of the image of Ringo that Klaus used as inspiration for the drawing at the bottom left of the Revolver cover. Where was it published and who’s the photographer? And also the George image on the right – same questions: 

Origins of the ‘Revolver’ Cover Art

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This collage detailing the source photos for Klaus Voormann’s legendary cover image for the Beatles’ 1966 release Revolver has been doing the rounds for a while but its worth returning to because it is awesome:

(Click on the image to enlarge) Those pictures with yellow circles are still being sought after. If you know, contact us in the comments section below.

There’s a great article on the genesis of the cover here. “Revolver was the first Beatles’ album that truly marked out the four distinct personalities of the group. Voormann’s illustration captures the band perfectly. Looking at it, you can see that the group is made up of four unique individuals, but they are also connected by kinship, a friendship and an affinity for one another. It is the perfect summation of the band’s relationship at that point in time.”

UPDATE: Thank you to reader Angel who sent us a link to the Dutch magazine Furore and the information that they did a major article on the Revolver cover. It really looks good.

For those interested the exact magazine issue is Furore No 22, from January 2012. and it appears that back-issues are still available to be purchased.

They pitch it as “an exhaustive ten-page story describes the genesis of Klaus Voormann’s iconic cover design of The Beatles’ Revolver album, now fifty years ago, and traces the source of each photograph used therein.”

You can see a teaser graphic on Furore’s back-issues page for the larger article that’s inside the magazine. It gives a hint of the detailed info they provide on the origins of the photographs that Klaus Voormann used. Here’s that teaser image:

Click on image to see a larger version.

And here are two pages from the article itself:

Again, click on the image to see a larger version.

Also, on Revolver, we’ve just discovered the very good I Am The Eggpod podcast. You really should have a listen. Check out the latest episode where host Chris Shaw and songwriter and musician Andy Bell discuss the1966 masterpiece.

Two Interviews Worth Reading

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Here are two interview-based articles – one featuring Paul McCartney, the other the John Lennon Imagine re-issue box set from late last year. If you haven’t seen these already they are both worth a look.

The first is from GQ magazine and dates back to September, 2018 when Paul McCartney was very much in publicity mode for his then new album Egypt Station.

In it he’s quite revealing and, as the opening hype paragraph states, the article takes in some familiar ground, but traverses some very new territory too:

“He’s as famous and accomplished as a man can be. He could just stay home, relax, and count his money. But Paul McCartney is as driven as ever. Which is why he’s still making music and why he has loads of great stories you’ve never heard—about the sex life of the Beatles, how he talked John Lennon out of drilling holes in his head (really), and what actually happened when he worked with Kanye.”

One pertinent section deals with his brand new song ‘Get Enough’, which was only made public earlier this month (on New Years Day actually).

The song is right now polarizing listeners because of the heavy use of Auto-Tune as an effect on the vocal. At the time of the interview the song wasn’t yet in the public domain, but what McCartney says about it in the interview gives some valuable context now, shedding light on where he was coming from, why he recorded it, and why he released it:

“McCartney proceeds to tell me that he recently used Auto-Tune on a song—one that’s not even on his new album—and how he worried for a moment about it. “Because I know people are going to go, ‘Oh no! Paul McCartney’s on bloody Auto-Tune! What have things come to?’… At the back of my mind I’ve got Elvis Costello saying, ‘Fucking hell, Paul!'” But then he considered it some more, and what he thought was: “You know what? If we’d had this in the Beatles, we’d have been—John, particularly—would be so all over it. All his freaking records would be…”

McCartney demonstrates a version of how he’d imagine a modern-day John Lennon singing in an extreme Auto-Tune warble, and then he gets out his iPhone and plays me some of the song in question, another collaboration with Ryan Tedder, called “Get Enough”, which has an emphatically full-on Auto-Tuned McCartney vocal, plenty more than would be required to horrify any passing purists. It also sounds pretty good.”

The GQ article is accompanied by photographs of McCartney modelling some stylish and expensive menswear. It’s also associated with a lengthy YouTube video the magazine uploaded to its channel where the songwriter steps through the background to some of his best-known works, both solo and Beatle:

The second article is an interesting (if a little rough around the edges) insight into the recording of John Lennon’s classic Imagine LP – which was beautifully remixed, remastered and re-issued late last year in a number of formats. It provides fans with cleaned-up sound and a wealth of previously un-heard outtakes, demos and more.

The article comes from Rock Cellar magazine and takes the form of interviews with three of the musicians who made key contributions to the iconic recording: bass player Klaus Voormann; drummer Jim Keltner; and guitarist Joey Molland.

In contrast to the GQ offering, Rock Cellar is an online magazine operated by volunteers so the attention to detail is a bit lacking in places. They could really use a good sub-editor to lift the quality of simple things like spell-checking and grammar. But there are some really valuable recollections, insights and information here on how Imagine came together from three artists directly involved at the time:

What were the things that most impressed you about John as an artist, both professionally and personally?

Jim Keltner: Well, he was John Lennon. He always found it interesting and funny when I told him I never liked rock and roll. When he was a young guy, we were all around the same age, Ringo’s a little bit older than me, Klaus is a little bit older too — John was older than me by just a little bit. As we were coming up he was a rocker. Along with Paul and George and Ringo, he loved American blues and rock more than anything, it affected their lives big time.

They dedicated their whole lives to that, and we know what happened. But for me, over here during that same time I was just listening to Miles (Davis) and (John) Coltrane; I didn’t want to have anything to do with any rock and roll. I hated it. John just thought that was so funny. And then when I started playing with him I could tell that he liked my feel. I could feel it because we shared the same kind of attitude about feel. By the time I had gotten with him I made a commitment to understand this rock and roll thing. So I was doing it from my gut, plus I had listened to Ringo so much.Whether you wanted to or not, if you were a drummer you were influenced by Ringo. Whether you even knew it or not you definitely were influenced by Ringo because any Beatles music you listened to it was all about Ringo’s feel.

John and George both told me, John especially, that Ringo was his very favorite drummer. I loved hearing him say that, because he was my favorite drummer too. John was the easiest person to play with. It’s interesting for me because John and Bob Dylan and were on my radar right at the same time. I played with Bob right around that same time with Leon (Russell) and Carl Radle and Jesse Ed (Davis) in New York. I got the same feeling from both of them. They were so strong in the way they played and sang and of course when you’re talking about rising to the level of a good song, if you’re talking about John Lennon or Bob Dylan it’s a no-brainer. You knew the songs were gonna make you wanna play at your best.

You can check out the full interviews here.

John Lennon photo by Peter Fordham © Yoko Ono

New Klaus Voormann Book – Revolver 50

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Klaus Voormann has a new book due for release in the first week of August called Birth of an Icon – Revolver 50.

It celebrates the background story to his now classic front cover design for the Beatles Revolver LP, released on the 5th of August, 1966.

His book, done in a graphic novel style, tells the story from his perspective as a musician and artist who was called by upon by the Beatles, then nearing the height of their fame, to come up with something special, something new, different and lasting.To say he was put under pressure is something of an understatement.Rev 50 Cover Resize

It looks like it’d be a really interesting read.

Pre-orders for The Birth of an Icon – Revolver 50, which will be hand-signed by Klaus Voormann, 
have a pre-sale price 46 Euro (+ shipping & handling costs).

“…it is good for me to see the other side of a story I know so well and to realize aspects like the sheer panic that Klaus must have felt at being asked to do our album cover. In the end, the Revolver cover was a classic and this book is another.”  – Sir Paul McCartney

“…your Revolver book – it brought back such great memories – even farther back than Revolver…I hope it sells a million copies!…the Revolver cover was incredible and perfect for that album.” – Ringo StarrRev 50 Page 2 ResizeRev 50 Page 5 ResizeRevolver

A Visit to Some San Francisco Record Stores – Part 2

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OK. In Part One I detailed the four main record stores I was able to visit while in San Fran.

Now some detail on what I found and brought home to join the collection. Firstly, the vinyl.

At Rasputin Music on Powell (near Union Square) I found a very clean copy of George Harrison’s Living in the Material World. It was a US pressing I didn’t have – a budget re-issue on the green Capitol label:LITMW1LITMW2LITMW3As you can see, it’s a nice clean copy and the vinyl is mint.

Also at Rasputin there were two Ringo Starr LP’s I liked the look of and they were both very reasonably priced. I have Australian pressings of both of these, but good US copies like these were a welcome addition to the collection. They are both on the Apple label and original throughout. This gatefold copy of Ringo (1973) was complete with its book of lyrics and wonderful line drawings by Klaus Voormann (who also played bass on the album):  Ringo 1Ringo 2Ringo 3

The Fab 4 Free 4 All Beatle podcast recently reviewed the Ringo album and raved about it (see episode 60, “Ringo” – Analysis and Review). Also at Rasputin was a copy of Ringo’s Blast From Your Past which came with the original inner sleeve of photos on one side and lyrics on the other:Blast 1Blast 2Blast 3

Later in the week I got over to the Haight-Ashbury district were there were three stores in close proximity (Recycled, Rasputin and Amoeba – all on Haight Street).

The first I visited was Recycled Records. They had some vintage Beatles LP’s, but to be honest they were fairly expensive….and so I concentrated on the Beatles as solo artists. I’ve always been keen on collecting variations of Paul McCartney’s “Russian” album called Choba B CCCP. Well, Recycled was a bit of a treasure trove as they have numerous copies in their bins and tucked away underneath on shelves. There were thirty to forty copies in all, and so I set about identifying some versions I didn’t have. There are so many variations of this particular record because it came out firstly as an 11-track album, followed later by a 13-track version. And they were pressed in about six different Russian pressing plants, each with its own label styles and variations (sometimes subtle) within those labels. I turned up four distinct copies I wanted, and they were all very reasonably priced (between US$6.00-$10.00 each). There was one 11-track version (from the Aprelevka pressing plant), two 13-track versions (Tbilisi plant and Riga plant), and one “hybrid” that had an 11-track cover but a 13-track LP inside (which I didn’t realise until I got home). Both the cover and LP are from the same factory (the Riga plant) so I’m not sure if this is legit or just a mistake….

CHOBA B CCCP 1

The rear cover of the 11-track version is identified by its yellow colour:

CHOBA B CCCP 2

However, this one has a 13-track LP inside – on a plain white Melodyia Records label, made at the Riga pressing plant where the cover was made too:CHOBA B CCCP 3

So. A mystery there. If anyone knows if any other copies like this exist let me know. These are the labels from the other copies of Choba B CCCP purchased at Recycled:

CHOBA B CCCP 5

CHOBA B CCCP 7CHOBA B CCCP 9Of course for the full detail on all Russian Beatle and Beatle-related vinyl releases you need to visit this one, fantastic central repository.

Further down Haight Street is another Rasputin Music store and so I ducked in for a look. No vintage Beatles here, but lots of copies of the latest remastered vinyl at good prices. I did find an interesting re-issue copy of the John Lennon/Plastic Ono Band’s Live Peace in Toronto LP however, complete with a reproduction of the 1970 calendar which was included with original copies. It is brand new, still sealed, looked like a good buy and so I got it:

Plastic Ono 1Plastic Ono 2I think this re-issue was released in 2012 through a company called Hi Horse Records (which is a subsidiary of City Hall Records). It’s on the original Apple label and has the same SW 3362 catalogue number. If anyone has any other info on this one it would be very welcome. Please drop us a line.

Then it was on to Amoeba Music’s Haight Street store – which is an enormous warehouse of a building with thousands of LP’s, CD’s and books…however, not a lot of vintage Beatles on display here either, but two very good vinyl buys none-the-less. The first was Paul McCartney’s first solo LP simply called McCartney. It is a US copy, a re-issue in very good condition and on the black Capitol label:McCartney 1McCartney 2

And last but not least a really nice copy – practically mint throughout – of George Harrison’s The Concert for Bangladesh. I already have an Australian and an unusual South African pressing of this, but have been on the lookout for a good UK copy, and of course a US example as well, which is what we have here. Amoeba had this priced at just US$14.99, which for a triple album set in such excellent condition was an absolute bargain. It came with a mint copy of the original 64-page book, and all the LPs were housed in their original brown paper inner sleeves:Bangladesh 1Bangladesh 2Bangladesh 3Bangladesh 4

So, that was a quick summary of the vinyl found in four San Francisco record stores during a short visit there last week. Next time a look at the CD’s and DVD’s I found and added to the collection.

Beatles With Records – Part Sixteen

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We’ve had some great feedback from the Beatles With Records – Part Fifteen.

Firstly, David wrote to correctly identify the record that you can see Paul holding in these two photographs below when the band arrived back in the UK in 1964, fresh from their first US tour. It’s the Okeh record Um, Um, Um, Um, Um, Um: The Best of Major Lance:

BEatles Airport2 1964Beatles Airport1major lance

Thanks David!

We’re still looking for someone to identify the record that Ringo has under his arm in the top photo. It’s a lot more generic because it seems to be some sort of “Best Of” LP. You can only just see part of the title (on its side) – the numbers “1963”, followed by what looks like a track listing in the style of juke box listings:

Ringo 1963 LP-tiff

Meanwhile, the photo of Klaus Voormann signing a Revolver CD in Part Fifteen reminded French Beatles collector Claude Defer of a photograph that he has of Klaus signing his very own Revolver LP (a German issue):

Klaus Voorman 1Klaus Voorman 2You now have a real collectors item there Claude!

Collector Andrey sent in a Beatle-related image. It is of John Lennon’s estranged father Alfred Lennon who tried to cash in on his son’s fame by releasing a record of his own in 1965 called “That’s My Life (My Love and My Home)”:

Mojo1-1FredLennonWithTheSingle2

You can hear some of “That’s My Life (My Love and My Home)” here:

And read an interesting article by the man who penned the words to the song here.

Andrey also sent in this advertising photograph of Paul McCartney holding a CD copy of his ninth solo album Off the Ground, released in 1993:

TheNewWorlsTourAd1-1

Off the Ground 2

The same image was used as the cover of a highly collectable extended 2CD  version of Off the Ground called Off the Ground – The Complete Works:

Complete Works

The photo was again used (with a different background Photoshopped in) to promote the first round of re-mastered and re-released McCartney back-catalogue back in 1993, called “The Paul McCartney Collection” series:

TheNewWorlsTourAd1-2

BOTR Remaster

Don’t forget you can submit photos or further information that you have by posting a comment below or you can email me here.

And you can view the other parts in “The Beatles with Records” series here:

Parts 1, 2, 3, 4, 5 , 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, and 17.

McCartney “Kisses” Interview – Fresh Air on NPR

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One of my favourite podcasts is Fresh Air from National Public Radio (NPR) in the US.

They have just uploaded a really interesting and insightful interview with Paul McCartney about his recent release “Kisses On The Bottom“. NPR host Terry Gross interviews Paul from his East Sussex studios (Hog Hill Mill) in England. She finds him in a relaxed, expansive, and conversational mood. Paul is candid and open – and is sitting at his piano. He doesn’t perform but illustrates his points with it as he speaks about songwriting and music. It’s really worth a listen for any Beatles fan, or anyone interested in understanding why McCartney has released an album of pre-rock’n’roll songs. You can listen by going to the NPR site, or just click below:

At the end of the interview Paul describes his studio. To get a visual idea of what it looks like inside check out this video of him working in 2009 with Klaus Voormann at Hog Hill Mill:

George Harrison – The Ole Black Gretsch

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The Gretsch guitar site has been running an interesting teaser video for a couple of weeks now….The advertising spiel goes something like this:

“Gretsch is pleased to announce the GEORGE HARRISON product “teaser” that will grace their homepage website beginning at midnight, December 9, 2010. By clicking on the “watch video” icon, George will narrate a brief story about his “ole black Gretsch”. There’s no doubt it will cause a major stir in the global marketplace. Want to know more about this project? Please keep checking back on the website as it will be updated over time…”

Seems like there’s to be a new line of reproduction George Harrison “Duo Jet” model guitars – which was his very first decent axe, purchased second-hand back in 1961.

You can read more about this guitar here. According to this site the “friend” to whom George gave the Gretsch (and who subsequently gave it back to him years later) was none other than Klaus Voormann.

Another great source I have is a really interesting book by Andy Babiuk called “Beatles Gear – All The Fab Four’s Instruments, From Stage to Studio“, which came out in 2001.

This book goes into a lot more detail about Harrison and his guitars. After 1961 he went on to purchase other Gretsch models notably the “Chet Atkins Country Gentleman” – George owned two, and the “Chet Atkins Tessessean“.  His profile helped greatly in continuing the brand’s fame in the 1960’s.

Here are some shots of George with that first, now legendary “Duo Jet” guitar:

And probably most notably it makes an appearance on the cover of his 1987 solo album “Cloud Nine”:

The Ole Black Gretsch is featured with Harrison in all the  photos used in the “Cloud Nine”  CD booklet too. I guess we know now that we have Klaus Voormann to thank for re-uniting the pair.

How famous is the Gretsch “Duo Jet”? It even turned up as one of the instrument choices for buyers of The Beatles “Rockband” console game:

How many kids playing “Rockband” today would know they’re “strumming” away on a stylised version of a 1957 model guitar that a young George Harrison purchased in 1961 second-hand from a Liverpool sailor?