klosjune22012 3977KB Jun 03 2013 05:50:26 PM

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PLAYLIST JUNE, 2nd 2013
Special In studio guests Brian Ray & John Densmore
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9AM
A little journey how the Beatles got to the Sgt. Pepper LP
The Beatles - Love Me Do – Please Please Me
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(McCartney-Lennon)
Lead vocal: John and Paul
The Beatles’ first single release for EMI’s Parlophone label.
Released October 5, 1962, it reached #17 on the British charts. Principally written by
Paul McCartney in 1958 and 1959. Recorded with three different drummers: Pete Best
(June 6, 1962, EMI), Ringo Starr (September 4, 1962), and Andy White (September 11,
1962 with Ringo playing tambourine). The 45 rpm single lists the songwriters as
Lennon-McCartney. One of several Beatles songs Paul McCartney owns with Yoko Ono.
Starting with the songs recorded for their debut album on February 11, 1963, Lennon
and McCartney’s output was attached to their Northern Songs publishing company.
Because their first single was released before John and Paul had contracted with a music
publisher, EMI assigned it to their own, a company called Ardmore and Beechwood,
which took the two songs “Love Me Do” and “P.S. I Love You.” Decades later McCartney
and Ono were able to purchase the songs for their respective companies, MPL
Communications and Lenono Music. Fun fact: John Lennon shoplifted the harmonica he
played on the song from a shop in Holland.
On U.S. albums:
Introducing… The Beatles (Version 1) - Vee-Jay LP
The Early Beatles - Capitol LP
The Beatles - Do You Want To Know A Secret – Please Please Me
(McCartney-Lennon)
Lead vocal: George
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Recorded February 11, 1963. Written primarily by John Lennon for George Harrison to
sing. The song was given to another Brian Epstein-managed act, Billy J. Kramer with the
Dakotas, to cover. Their version topped the British charts in late spring 1963. Inspired
by "I'm Wishing," a song from Walt Disney’s 1937 animated film “Snow White and the
Seven Dwarfs” that Lennon’s mother used to sing to him when he was a child.
On U.S. albums:
Introducing… The Beatles - Vee-Jay LP
The Early Beatles - Capitol LP
The Beatles - Tell Me Why - A Hard Day’s Night
(Lennon-McCartney)
Lead vocal: John
Completed in eight takes on February 27, 1964 in between “And I Love Her” and “If I
Fell.” “Tell Me Why” was written primarily by John and was his attempt to mimic the
New York girl group sound The Beatles were so fond of.
On U.S. album:
A Hard Day’s Night - United Artists LP
Something New - Capitol LP
Revolver - Capitol LP
The Beatles - Nowhere Man - Rubber Soul
(Lennon-McCartney)
Lead vocal: John
Under pressure to deliver new material while the “Rubber Soul” album was being
recorded, John Lennon spent five hours one morning at home trying to come up with a
new song. John: “I'd actually stopped trying to think of something. Nothing would come.
I was cheesed off and went for a lie down, having given up. Then I thought of myself as
Nowhere Man - sitting in his nowhere land.” Paul: “We were always forcing [the Abbey
Road staff] into things they didn't want to do. ‘Nowhere Man’ was one. I remember we
wanted very treble-y guitars, which they are, they're among the most treble-y guitars
I've ever heard on record.” “Nowhere Man” was performed throughout The Beatles’
1966 world tour. Issued as a single (b/w “What Goes On”) by Capitol Records in
America. Recorded on October 22,
1965.
On U.S. album:
Yesterday and Today - Capitol LP
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The Beatles - Eleanor Rigby - Revolver
(Lennon-McCartney)
Lead vocal: Paul
The Beatles’ thirteenth single release for EMI’s Parlophone label.
Essentially a Paul McCartney solo composition, he had some help with the song’s
storyline from John, George, Ringo and John’s childhood friend Pete Shotton at
Kenwood, John’s estate in Weybridge. This marks the first time a finished Beatles
recording had no Beatle playing an instrument. The backing track, a haunting George
Martin score, featured a double string quartet (four violins, two violas and two cellos)
and was finished in 14 takes on April 28, 1966 with John and Paul sitting in the
control room. The title character had initially been called Daisy Hawkins, but later
evolved into Eleanor Rigby. Paul says the name was based on “Help!” actress Eleanor
Bron and the name of a local business, Rigby & Evans Ltd., Wine & Spirit Shippers.
In a strange coincidently, a tombstone at St. Peter’s Parish in Woolton, Liverpool, (the
church where Lennon and McCartney met as teenagers) bears the name Eleanor Rigby.
That particular Eleanor Rigby died on Oct. 10, 1939, at age 44. “Father McKenzie” had
at one time been “Father McCartney,” but Paul changed it so people wouldn’t think the
song referred to his father. Paul returned to the song on June 6, 1966, to add a
counterpoint vocal at the end of the song. The song was issued as a double-A side
single, paired with “Yellow Submarine.”
On U.S. album:
Revolver - Capitol LP
The Beatles progression from 1962 to 1966 leading up to the recording of their
epic Sgt. Pepper’s LP out today in 1967 here in the USA and we will hear both
sides in MONO when we return
9.12 BREAK
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Sgt. Pepper’s Lonely Hearts Club Band turns 46
(TODAY IN THE USA!)
When the Beatles decided to take it to the next level, they were the most
popular live act of all time now they would become the greatest studio band
of all time.
Some of the bits including are taken from The Beatles on the Kenny Everett
radio Show promoting their new LP of 1967…
Eng. Mark please press the BBC button
Side 1:
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The Beatles - Sgt. Pepper’s Lonely Hearts Club Band - Sgt.
Pepper’s Lonely Hearts Club Band
(Lennon-McCartney)
Lead vocal: Paul
Recording began on February 1, 1967 for what would become the title track of the new
Beatles album. The song was written entirely by Paul McCartney. It was McCartney’s
idea to give the Beatles alter egos -- they would become Sgt. Pepper’s Lonely Hearts
Club Band -- for this album. Nine takes were attempted, two of which were complete
run-throughs. For the first time ever an instrument (Paul’s bass guitar) was directly
injected into the recording console instead of through an amplifier. Vocals were added
the following evening, and the track sat for a month while the band worked on other
material. The group returned to the title track on March 3 with the addition of four
French horns played by outside musicians. Paul also came up with the idea of simulating
a concert performance by the alter-ego band. The sound of the band warming up was
taken from the February 10 orchestra session for “A Day In The Life.” Other effects (the
crowd settling down, applause, and laughter) were taken from the vast Abbey Road
tape archives. The screaming at the end of the song was taken from the Capitolrecorded Beatles concert at the Hollywood Bowl. On the “Sgt. Pepper” album the end of
the title track segues into Ringo’s “With A Little help From My Friends.”
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The Beatles - With A Little Help From My Friends - Sgt. Pepper’s
Lonely Hearts Club Band
(Lennon-McCartney)
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Lead vocal: Ringo
The first instance on a Beatles album where one song segues into another without the
usual few seconds of silence between the tracks. This was to give the listener the feeling
of a continuous concert performance. Written on the afternoon of March 29, 1967 by
Paul with help from John at Paul’s house on Cavendish Avenue in St. John’s Wood
specifically as a song for Ringo Starr to sing on the new album. It was recorded that
evening. Although he liked the song, Ringo refused to sing the original lyrics to the
opening verse. Ringo: “The original first verse to that was ‘What would you do if I sang
out of tune? Would you throw a tomato at me?’ And I said, ‘I’m not singing that.’” John
and Paul quickly changed the line to “Would you stand up and walk out on me?” The
rhythm track was recorded in ten takes the same day Paul and John write the song, with
Paul on piano, George on Hammond organ, John on guitar and Ringo on drums. Vocals
were added as Take 11. Originally titled “Bad Finger Boogie.” The screaming at the
beginning of the song was taken from the Capitol-recorded Beatles concert at the
Hollywood Bowl. On the “Sgt. Pepper” album the end of the title track segues into “With
A Little help From My Friends.”
The Beatles - Lucy In The Sky With Diamonds - Sgt. Pepper’s
Lonely Hearts Club Band
(Lennon-McCartney)
Lead vocal: John
Recorded March 1, 1967. John Lennon’s classic song of psychedelic imagery was
inspired by a drawing brought home by son, Julian, who was four years old at the time.
In February 1967, Julian returned home from his nursery school with a painting
depicting one of his classmates, Lucy O’Donnell. Young Lucy was pictured with a
background of stars in the sky. When asked by his father about his painting, Julian said
it was “Lucy, in the sky, with diamonds.” John was so taken with the phrase he
combined it with passages similar to two books by Lewis Carroll that he’d loved as a
child, “Through The Looking Glass” and “Alice’s Adventures in Wonderland.” Paul added
the line about “newspaper taxis” and Lennon’s beloved “Goon Show” got a shout out.
Their famed “plasticine ties” merged with “Through the Looking Glass” to become
“plasticine porters with looking glass ties.” Work began on “Lucy In The Sky With
Diamonds” with an evening full of rehearsals. The rhythm track was recorded on March
1 with Paul playing the opening riff on a Lowery organ (with a bell stop), George on
acoustic guitar, Ringo on drums and John on maracas and offering a guide vocal. John’s
lead vocal and other instruments (George’s tamboura, Paul’s melodic bass) were added
the next evening.
The Beatles - Getting Better - Sgt. Pepper’s Lonely Hearts Club
Band
(Lennon-McCartney)
Lead vocal: Paul
The title “Getting Better” was inspired by a phrase often used by substitute Beatles
drummer Jimmy Nicol. Nicol stepped in for the ailing Ringo Starr during his bout with
tonsillitis in June 1964. On the eve of the band embarking on their first world tour Ringo
collapsed at a photo shoot and the final night of recording for the “A Hard Day’s Night”
LP were scrapped, leaving the final version with 13 songs instead of the expected 14.
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Nicol was called in on no notice to rehearse the concert set list. The next day he was
thrown into the crush of full scale Beatlemania as the Fab Four landed in the
Netherlands for the first of the sold out concerts. Once on the mend, Ringo caught up
with the tour in Australia. After each show, John and Paul would ask their new drummer
how he was doing. His standard reply was “It’s getting better.” McCartney was reminded
of this phrase while walking with Beatles biographer Hunter Davies during the making of
the “Sgt. Pepper” album, and he decided to build a song around it. Recording began on
the song on March 9, 1967 and the basic rhythm track was completed in seven takes.
Paul described the tune as “an optimistic song,” but noted John’s biting wit gave the
lyrics the perfect counterpoint. Paul: “I was sitting there doing ‘Getting better all the
time’ and John just said in his laconic way, ‘It couldn’t get no worse,’ and I thought, Oh,
brilliant! This is exactly why I love writing with John.”
The Beatles - Fixing A Hole - Sgt. Pepper’s Lonely Hearts Club Band
(Lennon-McCartney)
Lead vocal: Paul
On February 9, 1967, the Beatles recorded “Fixing A Hole” at Regent Sound Studio on
Tottenham Court Road in London. The session was booked at Regent by George Martin
because Abbey Road was unavailable. It marks the first time the Beatles recorded a
British EMI session at a studio other than Abbey Road. No longer on the EMI staff,
Martin was free to travel with the Beatles wherever they were recording. But engineer
Geoff Emerick and the usual crew of tape operators at Abbey Road were all EMI
employees so they couldn’t go along.
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The Beatles - She’s Leaving Home - Sgt. Pepper’s Lonely Hearts
Club Band
(Lennon-McCartney)
Lead vocals: Paul and John
Recorded March 17, 1967 in six takes. Written primarily by Paul with lyrical assistance
from John, the song is based on a story appearing in the February 27, 1967, edition of
the Daily Mail about seventeen-year-old runaway Melanie Coe. Paul begins the story
about the girl leaving a note for her parents before slipping out of the house, John
provides the parents’ anguished point of view. When Paul called George Martin to ask if
he’d create a string arrangement for the song he was told that Martin had already
committed to a Cilla Black session and Paul would have to wait. Paul then contacted
Mike Leander to score the song. Paul had met Leander at the October 11, 1965, Decca
Studios session for Marianne Faithfull’s cover of “Yesterday.” The score called for four
violins, two violas, two cellos, a double-bass and a harp. The harp is played by Sheila
Bromberg, who became the first woman to play on a Beatles recording. As was the case
with “Eleanor Rigby” eleven months earlier, no Beatles played an instrument on “She’s
Leaving Home.” Martin made only slight adjustments to Leander’s arrangement when it
was recorded on March 17. An interesting side note…Melanie was a dancer on the
Ready Steady Go! TV show and met the Fabs Oct. 1963 when she won a mime contest
and was awarded prizes by the Beatles!
The Beatles - Being For The Benefit Of Mr. Kite! - Sgt. Pepper’s
Lonely Hearts Club Band
(Lennon-McCartney)
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Lead vocal: John
Recorded February 17, 1967. The lyric of “Being For The Benefit Of Mr. Kite!” was
derived almost entirely from a vintage poster purchased by John Lennon at an antique
store in Sevenoaks, Kent, on January 31, 1967, while the Beatles were there filming the
promotional clip for “Strawberry Fields Forever.” The poster advertised the February 14,
1843 performance of Pablo Fanque’s Circus Royal at Town-Meadows, Rochdale,
Lancashire, and was hung proudly on the living room wall of Lennon’s Weybridge house.
Paul: “We pretty much took it down word for word and then just made up some little
bits and pieces to glue it together.” The backing track consisted of John on guide vocal,
Paul on bass, Ringo on drums, George Harrison on tambourine, and George Martin on
harmonium. Because the harmonium is powered by pumping feet, the producer was
exhausted after the rehearsals and seven takes. Features Paul on lead guitar.
9.43 BREAK
We’ll let George take it from here….(start)
Side 2:
The Beatles - Within You Without You - Sgt. Pepper’s Lonely
Hearts Club Band
(Harrison)
Lead vocal: George
George Harrison’s initial offering for the “Sgt. Pepper” LP was “Only A Northern Song,”
but George Martin decided the song was not good enough for inclusion on the new
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album. Instead, Martin earmarked Harrison’s song for the soundtrack of the upcoming
animated feature “Yellow Submarine,” for which the band was contractually obligated to
provide four new songs. Harrison went back to the drawing board and came up with
“Within You, Without You,” and the Indian-flavored song became the final song
recorded for the landmark “Sgt. Pepper” LP. Martin recalls Harrison auditioning his
newest song for him on acoustic guitar. “The tune struck me as being a bit of a dirge;
but I found what George wanted to do with the song fascinating.” The song was written
early in 1967 at the Hampstead, London home of Klaus Voormann, a longtime friend of
the Beatles. The song was recorded on March 15, 1967, with the finished basic rhythm
track running 6:25. Instrumentation included tabla, dilruba, and tamboura. Harrision is
the only Beatle to play an instrument on this track (he covers the tamboura part along
with Neil Aspinall). The outside musicians were from the Eastern Music Circle of
Finchley, North London. Stephen Stills dug the lyrics so much he had them carved on a
monument in his backyard. John Lennon described “Within You, Without You” as “one of
George’s best songs.”
The Beatles - When I’m Sixty-Four - Sgt. Pepper’s Lonely Hearts
Club Band
(Lennon-McCartney)
Lead vocal: Paul
One of the oldest songs in the Beatles catalog, it was written by Paul McCartney when
he was 15 or 16 and the Beatles had performed a variation of it in their pre-fame Cavern
Club days whenever the amplifiers broke down. It was the second song recorded for the
“Sgt. Pepper” LP (following “Strawberry Fields Forever”), but when “Strawberry Fields
Forever” was pulled for release as a single, Paul’s “When I’m Sixty-Four” became the
first song recorded for the album that ended up on the album. The initial rhythm track
was finished in two takes on December 6, 1966, and consisted of Paul on guide vocal,
bass and piano, John on guitar, and Ringo on drums with brushes. On December 8, Paul
recorded his lead vocal, on December 20, John, Paul and George recorded backing
vocals and Ringo played bells. Although John helped with a few lyrics for the official
recording of Paul’s childhood song, he was later quoted as saying, “I would never even
dream of writing a song like that.”
The Beatles - Lovely Rita - Sgt. Pepper’s Lonely Hearts Club Band
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(Lennon-McCartney)
Lead vocal: Paul
Paul heard that in America “traffic wardens” were called “meter maids,” which he
thought was humorous and decided to see what he could rhyme with it. Written entirely
by Paul McCartney and recorded on February 23, 1967. The basic rhythm track was
completed in eight takes. Take 8 was deemed the best and it was mixed down to a
single track and the Beatles added overdubs to create the finished recording.
Specifically, Paul’s bass on Feb. 23, Paul’s lead vocal on Feb. 24, John, Paul and
George’s backing vocals on March 7, and George Martin was elected to fill the song’s
middle eight with a piano solo, recorded on March 21.
The Beatles - Good Morning Good Morning - Sgt. Pepper’s Lonely
Hearts Club Band
(Lennon-McCartney)
Lead vocal: John
Based on a Kellogg’s Cornflakes television commercial John heard while sitting at the
piano and feeling a bit “stuck” trying to write something for “Sgt. Pepper.” Paul plays a
stinging guitar solo and flourishes with his right-handed Fender Esquire. The basic
rhythm track was recorded on February 8, 1967 in eight takes, four of them complete.
Overdubs followed with John’s lead vocal and Paul’s bass added on February 16. A horn
section consisting of members of the Brian Epstein-managed band Sounds Inc.
(previously Sounds Incorporated) was brought in on March 13. Sounds Incorporated had
been one of the opening acts on the Beatles’ 1964 and 1965 tours.
The Beatles - Sgt. Pepper’s Lonely Hearts Club Band (Reprise)
- Sgt. Pepper’s Lonely Hearts Club Band
(Lennon-McCartney)
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Lead vocals: John, Paul, George, Ringo
The Beatles had promised EMI that they have the master tape of the “Sgt. Pepper”
album delivered no later than April 12, 1967. Paul McCartney had made arrangements to
travel to America between April 3 and April 12, so this session on April 1 would be his
last chance to add vocals or instruments to the project. Only George Harrison’s
contribution to the album (“Within You, Without You”) remained to be recorded, and
that was being performed without John, Paul or Ringo. George Martin credits Neil
Aspinall with the idea of reprising the title track on the second side of the record. For
the reprise of the title song the Beatles convened in Abbey Road’s studio one, a
cavernous space usually reserved for orchestral recordings. George Martin felt this room
enhanced the live feeling of the song, giving it an “electrifying, football stadium
atmosphere.” According to author Mark Lewisohn, all four Beatles chanted out the quickpaced vocals. Mono mix includes the audience sounds beginning more sharply, the drum
intro is four beats longer, and there are some words spoken by John as well as some
audience laughter, all of which are missing from the stereo mix. Paul ad-libs some lyrics
at the end, but it can barely be heard on the stereo version.
The Beatles - A Day In The Life - Sgt. Pepper’s Lonely Hearts Club
Band
(Lennon-McCartney)
Lead vocals: John and Paul
Work began on January 19, 1967, for what is quite possibly the finest LennonMcCartney collaboration of their songwriting career. On this evening, following some
rehearsal, Lennon rolled tentatively through four takes, drawing a road map for the
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other Beatles and George Martin to follow. Lennon on vocals and Jumbo acoustic guitar,
McCartney on piano, Harrison on maracas and Starr on congas. Sections were
incomplete and to hold their space Mal Evans stood by a microphone and counted from
one to 24, marking the time. To cue the end of the middle eight overdub section an
alarm clock was sounded. There was no Paul McCartney vocal yet, merely instruments
at this point where his contribution would be placed. On January 20, Paul added his
section, which he would re-recorded on February 3. Lennon told Beatles biographer
Hunter Davies that the first verse was inspired by a story in the January 17, 1967,
edition of the Daily Mail about the car accident that killed Guinness heir Tara Browne.
John: “I didn’t copy the accident. Tara didn’t blow his mind out, but it was in my mind
when I was writing that verse.” The second verse was inspired by Lennon’s work on
Richard Lester’s film “How I Won The War.” According to Paul, the third verse came
from a Daily Mail article published on January 7, 1967, about 4,000 potholes in the
streets of Blackburn, Lancashire.
Paul’s tune (“Woke up, fell out of bed…”) was an entirely separate song fragment that
he and John wanted to link to John’s verses. Coincidently, Paul’s bit was dropped in
after the temporary alarm clock sound, so the alarm clock sound stayed in the final mix.
George Martin said it was Paul’s idea “to create a spiraling ascent of sound” for the two
24-bar segments that followed the lyric “I’d love to turn you on.”
The Beatles - The Run-Out Groove (aka The Inner Groove) - Sgt. Pepper’s Lonely Hearts
Club Band
(uncredited)
As the “Sgt. Pepper” album was in the final mixing stages, the Beatles decided to add a little uncredited surprise to
listeners: the endless nonsense in the run-out groove of the vinyl album. In addition, between the final fade of "A Day In
The Life" and the nonsense, a high-pitch whistle, audible only to dogs, was inserted. This was pitched at 15 kilocycles.
These additions were recorded April 21, 1967 and titled “Edit For LP End (take 1).” Turntables (record players) in 1967
would handle the run-out groove one of two ways. Automatic players would play a portion of the gibberish before the
pick-up arm was lifted from the record and returned to its base. Manual players would play the gibberish indefinitely until
the arm was lifted off. The run-out groove gibberish and high-pitched tone was not included on the albums issued in the
United States. Americans would have to import the UK pressing or wait until 1987 for the first compact disc release to
hear it for themselves. When played backwards the inner groove gibberish appears to be a “Paul is Dead” clue: “Will Paul
be back as Superman.”
NEWS w/ JACKIE
10.13 BREAK
NEW~! The Bayonets -­‐ Smartphone – New Single Brian Ray pick some songs: The Beatles - Another Girl - Help!
(Lennon-McCartney)
Lead vocal: Paul
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The basic track was completed in one take on February 15, 1965, the first day of
recording what would become the “Help!” album. Numerous edit pieces would be
recorded the next day, including Paul McCartney on lead guitar. Written entirely by Paul
in early February 1965 while on vacation in Tunisia.
On U.S. album:
Help! - Capitol LP
George – Wah Wah - ATMP
Welcome John Densmore of the Doors 10.43 BREAK
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John Densmore picks some songs:
The Beatles - Norwegian Wood (This Bird Has Flown) - Rubber
Soul
(Lennon-McCartney)
Lead vocal: John
Originally recorded on October 12, 1965, The Beatles decided to scrap this version and
re-record the song nine days later, on October 21. George Harrison provides the sitar,
the first appearance of the instrument on a Beatles recording, though the sitar can be
heard in the instrumental introduction on the American version of “Help!” Written mainly
by John with some lyrical assistance from Paul. John: “I was trying to write about an
affair without letting me wife know… so it was very gobbledegook. I was sort of writing
from my experiences, girls’ flats.” Paul has said that the ending lyrics, “so I lit a fire,”
refer to the house being burned down in an act of revenge by the spurned lover. Bob
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Dylan did a slight parody of the song on his 1966 album, Blonde on Blonde. Check out
the song “4th Time Around.”
On U.S. album:
Rubber Soul - Capitol LP
George…?
The Beatles - Taxman – Revolver (rare)
(Harrison)
Lead vocal: George
Completed in 11 takes on April 21, 1966. Written by George when he started realizing
the majority of his money was going to the British government in the form of taxes.
George went to John Lennon for some help with the lyrics, and Lennon was especially
pleased with his line “Now my advice for those who die: declare the pennies on your
eyes.” Featuring a nice lead guitar solo by Paul on his Epiphone Casino. The ‘pennies’
lyrical reference derives from Greek mythology – it is the payment to Charon (the
ferryman of the underworld) to ferry the deceased to their destination in the
underworld. To pay the ferryman, the deceased person's relatives place a coin on each
eye of the deceased. The Mr. Wilson and Mr. Heath mentioned in the song were real
people. Harold Wilson was the Prime Minister and Edward Heath was head of the
opposition party at the time the song was recorded. It is the first time a George Harrison
composition opens a British Beatles album.
On U.S. album:
Revolver - Capitol LP
The Beatles - In My Life - Rubber Soul
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(Lennon-McCartney)
Lead vocals: John with Paul
Recorded October 18, 1965 and written primarily by John, who called it his “first real
major piece of work.” Of all the Lennon-McCartney collaborations only two songs have
really been disputed by John and Paul themselves -- “Eleanor Rigby” and “In My Life.”
Both agree that the lyrics are 100% Lennon, but John says Paul helped on the musical
bridge, while Paul recalls writing the entire melody on John’s Mellotron. The gorgeous
piano solo is provided by George Martin. To give his solo a harpsichord sound the
producer played the piano at half speed and an octave lower so that when played at
regular speed it would be in the correct key for the song.
On U.S. album:
Rubber Soul - Capitol LP
QUIZ / 800-955-KLOS
Both the Beatles and the Doors recorded
originals songs with the same title…name
that song title?
800-955 KLOS
Get John’s book The DOORS UNHINGERD
WINGS OVER AMERICA
&
?
* and for the bonus prize …who did “The End” first? Take a call? When we return…John will pick a few more of his favorite Beatles tracks. 11.13 BREAK
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Doors spot #1/ The Doors – Hello I Love You – Waiting For The Sun `68 #1 US/ #15 UK…first big one for the Doors in the UK John…George was with you…(not really) More of John’s picks… The Beatles - Across The Universe - Let It Be
(Lennon-McCartney)
Lead vocal: John
Prior to leaving for an extended trip to India to study Transcendental Meditation in early
1968, the Beatles recorded several new songs to fill the sides of their upcoming single,
which would be released while they were away. John had originally wanted his new
composition, “Across The Universe,” for the A-side of the single but was still not happy
with the mix of the song. When the Beatles sat down to decide which two of their new
recordings should be used, John preferred “Across the Universe” remain on the shelf for
the time being, giving Paul’s more commercial “Lady Madonna” the A-side. “Across The
Universe” was written entirely by John and was recorded February 4, 1968, in eight
takes. Overdubs were recorded on February 8. Comedian and author Spike Milligan had
been at Abbey Road when the group was working on the song and some months later
inquired about it. He was surprised to learn that “Across the Universe” was sitting
unreleased in EMI’s vault, so Milligan asked Lennon to donate the song to a charity
album he was organizing for the World Wildlife Fund. Milligan was a British comedy
legend who, along with Peter Sellers, starred in “The Goon Show,” one of John’s all-time
favorite programs. Lennon not only gladly contributed the song to be used on the
charity album, but arranged to have the songwriting royalties from the recording given
to the World Wildlife Fund.
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The Beatles - The Fool On The Hill - Magical Mystery Tour (EP)
(Lennon-McCartney)
Lead vocal: Paul
Sitting alone at the piano, Paul McCartney recorded a mono two-track demo of “The
Fool On the Hill” on September 6, 1967. A more proper recording would take place
September 25. On the 25th three takes of the basic rhythm track were recorded,
including harmonicas played by John and George. Paul first brought the song to John’s
attention in mid-March while the two were working on the lyrics for “With A Little Help
From My Friends.” John said to write down the lyrics so he wouldn’t forget them. In the
“Magical Mystery Tour” film you can see Paul (by himself) standing atop a hill near Nice,
France, during sunrise. The scene also includes ad-libs of Paul spinning, running and
dancing, and close-ups of Paul’s moving eyes. It was an interesting trip for Paul as he
forgot his wallet, passport and his money! They also didn’t have the correct camera
lenses. It ended up costing over 4,000 pounds to film the scene. Paul’s September 6 live
piano/vocal solo demo can be found on the “Anthology 2” album.
On U.S. album:
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Magical Mystery Tour - Capitol LP
The Beatles - The Long And Winding Road - Let It Be
(Lennon-McCartney)
Lead vocal: Paul
Paul’s lush ballad is most famous for the Phil Spector augmentations thrust upon it.
McCartney was said to be angry about the heavy-handed inclusion of strings, brass and
a choir to his otherwise sparse arrangement. Spector, famous for his “wall of sound”
production style, added 18 violins, four violas, four cellos, a harp, three trumpets, three
trombones, two guitars, a choir of 14 female singers, and Ringo Starr re-recording a
drum part. Paul’s classic ballad was recorded on January 26, 1969 with Paul on piano
and lead vocal, John on bass, George on guitar and Ringo on drums.
11.43 BREAK
George -­‐ Living in The Material World -­‐ `73 10 questions…off the top of yer head …no thinking… 1. Most memorable year of yer life? 2. Beatles or Stones? 3. Drummer who most inspired you? 4. Best Doors album? 5. Favorite Doors album? 6. Hollywood Bowl or MSG? 7. Last book you read? 8. Sugar Frosted Flakes or Corn Flakes? 9. Musters or The Adams Family? 10.
Favorite poet living or dead? 23
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The Beatles - Across The Universe - Let It Be
(Lennon-McCartney)
Lead vocal: John
Prior to leaving for an extended trip to India to study Transcendental Meditation in early
1968, the Beatles recorded several new songs to fill the sides of their upcoming single,
which would be released while they were away. John had originally wanted his new
composition, “Across The Universe,” for the A-side of the single but was still not happy
with the mix of the song. When the Beatles sat down to decide which two of their new
recordings should be used, John preferred “Across the Universe” remain on the shelf for
the time being, giving Paul’s more commercial “Lady Madonna” the A-side. “Across The
Universe” was written entirely by John and was recorded February 4, 1968, in eight
takes. Overdubs were recorded on February 8. Comedian and author Spike Milligan had
been at Abbey Road when the group was working on the song and some months later
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inquired about it. He was surprised to learn that “Across the Universe” was sitting
unreleased in EMI’s vault, so Milligan asked Lennon to donate the song to a charity
album he was organizing for the World Wildlife Fund. Milligan was a British comedy
legend who, along with Peter Sellers, starred in “The Goon Show,” one of John’s all-time
favorite programs. Lennon not only gladly contributed the song to be used on the
charity album, but arranged to have the songwriting royalties from the recording given
to the World Wildlife Fund.
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