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Licence to Kill
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For other uses, see Licence to Kill (disambiguation).
Licence to Kill
British cinema poster for Licence to Kill, designed by Robin Behling
Directed by
John Glen
Produced by
Albert R. Broccoli
Michael G. Wilson
Written by
Michael G. Wilson
Richard Maibaum
Based on
James Bond
by Ian Fleming
Starring
Timothy Dalton
Carey Lowell
Robert Davi
Talisa Soto
Anthony Zerbe
Music by
Michael Kamen
Cinematography
Alec Mills
Edited by
John Grover
Production
company
Eon Productions
United Artists
Distributed by
MGM/UA Communications Co. (US)
United International Pictures (International)
Release date
13 June 1989 (1989-06-13) (London)
14 July 1989 (1989-07-14) (UK/US)
Running time
133 minutes
Country
United Kingdom
United States
Language
English
Budget
$32 million
Box office
$156.1 million
Licence to Kill is a 1989 British spy film, the sixteenth in the James Bond film series produced by Eon Productions, and the last to star Timothy Dalton in the role of the fictional MI6 agent James Bond. It is the first one not to use the title of an Ian Fleming story. It is also the fifth and final consecutive Bond film to be directed by John Glen. The story has elements of two Ian Fleming short stories and a novel, interwoven with aspects from Japanese Rōnin tales. The film sees Bond being suspended from MI6 as he pursues drugs lord Franz Sanchez, who has ordered an attack against his CIA friend Felix Leiter and the murder of Felix's wife during their honeymoon. Originally titled Licence Revoked in line with the plot, the name was changed during post-production due to American test audiences associating the term with driving.
Budgetary reasons caused Licence to Kill to be the first Bond film shot completely outside the United Kingdom, with locations in both Mexico and the US. The film earned over $156 million worldwide, and enjoyed a generally positive critical reception, with ample praise for the stunts, but attracted some criticism for its significantly darker and more violent tone than its predecessors, which carried into Dalton's portrayal of the character.
Contents
1 Plot
2 Cast
3 Production
3.1 Writing and themes
3.2 Casting
3.3 Filming
3.4 Music
4 Release and reception
4.1 Contemporary reviews
4.2 Reflective reviews
5 Appearances in other media
6 Awards and nominations
7 See also
8 References
9 Sources
10 External links
Plot[edit]
DEA agents collect MI6 agent James Bond and his friend, CIA agent Felix Leiter, on their way to Leiter's wedding in Key West, to have them assist in capturing drugs lord Franz Sanchez. Bond and Leiter capture Sanchez by attaching a hook and cord to Sanchez's plane and pulling it out of the air with a Coast Guard helicopter. Afterwards, Bond and Leiter parachute down to the church in time for the ceremony.
Sanchez bribes DEA agent Ed Killifer and escapes. Meanwhile, Sanchez's henchman Dario and his crew ambush Leiter and his wife Della and take Leiter to an aquarium owned by one of Sanchez's accomplices, Milton Krest. Sanchez has Leiter lowered into a tank holding a tiger shark. When Bond learns Sanchez has escaped, he returns to Leiter's house to find Leiter has been maimed and that Della has been murdered—and by implication raped.[1][2] Bond, with Leiter's friend Sharkey, start their own investigation. They discover a marine research centre run by Krest, where Sanchez has hidden cocaine and a submarine for smuggling.
After Bond kills Killifer using the same shark tank used for Leiter, M meets Bond in Key West's Hemingway House and orders him to an assignment in Istanbul, Turkey. Bond resigns after turning down the assignment, but M suspends Bond instead and revokes his licence to kill. Bond becomes a rogue agent, although he later receives unauthorised assistance from Q.
Bond boards Krest's ship Wavekrest and foils Sanchez's latest drug shipment, stealing five million dollars in the process. He discovers that Sharkey has been killed by Sanchez's henchmen. Bond meets and teams up with Pam Bouvier, an ex-CIA agent and pilot, at a Bimini bar,[3] and journeys with her to the Republic of Isthmus. He seeks Sanchez's employment by posing as an assassin for hire. Two Hong Kong Narcotics Bureau officers foil Bond's attempt to assassinate Sanchez and take him to an abandoned warehouse. They are joined by Fallon, an MI6 agent who was sent by M to apprehend Bond. Sanchez's men rescue him and kill the officers, believing them to be the assassins. Later, with the aid of Bouvier, Q, and Sanchez's girlfriend Lupe Lamora, Bond frames Krest by planting the $5 million in Wavekrest. Sanchez kills Krest via a decompression chamber and admits Bond into his inner circle.
Sanchez takes Bond to his base, which is disguised as the headquarters of a religious cult. Bond learns that Sanchez's scientists can dissolve cocaine in petrol and then sell it disguised as fuel to Asian drug dealers. The televangelist Professor Joe Butcher serves as middleman, working under Sanchez's business manager Truman-Lodge. During Sanchez's presentation to potential Asian customers, Dario discovers Bond and betrays him to Sanchez. Bond starts a fire in the laboratory, but is captured again and placed on the conveyor belt that drops the brick-cocaine into a giant shredder. Bouvier arrives and shoots Dario, allowing Bond to pull Dario into the shredder, killing him.
Sanchez flees as fire consumes his base, taking with him four tankers full of the cocaine and petrol mixture. Bond pursues them by plane, with Bouvier at the controls. During the course of a stunt filled chase through the desert, Bond destroys three of the tankers and kills several of Sanchez's men. Sanchez attacks Bond with a machete aboard the final remaining tanker, which crashes down a hill side. A petrol-soaked Sanchez attempts to kill Bond with his machete. Bond then reveals his cigarette lighter—the Leiters' gift for being the best man at their wedding—and sets Sanchez on fire. Sanchez stumbles into the wrecked tanker, blowing it up and killing himself. Bouvier arrives and rescues Bond.
Later, a party is held at Sanchez's former residence. Bond receives a call from Leiter telling him that M is offering him his job back. He then rejects Lupe's advances and romances Bouvier instead.
Cast[edit]
Timothy Dalton as James Bond, an MI6 agent who resigns to take his revenge on drug lord Franz Sanchez
Carey Lowell as Pam Bouvier, an ex-Army pilot and CIA informant
Robert Davi as Franz Sanchez, the most powerful drug lord in Latin America, mentioned as having been wanted by the DEA for years.
Talisa Soto as Lupe Lamora, Sanchez's girlfriend who has romantic feelings for Bond
Anthony Zerbe as Milton Krest, Sanchez's henchman who operates Wavekrest Marine Research, and whom Bond sets up to turn Sanchez against him
Frank McRae as Sharkey, a friend of Felix Leiter who owns a boat charter business
Everett McGill as Ed Killifer, a corrupt DEA official who frees Sanchez from custody
Wayne Newton as Professor Joe Butcher, Sanchez's middleman and TV evangelist for Olimpatec Meditation Institute
Benicio del Toro as Dario, Sanchez's personal henchman
Anthony Starke as Truman-Lodge, Sanchez's financial advisor
Pedro Armendáriz Jr. as President Hector Lopez, the president of Isthmus
Desmond Llewelyn as Q, Bond's ally who supplies Bond with various gadgets and helps him in the field
David Hedison as Felix Leiter, a former CIA agent now with DEA and a close friend of James Bond
Priscilla Barnes as Della Churchill, Felix Leiter's bride
Robert Brown as M, the head of MI6 and Bond's superior who revokes Bond's double-0 licence
Caroline Bliss as Miss Moneypenny, M's personal secretary
Don Stroud as Colonel Heller, Sanchez's head of security
Grand L. Bush as Hawkins, a DEA Agent who opposes Bond's vendetta
Cary-Hiroyuki Tagawa as Kwang, a Hong Kong Police Narcotics agent sent to infiltrate Sanchez's heart of operations
Christopher Neame as Fallon, an MI6 agent sent by M to arrest Bond, dead or alive
Diana Lee Hsu as Loti, a female Hong Kong Narcotics agent working with Kwang
Production[edit]
Shortly after The Living Daylights was released, producer Albert R. Broccoli and writers Michael G. Wilson and Richard Maibaum started discussing its successor. The film would retain a realistic style, as well as showing the "darker edge" of the Bond character. For the primary location, the producers wanted a place where the series had not yet visited.[4] While China was visited after an invitation by its government, the idea fell through partly because the 1987 film The Last Emperor had removed some of the novelty from filming in China.[5] By this stage the writers had already talked about a chase sequence along the Great Wall, as well as a fight scene amongst the Terracotta Army.[6] Wilson also wrote two plot outlines about a drug lord in the Golden Triangle before the plans fell through.[6] The writers eventually decided on a setting in a tropical country while Broccoli negotiated to film in Mexico,[4] at the Estudios Churubusco in Mexico City.[6] In 1985, the Films Act was passed, removing the Eady Levy, resulting in foreign artists being taxed more heavily.[5] The associated rising costs to Eon Productions meant no part of Licence to Kill was filmed in the UK,[7] the first Bond film not to do so.[5] Pinewood Studios, used in every previous Bond film, undertook only the post-production and sound re-recording.[8]
Writing and themes[edit]
The initial outline of what would become Licence to Kill was drawn up by Wilson and Maibaum.[5] Before the pair could develop the script, the Writers Guild of America (WGA) went on strike and Maibaum was unable to continue writing, leaving Wilson to work on the script on his own.[9] Although both the main plot and title of Licence to Kill owe nothing to any of the Fleming novels, there are elements from the books that are used in the storyline, including a number of aspects of the short story "The Hildebrand Rarity", such as the character Milton Krest.[4][10] The novel Live and Let Die provided the material surrounding Felix Leiter's mauling by a shark,[5] whilst the film version of the book provided the close similarity between the main villain, Mr. Big, and Licence to Kill's main villain Sanchez.[11] The screenplay was not ready by the time casting had begun, with Carey Lowell being auditioned with lines from A View to a Kill.[4]
The script—initially called Licence Revoked—was written with Dalton's characterisation of Bond in mind,[5] and the obsession with which Bond pursues Sanchez on behalf of Leiter and his dead wife is seen as being because "of his own brutally cut-short marriage."[12] Dalton's darker portrayal of Bond led to the violence being increased and more graphic.[10] Wilson compared the script to Akira Kurosawa's Yojimbo, where a samurai "without any attacking of the villain or its cohorts, only sowing the seeds of distrust, he manages to have the villain bring himself down".[4] Wilson freely admitted that the idea of the destruction-from-within aspect of the plot came more from the cinema versions of the Japanese Rōnin tales by Kurosawa or Sergio Leone than from Fleming's use of that plot device from The Man with the Golden Gun.[11] For the location Wilson created the Republic of Isthmus, a banana republic based on Panama, with the pock-marked Sanchez bearing similarities to General Manuel Noriega.[11] The parallels between the two figures were based on Noriega's political use of drug trafficking and money laundering to provide revenues for Panama.[13] Robert Davi suggested the line "loyalty is more important than money", which he felt was fitting to the character of Franz Sanchez, whose actions were noticed by Davi to be concerned with betrayal and retaliation.[8]
The United Artists press kits referred to the film's background as being "Torn straight from the headlines of today's newspapers"[14] and the backdrop of Panama was connected to "the Medellín Cartel in Colombia and corruption of government officials in Mexico thrown in for good measure."[15] This use of the cocaine-smuggling backdrop put Licence to Kill alongside other cinema blockbusters, such as the 1987 films Lethal Weapon, Beverly Hills Cop II and RoboCop, and Bond was seen to be "poaching on their turf" with the drug-related revenge story.[16]
Casting[edit]
After Carey Lowell was chosen to play Pam Bouvier, she watched many of the films in the series for inspiration. Lowell had described becoming a Bond girl as "huge shoes to fill", as she did not see herself as a "glamour girl", even coming to audition in jeans and a leather jacket. While Lowell wore a wig for the scenes set in the United States, a scene where Bouvier is given money and told by Bond to go and buy some new clothes (and, going off and doing so, also has her hair cut) was added so that Lowell's own short hair style could be used.[17]
Robert Davi was cast following a suggestion by Broccoli's daughter Tina,[4] and screenwriter Richard Maibaum, who had seen Davi in the television film Terrorist on Trial: The United States vs. Salim Ajami.[18] To portray Sanchez, Davi researched the Colombian drug cartels and how to do a Colombian accent,[8] and since he was method acting, he would stay in character off-set. After Davi read Casino Royale for preparation, he decided to turn Sanchez into a "mirror image" of James Bond, based on Ian Fleming's descriptions of Le Chiffre.[4] The actor also learned scuba diving for the scene where Sanchez is rescued from the sunken armoured car.[8]
Davi later helped with the casting of Sanchez's mistress Lupe Lamora, by playing Bond in the audition.[6] Talisa Soto was picked from twelve candidates because Davi said he "would kill for her".[4] David Hedison returned to play Felix Leiter, sixteen years after playing the character in Live and Let Die. Hedison did not expect to return to the role, saying "I was sure that [Live and Let Die] would be my first – and last"[19] and Glen was reluctant to cast the 61-year-old actor, since the role included a scene parachuting. Hedison was the only actor to play Leiter twice,[20] until Jeffrey Wright appeared in both Casino Royale and Quantum of Solace.[21]
Up-and-coming actor Benicio del Toro was chosen to play Sanchez's henchman, Dario for being "laid back while menacing in a quirky sort of way", according to Glen.[4] Wayne Newton got the role of Professor Joe Butcher after sending a letter to the producers expressing interest in a cameo because he always wanted to be in a Bond film.[6] The President of Isthmus was played by Pedro Armendáriz, Jr., the son of Pedro Armendáriz, who played Ali Kerim Bey in From Russia with Love.[22]
Filming[edit]
Centro Cultural Otomi, designed as a place for the Otomi people to congregate and celebrate their culture, was used to represent the "Olympatec Meditation Institute".
Principal photography ran from 18 July to 18 November 1988. Shooting began in Mexico, which mostly doubled for the fictional Republic of Isthmus:[4] locations in Mexico City included the Biblioteca del Banco de Mexico for the exterior of El Presidente Hotel and the Casino Español for the interior of Casino de Isthmus whilst the Teatro de la Ciudad was used for its exterior. Villa Arabesque in Acapulco was used for Sanchez's lavish villa, and the La Rumorosa Mountain Pass in Tecate was used as the filming site for the tanker chase during the climax of the film. Sanchez's Olympiatec Meditation Institute was shot at the Otomi Ceremonial Center in Temoaya.[23] Other underwater sequences were shot at the Isla Mujeres near Cancún.[24]
In August 1988, production moved to the Florida Keys, notably Key West.[4] Seven Mile Bridge towards Pigeon Key was used for the sequence in which the armoured truck transporting Sanchez, following his arrest, is driven off the edge. Other locations there included Ernest Hemingway House, Key West International Airport, Mallory Square, St. Mary's Star of the Sea Church for Leiter's wedding and Stephano's House 707 South Street for his house and patio. The US Coast Guard Pier was used to film Isthmus City harbour.[23] As production moved back to Mexico, Broccoli became ill, leading to Michael G. Wilson becoming co-producer, a position he subsequently retained.[4]
Seven Mile Bridge
The scene where Sanchez's plane is hijacked was filmed on location in Florida, with stuntman Jake Lombard jumping from a helicopter to a plane and Dalton himself being filmed atop the aircraft. The plane towed by the helicopter was a life-sized model created by special effects supervisor John Richardson. After filming wide shots of David Hedison and Dalton parachuting, closer shots were made near the church location.[4] During one of the takes, a malfunction of the harness equipment caused Hedison to fall on the pavement. The injury made him limp for the remainder of filming.[19] The aquatic battle between Bond and the henchmen required two separate units, a surface one led by Arthur Wooster which used Dalton himself, and an underwater one which involved experienced divers. The barefoot waterskiing was done by world champion Dave Reinhart, with some close-ups using Dalton on a special rig.[4] Milton Krest's death used a prosthetic head which was created by John Richardson's team based on a mould of Anthony Zerbe's face.[25] The result was so gruesome that it was shortened and toned down to avoid censorship problems.[10]
For the climactic tanker chase, the producers used an entire section of a highway near Mexicali, which had been closed for safety reasons. Sixteen eighteen-wheeler tankers were used,[4] some with modifications made by manufacturer Kenworth at the request of driving stunts arranger Rémy Julienne. Most were given improvements to their engines to run faster, while one model had an extra steering wheel on the back of the cabin so a hidden stuntman could drive while Carey Lowell was in the front and another received extra suspension on its back so it could lift its front wheels.[4][26] Although a rig was constructed to help a rig tilt onto its side, it was not necessary as Julienne was able to pull off the stunt without the aid of camera trickery.[4][27]
Music[edit]
Main article: Licence to Kill (soundtrack)
Initially Vic Flick, who had played lead guitar on Monty Norman's original 007 theme, and Eric Clapton were asked to write and perform the theme song to Licence to Kill and they produced a theme to match Dalton's gritty performance, but the producers turned it down[28] and instead Gladys Knight's song and performance was chosen. The song (one of the longest to ever be used in a Bond film) was based on the "horn line" from Goldfinger, seen as an homage to the film of the same name,[28] which required royalty payments to the original writers.[29] The song gave Knight her first British top-ten hit since 1977.[30] The end credits feature the Top 10 R&B hit "If You Asked Me To", sung by Patti LaBelle.[31]
John Barry was not available at the time due to throat surgery, so the soundtrack's score was composed and conducted by Michael Kamen, who was known for scoring many action films at the time, such as Lethal Weapon and Die Hard.[32] Glen said he picked Kamen, feeling he could give "the closest thing to John Barry."[8]
Release and reception[edit]
Film ratings organisations had objections to the excessive and realistic violence, with both the Motion Picture Association of America and the British Board of Film Classification requesting content adaptations,[33] with the BBFC in particular demanding the cut of 36 seconds of film.[24] The 2006 Ultimate Edition DVD of Licence to Kill marked the first release of the film without cuts.[34] It remains the only Bond movie to be originally rated 15 by the BBFC.
Licence to Kill premiered at the Odeon Leicester Square in London on 13 June 1989,[35] raising £200,000 (£456,632 in 2018 pounds[36]) for The Prince's Trust on the night.[35] The film grossed a total of £7.5 million (£17 million in 2018 pounds[36]) in the United Kingdom,[37] making it the seventh most successful film of the year,[38] despite the 15 certificate which cut down audience numbers.[39] Worldwide numbers were also positive, with $156 million,[40] making it the twelfth biggest box-office draw of the year.[41] The US cinema returns were $34.6 million,[40] making Licence to Kill the least financially successful James Bond film in the US, when accounting for inflation.[42] A factor suggested for the poor takings were fierce competition at the cinema, with Licence to Kill released alongside Lethal Weapon 2, Indiana Jones and the Last Crusade (starring former Bond Sean Connery), and Batman.[30]
There were also issues with the promotion of the film: promotional material in the form of teaser posters created by Bob Peak, based on the Licence Revoked title and commissioned by Albert Broccoli, had been produced, but MGM decided against using them[43] after American test screenings showed 'Licence Revoked' to be a common American phrase for the withdrawal of a driving licence.[7] The delayed, updated advertising by Steven Chorney, in the traditional style, limited the film's pre-release screenings.[4] MGM also discarded a campaign created by advertising executive Don Smolen, who had worked in the publicity campaign for eight previous Bond films, emphasising the rougher content of the film.[44][45]
Contemporary reviews[edit]
Derek Malcolm in The Guardian was broadly approving of Licence to Kill, liking the "harder edge of the earlier Bonds" that the film emulated, but wishing that "it was written and directed with a bit more flair."[46] Malcolm praised the way the film attempted "to tell a story rather than use one for the decorative purposes of endless spectacular tropes."[46] Writing in The Guardian's sister paper, The Observer, Philip French noted that "despite the playful sparkle in his eyes, Timothy Dalton's Bond is ... serious here."[47] Overall French called Licence to Kill "an entertaining, untaxing film".[47] Ian Christie in the Daily Express excoriated the film, saying that the plot was "absurd but fundamentally dull",[48] a further problem being that as "there isn't a coherent storyline to link [the stunts], they eventually become tiresome."[48]
Hilary Mantel in The Spectator dismissed the film. "It is a very noisy film. There is a weary and repetitive note to the frenzy. The sex is low key and off-screen but there is a smirking perverse undertow which makes the film more disagreeable than a slasher movie."[49]
David Robinson, writing in The Times, observed that Licence to Kill "will probably neither disappoint nor surprise the great, faithful audience",[50] but bemoaned the fact that "over the years the plots have become less ambitious".[50] Robinson thought that Dalton's Bond "has more class"[50] than the previous Bonds and was "a warmer personality".[50] Iain Johnstone of The Sunday Times pointed out that "any vestiges of the gentleman spy ... by Ian Fleming" have now gone,[51] and in its place is a Bond that is "remarkably close both in deed and action to the eponymous hero of the Batman film"[51] that was released at the same time as Licence to Kill.
Adam Mars-Jones of The Independent gave the film a mixed review, pointing out that it took out some of the more dated ideas from the Fleming novels, such as imperialism; he wrote that the writers were "trying in effect to reproduce the recipe while leaving out ingredients that would now seem distasteful".[52] Overall Mars-Jones thought that "James Bond is more like a low-tar cigarette than anything else – less stimulating than the throat-curdling gaspers of yesteryear, but still naggingly implicated in unhealthiness, a feeble bad habit without the kick of a vice."[52]
For the Canadian newspaper The Globe and Mail, Rick Groen wrote that in Licence to Kill "they've excised Bond from the Bond flicks; they've turned James into Jimmy, strong and silent and (roll over, Britannia) downright American",[53] resulting in a Bond film that is "essentially Bond-less".[53] Summing up, Groen thought "Actually, that dialogue ... ain't bad. The silence looks good on Timothy Dalton".[53]
Gary Arnold of The Washington Times wrote that a number of factors "fail to prevent the finished product from jamming and misfiring with disillusioning frequency".[54] Arnold opined that "demanding that he [Dalton] play Bond's wrathfulness in a transparently seething and hotheaded manner"[54] means that Dalton "seems to waste away on this second outing as Bond."[54] Overall Arnold sees that there is a "failure to recognize that Bond productions are simply too extravagant to permit an uncompromised return to first principles."[54] The critic for The New York Times, Caryn James, thought Dalton was "the first James Bond with angst, a moody spy for the fin de siecle",[55] and that Licence to Kill "retains its familiar, effective mix of despicably powerful villains, suspiciously tantalizing women and ever-wilder special effects",[55] but was impressed that "Dalton's glowering presence adds a darker tone".[55] James concluded that "for all its clever updatings, stylish action and witty escapism, Licence to Kill ... is still a little too much by the book."[55]
Roger Ebert for the Chicago Sun-Times gave the film 3½ stars out of 4, saying "the stunts all look convincing, and the effect of the closing sequence is exhilarating ... Licence to Kill is one of the best of the recent Bonds."[56] Jack Kroll, writing in Newsweek described Licence to Kill as "a pure, rousingly entertaining action movie".[57] Kroll was mixed in his appraisal of Dalton, calling him "a fine actor who hasn't yet stamped Bond with his own personality",[57] observing "Director John Glen is the Busby Berkeley of action flicks, and his chorus line is the legendary team of Bond stunt-persons who are at their death-defying best here".[57] For Time magazine, Richard Corliss bemoaned that although the truck stunts were good, it was "a pity nobody – not writers Michael G. Wilson, and Richard Maibaum nor director John Glen – thought to give the humans anything very clever to do."[58] Corliss found Dalton "misused" in the film, adding that "for every plausible reason, he looks as bored in his second Bond film as Sean Connery did in his sixth."[58]
Reflective reviews[edit]
Opinion on Licence to Kill has not changed with the passing of time and the reviews are still mixed, though film review aggregator Rotten Tomatoes lists the film with a positive 77% "fresh" rating from 52 reviews.[59] Tom Hibbert of Empire gives the film only two of a possible five stars, observing that "Dalton ... is really quite hopeless".[60] Hibbert concluded that "he may look the part, but Timothy Dalton fails the boots, the scuba gear, or the automobiles left him by Moore and Connery."[60] In 2006, IGN ranked Licence to Kill fifteenth out of the then 21 Bond films, claiming it is "too grim and had strayed too far from the Bond formula."[61] That same year, Benjamin Svetkey and Joshua Rich of Entertainment Weekly ranked the film as second worst in the series, questioning Wayne Newton's cameo, and considering that "not even Benicio Del Toro in an early role as a henchman is enough to pep up the action."[62] The magazine also listed Pam Bouvier seventh on their list of worst Bond girls, saying Carey Lowell "fumbled this attempt at giving 007 a modern, independent counterpart by turning her into a nagging pest."[63]
Norman Wilner of MSN considered Licence to Kill the second worst Bond film, above only A View to a Kill, but defended Dalton, saying he "got a raw deal. The actor who could have been the definitive 007 ... had the bad luck to inherit the role just as the series was at its weakest, struggling to cope with its general creative decline and the end of the Cold War".[64] In October 2008 Time Out re-issued a review of Licence to Kill and also thought that Dalton was unfortunate, saying "one has to feel for Dalton, who was never given a fair shake by either of the films in which he appeared".[65] On a more positive note, Chuck O'Leary of Fantastica Daily remarked that it was a rare entry in the Bond series where the danger seems real.[66]
Some critics, such as James Berardinelli, saw a fundamental weakness in the film: the "overemphasis on story may be a mistake, because there are times when Licence to Kill's narrative bogs down."[67] Berardinelli gave the film three out of a possible four stars, adding "Licence to Kill may be taut and gripping, but it's not traditional Bond, and that, as much as any other reason, may explain the public's rejection of this reasonably well-constructed picture."[67] Raymond Benson, the author of nine Bond novels, said of the film: "It boggles my mind that Licence to Kill is so controversial. There's really more of a true Ian Fleming story in that script than in most of the post-60s Bond movies."[68] John Glen has said Licence to Kill "is among my best Bond films, if not the best".[4]
Appearances in other media[edit]
1989 British Coronet Books paperback edition.
The Licence to Kill screenplay was novelised by the then-novelist of the Bond series John Gardner. It was the first Bond novelisation since Moonraker in 1979.[69]
Licence to Kill was also adapted as a forty-four page, colour graphic novel, by writer and artist Mike Grell (also author of original-story Bond comic books), published by Eclipse Comics and ACME Press in hardcover and trade editions in 1989.[70] The adaptation closely follows the film story, although the ending is briefer, and James Bond is not drawn to resemble Timothy Dalton after Dalton refused to allow his likeness to be licensed.[71] Domark also published a video game adaptation, 007: Licence to Kill, to various personal computers.[72]
The 2012 video game 007 Legends features a level based on Licence to Kill with Carey Lowell reprising her role by providing the voice for the character.
Awards and nominations[edit]
1990 Edgar Allan Poe Award - Best Motion Picture - nomination for Michael G. Wilson and Richard Maibaum [73]
1989 MPSE Golden Reel - Outstanding Sound Mixing - nomination for Graham Hartstone[74]
See also[edit]
James Bond portal
Film portal
1980s portal
List of drug films
Outline of James Bond
References[edit]
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Jump up ^ Chapman 2007, p. 206.
Jump up ^ "Licence To Kill film locations". Worldwide Guide to Movie Locations. 2014. Retrieved 26 July 2015.
^ Jump up to: a b c d e f g h i j k l m n o p q r s Cork, John (1999). Inside Licence to Kill (DVD). Licence to Kill: Ultimate Edition: MGM.
^ Jump up to: a b c d e f Barnes & Hearn 2001, p. 176.
^ Jump up to: a b c d e Cork & Stutz 2007, p. 300.
^ Jump up to: a b Smith 2002, p. 239.
^ Jump up to: a b c d e Robert Davi (1999). Audio commentary (DVD). Licence to Kill: Ultimate Edition: MGM.
Jump up ^ Smith 2002, p. 234.
^ Jump up to: a b c John Cork (1999). Audio commentary (DVD). Licence to Kill: Ultimate Edition: MGM.
^ Jump up to: a b c Smith 2002, p. 235.
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Jump up ^ Harmetz, Aljean (9 July 1989). "Creating a Thriller, Their Words Are Their Bond". The New York Times.
Jump up ^ Johnston, Sheila (16 June 1989). "A cleaner, harder 007". The Independent.
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^ Jump up to: a b "David Hedison Interview". Mi6-HQ.com. 24 June 2005. Retrieved 28 August 2011.
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Jump up ^ Cork, John (1999). Inside From Russia with Love (DVD). From Russia with Love: Ultimate Edition: MGM.
^ Jump up to: a b Cork, John (1999). Exotic Locations (DVD). Licence to Kill: Ultimate Edition: MGM.
^ Jump up to: a b Barnes & Hearn 2001, p. 185.
Jump up ^ John Richardson (1999). Audio commentary (DVD). Licence to Kill: Ultimate Edition: MGM.
Jump up ^ Cork, John (2006). Kenworth Stunt Trucks (DVD). Licence to Kill: Ultimate Edition: MGM.
Jump up ^ Cork, John (2006). On Set with John Glen (DVD). Licence to Kill: Ultimate Edition: MGM.
^ Jump up to: a b Rogers, Jude (31 October 2008). "Film & Music: Music: For your ears only". The Guardian.
Jump up ^ Walden, Narada Michael (2006). James Bond's Greatest Hits (Television). UK: North One Television.
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Jump up ^ Dingwall, John (12 July 2002). "DVD Reviews". Daily Record.
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Jump up ^ "Licence To Kill Uncut". Mi6-HQ.com. 16 May 2006. Retrieved 28 August 2011.
^ Jump up to: a b Leask, Annie (14 June 1989). "Bond's night on the town". Daily Express.
^ Jump up to: a b UK Retail Price Index inflation figures are based on data from Clark, Gregory (2017). "The Annual RPI and Average Earnings for Britain, 1209 to Present (New Series)". MeasuringWorth. Retrieved November 6, 2017.
Jump up ^ Wickham & Mettler 2005, p. 25.
Jump up ^ "1989 Rank". British Film Institute. the25thframe. Retrieved 29 August 2011.
Jump up ^ Smith 2002, p. 238.
^ Jump up to: a b "License to Kill". The Numbers. Nash Information Services, LLC. Retrieved 24 August 2011.
Jump up ^ "1989 Yearly Box office result". Box Office Mojo. Retrieved 29 August 2011.
Jump up ^ "Franchises: James Bond". Box Office Mojo. IMDb.com, Inc. Retrieved 4 April 2012.
Jump up ^ Pfeiffer & Worrall 1998, p. 167.
Jump up ^ "Selling Bond". Cinefantastique. 19 (5): 126. July 1989. Archived from the original on 10 April 2005.
Jump up ^ Don Smolen (1999). Audio commentary (DVD). Licence to Kill: Ultimate Edition: MGM.
^ Jump up to: a b Malcolm, Derek (15 June 1989). "James the Sixteenth: Bond is back". The Guardian.
^ Jump up to: a b French, Philip (18 June 1989). "Bond number comes up: CINEMA". The Observer.
^ Jump up to: a b Christie, Ian (14 June 1989). "Grim Tim is just no joke as James". Daily Express.
Jump up ^ Mantel, Hilary (1989). The Spectator. Missing or empty |title= (help) As quoted in McKay, Sinclair. The Man With the Golden Touch: How The Bond Films Conquered the World (2010). London: Penguin. p.285. ISBN 9781468303087.
^ Jump up to: a b c d Robinson, David (15 June 1989). "Business as usual; Cinema". The Times.
^ Jump up to: a b Johnstone, Iain (18 June 1989). "Bond flies in like a bat out of hell; Arts". The Sunday Times.
^ Jump up to: a b Mars-Jones, Adam (15 June 1989). "Low-tar espionage: Licence to Kill". The Independent.
^ Jump up to: a b c Groen, Rick (14 July 1989). "Licence to Kill". The Globe and Mail.
^ Jump up to: a b c d Arnold, Gary (14 July 1989). "Let Dalton play Bond as debonair but dangerous!". The Washington Times.
^ Jump up to: a b c d James, Caryn (14 July 1989). "Dalton as a Brooding Bond In 'License to Kill'". The New York Times. Retrieved 26 September 2011.
Jump up ^ Ebert, Roger (14 July 1989). "Licence To Kill". Chicago Sun-Times. Retrieved 24 August 2011.
^ Jump up to: a b c Kroll, Jack (17 July 1989). "Ka-boom, Ka-bam, Ka-Bond". Newsweek.
^ Jump up to: a b Corliss, Richard (24 July 1989). "Cinema: We Don't Need Another Heroid". Time. Retrieved 23 August 2011.
Jump up ^ "Licence to Kill". Rotten Tomatoes. Retrieved 30 October 2012.
^ Jump up to: a b Hibbert, Tom. "Licence to Kill". Empire. Retrieved 23 August 2011.
Jump up ^ "James Bond's Top 20". IGN. 17 November 2006. Archived from the original on 5 March 2009. Retrieved 23 August 2011.
Jump up ^ Benjamin Svetkey, Joshua Rich (16 November 2006). "Countdown: Ranking the Bond Films". Entertainment Weekly. Retrieved 5 February 2008.
Jump up ^ Rich, Joshua (13 November 2006). "The 10 Worst Bond Girls". Entertainment Weekly. Retrieved 23 August 2011.
Jump up ^ Norman Wilner. "Rating the Spy Game". MSN. Archived from the original on 19 January 2008. Retrieved 23 August 2011.
Jump up ^ Lee Davies, Adam. "Licence to Kill revisited". Time Out. Retrieved 23 August 2011.
Jump up ^ "Licence To Kill (1989)". Rotten Tomatoes. Flixster. Retrieved 30 January 2014.
^ Jump up to: a b Berardinelli, James (1996). "Licence to Kill". ReelViews. Retrieved 23 August 2011.
Jump up ^ Cox, John. "The Raymond Benson CBn Interview (Part I)". The Raymond Benson CBn Interview. CommanderBond.net. Retrieved 23 August 2011.
Jump up ^ Pukas, Anna (6 July 2002). "Writer who took on the Bond mission". Daily Express.
Jump up ^ Conroy 2004, p. 293.
Jump up ^ "Bond Violence Gets Artistic 'Licence'". The Palm Beach Post. 28 July 1989.
Jump up ^ Lindner 2009, p. 317.
Jump up ^ Cozy-Mystery.Com. "Edgar Award: Best Motion Picture". Cozy-Mystery.Com. Retrieved 19 October 2013.
Jump up ^ "Directory: Graham V. Hartstone". The Association of Motion Picture Sound. Archived from the original on 15 August 2014. Retrieved 19 October 2013.
Sources[edit]
Barnes, Alan; Hearn, Marcus (2001). Kiss Kiss Bang! Bang!: the Unofficial James Bond Film Companion. Batsford Books. ISBN 978-0-7134-8182-2.
Black, Jeremy (2005). The Politics of James Bond: from Fleming's Novel to the Big Screen. University of Nebraska Press. ISBN 978-0-8032-6240-9.
Chapman, James (2007). Licence To Thrill: A Cultural History of the James Bond Films. London/New York City: I.B. Tauris. ISBN 978-1-84511-515-9.
Conroy, Mike (2004). 500 Great Comicbook Action Heroes. London: Chrysalis Books Group. ISBN 978-1-84411-004-9.
Cork, John; Stutz, Collin (2007). James Bond Encyclopedia. London: Dorling Kindersley. ISBN 978-1-4053-3427-3.
Lindner, Christoph (2009). The James Bond Phenomenon: a Critical Reader (2 ed.). Manchester University Press. ISBN 978-0-7190-8095-1.
Paul, Louis (2007). Tales from the cult film trenches: interviews with 36 actors from horror, science fiction and exploitation cinema. Jefferson, North Carolina: McFarland & Company. ISBN 978-0-7864-2994-3.
Pfeiffer, Lee; Worrall, Dave (1998). The Essential Bond. London: Boxtree Ltd. ISBN 978-0-7522-2477-0.
Smith, Jim (2002). Bond Films. London: Virgin Books. ISBN 978-0-7535-0709-4.
Wickham, Phil; Mettler, Erinna (2005). Back to the Future: the fall and rise of the British Film Industry in the 1980s (PDF). London: BFI Information Services. ISBN 1-84457-108-4.
External links[edit]
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text:
Jimmie Nicol
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other people with the same name, see James Nicol (disambiguation).
Jimmie Nicol
Jimmie Nicol at a 1964 Beatles press conference in the Netherlands
Background information
Birth name
James George Nicol
Born
(1939-08-03) 3 August 1939 (age 78)
London, England, UK
Genres
Rock
pop
Occupation(s)
Drummer, business entrepreneur
Instruments
Drums
percussion
Years active
1950s-1960s
Associated acts
The Beatles, Georgie Fame and the Blue Flames, Colin Hicks & The Cabin Boys, Vince Eager, Oscar Rabin, Cyril Stapleton, The Spotnicks, Charlie Katz, Ray McVay, The Shubdubs
James George Nicol (born 3 August 1939), known professionally as Jimmie Nicol or Jimmy Nicol, is a British drummer and business entrepreneur. He is best known for temporarily replacing Ringo Starr in The Beatles for a series of concerts during the height of Beatlemania in 1964, elevating him from relative obscurity to worldwide fame and then back again in the space of a fortnight.[1] Nicol had hoped that his association with The Beatles would greatly boost his career, but instead found that the spotlight moved away from him once Starr returned to the group. His subsequent lack of commercial success led him into bankruptcy in 1965. After then working with a number of different bands, including a successful stint with The Spotnicks, he left the music business in 1967 to pursue a variety of entrepreneurial ventures. Over the decades, Nicol has increasingly shied away from media attention, preferring not to discuss his connection to The Beatles nor seek financial gain from it. He has a son, Howard, who is a BAFTA award-winning sound engineer.
Contents
[hide]
1 Early career
2 With The Beatles
3 Later career and life
4 Legacy
5 Discography and performance history
6 See also
7 Notes
8 Further reading
9 External links
Early career[edit]
Jimmie Nicol's first professional career break came when he was talent spotted by Larry Parnes whilst drumming with various bands in London's The 2i's Coffee Bar in 1957, a time that saw Britain's skiffle-dominated music scene giving way to rock and roll which was being popularised by its Teddy Boy youth. Parnes then invited Nicol to join Colin Hicks & The Cabin Boys whom Parnes co-managed with John Kennedy (Colin Hicks is the younger brother of English entertainer Tommy Steele, whom Parnes also managed). After taking a temporary break playing as part of the original pit band in the Lionel Bart musical Fings Ain't Wot They Used T'Be at the Theatre Royal Stratford East Nicol rejoined Hicks's band for their appearance in the 1958 Italian film documentary Europa Di Notte, breaking them in Italy and subsequently allowing them to tour there extensively.[2] During the early sixties, Nicol went on to play for a number of artists, including Vince Eager, Oscar Rabin, and Cyril Stapleton. He was kept in regular work through Charlie Katz, a well-known session fixer during that period. Nicol has cited drummer Phil Seamen and saxophonist Julian "Cannonball" Adderley as being his main influences.[3]
In 1964 Nicol helped to form The Shubdubs with former Merseybeats bassist Bob Garner, a jazz line-up similar in musical style to Georgie Fame and the Blue Flames, a group with whom Nicol had sat-in when they were the resident house band at London's now defunct Flamingo Jazz Club. Other members of The Shubdubs were Tony Allen (vocals), Johnny Harris (trumpet), Quincy Davis (tenor saxophone), and Roger Coulam (organ – went on to form Blue Mink). It was at this point that he received a telephone call from The Beatles' producer, George Martin. Nicol recalled: "I was having a bit of a lie down after lunch when the phone rang."[4]
With The Beatles[edit]
When Ringo Starr collapsed with tonsillitis and was hospitalised on 3 June 1964, the eve of The Beatles' 1964 Australasian tour, the band's manager Brian Epstein and their producer George Martin urgently discussed the feasibility of using a stand-in drummer rather than cancelling part of the tour. Martin suggested Jimmie Nicol as he had recently used him on a recording session with Tommy Quickly.[4] Nicol had also drummed on a 'Top Six' budget label album as part of an uncredited session band, as well as an extended play single (with three tracks on each side) of Beatles cover versions (marketed as 'Teenagers Choice' and entitled Beatlemania) which meant that he already knew the songs and their arrangements. Producer Bill Wellings and Shubdubs trumpeter Johnny Harris (freelancing as an arranger and composer) were responsible for putting together alternative budget cover versions of songs taken from the British Hit Parade aimed at cash-strapped teenagers. Harris said: "The idea was for me to try and guess which six songs would be topping the charts about a month ahead. I would do the arrangements and then go into the studio and record "sound a-likes"; the first EP (extended play) released got to number 30 in the charts. Jimmie was on drums and, as you can imagine, we covered a lot of the Beatles' songs."[5] Although John Lennon and Paul McCartney quickly accepted the idea of using an understudy, George Harrison threatened to pull out of the tour telling Epstein and Martin: "If Ringo's not going, then neither am I. You can find two replacements."[6] Martin recalled: "They nearly didn't do the Australia tour. George is a very loyal person. It took all of Brian's and my persuasion to tell George that if he didn't do it he was letting everybody down."[7] Tony Barrow, who was The Beatles' press officer at the time, later commented: "Brian saw it as the lesser of two evils; cancel the tour and upset thousands of fans or continue and upset the Beatles."[8] Ringo stated that "it was very strange, them going off without me. They'd taken Jimmie Nicol and I thought they didn't love me any more – all that stuff went through my head."[7] The arrangements were made very quickly, from a telephone call to Nicol at his home in West London inviting him to attend an audition/rehearsal at Abbey Road Studios,[9] to packing his bags, all in the same day.[10] At a press conference a reporter mischievously asked John Lennon why Pete Best, who had been The Beatles' previous drummer for two years but dismissed by the group on the eve of stardom, was not being given the opportunity of replacing Ringo, to which Lennon replied: "He's got his own group [Pete Best & the All Stars], and it might have looked as if we were taking him back, which is not good for him."[11] Later, on the subject of remuneration, Nicol recalled: "When Brian [Epstein] talked of money in front of them [Lennon, McCartney and Harrison] I got very, very nervous. They paid me £2,500 per gig and a £2,500 signing bonus. Now, that floored me. When John spoke up in a protest by saying "Good God, Brian, you'll make the chap crazy!", I thought it was over. But no sooner had he said that when he said, "Give him ten thousand!" Everyone laughed and I felt a hell of a lot better. That night I couldn't sleep a wink. I was a fucking Beatle!" These sums of money, which were vast in 1964, are unverified.
McCartney, Harrison, Lennon, and Nicol in the Netherlands on 5 June 1964
Nicol's first concert with The Beatles took place just 27 hours later on 4 June at the KB Hallen in Copenhagen, Denmark. He was given the distinctive Beatle moptop hairstyle, put on Ringo's suit and went on stage to an audience of 4,500 Beatles fans. McCartney recalled: "He was sitting up on this rostrum just eyeing up all the women. We'd start "She Loves You": [counting in] "one, two", nothing, "one, two", and still nothing!" Their set was reduced from eleven songs to ten, dropping Ringo's vocal spot of "I Wanna Be Your Man".[8] McCartney teasingly sent Starr a telegram saying: "Hurry up and get well Ringo, Jimmy is wearing out all your suits."[4] Commenting later on the fickle nature of his brief celebrity, Nicol reflected: "The day before I was a Beatle, girls weren't interested in me at all. The day after, with the suit and the Beatle cut, riding in the back of the limo with John and Paul, they were dying to get a touch of me. It was very strange and quite scary." He was also able to shed some light on how they passed the time between shows: "I thought I could drink and lay women with the best of them until I caught up with these guys."[12]
In the Netherlands, Nicol and Lennon allegedly spent a whole night at a brothel.[8] Lennon said: "It was some kind of scene on the road. Satyricon! There's photographs of me grovelling about, crawling about Amsterdam on my knees, coming out of whorehouses, and people saying "Good morning John". The police escorted me to these places because they never wanted a big scandal. When we hit town, we hit it – we were not pissing about. We had [the women]. They were great. We didn't call them groupies, then; I've forgotten what we called them, something like "slags"."[12][7] By then, The Beatles were becoming more restricted by their increasing fame, spending most of their free time inside hotel suites. But Nicol discovered that, beyond acting as a Beatle, he could behave much as any tourist could: "I often went out alone. Hardly anybody recognised me and I was able to wander around. In Hong Kong, I went to see the thousands of people who live on little boats in the harbour. I saw the refugees in Kowloon, and I visited a nightclub. I like to see life. A Beatle could never really do that."[13]
Nicol played a total of eight shows until Starr rejoined the group in Melbourne, Australia, on 14 June. He was unable to say goodbye to the Beatles as they were still asleep when he left, and he did not want to disturb them. At Melbourne Airport, Epstein presented him with a cheque for £500 and a gold Eterna-matic wrist watch inscribed: "From The Beatles and Brian Epstein to Jimmy – with appreciation and gratitude."[4] Martin later paid tribute to Nicol whilst acknowledging the problems he experienced in trying to readjust to a normal life again: "Jimmie Nicol was a very good drummer who came along and learnt Ringo's parts very well. He did the job excellently, and faded into obscurity immediately afterwards."[7] McCartney: "It wasn't an easy thing for Jimmy to stand in for Ringo, and have all that fame thrust upon him. And the minute his tenure was over, he wasn't famous any more." Nicol himself expressed his disillusionment several years later: "Standing in for Ringo was the worst thing that ever happened to me. Until then I was quite happy earning £30 or £40 a week. After the headlines died, I began dying too."[8] He resisted the temptation to sell his story, stating in a rare 1987 interview: "After the money ran low, I thought of cashing-in in some way or other. But the timing wasn't right. And I didn't want to step on The Beatles' toes. They had been damn good for me and to me."
Later career and life[edit]
Nicol reformed the Shubdubs, renaming themselves Jimmy Nicol and the Shubdubs. They released two singles "Husky"/"Don't Come Back", followed by "Humpty Dumpty"/"Night Train"; neither of which was a commercial success. He was later called upon again to stand in for an ailing drummer when Dave Clark of The Dave Clark Five fell ill, replacing him in the band for a season in Blackpool, Lancashire.[4] Whilst there Nicol was reminded of just how popular, albeit briefly, he had been as a stand-in Beatle; receiving a bundle of 5,000 fan letters passed on to him from an Australian radio disc jockey. Nicol sent a message back thanking the fans, promising that he would one day return to Australia permanently.[4] He was later reunited with The Beatles when his band was set down on the same bill as them and The Fourmost on 12 July 1964 at the Hippodrome in Brighton. In 1965 Nicol declared bankruptcy with debts of £4,066, nine months after being a temporary Beatle.[8] Later that year he joined the successful Swedish group The Spotnicks, recording with them and twice touring the world. He left them in 1967, spending time in Mexico studying samba and bossa nova rhythms, whilst also diversifying into business. In 1975 he returned to England and became involved with housing renovations. In 1988 it was rumoured that Nicol had died,[3] but an article in 2005 by the Daily Mail confirmed that he was still alive and living in London.[citation needed]
Legacy[edit]
During Nicol's brief time with the Beatles both Lennon and McCartney would often ask him how he felt he was coping, to which his reply would usually be "It's getting better". Three years later McCartney was walking his dog, Martha, with Hunter Davies, the Beatles official biographer, when the sun came out. McCartney remarked that the weather was "getting better" and began to laugh, remembering Nicol. This event inspired the song "Getting Better" on 1967's Sgt. Pepper's Lonely Hearts Club Band.[14] McCartney again makes reference to Nicol on the Let It Be tapes from 1969, saying: "I think you'll find we're not going abroad 'cause Ringo just said he doesn't want to go abroad. You know, he put his foot down. Although Jimmie Nicol might go abroad."
While appearing on the radio show "Fresh Air" hosted by Terry Gross in April 2016, Tom Hanks noted that he was at least partly influenced by Jimmie Nicol's experience with the Beatles when he wrote the script for his 1996 feature film That Thing You Do![15]
Discography and performance history[edit]
1950s
Choir boy at Honeywell Road School, Wandsworth, in London.
The Boys Brigade (percussion).
Army Cadet Military Band (percussion and xylophone).
For a short time, Nicol also worked as a drum repairer for (UK) musical instrument distributor Boosey & Hawkes.
1957/1958
Colin Hicks & The Cabin Boys. (Colin Hicks is the younger brother of British rock 'n' roll star Tommy Steele).
Singles released:
Pye 7N15114 Wild Eyes And Tender Lips / Empty Arms Blues
Pye 7N15125 La Dee Dah / Wasteland
Pye 7N15163 Little Boy Blue / Jamabalaya
1959/1960
Vince Eager and the Quiet Three.
1960
Oscar Rabin Band.
1961
Cyril Stapleton Big Band.
1961–1963
Session work (including jobs with musicians from the orchestras of Ted Heath and Johnny Dankworth).
1964
The Shubdubs.
Singles released:
Humpty Dumpty / Night Train – Pye 7N15623 2/1964 / US: Mar–Mar Records 313 1964
Husky / Please Come Back – Pye 7N15666 6/1964 (credited to 'Jimmy Nicol')
Baby Please Don't Go / Shubdubery – Pye 7N15699 10/1964
1964
April / May
Touring with Georgie Fame and The Blue Flames.
1964
June
The Beatles (as temporary stand in for Ringo Starr).
4 June 1964: KB Hallen, Copenhagen, Denmark.
5 June 1964: Treslong, Hillegom, the Netherlands, (recording TV show, VARA).
6 June 1964: Auction Hall (Veilinghal), Blokker, the Netherlands.
9 June 1964: Princess Theatre, Kowloon, Hong Kong.
12 June 1964: Centennial Hall, Adelaide, Australia.
13 June 1964: Centennial Hall, Adelaide, Australia.
1964/1965
Touring as: Jimmy Nicol & The Shubdubs
Solo single release as: The Sound of Jimmy Nicol
Sweet Clementine / Roaring Blue – Decca F12017
1965–1967
The Spotnicks.
Single release by: The Spotnicks Introducing Jimmie Nicol
Husky / Drum Diddley – SweDisc SWES 1111
1967
Nicol lived in Mexico working with samba & bossa nova groups. He married and had a son, Howard, who in the 1990s won an award for his work as sound engineer on a BBC collection of Beatles recordings.
1969
Jimmie Nicol Show:
Jumpin' Jack Flash / Era Psicodelica Del A Go Go – Discos Orfeon LP-E-12-623 (Mexico)(LP) (Sung in Spanish).
1971
Blue Rain (Mexican rock group recording in Nicol's house).
Information compiled from Archived 11 January 2012 at the Wayback Machine.
See also[edit]
Scot Halpin
Notes[edit]
Jump up ^ He used the spelling "Jimmie Nicol" on his own bass drum. See the "Jimmie Nicol page from pmouse.nl". Archived from the original on 11 January 2012. Retrieved 2006-12-30.
Jump up ^ Norman 2009, pp. 180.
^ Jump up to: a b pmouse.nl 2010.
^ Jump up to: a b c d e f Harry 1992, pp. 484.
Jump up ^ Darren Stuart 2012.
Jump up ^ Badman 2000, pp. 101.
^ Jump up to: a b c d The Beatles 2000, pp. 139.
^ Jump up to: a b c d e Mojo 2002, pp. 108.
Jump up ^ Harry 1992, pp. 45.
Jump up ^ Norman 1993, pp. 231.
Jump up ^ Badman 2000, pp. 103.
^ Jump up to: a b Q 2010, pp. 56.
Jump up ^ Badman 2000, pp. 110.
Jump up ^ Miles 1998, pp. 313.
Jump up ^ Tom Hanks Says Self-Doubt Is 'A High-Wire Act That We All Walk'. Fresh Air. NPR. April 26, 2016. Event occurs at 12:46.
Further reading[edit]
Norman, Philip (2009). John Lennon. London: Harper. ISBN 978-0-00-719742-2.
Badman, Keith (2000). The Beatles Off The Record.
The Beatles (2000). The Beatles Anthology. London: Cassell & Co. ISBN 0-304-35605-0.
Harry, Bill (1992). The Ultimate Beatles Encyclopedia. London: Virgin Books. ISBN 0-86369-681-3.
Stuart, Darren (2002). Johnny Harris – Movements CD & 2LP. London: Warner Bros.
Miles, Barry (1998). Paul McCartney: Many Years From Now. London: Vintage. ISBN 0-7493-8658-4.
"Special Limited Edition # M-04951". Mojo. 2002.
Norman, Philip (1993). Shout!. London: Penguin Books. ISBN 0-14-017410-9.
"Collectors Limited Edition". Q. 2010.
Baker, Glenn A. (1983). The Beatles down under : the 1964 Australia & New Zealand tour. Sydney: Wild & Woolley.
The Beatle Who Vanished by Jim Berkenstadt; Publisher: Rock and Roll Detective LLC (2013); ISBN 0985667702
External links[edit]
"Jimmie Nicol". pmouse.nl. 2010. Archived from the original on 11 January 2012.
Jimmie Nicol discography at Discogs
Biography at feenotes.com
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