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Six hour road trip with petr čech and danny welbeck with europcar see what we got up to bit ly europcarroadtrip. During this year’s tour around north america our drum tech john douglas spent his off days painting this amazing portrait of jbj in his hotel rooms these exclusive very limited prints are now available at www bon a Heroes come and go but legends are forever Rip Kobe Bryant face shirt iofficialmerch com and will come hand numbered and signed by jon bon jovi and john douglas check out the link for a few behind the scenes photos. Time for season of the best television show of the planet that I swear is about music kinda tune in to american idol at 8 7c on abc I ll be live tweeting the west coast premiere with my dogs and some in n out burger Premium Kobe Bryant Heroes come and go but legends are forever Rip Kobe Bryant face shirt

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I just can t stop loving you b w baby be mine was the Heroes come and go but legends are forever Rip Kobe Bryant face shirt first single released from bad in 1987 it launched the streak of five consecutive 1 hits from the album rolling stone famously asked who having heard the song at least twice can fail to remember that chorus for the newer fans on the page when was the first time you heard this track. I’m ready to start telling my life story in a complete new way thanks to efanswer for this great opportunity let’s go adp10. Preorder now find out more imagine the ultimate collection box set the ultimate deep listening experience explore and enjoy the imagine album and the 1971 ascot sound studios record plant sessions like you ve never seen or heard them before imagine the raw studio mixes live from the centre of ascot sound studios rob stevens imagine imagine there was john there was yoko and there was phil an iconic triumvirate sadly she s the only one still both surviving and thriving on this plane anyway yoko was there a full and equal participant in and witness to the sessions that led to the finished album she knew the initial basic track performances that spawned the album were as aggressively visceral and emotionally touching if not more so than the ones that made up john s plastic ono band album if such a thing is possible before the strings and the saxophone before the brilliant application of sound shaping techniques that were used to produce the iconic album there were the original unadorned performances that were the foundation of the imagine album so yoko and I set to work mixing 5 1 and stereo versions of the imagine album and select out takes in a way that s being presented as raw the 5 1 s are no doubt unconventional in that they place the listener smack dab in the middle of the room surrounded by the musicians where the tracking is taking place rather than the semi circle amphitheater mode with the players spread out in front and the ambience generally placed to the side and behind the listener a wonderful unintended consequence that we found midway through the mixing process is that in addition to sitting still another way to listen is to walk around and tune in to the individual instruments both the raw studio mix 5 1 s and the stereos are devoid of effects reverb tape delays etc whether on john s voice or the instruments in the room a far cry from the finished product which in order to reach as many people as possible made full use of techniques that were shunned in john s initial solo outing john is directly in front of the listener and the imperfections are chillingly perfect the flaws flawless john s voice which in the height of irony he himself wasn t fond of and often sought to mask with the abovementioned reverbs and delays is both ferocious and painfully vulnerable at times within the same composition the intention was to separate the players even in stereo as much as possible in order to hear the performances without them being part of the eventual wall of sound we intentionally left in the buzz of amps and other imperfections that the musicians would have heard in the room the album was recorded in what was essentially a makeshift home studio so there is extraneous noise and requests like all quiet in the kitchen please it was an intensely intimate setting and as a result at times there will be say drum leakage on john s vocal mic our reaction to that while mixing was great this is what happened there s also the the pre and post roll chatter before and after most of the takes prime examples when we heard john s inhalation and exhalation before he sings imagine we teared up clearly a conveyance of deep convictions was about to take place prior to recording oh yoko yoko gives input through the talkback system and phil spector rudely comes close to cutting her off in a dismissive way yoko wanted that left in because it reflected the attitude of the times not only towards yoko and what she had to deal with and work through but how men most often treated women and frankly still do stripped down the songs and performances are put into sharp focus listening to gimme some truth with no slap echo on the voice you can feel the froth coming out of john s mouth the song could have been written and recorded this morning on some of john s guide vocals say how do you sleep takes 5 and 6 the outtake vocal is arguably more effective than the final version if one takes the raw studio mix of I don t wanna be a soldier mama I don t wanna die and lines it up with the ultimate mix of the song then switches back and forth between the two there s no better demonstration of how the vitality of a live performance can be turned into a masterful record that feels very little like that of the original performance in short yoko courageously provides us with a gift that is exceptionally generous of spirit we are allowed to witness john as a full and extraordinary human being imagine the raw studio mixes out takes in 5 1 and stereo produced by yoko ono mixed by rob stevens mix engineer paul goodrich at merlin studios mastered by ryan smith at sterling sound new york nashville
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