"The White Book" a triple threat on Amazon.com
"The White Book" has scored a hat trick on Amazon.com according to its most recent chart listing. The memoir, penned Ken Mansfield, former U.S. Manager for Apple Records and record producer, has charted in three different categories.
The book ranks #2 in the music category; #8 in entertainment and #19 in biography and memoirs.
Mansfield has worked with some of the biggest giants in the rock 'n roll and the country music genres. As the former U.S. manager of the Apple Records label, he was invited by his bosses, The Beatles to be among only a handful of eyewitnesses to catch their last-ever gig on the rooftop of their London headquarters on January 30, 1969. He was a loyal employee and companion to John Lennon, Paul McCartney, George Harrison and Ringo Starr both during the band years and well after their breakup in 1970. He was present when they composed some of their most enduring tunes. As a record label exec and Grammy Award-winning producer, he also worked on the marketing, promotion and production of dozens of top-selling artists, such as the Beach Boys, and was also a major player in country music in the 1970s as producer of choice of the groundbreaking Outlaw movement, whose impact is still felt in the genre to this very day.
Now, Mansfield's experiences with the Fab Four and the music industry - many of which are told for the first time - are recounted in his first all-music tome, "The White Book - The Beatles, the Bands, the Biz: An Insider's Look at an Era" (Thomas Nelson/ISBN 1595551018) published on October 30, 2007.
Through exclusive, never-before-seen photos and personal stories, Mansfield - one of the very last Fab Four insiders to pen a book - offers a compelling memoir that delves into his life in the 1960s and '70s and his unique partnership with The Beatles and other musicians who had orbited their world, from James Taylor to Harry Nilsson. It also includes fleeting, yet unforgettable encounters with Mama Cass Elliott, Eric Clapton, Donovan, Glen Campbell and Dolly Parton. As observer, friend and colleague, Mansfield attended Beatles recording sessions, partied in their swimming pools, took their irate calls, witnessed the madness of Beatlemania, and publicized their success. Entertaining, historically accurate, and illuminating a side of the Fab Four known only to a few like Mansfield, The White Book shines fresh light on the true characters behind the cultural phenomena that revolutionized a generation.
"The White Book" is packaged in a limited, numbered edition, a la the original copies of "The Beatles" highly influential double album from 1968, also nicknamed "The White Album."
For more information, go to www.fabwhitebook.com
Tuesday, November 27, 2007
Cinema Crazed about "The White Book"
THE WHITE BOOK
Ken Mansfield's "The White Book" is that rare collector's item that music buffs, and hardcore fans of classic rock and pop will want to and simply have to own to read up on The Beatles, and how utterly influential they were on the artists that succeeded them. The Beatles molded music, and even years after their split, author Mansfield tells their story from a new angle that collectors will be anxious to get into.
Upon receiving an early copy to read and review, I found myself immediately thrown into the prose that Mansfield drops into the book like a how-to manual and yet he very simplistically explains his methods of madness and his hob knobbing with big stars that he almost always adored when working with. All except the Beatles who he loved as friends, but could never really love them as artists until years later.
Like the bands he worked with, "The White Book" is a hip memoir that is aware of how utterly cool it is and I can't begrudge it for that because it's a damn fine book. What Mansfield writes about in rather engrossing recollection is his sheer genius in helping to not only shape the frantic legacy that was the Beatles on the radio, but also the radio business as a whole. He drops names like Joan Baez and Brian Epstein all the while explaining his tricks for selling The Beatles, and trying to please other artists on Capitol Records as the fab four dominated the radio stations.
The promotional business is a cut throat industry, and Ken Mansfield perfectly exemplifies the hassles, the dangers, and the perks with pictures of his copies of Revolver and Fool on a Hill signed by the foursome. But most of all, this book will just be a fantastic read for anyone who loves music and loves The Beatles. Mansfield observes the band's power through his eyes as a young man who just did business, and wanted to promote the unstoppable Beatles all at the same time.
Mansfield, for someone who worked with Steve Miller and Judy Garland, is never pretentious. He's never condescending and never gloats about his successes and his contacts with major music stars of that era. Simply, this is a guide book of a man who helped to shape the music industry and tells how he took this business under his control and befriended the Beatles all at the same time.
I wish I could find fault in the novel, but Mansfield's writing is just so alive and vivid that once I began digging into his memoirs, I had a very difficult time pulling myself away from it. I wanted more and Mansfield has so much to tell and so much to give away that "The White Book" is a collector's item with actual substance to it. As a Beatles fan I loved it. As a music fan, I loved it. As someone who appreciates apparent genius... hell, I loved it from top to bottom.
- Felix Vasquez Jr.11/12/07
Reproduction and reprinting should only occur with express written permission and proper credit to Cinema Crazed and its authors.
Ken Mansfield's "The White Book" is that rare collector's item that music buffs, and hardcore fans of classic rock and pop will want to and simply have to own to read up on The Beatles, and how utterly influential they were on the artists that succeeded them. The Beatles molded music, and even years after their split, author Mansfield tells their story from a new angle that collectors will be anxious to get into.
Upon receiving an early copy to read and review, I found myself immediately thrown into the prose that Mansfield drops into the book like a how-to manual and yet he very simplistically explains his methods of madness and his hob knobbing with big stars that he almost always adored when working with. All except the Beatles who he loved as friends, but could never really love them as artists until years later.
Like the bands he worked with, "The White Book" is a hip memoir that is aware of how utterly cool it is and I can't begrudge it for that because it's a damn fine book. What Mansfield writes about in rather engrossing recollection is his sheer genius in helping to not only shape the frantic legacy that was the Beatles on the radio, but also the radio business as a whole. He drops names like Joan Baez and Brian Epstein all the while explaining his tricks for selling The Beatles, and trying to please other artists on Capitol Records as the fab four dominated the radio stations.
The promotional business is a cut throat industry, and Ken Mansfield perfectly exemplifies the hassles, the dangers, and the perks with pictures of his copies of Revolver and Fool on a Hill signed by the foursome. But most of all, this book will just be a fantastic read for anyone who loves music and loves The Beatles. Mansfield observes the band's power through his eyes as a young man who just did business, and wanted to promote the unstoppable Beatles all at the same time.
Mansfield, for someone who worked with Steve Miller and Judy Garland, is never pretentious. He's never condescending and never gloats about his successes and his contacts with major music stars of that era. Simply, this is a guide book of a man who helped to shape the music industry and tells how he took this business under his control and befriended the Beatles all at the same time.
I wish I could find fault in the novel, but Mansfield's writing is just so alive and vivid that once I began digging into his memoirs, I had a very difficult time pulling myself away from it. I wanted more and Mansfield has so much to tell and so much to give away that "The White Book" is a collector's item with actual substance to it. As a Beatles fan I loved it. As a music fan, I loved it. As someone who appreciates apparent genius... hell, I loved it from top to bottom.
- Felix Vasquez Jr.11/12/07
Reproduction and reprinting should only occur with express written permission and proper credit to Cinema Crazed and its authors.
Ken Mansfield on David Cassidy in The White Book
The White Book
The Beatles, the Bands, the Biz: An Insider's Look at an Era
By Ken Mansfield
Ken Mansfield, the former U.S. manager of Apple Records and American Grammy winning music producer, and strategist behind The Beatles’ Apple label, has written a book titled: The White Book: The Beatles, the Bands, the Biz: An Insider’s Look at an Era.
Ken devotes a whole track (Chapter) to his time working with David Cassidy. Ken kindly granted me an interview to explain further his memories of working with David in the summer of 1978.
Jane: Ken you have recently published “The White Book”, your second book recounting your time as a record producer. You spent a lot of time with the Beatles and there are some wonderful stories in your book about the Fab Four. Your book is also about the music industry and the other singers and songwriters of the time. One of the singers you worked with is David Cassidy. Can you tell us why you were reluctant at first to work with David Cassidy and what changed your mind?
Ken: I had this image in my mind that David was this wimpy teenybopper has been and that his musical fame was a plastic creation by TV moguls and media hype. This was somewhat similar to the opinion I had of the Monkees. After all I had worked with the Beatles, Waylon Jennings and other hard-core artists. I also had a misguided sense that I had to maintain an edge – a hard edge rep. What is so ironic about all this is that I was at a point in my career where I wasn’t exactly happening so big myself. I needed projects but I was looking for the right ones and I wasn’t sure David was it.
Jane: Why did you choose Larrabee studio in West Hollywood to work with David?
Ken: This was not a complicated, creative or a political choice. It was a bit logistical and simply available at the time we wanted to do the sessions. I liked the room from previous experience and my chosen engineer for the project suggested this particular studio as a good atmosphere for the recordings. We negotiated a good rate for the sessions that allowed us to be able to block off the studio on a 24/7 basis for about a month. This way David and I could work as long as we liked and when we felt like it.
Jane: Larabee studio was once owned by Gerry Goffin. There is an interesting connection here as Gerry co-wrote a few songs David recorded for the Partridge Family. Probably the most famous is "I'll Meet You Halfway". David still sings this in concert today and often mentions Gerry's name. Were you aware of the connection when you were recording at Larrabee?
Ken: No - I don’t remember that coming into play in making our decision.
Jane: You of course had a strong connection with the Beatles. The Beatles music had a big influence on David. David does a great cover of the Beatles song “Blackbird” on “A Touch Of Blue” CD. He also did a great duet with his son Beau of a Beatles song ‘Mr Moonlight’ in Concert. He sometimes sings "You got to hide your love away", "Blackbird" and "No Reply" acoustically in concert. In concerts and in his autobiography David speaks very fondly of the times he spent with John Lennon. John Lennon was a mentor for him and someone who understood what David was going through and had gone through. Did David mention John Lennon to you?
Ken: For some reason I don’t remember the Beatle connection coming up on either of our parts. Your question was actually a surprise to me because I don’t remember David sharing this with me. (That doesn’t mean he didn’t) For me this was during the period that I was none conversational about my history with the Fab Four so there may have been a bit of reluctance on my part.
Jane: You refer to both yourself and David as both being Desperate song laden souls. David admits in his recent autobiography "Could It Be Forever" that this was a very difficult time for him personally. Were you aware of this at the time?
Ken: David and I were very sensitive souls and this was a hard time for both of us. We had experienced the highest of highs in our entertainment industry conquests and suddenly we were hung out there in this sort of never-never land - experiencing an unexpected lull in our careers. I think our egos and belief in our abilities wouldn’t let either of us admit that we were a bit nervous about where it was going from there. I shouldn’t be speaking for David here but this is how I look back on that interlude as it concerned me. I think in some odd way we were looking to each other to turn our ships of fortune around. We had both been to the top of the mountain and that meant we both knew how to get there and the odds for the two of us once again taking the climb together increased our future chances by teaming up.
Jane: You say that David was the most delightful performer you ever worked with and you also say that he was most intriguing. In what way was David intriguing?
Ken: We met over dinner and we immediately clicked. David had it all as far as I was concerned. As we progressed into the pre production phases of the album I found myself as the producer standing back and letting him take the creative lead. He knew what he was looking for and he had the talent to back any direction he wanted to go. It took me about ten minutes after meeting him to realize my original opinion was 100% wrong. He had a super sense of material and this wonderful voice that allowed him to take on any vocal challenge. I am not saying we were geniuses in what we came up with but the album reflected our tastes during that specific space we were in and mirrored how we saw things musically. I think we both lifted each other up and in some ways dropped the ball together.
Jane: You worked closely on a professional level with David during this time and you also became close friends. What personal qualities did you like in David? What allowed you to become such close friends?
Ken: I would have to start with the most incredible laugh I have ever heard from any human being. When something struck him funny his laughter came rolling out from deep within and would make me feel good all over. We were young at the time and he made me feel even younger. We experienced a sense of freedom in our predicament and in spite of our serious dilemma we had a good time with our circumstances. Sometimes I wonder if our purpose was more than making a record – possibly something to do with handling a transitional period in our lives.
Jane: As a friend of David's what did you do other than work in the studio?
Ken: Partied and rode hard herd into the Hollywood nights. We laughed a lot. We did the theme song for his TV series “Man Undercover”.
Jane: What was the main idea about the album that you and David worked on?
Ken: The album was less conceptual and more what we felt like doing. We both had this root love for the music that came out of the Buffalo Springfield era and the writers and artists of that font of new music. Maybe as a producer I should have put a finer point on the focus of the album. I also should have been more aware of the political surroundings of the production company he was signed with. We didn’t include them as much as we should and I think that is why they didn’t back the project when it was completed. In the music business it wasn’t always the artist that had the big ego. David and I were into making music and not shmoozing the execs that were paying the bills. Our bad – their problem.
Jane: The material you and David worked on didn't get released at that time. We know that some of that material was later released on the “Best of David Cassidy” CD in Japan. In fact this wasn't a "Best of" CD at all. Did all the songs that you and David worked on appear on this Japanese CD?
Ken: Yes, every one! The first 10 songs on the album were the ones I did with David, not the last three.
Jane: David was not very happy about the release of this CD when it was released in 1991 in Japan. David said that these songs were not what he was standing for in 1991, and therefore he would rather not see them released at this time. Do you know why the material that you worked on with David wasn't released at that time?
Ken: I think I answered that already – but I don’t think either of us would like to entertain the idea that it wasn’t good enough. It was simply improperly titled and ill timed in its release date. He had gone well beyond that product in his musical progression when it was released over a decade later.
Jane: The songs that are on the “Best Of David Cassidy” CD are as follows. 1. All I Want Is You- 2. Crazy Love- Rusty Young3. Half Heaven, Half Heartache - Aaron H. Schroeder and Wally Gold4. I Can See Everything - Timothy B. Schmit5. I Never Saw You Coming- 6. Save Me Save Me- 7. Dirty Work- Barry Allan Gibb and A. Galuten8. You Are the First One - Barney Robertson9. Strengthen My Love- Tim Moore10. Junked Heart Blues- David Cassidy11. Once A Fool- Dennis Lambert and Brian Potter12. Hurt So Bad- Teddy Randazzo, Bobby Hart and Bobby Weinstein13. It Should Have Been Me. The liner notes that come with the CD do not give any credit to songwriters, musicians or the producer. Can you please fill in the missing songwriters?
Ken: It has been so long – sorry I don’t have a clue.
Jane: Can you tell us why those particular songs were chosen to record?
Ken: Looking back I think our criteria was very simple in that we picked songs we liked and wanted to record – some brand new and some underground standards.
Jane: Ken, as you are a very experienced person in the music industry, I'd like to know your opinion on how huge David could be in this day and age had he devoted himself completely to show business. Today his horses are his main passion/business and showbiz is a sideline.
Ken: In your life you meet people like David who can do about anything they set their sights and mind on. I think David follows his heart a lot and for me that is the key to success – not necessarily in the worldview but in the street sense. He has proved out in time and I applaud his success. I think the life he has selected is to be admired for its balance.
Jane: If you could work with David again what type of songs would you like to produce considering today's market?
Ken: I can’t speak for him but I would probably suggest we do a romantic, smoky cafe, jazz-club album with some lesser-known standards. Songs that would allow us more room for gentle creativity and less comparison to other artists. I think David always has the potential to break new ground and our maturity would probably give us greater wisdom in fine-tuning a concept now.
Jane: You mention your son, Kevin in the book. In fact Kevin took the photos of David at the studio. Did your son follow you into the business?
Ken: Yes and no - he dabbled in it for a while because of me but migrated into other things and is doing well in other areas.
Jane: Thank you for your time Ken. I wish you all the best with your book – “The White Book.”
***************************************************
The White BookThe Beatles, the Bands, the Biz: An Insider's Look at an Era Trade Paper with French Flaps By Ken Mansfield
Through exclusive photos and personal stories, former US manager of Apple Records and Grammy Award winning producer Ken Mansfield offers a compelling memoir that delves into his life in the 1960s and '70s and his unique partnership with the Beatles and other musicians who orbited their world. As observer, friend, and colleague, Mansfield sat in their recording sessions, partied in their swimming pools, took their irate calls, and publicized their successes. Entertaining, historically accurate, and illuminating a side of the Fab Four known only to a few like Mansfield, The White Book shines fresh light on the true characters behind the cultural phenomena that revolutionized a generation. As the former Head of Apple Records International, Jack Oliver, has said of Ken, "He is one of the few insiders left that bore witness to the highs and lows of those insane days when we ruled the world."From: www.thomasnelson.com
ISBN: 1595551018ISBN-13: 9781595551016 Publisher: Thomas Nelson Format: Trade Paper with French FlapsTrim Size: 7 x 9Page Count: 272
From the UK/Europe
From the US
More details on “The White Book” can be found here:http://www.fabwhitebook.com/http://acedmagazine.com/content/view/680/31/http://marshallterrillbookbuzz.blogspot.com/2007_10_01_archive.html
The Beatles, the Bands, the Biz: An Insider's Look at an Era
By Ken Mansfield
Ken Mansfield, the former U.S. manager of Apple Records and American Grammy winning music producer, and strategist behind The Beatles’ Apple label, has written a book titled: The White Book: The Beatles, the Bands, the Biz: An Insider’s Look at an Era.
Ken devotes a whole track (Chapter) to his time working with David Cassidy. Ken kindly granted me an interview to explain further his memories of working with David in the summer of 1978.
Jane: Ken you have recently published “The White Book”, your second book recounting your time as a record producer. You spent a lot of time with the Beatles and there are some wonderful stories in your book about the Fab Four. Your book is also about the music industry and the other singers and songwriters of the time. One of the singers you worked with is David Cassidy. Can you tell us why you were reluctant at first to work with David Cassidy and what changed your mind?
Ken: I had this image in my mind that David was this wimpy teenybopper has been and that his musical fame was a plastic creation by TV moguls and media hype. This was somewhat similar to the opinion I had of the Monkees. After all I had worked with the Beatles, Waylon Jennings and other hard-core artists. I also had a misguided sense that I had to maintain an edge – a hard edge rep. What is so ironic about all this is that I was at a point in my career where I wasn’t exactly happening so big myself. I needed projects but I was looking for the right ones and I wasn’t sure David was it.
Jane: Why did you choose Larrabee studio in West Hollywood to work with David?
Ken: This was not a complicated, creative or a political choice. It was a bit logistical and simply available at the time we wanted to do the sessions. I liked the room from previous experience and my chosen engineer for the project suggested this particular studio as a good atmosphere for the recordings. We negotiated a good rate for the sessions that allowed us to be able to block off the studio on a 24/7 basis for about a month. This way David and I could work as long as we liked and when we felt like it.
Jane: Larabee studio was once owned by Gerry Goffin. There is an interesting connection here as Gerry co-wrote a few songs David recorded for the Partridge Family. Probably the most famous is "I'll Meet You Halfway". David still sings this in concert today and often mentions Gerry's name. Were you aware of the connection when you were recording at Larrabee?
Ken: No - I don’t remember that coming into play in making our decision.
Jane: You of course had a strong connection with the Beatles. The Beatles music had a big influence on David. David does a great cover of the Beatles song “Blackbird” on “A Touch Of Blue” CD. He also did a great duet with his son Beau of a Beatles song ‘Mr Moonlight’ in Concert. He sometimes sings "You got to hide your love away", "Blackbird" and "No Reply" acoustically in concert. In concerts and in his autobiography David speaks very fondly of the times he spent with John Lennon. John Lennon was a mentor for him and someone who understood what David was going through and had gone through. Did David mention John Lennon to you?
Ken: For some reason I don’t remember the Beatle connection coming up on either of our parts. Your question was actually a surprise to me because I don’t remember David sharing this with me. (That doesn’t mean he didn’t) For me this was during the period that I was none conversational about my history with the Fab Four so there may have been a bit of reluctance on my part.
Jane: You refer to both yourself and David as both being Desperate song laden souls. David admits in his recent autobiography "Could It Be Forever" that this was a very difficult time for him personally. Were you aware of this at the time?
Ken: David and I were very sensitive souls and this was a hard time for both of us. We had experienced the highest of highs in our entertainment industry conquests and suddenly we were hung out there in this sort of never-never land - experiencing an unexpected lull in our careers. I think our egos and belief in our abilities wouldn’t let either of us admit that we were a bit nervous about where it was going from there. I shouldn’t be speaking for David here but this is how I look back on that interlude as it concerned me. I think in some odd way we were looking to each other to turn our ships of fortune around. We had both been to the top of the mountain and that meant we both knew how to get there and the odds for the two of us once again taking the climb together increased our future chances by teaming up.
Jane: You say that David was the most delightful performer you ever worked with and you also say that he was most intriguing. In what way was David intriguing?
Ken: We met over dinner and we immediately clicked. David had it all as far as I was concerned. As we progressed into the pre production phases of the album I found myself as the producer standing back and letting him take the creative lead. He knew what he was looking for and he had the talent to back any direction he wanted to go. It took me about ten minutes after meeting him to realize my original opinion was 100% wrong. He had a super sense of material and this wonderful voice that allowed him to take on any vocal challenge. I am not saying we were geniuses in what we came up with but the album reflected our tastes during that specific space we were in and mirrored how we saw things musically. I think we both lifted each other up and in some ways dropped the ball together.
Jane: You worked closely on a professional level with David during this time and you also became close friends. What personal qualities did you like in David? What allowed you to become such close friends?
Ken: I would have to start with the most incredible laugh I have ever heard from any human being. When something struck him funny his laughter came rolling out from deep within and would make me feel good all over. We were young at the time and he made me feel even younger. We experienced a sense of freedom in our predicament and in spite of our serious dilemma we had a good time with our circumstances. Sometimes I wonder if our purpose was more than making a record – possibly something to do with handling a transitional period in our lives.
Jane: As a friend of David's what did you do other than work in the studio?
Ken: Partied and rode hard herd into the Hollywood nights. We laughed a lot. We did the theme song for his TV series “Man Undercover”.
Jane: What was the main idea about the album that you and David worked on?
Ken: The album was less conceptual and more what we felt like doing. We both had this root love for the music that came out of the Buffalo Springfield era and the writers and artists of that font of new music. Maybe as a producer I should have put a finer point on the focus of the album. I also should have been more aware of the political surroundings of the production company he was signed with. We didn’t include them as much as we should and I think that is why they didn’t back the project when it was completed. In the music business it wasn’t always the artist that had the big ego. David and I were into making music and not shmoozing the execs that were paying the bills. Our bad – their problem.
Jane: The material you and David worked on didn't get released at that time. We know that some of that material was later released on the “Best of David Cassidy” CD in Japan. In fact this wasn't a "Best of" CD at all. Did all the songs that you and David worked on appear on this Japanese CD?
Ken: Yes, every one! The first 10 songs on the album were the ones I did with David, not the last three.
Jane: David was not very happy about the release of this CD when it was released in 1991 in Japan. David said that these songs were not what he was standing for in 1991, and therefore he would rather not see them released at this time. Do you know why the material that you worked on with David wasn't released at that time?
Ken: I think I answered that already – but I don’t think either of us would like to entertain the idea that it wasn’t good enough. It was simply improperly titled and ill timed in its release date. He had gone well beyond that product in his musical progression when it was released over a decade later.
Jane: The songs that are on the “Best Of David Cassidy” CD are as follows. 1. All I Want Is You- 2. Crazy Love- Rusty Young3. Half Heaven, Half Heartache - Aaron H. Schroeder and Wally Gold4. I Can See Everything - Timothy B. Schmit5. I Never Saw You Coming- 6. Save Me Save Me- 7. Dirty Work- Barry Allan Gibb and A. Galuten8. You Are the First One - Barney Robertson9. Strengthen My Love- Tim Moore10. Junked Heart Blues- David Cassidy11. Once A Fool- Dennis Lambert and Brian Potter12. Hurt So Bad- Teddy Randazzo, Bobby Hart and Bobby Weinstein13. It Should Have Been Me. The liner notes that come with the CD do not give any credit to songwriters, musicians or the producer. Can you please fill in the missing songwriters?
Ken: It has been so long – sorry I don’t have a clue.
Jane: Can you tell us why those particular songs were chosen to record?
Ken: Looking back I think our criteria was very simple in that we picked songs we liked and wanted to record – some brand new and some underground standards.
Jane: Ken, as you are a very experienced person in the music industry, I'd like to know your opinion on how huge David could be in this day and age had he devoted himself completely to show business. Today his horses are his main passion/business and showbiz is a sideline.
Ken: In your life you meet people like David who can do about anything they set their sights and mind on. I think David follows his heart a lot and for me that is the key to success – not necessarily in the worldview but in the street sense. He has proved out in time and I applaud his success. I think the life he has selected is to be admired for its balance.
Jane: If you could work with David again what type of songs would you like to produce considering today's market?
Ken: I can’t speak for him but I would probably suggest we do a romantic, smoky cafe, jazz-club album with some lesser-known standards. Songs that would allow us more room for gentle creativity and less comparison to other artists. I think David always has the potential to break new ground and our maturity would probably give us greater wisdom in fine-tuning a concept now.
Jane: You mention your son, Kevin in the book. In fact Kevin took the photos of David at the studio. Did your son follow you into the business?
Ken: Yes and no - he dabbled in it for a while because of me but migrated into other things and is doing well in other areas.
Jane: Thank you for your time Ken. I wish you all the best with your book – “The White Book.”
***************************************************
The White BookThe Beatles, the Bands, the Biz: An Insider's Look at an Era Trade Paper with French Flaps By Ken Mansfield
Through exclusive photos and personal stories, former US manager of Apple Records and Grammy Award winning producer Ken Mansfield offers a compelling memoir that delves into his life in the 1960s and '70s and his unique partnership with the Beatles and other musicians who orbited their world. As observer, friend, and colleague, Mansfield sat in their recording sessions, partied in their swimming pools, took their irate calls, and publicized their successes. Entertaining, historically accurate, and illuminating a side of the Fab Four known only to a few like Mansfield, The White Book shines fresh light on the true characters behind the cultural phenomena that revolutionized a generation. As the former Head of Apple Records International, Jack Oliver, has said of Ken, "He is one of the few insiders left that bore witness to the highs and lows of those insane days when we ruled the world."From: www.thomasnelson.com
ISBN: 1595551018ISBN-13: 9781595551016 Publisher: Thomas Nelson Format: Trade Paper with French FlapsTrim Size: 7 x 9Page Count: 272
From the UK/Europe
From the US
More details on “The White Book” can be found here:http://www.fabwhitebook.com/http://acedmagazine.com/content/view/680/31/http://marshallterrillbookbuzz.blogspot.com/2007_10_01_archive.html
Tuesday, November 20, 2007
Curl Up with "The White Book"
Curled Up with "The White Book"
Without a doubt, there have been more books written about The Beatles than about any other musician. So, whenever a new product arrives, it is typically regarded as some sort of already seen/already-been-there material. This one is different. The author was an insider, the American manager for Apple Records. There are his tales, his anecdotes, his memories from a fantasy life as a member of the band's inner sanctum.
And oh my goodness, what marvelous tales.
On marketing Revolver:
"I remember the August 1966 release of the Revolver album, in particular, as being one of my roughest releases. I would spend weeks trying to get a new Glen Campbell record on a major station only to have it taken off the air and thrown out the door at me just because the 'other' station across town got The Beatles first."
On the concert on the roof of Apple Records (January 30, 1969):
"As I mentioned earlier, if I had to single out one event that stood out above all the others during the time I worked with The Beatles, it would by far be their last concert. If you ever want to find out just how good The Beatles were as a single unit, a live, four-piece, rock-and-roll band, just listen to the live recordings of the concert on the roof that day."Also, you need to check out these photos. The author is there, on the roof, in a white trench coat. If he never did another single thing in his life, just being there on that roof on that day would secure for him a place in pop culture history.
And there's so much more here: the personal interludes with John, Paul, George, and Ringo; the parties; the death of Lennon. Also included are a variety of memorable and entertaining photos and bits of personal memorabilia (letters, notes, signed items).
If you already own every other book on the band, make room on your shelf for this one. It's worthwhile.
Originally published on Curled Up With A Good Book at www.curledup.com. © Steven Rosen, 2007
Without a doubt, there have been more books written about The Beatles than about any other musician. So, whenever a new product arrives, it is typically regarded as some sort of already seen/already-been-there material. This one is different. The author was an insider, the American manager for Apple Records. There are his tales, his anecdotes, his memories from a fantasy life as a member of the band's inner sanctum.
And oh my goodness, what marvelous tales.
On marketing Revolver:
"I remember the August 1966 release of the Revolver album, in particular, as being one of my roughest releases. I would spend weeks trying to get a new Glen Campbell record on a major station only to have it taken off the air and thrown out the door at me just because the 'other' station across town got The Beatles first."
On the concert on the roof of Apple Records (January 30, 1969):
"As I mentioned earlier, if I had to single out one event that stood out above all the others during the time I worked with The Beatles, it would by far be their last concert. If you ever want to find out just how good The Beatles were as a single unit, a live, four-piece, rock-and-roll band, just listen to the live recordings of the concert on the roof that day."Also, you need to check out these photos. The author is there, on the roof, in a white trench coat. If he never did another single thing in his life, just being there on that roof on that day would secure for him a place in pop culture history.
And there's so much more here: the personal interludes with John, Paul, George, and Ringo; the parties; the death of Lennon. Also included are a variety of memorable and entertaining photos and bits of personal memorabilia (letters, notes, signed items).
If you already own every other book on the band, make room on your shelf for this one. It's worthwhile.
Originally published on Curled Up With A Good Book at www.curledup.com. © Steven Rosen, 2007
Thursday, November 15, 2007
Columnist calls "The White Book" a tasty dish
CMT Hot Dish is a weekly feature written by veteran columnist Hazel Smith.
While I anxiously await the release of Ken Mansfield's new book, The White Book: The Beatles, the Bands, the Biz: An Insider's Look at an Era, I recently read The Beatles, the Bible and Bodega Bay: My Long and Winding Road, the fine book he wrote a few years back. Many people will recall Ken from his days of producing the award-winning "I'm Not Lisa" single by Jessi Colter on Capitol Records.
Ken doesn't mention a whole lot about his stops in Music City as he writes about his travels down a "long and winding road." But I can tell you for a fact, he found his beautiful Southern wife here, married her here, found the Lord here, and he had and still has many friends in this town.Ken was well-known during his music career in London, Los Angeles and Nashville and was the sole U.S. manager of Apple Records.
Does that ring your memory bell? Yep, I'm talking about the label started by the Fab Four -- aka Jack, Georgie, Porgie and Richie, the telegram code names of John Lennon, George Harrison, Paul McCartney and Ringo Starr during Apple's heyday. As I scratch my head for a moment, I wish those were still the code names for the Fab Four in 2007. It's a shame that life was snatched away from John and George.
Wouldn't it have been wonderful in 1968 had there been e-mail and cell phones? Think of all the other Beatle music we might have. Or would it have prevented the innocence and childish patter that made these four multi-talented individuals so great in the first place? It's always best to leave well enough alone and not ponder what might have been. They gave us way more than enough of themselves and their music.
Mansfield's book took my breath away. After browsing through it, I read it in two days while smiling, laughing and crying. As tender and professional and loving as Ken handled the details in his book, it's still hard for me to read his account of John's death. It must have been the hardest for Yoko Ono, who was with her husband when he was shot.
I recall the night it happened like it was yesterday. Dennis Locorriere, the lead singer for Dr. Hook, called me from God knows where. Dennis was devastated. He was virtually weeping, and I joined in. "John Lennon is the reason I became a singer," Dennis sobbed into my phone. I wondered how many other musicians with calloused fingers numbed from picking songs penned by John Lennon wept and made the same sad statement that night. It still angers me, but we can't cry about it. What has to be -- will be.
Ringo loved country music. Remember, while still a Beatle, he recorded the marvelous "Act Naturally" from the songwriting pen of the late Johnny Russell. Russell liked to brag about all the stars who recorded his songs -- especially this song which made him a mint. Johnny went to Holiday Heights Baptist where I attend. It's just a small church with a few people where most of them love one another.
Ken Mansfield's book deals with the Beatles' music and his work at Apple Records as he flew around the world as a show biz executive. But then he talks about the greatest book ever written -- the Holy Bible -- and his comfortable home in Bodega Bay, Calif.
The music Ken knew and loved must play in the background of his happy life. A lamp of truth burns bright like an eternal flame where he resides in a cove beside the ocean. Today, he writes books, and would you believe Ken is a minister? The former wild child roared with the Beatles and hung out with the Waylon Jennings, Tompall Glaser and the other Outlaws in Music City. But now he's all about the work of the Lord.
Ken still speaks well about Joe Galante, Tompall Glaser, David Frizzell and a passel others who are still in and around Nashville. I feel blessed to be in the passel and thank Ken for his powerful book.
While I anxiously await the release of Ken Mansfield's new book, The White Book: The Beatles, the Bands, the Biz: An Insider's Look at an Era, I recently read The Beatles, the Bible and Bodega Bay: My Long and Winding Road, the fine book he wrote a few years back. Many people will recall Ken from his days of producing the award-winning "I'm Not Lisa" single by Jessi Colter on Capitol Records.
Ken doesn't mention a whole lot about his stops in Music City as he writes about his travels down a "long and winding road." But I can tell you for a fact, he found his beautiful Southern wife here, married her here, found the Lord here, and he had and still has many friends in this town.Ken was well-known during his music career in London, Los Angeles and Nashville and was the sole U.S. manager of Apple Records.
Does that ring your memory bell? Yep, I'm talking about the label started by the Fab Four -- aka Jack, Georgie, Porgie and Richie, the telegram code names of John Lennon, George Harrison, Paul McCartney and Ringo Starr during Apple's heyday. As I scratch my head for a moment, I wish those were still the code names for the Fab Four in 2007. It's a shame that life was snatched away from John and George.
Wouldn't it have been wonderful in 1968 had there been e-mail and cell phones? Think of all the other Beatle music we might have. Or would it have prevented the innocence and childish patter that made these four multi-talented individuals so great in the first place? It's always best to leave well enough alone and not ponder what might have been. They gave us way more than enough of themselves and their music.
Mansfield's book took my breath away. After browsing through it, I read it in two days while smiling, laughing and crying. As tender and professional and loving as Ken handled the details in his book, it's still hard for me to read his account of John's death. It must have been the hardest for Yoko Ono, who was with her husband when he was shot.
I recall the night it happened like it was yesterday. Dennis Locorriere, the lead singer for Dr. Hook, called me from God knows where. Dennis was devastated. He was virtually weeping, and I joined in. "John Lennon is the reason I became a singer," Dennis sobbed into my phone. I wondered how many other musicians with calloused fingers numbed from picking songs penned by John Lennon wept and made the same sad statement that night. It still angers me, but we can't cry about it. What has to be -- will be.
Ringo loved country music. Remember, while still a Beatle, he recorded the marvelous "Act Naturally" from the songwriting pen of the late Johnny Russell. Russell liked to brag about all the stars who recorded his songs -- especially this song which made him a mint. Johnny went to Holiday Heights Baptist where I attend. It's just a small church with a few people where most of them love one another.
Ken Mansfield's book deals with the Beatles' music and his work at Apple Records as he flew around the world as a show biz executive. But then he talks about the greatest book ever written -- the Holy Bible -- and his comfortable home in Bodega Bay, Calif.
The music Ken knew and loved must play in the background of his happy life. A lamp of truth burns bright like an eternal flame where he resides in a cove beside the ocean. Today, he writes books, and would you believe Ken is a minister? The former wild child roared with the Beatles and hung out with the Waylon Jennings, Tompall Glaser and the other Outlaws in Music City. But now he's all about the work of the Lord.
Ken still speaks well about Joe Galante, Tompall Glaser, David Frizzell and a passel others who are still in and around Nashville. I feel blessed to be in the passel and thank Ken for his powerful book.
Wednesday, November 14, 2007
Cindy C gives the "The White Book" an A
Book Review: The White Book - The Beatles, the Bands, The Biz: An Insider's Look at an Era by Ken Mansfield
Written by CindyC
Published November 13, 2007
Don't let the cover design and concept of this book fool you. Although Ken Mansfield's life touched and was touched by the phenomenon called The Beatles, The White Book is not a detailed account of the Fab Four when they recorded the famous so-called "White Album." Nor is it an insider's exposé about the rise and fall of Apple Records. It is more of a loose set of recollections of the special events and friendships formed and lost during the glory days of Ken's record-industry career.
In 1968, Ken Mansfield went from being a promotions and artist relations executive at Capitol Records to being the U.S. manager of Apple Records, reporting directly to John, Paul, George, and Ringo. These were heady days for all involved. As Ken writes, "Å everything was changing - music, mores, and mankind." Ken writes about his days with the Beatles with a wistful air, and a viewpoint that seems to have been tempered by time and everlasting loyalty.
The book is illustrated with pictures and memorabilia that a true Beatles collector would envy. The stories and anecdotes of his relationships with each of the Beatles are so intimately written that we get a sense of how blessed Ken feels about having been a part of their world. He writes amusingly of little things like George's insecurity about being so thin; Paul timing his outings at restaurants so that he knew just when to leave before fans started to show up; and about taking Ringo to see Elvis in concert and showing up wearing a similar velvet suit, both of them looking as chagrined as a couple of girls wearing the same dress to the prom. His tenure with the Beatles appears to have been wholly positive, and he recalls enduring friendships with all of them, except John Lennon.
By the time Ken joined Apple, John was becoming increasingly "bitter, angry, and cynical." Ken's relationship with Yoko was icy at best and he found himself intimidated in their presence. According to Ken, "[John] used to call me, write me caustic letters, send obscenity-laced transatlantic cables Å and constantly badger me on a variety of topicsÅ " The relationship was not all bad, however, and Ken fondly writes of instances of seeing a lighter side of John Lennon. He goes on to say that years later, former Apple President Ron Kass told Ken that John was so aggressive with Ken because he felt comfortable enough to be open with him.
Unfortunately, we miss getting complete insider information of the day-to-day business at Apple because Ken intersperses the Beatles chapters with information devoted to highlights from other areas and times throughout his career. The short chapters are not set chronologically and we are given fleeting glimpses of Ken's work with such artists as The Beach Boys, Roy Orbison, James Taylor, Waylon Jennings, Dolly Parton, Andy Williams, and David Cassidy.Ken also lightly touches on the many ups and downs of his career: hot-shot executive at Capitol Records and Apple, being one of the driving forces of the Outlaw movement in country music, independent record producer, stagehand at the Starwood Amphitheater in Nashville, and producer of Ringo's "Time Takes Time" album in 1990.
Each of Ken's industry experiences seem to have been colored by his reputation as "the Beatles guy." Even after leaving Apple, the Beatles seem to occupy a big space in Ken's world. Perhaps the clumsy chronology of the book is supposed to represent how the Beatles were woven in and out of the tapestry of Ken's professional and personal life.
Despite the casual reminiscent style of The White Book, it is a pleasure to read about the Beatles and the luminaries that inhabited their world. Ken was reluctant to write about his experiences with the Beatles because he did not want to betray their trust and to honor their professional relationships and subsequent friendships. It wasn't until he got the okay from Ringo to write about his experiences that prompted Ken to share the magic with readers.
In sharing his story, Ken manages to humanize these icons that seem to most of us as being larger than life. The portrait he paints of the Beatles in the studio, of the last concert on the roof of the Apple offices, and of social gatherings and informal jam sessions leave us wanting to read more, and envious of Ken's having lived the ultimate rock and roll fantasy.
Written by CindyC
Published November 13, 2007
Don't let the cover design and concept of this book fool you. Although Ken Mansfield's life touched and was touched by the phenomenon called The Beatles, The White Book is not a detailed account of the Fab Four when they recorded the famous so-called "White Album." Nor is it an insider's exposé about the rise and fall of Apple Records. It is more of a loose set of recollections of the special events and friendships formed and lost during the glory days of Ken's record-industry career.
In 1968, Ken Mansfield went from being a promotions and artist relations executive at Capitol Records to being the U.S. manager of Apple Records, reporting directly to John, Paul, George, and Ringo. These were heady days for all involved. As Ken writes, "Å everything was changing - music, mores, and mankind." Ken writes about his days with the Beatles with a wistful air, and a viewpoint that seems to have been tempered by time and everlasting loyalty.
The book is illustrated with pictures and memorabilia that a true Beatles collector would envy. The stories and anecdotes of his relationships with each of the Beatles are so intimately written that we get a sense of how blessed Ken feels about having been a part of their world. He writes amusingly of little things like George's insecurity about being so thin; Paul timing his outings at restaurants so that he knew just when to leave before fans started to show up; and about taking Ringo to see Elvis in concert and showing up wearing a similar velvet suit, both of them looking as chagrined as a couple of girls wearing the same dress to the prom. His tenure with the Beatles appears to have been wholly positive, and he recalls enduring friendships with all of them, except John Lennon.
By the time Ken joined Apple, John was becoming increasingly "bitter, angry, and cynical." Ken's relationship with Yoko was icy at best and he found himself intimidated in their presence. According to Ken, "[John] used to call me, write me caustic letters, send obscenity-laced transatlantic cables Å and constantly badger me on a variety of topicsÅ " The relationship was not all bad, however, and Ken fondly writes of instances of seeing a lighter side of John Lennon. He goes on to say that years later, former Apple President Ron Kass told Ken that John was so aggressive with Ken because he felt comfortable enough to be open with him.
Unfortunately, we miss getting complete insider information of the day-to-day business at Apple because Ken intersperses the Beatles chapters with information devoted to highlights from other areas and times throughout his career. The short chapters are not set chronologically and we are given fleeting glimpses of Ken's work with such artists as The Beach Boys, Roy Orbison, James Taylor, Waylon Jennings, Dolly Parton, Andy Williams, and David Cassidy.Ken also lightly touches on the many ups and downs of his career: hot-shot executive at Capitol Records and Apple, being one of the driving forces of the Outlaw movement in country music, independent record producer, stagehand at the Starwood Amphitheater in Nashville, and producer of Ringo's "Time Takes Time" album in 1990.
Each of Ken's industry experiences seem to have been colored by his reputation as "the Beatles guy." Even after leaving Apple, the Beatles seem to occupy a big space in Ken's world. Perhaps the clumsy chronology of the book is supposed to represent how the Beatles were woven in and out of the tapestry of Ken's professional and personal life.
Despite the casual reminiscent style of The White Book, it is a pleasure to read about the Beatles and the luminaries that inhabited their world. Ken was reluctant to write about his experiences with the Beatles because he did not want to betray their trust and to honor their professional relationships and subsequent friendships. It wasn't until he got the okay from Ringo to write about his experiences that prompted Ken to share the magic with readers.
In sharing his story, Ken manages to humanize these icons that seem to most of us as being larger than life. The portrait he paints of the Beatles in the studio, of the last concert on the roof of the Apple offices, and of social gatherings and informal jam sessions leave us wanting to read more, and envious of Ken's having lived the ultimate rock and roll fantasy.
Wednesday, November 7, 2007
Mansfield scores Ace with "The White Book"
| The White Book: The Beatles, the Bands, the Biz: An Insider’s Look at an Era. |  |  |  |
| Reviews - Books | |
| Written by Geoff Isaac | |
| Monday, 05 November 2007 | |
|
Among the names of people who have helped shape The Beatles and the legacy they created, Ken Mansfield, the former U.S. manager of Apple Records, is scarcely the one people think of first. This quiet, humble and revered American Grammy winning music producer, and strategist behind The Beatles’ Apple label, began as a 27 year-old promotions manager whose attendance at a press conference in the summer of 1965 culminated into a long lasting business and personal relationship with members of the infamous band. Now he is finally telling his fly-on-the-wall tale in The White Book: The Beatles, the Bands, the Biz: An Insider’s Look at an Era. Like many careers that spawn biographies and a worthy setting in history, Mansfield’s was more than just a chance opportunity, the meaning of which he could never have understood at the time. Mansfield gives the reader an all encompassing viewpoint of one of the most vital periods in music history. Like a gleeful fan, he relates sitting through the evolution of a single Beatles song through songwriting, session to final mix. Much like Steve Turner’s A Hard Day’s Write, Mansfield provides detail on the evolution of a Beatles song, but with the added dimension of actually being in the room at the time.
In The White Album, he’s the humble reporter with an eye for detail and the insider’s seat on the historical proceedings that he fondly recalls with a sense of awe, enthusiasm and a philosophical posture that never waivers from selfless insight of all the events around him. The plus of Mansfield’s approach is that he’s smart enough to know the story is so much bigger than himself. Mansfield’s self effacing manor is a welcome treat. He recognizes the mistakes he has made and refuses to take all the credit for his success. What we get is a point of view stripped of the clutter in self importance. Mansfield goes into sumptuous detail about meeting “the lads” for the first time, ruthlessly defends Lennon’s personal life, despite knowing him the least of all the members. This is most apparent in times when he reveals, that according to Lennon, his lyrics didn’t actually mean very much. They don’t have to mean anything all the time, they just have to sound like they do. Mansfield’s bucolic upbringing in the “potato-bred simplicity” of Idaho gave him an outlook that is sharply contrasted with the often cynical nature of the music business, which is no doubt why so many people liked him. Mansfield is to good effect an insider from the outside. This also provides plenty of room for humor, especially during passages where he explains his outwardly perplexed reaction while enduring long socio-political speeches from John and Yoko, and hearing Linda McCartney refer to a hot dog as “decomposed cadaver tube on a roll” before Paul became a vegetarian. There’s also an important element of what the release of a Beatles album meant for the industry itself. Due to both the popularity and wealth of manpower and energy required for a release, Mansfield confides that other Capitol artists suffered in sales while other artists, ill-fated by coinciding release schedules, had to settle for No. 2 at the pop charts. He doesn’t admonish the band for their success but recognizes the Beatles were a force of nature to be reckoned with. Also of interest is a detailed chapter on their famous, attention-grabbing final roof top performance (in which he relates just how good a live act the band really was), recognizing the talent of a then unknown teenage Guns 'N Roses guitarist Slash, and an utterly heartbreaking chapter on the death of John Lennon. His later career, working in Nashville with Dolly Parton, Waylan Jennings and David Cassidy, is also of interest for music fans, but he always manages to come back to The Beatles as he follows their solo careers and legacy, both up close and from a distance. The book is presented in a lavish, multi-color spectrum, and is well laid out. Chockablock full of photos, signed album covers, memos, notes, letters, contracts and personal affects, the book demonstrates the most important times in music history with visual flair. There’s a full page scan of a hand written memo John Lennon wrote him, which comes complete with background information on the facing page. A good source of information provides answers to the questions we ask. A great one gives us the answers to questions we never thought to ask, and enriches our experience in the process. The White Book: The Beatles, the Bands, the Biz: An Insider’s Look at an Era has more experience and far more enthusiasm than one would expect from a biography, historical treatise or vital music biz how-to. The White Book is indeed something all encompassing, with sincere style and refreshing modesty from someone who was there. For book excerpts, video and more general information on the book, please visit www.fabwhitebook.com | |
Book: The White Book: The Beatles, the Bands, the Biz: An Insider’s Look at an EraMonday, November 5, 2007
Free Lance Star gives nod to "The White Book"
The music world of the Beatles from an insider's perspective in "The White Book"
Date published: 11/4/2007
I ONCE BELIEVED that The Beatles' legacy as the greatest rock 'n roll band was assured in perpetuity. But there appears to a generational divide that is developing and I am alarmed that I seem to be on the end that skews older and, dare I say, wistful.
My mother-in-law saw The Beatles in concert. My wife's high school students were given an extra credit question recently asking them to name all four Beatles. Not a single student could come up with all four names.
Ken Mansfield's newest memoir, "The White Book," falls decidedly in the older and wistful Beatles' camp. Mansfield was the U.S. manager of the Apple Records label and as such was granted an insider seat at assorted meetings and tables with the Fab Four, including the final rooftop concert in 1969.
Many of the Beatle anecdotes that Mansfield shares in "The White Book" were printed previously in his first memoir, "The Beatles, The Bible and Bodega Bay: My Long and Winding Road." "The White Book" does not contain the spiritual or religious slant of the prior memoir, but if one has read the first, there will be repetition in reading the second memoir.
He has numerous personal anecdotes about the Beatles as a phenomenon as well as stories that offer glimpses into the lads as individuals. He was witness to the first-ever meeting between Ringo Starr and Dolly Parton because it occurred at a dinner party he threw at his house.
Most of Mansfield's stories are of George and Ringo, but he, like much of the world, was devastated by John's murder.
"Something else happened when John Lennon died, and like the Beatles, the second thing was bigger than we could ever imagine. What happened was we ended up with a hero that we didn't want. We didn't want John Lennon to be our hero. We didn't want him to be a martyr for our cause. We just wanted John Lennon to talk to us through his art and music about what was going on around us."
Mansfield occasionally
"If the Beatles' music and legend last forever, then also the people who were there are eternally ensconced in the echoes of the events that transpired."
Once, there was never
Drew Gallagher is a freelance writer living in Spotsylvania.
|
Date published: 11/4/2007
Free Lance Star gives nod to "The White Book"
LOOKING AGAIN AT THE BEATLES
The music world of the Beatles from an insider's perspective in "The White Book"
Date published: 11/4/2007
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Date published: 11/4/2007
I ONCE BELIEVED that The Beatles' legacy as the greatest rock 'n roll band was assured in perpetuity. But there appears to a generational divide that is developing and I am alarmed that I seem to be on the end that skews older and, dare I say, wistful.
My mother-in-law saw The Beatles in concert. My wife's high school students were given an extra credit question recently asking them to name all four Beatles. Not a single student could come up with all four names.
Ken Mansfield's newest memoir, "The White Book," falls decidedly in the older and wistful Beatles' camp. Mansfield was the U.S. manager of the Apple Records label and as such was granted an insider seat at assorted meetings and tables with the Fab Four, including the final rooftop concert in 1969.
Many of the Beatle anecdotes that Mansfield shares in "The White Book" were printed previously in his first memoir, "The Beatles, The Bible and Bodega Bay: My Long and Winding Road." "The White Book" does not contain the spiritual or religious slant of the prior memoir, but if one has read the first, there will be repetition in reading the second memoir.
He has numerous personal anecdotes about the Beatles as a phenomenon as well as stories that offer glimpses into the lads as individuals. He was witness to the first-ever meeting between Ringo Starr and Dolly Parton because it occurred at a dinner party he threw at his house.
Most of Mansfield's stories are of George and Ringo, but he, like much of the world, was devastated by John's murder.
"Something else happened when John Lennon died, and like the Beatles, the second thing was bigger than we could ever imagine. What happened was we ended up with a hero that we didn't want. We didn't want John Lennon to be our hero. We didn't want him to be a martyr for our cause. We just wanted John Lennon to talk to us through his art and music about what was going on around us."
Mansfield occasionally
"If the Beatles' music and legend last forever, then also the people who were there are eternally ensconced in the echoes of the events that transpired."
Once, there was never
Drew Gallagher is a freelance writer living in Spotsylvania.
|
Date published: 11/4/2007
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