Podcasts about get back let it be

Januari 1969 was een pittige maand voor The Beatles, maar er zijn genoeg momenten geweest waarop het spelplezier er vanaf spatte. Zoals bij One After 909, een ‘oldie' die werd afgestoft tijdens de Get Back/Let It Be-sessies. Fab4Cast vertelt over de lange weg van onstaansgeschiedenis (1957) naar release (1970), and beyond! Wil je ons financieel ondersteunen? Word dan Vriend Van Fab4Cast en luister naar exclusieve afleveringen die je alleen als donateur kunt beluisteren! Kijk op petjeaf.com/fab4cast voor de mogelijkheden. We zouden je heel dankbaar zijn voor je steun.

Getting Ringo Starr don't come easy, but we did it! Ringo is here to chat about his new Crooked Boy EP (written and produced by Linda Perry), while also sharing some Beatles memories about the Get Back / Let It Be documentaries, his love of Country music and why he'll still be touring on his 84th birthday. We also brought in Abe Laboriel, Jr., who for the last 23 years as drummer in the Paul McCartney band, has been playing many of the ingenious drum parts first created by Ringo. And I Saw Them Standing There author Debbie Gendler talks about being one of only 728 audience members in the theater when the Beatles made their debut on the Ed Sullivan Show, and working with Brian Epstein as one of the first American Beatles fan club presidents. And RSD co-founder Carrie Colliton remembers Plan 9 Records fixture and Richmond VA punk musician Bob Schick (from Honor Role). The Record Store Day Podcast is a weekly music chat show written, produced, engineered and hosted by Paul Myers, who also composed the theme music and selected interstitial music.  Special thanks to Bob Hunt for expert audio assistance with this week's Ringo segment. Executive Producers (for Record Store Day) Michael Kurtz and Carrie Colliton. For the most up-to-date news about all things RSD, visit RecordStoreDay.com) Sponsored by Dogfish Head Craft Brewery (dogfish.com), Tito's Handmade Vodka (titosvodka.com), RSDMRKT.com, and Furnace Record Pressing, the official vinyl pressing plant of Record Store Day. Please consider subscribing to our podcast wherever you get podcasts, and tell your friends, we're here every week and we love making new friends. This episode is dedicated to Paul's dear departed Liverpudlian father Eric Myers, who shares a July 7th birthday with Ringo.   

The Beatles were at the height of their popularity, and surprisingly near the end of their time as a group when they recorded Abbey Road, their eleventh studio album.  In fact, it would be the last album the group started recording, as Let it Be was mostly recorded prior to the Abbey Road sessions even though it wasn't finished until after Abbey Road was released.  John, Paul, George, and Ringo were iconic by this time, though all were still under 30 years of age.  The recording of this album was more harmonious than the Get Back/Let It Be sessions earlier in the same year, but they were not free of conflict.  John Lennon did not perform on several tracks, and would have quietly left the group prior to the album's release.The album is a bit of a throwback to a previous style of production, prior to the conflict-ridden processes  that had typified Get Back and The White Album.  Producer George Martin agreed to this, but on the condition that all group members - especially John Lennon - let him produce the record as the earlier records were produced, and that everyone maintain discipline for the process.  The result actually faced mixed reviews at the time of its release, though with the passage of time it has attained its present status as one of the greatest rock albums of all time.The cover is the iconic picture of the band members walking across a zebra crossing outside Abbey Road Studios.Special guest and friend of the show Eric Von Haessler from “The Von Haessler Doctrine” on WSB Radio joins us to present this album - one of his all-time favorites.  Eric recommends the version from the 1987 CD, as newer versions have been remixed to the detriment of the album. Come TogetherThe opening track is a bit of a continuation of the earlier song “Let's Get It Together” which John Lennon wrote for Timothy Leary when he was campaigning for the California gubernatorial race against Ronald Reagan.  The song's lyrics are quite surrealistic, but the title may represent the desire of the band to get together in harmony for the sake of the music.Here Comes the SunGeorge Harrison wrote this incredibly positive song in Eric Clapton's garden during a break from business meetings for the Beatles.  John Lennon was recovering from a car accident when the track was recorded, and did not perform on the track.  Believe it or not, this was not released as a single from the album!Maxwell's Silver HammerPaul McCartney wrote this song after traveling to India in 1968 and originally wanted to record it for the White Album, but the group thought it was “too complicated” and pushed it off until this album.  McCartney further annoyed the others by insisting on a perfect performance of the work.  The multiple takes were, in the words of George Harrison, “a real drag.”I Want You (She's So Heavy)Lennon wrote this song about his relationship with Yoko Ono.  The finished product is a combination of two different recording attempts, one made just after the Get Back sessions with Billy Preston, and the other made during the Abbey Road sessions. The phrase “heavy” at the time meant deep or significant, and in no way related to Ono's weight! **We opted to cover 5 Staff Picks and did not feature an Entertainment Track on this podcast** STAFF PICKS:Me by Otis Rush Wayne starts this week's staff picks with a Chicago blues artist that got his start in the early 50's.  This song is about a guy who attributes his position on hard work and self-determination.  “I paid my own way, gave stuff for free 'cause the only true friend I ever had was me.” Duane Allman is on guitar on this track.Oh What a Night by the DellsBruce's staff pick is a remake of a number 4 R&B hit from 1956, also by The Dells.  This updated version went to number 10 on the Billboard Hot 100.  A number of covers of this song have been done through the years, including by Sly Stallone and the Biscaynes, Tracey Ullman, Lester Bowie, Nick Kaman, and the Moonlighters.Sweet Caroline by Neil Diamond This one is not a deep cut by any stretch of the imagination.  Rob features a sing-a-long song for many sports teams, including the Carolina Panthers, Iowa State, the University of Pittsburgh, and of course the Boston Red Sox.  The inspiration for the name was Caroline Kennedy, the last surviving child of President John Kennedy, though Diamond wrote it for his wife, Marsha.  He felt like a three-syllable name would fit the song better.Green River by Creedence Clearwater RevivalLynch brings us some swamp rock from CCR.  Creedence Clearwater Revival had 14 top 10 hits within a 17-month period.  Although the group is from California, the song was written about the Green River near New Orleans and has a Louisiana feel.  Despite their success, acrimony within the group would lead to a breakup in 1972.Sugar, Sugar by The ArchiesEric Von Haessler finishes off the staff picks with a very different song from the Beatles.  The Archies were a fictional band based on the TV show and comic strip of the same name.  The music was recorded by session musicians.  A number of these “bubble gum pop” songs were successful, with a lighthearted, positive touch.  Jeff Barry and Andy Kim wrote this, and it hit number 1 on the Billboard Hot 100 for four weeks INSTRUMENTAL TRACK:Baby, I Love You  by Otis RushWe exit the podcast by double-dipping on an instrumental blues number by Otis Rush.

Op 30 januari 1969 geven The Beatles hun allerlaatste optreden. Locatie: het dak van hun eigen Apple-gebouw. Het moet de apotheose van het getroebleerde Get Back/Let It Be-project worden. Wat gebeurt er die dag allemaal achter de schermen? Wil je ons financieel ondersteunen? Word dan Vriend Van Fab4Cast en luister naar exclusieve afleveringen die je alleen als donateur kunt beluisteren! Kijk op https://petje.af/fab4cast voor de mogelijkheden. We zouden je heel dankbaar zijn voor je steun.

It's been nearly two years, but historian and music expert Court Carney, a professor at Stepehen F. Austin State University, returns to talk about the recent Beatles documentary Get Back. Director Peter Jackson's long-awaited film attempts to put the Beatles' Get Back/Let It Be sessions in the best possible light. Does he succeeed? And how do we judge the film based on what we have known about the Beatles for fifty years? The Beatles began recording what would become the band's last album, Let It Be, in January 1969. It was a few months after the release of the White Album, the product of frutiful but contentious sessions in the summer of 1968. Let It Be wouldn't be released until the spring of 1970, by which time the Beatles had broken up. The film and album Let It Be--initially to be called Get Back--featured the Beatles trying to get back to a more live and rock and roll sound. The sessions culminated in the famous rooftop concert in London. The Fab Four got in trouble with the cops, but not before recording tracks that made it to the final album. However difficult the process might have been, in roughy a month, the Beatles had written and recorded an album and rehearsed enough material to begin another (what became Abbey Road). So, what are we to make of Peter Jackson's revisionism? Has be presented a happier band than we knew? Or is he merely documenting the inevitable breakup of the bestselling and most prolific band of all time? Court and Colin have some thoughts. 

In Episode 356 of Things We Said Today, Ken Michaels, Allan Kozinn and Darren DeVivo offer some impressions of “The Beatles: Get Back,” Peter Jackson's extraordinary eight-hour exploration of the Get Back/Let It Be sessions. NOTE: This is an audio version of the podcast. There is also a video version on our YouTube page. As always, we welcome your thoughts about this episode of the show or any other episode. We invite you to send your comments about this or any of our other shows to our email address thingswesaidtodayradioshow@gmail.com, join our "Things We Said Today Beatles Fans" Facebook page and comment there, tweet us at @thingswesaidfab or catch us each on Facebook and give us your thoughts. And we thank you very much for listening. You can hear and download our show on Podbean, the Podbean app and iTunes and stream us through the Tune In Radio app and from our very own YouTube page.  Our shows appear every two weeks. Please be sure and write a (good, ideally!) review of our show on our iTunes page. If you subscribe to any of our program providers, you'll get the first word as soon as a new show is available. We don't want you to miss us. Our download numbers have been continually rising, as more people discover us and it's all because of you. So we thank you very much for your support!

Hey folks, I am here to give you first impressions/hot takes on the first instalment of Peter Jackson's unprecedentedly epic series on the Get Back/Let It Be sessions. How does it look? How does it sound? What's the same? What has changed? Better take a listen and find out... There will be no spoilers in this review. Please enjoy. Peace and love, Sam If you haven't seen the blog, check it out at www.paulmccartneypod.wordpress.com where you can see loads of episodes start out life as a random blog post, before being resculpted into the quality content you are here for today!  If you want to support the show, check out our Patreon page at www.patreon.com/mccartneypodcast To get in contact with the show, drop us an email at paulmccartneypod@gmail.com Follow us on Twitter for all Macca updates by searching @mccartneypod.  Hosted by Sam Whiles.

Marv chats with Nick from the Beatles related podcast Winter Of Discontent about The Beatles in general, and in particular about the subject of Nick's show, the tapes from the sessions that went on to create the Get Back/Let It Be project. Link to the show- Instagram Winter of Discontent on Twitter Winter Of Discontent on Facebook Finding Fretless book They May Be Parted website Techmoan on YouTube Links to the When They Was Fab episodes Marv's Links  

In Episode 352 of Things We Said Today, Ken Michaels, Allan Kozinn and Darren DeVivo review Ringo Starr's new EP, “Change the World,” and discuss “The Beatles: Get Back,” the new book of transcripts and photographs from the “Get Back/Let It Be” sessions that was just published to accompany the “Let It Be Special Edition” audio release and Peter Jackson's six-hour Get Back documentary. Note: This is the audio version of the podcast. There is a video version available on our YouTube channel. As always, we welcome your thoughts about this episode of the show or any other episode. We invite you to send your comments about this or any of our other shows to our email address thingswesaidtodayradioshow@gmail.com, join our "Things We Said Today Beatles Fans" Facebook page and comment there, tweet us at @thingswesaidfab or catch us each on Facebook and give us your thoughts. And we thank you very much for listening. You can hear and download our show on Podbean, the Podbean app and iTunes and stream us through the Tune In Radio app and from our very own YouTube page.  Our shows appear every two weeks. Please be sure and write a (good, ideally!) review of our show on our iTunes page. If you subscribe to any of our program providers, you'll get the first word as soon as a new show is available. We don't want you to miss us. Our download numbers have been continually rising, as more people discover us and it's all because of you. So we thank you very much for your support!

After George's infamous walk-out during the Get Back/Let It Be session, his return was one of several conditions. He insisted the band move from Twickenham to their own Apple Studio, the idea of the big live show/tv program had to go, and he pulled almost all of his songs from consideration. After spending the winter holidays in the US with Bob Dylan and the Band and other musician pals, he was keenly aware that his songwriting had reached the same level of John and Paul. Songs like "Hear Me Lord" and "All Things Must Pass" went back into George's back pocket, and he left the band with "For You Blue," a song that can best be described as...a happy blues song! It does, however, provide a great moment of real musical connection for the band, playing live with a laid-back vibe and fun feeling, while still striving for new sounds between putting John on lap steel and Paul's experimenting with piano sounds. And while it wouldn't end up being George's only tune on the album, it is the only one of his to feature all four Beatles, and one of the best moments of group camaraderie as musician in the Get Back/Let it Be project. I can't wait to see it in the Peter Jackson film. Joining us to discuss this tune are brothers Paul and Garry Abbott, hosts of the Big Beatles Sort Out podcast, another fantastic podcast in which the hosts...rank the Beatles catalog. Ha. However, whereas ours is based on personal preference and guttural choice, theirs is based on mathematics and analytics, providing a totally different method to our collective madness. We all about what it's like inheriting the Beatles, parallel between Blur and the Beatles, Beatles music being a saving grace in a time of need, and whether or not all this ranking is an exercise in futility. Maybe it is or isn't, but it sure is fun. Be sure to listen to Big Beatles Sort Out anywhere you listen to podcasts, and follow along on Twitter at @big_sort as well! And check out Garry and Paul's musical and creative endeavors as well, as mentioned in the episode. What do you think? Too high? Too low? Just right? Let us know in the comments on Facebook https://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's new official website, www.rankingthebeatles.com! Enjoying the show, and wanna show your support? Buy Us A Coffee! --- Send in a voice message: https://anchor.fm/rankingthebeatles/message Support this podcast: https://anchor.fm/rankingthebeatles/support

At the onset of the Get Back/Let It Be project, John had a dilemma: he was short on songs. Paul and George had them falling out of their back pockets, but John was...going through some things, and didn't have a ton of material. He looked to the past, as the rest did, to old Lennon/McCartney tunes, rock & roll standards, covers, and old folk songs, like "Maggie Mae," a tale-as-old-as-time story about a prostitute robbing her...John. This tune, with's it's equally odd history, shows up between takes of "Two of Us," a light-hearted jaunt through songs they knew back when, relieving tension, and providing that "fly-on-the-wall" perspective that was the impetus behind the project. It's an enjoyable, if somewhat perplexing inclusion in the catalog. To somehow get an episode's worth of discussion on this track, we called the man who wrote the book on these sessions...literally. Bruce Spizer has written 10 books on the Beatles, examining everything from their releases on obscure independent record labels to band and solo releases on their own Apple Records, deep dives on their conquering of America, to in-depth analyses on Sgt. Pepper, The White Album, and now, Let It Be. He was the infuriating brain behind the questions on the Beatles' Trivial Pursuit game (10 points if you know what Jet Clipper Defiance is without Googling), and he's a regular speaker at Beatles conventions and events around the world. In addition to the odd history of "Maggie Mae," we touch on growing up as a 1st generation fan, what it takes to write some of the best Beatles books, the twists and turns of the Get Back/Let It Be project, and getting past book-burnout courtesy of an ex-Wings member. Bruce's new book, "The Beatles Finally Let It Be," is available now! You can get it (autographed and with a SLEW of extra goodies - all of which he outlines in the episode) at his website, Beatle.net. Get it now and you'll be able to get the addendum accompanying the release of the Peter Jackson "Get Back" film next year! We also highly recommend his other books if you're looking for informative deep dives on Beatles topics, packaged in wonderful coffee-table books. Be sure to follow along, leave your comments, and join in on the discussion on the rankings at Facebook (facebook.com/rankingthebeatles) and on Instagram @rankingthebeatles. Enjoying the show and want to show your support? Check out https://anchor.fm/rankingthebeatles/support! --- Send in a voice message: https://anchor.fm/rankingthebeatles/message Support this podcast: https://anchor.fm/rankingthebeatles/support

'Her Majesty’ was first performed at the Get Back/Let It Be sessions in January 1969. McCartney brought the song to the band in Twickenham on 9 January. But it lasted until July 2nd before McCartney recorded the takes on Abbey Road that we all know and love. Or do we? Her Majesty is the least popular Beatles track on Spotify. In defence of Her Majesty, the statistics may lead us astray since Her Majesty is only 23 seconds long, not long enough to be consistently registered by the Spotify statistics...... Still, I haven't met many Beatles fans who name Her Majesty as their favourite track. It certainly has an unfinished feel to it: it consists of only one verse, there is no intro, chorus, middle eight.... Did McCartney consider it to be a finished song? On the one hand, he recorded 3 takes of it, suggesting that it was finished. On the other hand, Her Majesty was intended to be included in the Medley on the B-side of Abbey Road, which consist of half-finished songs. Because of its place in the medley, McCartney may have felt there was no need to come up with a second verse and a middle eight; but in the end, he rejected Her Majesty altogether for Abbey Road. It was only because junior technician John Kurlander refused to discard the tape, that Her Majesty was included on Abbey Road at all. This makes it interesting to think about what would have happened if Kurlander had followed McCartney's instructions to discard the tape. It is my assumption that McCartney would have resurrected Her Majesty for his first solo album, McCartney; he did so for several other songs composed in his Beatles era, but not included on any Beatles album. For the McCartney Album, he would have made a proper backing track (woodwind and slurpy cello arrangement) and composed a middle eight. And here we have it, as a world premiere, what Her Majesty might have sounded like on the 'McCartney' album. So what is Her Majesty about? The easy answer would be the British Queen, and that is what McCartney himself has hinted at in interviews. However, the lyrics don't seem to fit Queen Elisabeth at all: no disrespect, but Elisabeth is not a 'pretty nice girl', nor does she stay quiet, or changes every day......So the subject must be someone else, who can't be named. Once you hear the name, it is quite obvious, but I'll leave that for some other occasion. Feel free to comment if you have suggestions!

It doesn't happen every day that you get to hear a new Beatles song; but today is that day! We proudly present the premiere (as a complete song) of 'You Won't Get Me That Way', as recorded by the Beatles on 27 January 1969 in Apple Studios, Savile Row. You Won't Get Me That Way is a swinging blues, in classic McCartney rocker style. Soulful vocals by McCartney, in excellent voice that day. Some neat drum playing by Ringo, and bluesy guitars by George and John. With a bit more work, this could have turned into a track on 'Let It Be' (compare with 'For You Blue'!), were it not that the Beatles had run out of time to rehearse new songs; Ringo was scheduled to take off at the beginning of February to appear in The Magic Christian with Peter Sellers, so they had to finish the sessions soon. They had not come to a conclusion about the finale for the sessions yet, but they realized there would have to be some kind of live performance, and that an album should be assembled from what had been recorded. Later of course, this would culminate in the live performance on the rooftop of Apple studios on 30 January. Anyway, on 27 January it was high time to put the finishing touches on the songs that had been rehearsed since January 2nd. We can only conclude that the Beatles were in a good mood that day, perhaps they were happy that the rehearsal sessions were coming to an end? This Monday was the 16th day of the Get Back/Let It Be sessions. The Beatles recorded a total of 32 takes of Get Back in a single day, experimenting with different tempos and styles – including mock Japanese and German versions and alternative lyrics. One new song to be introduced on this day was George Harrison’s Old Brown Shoe, which would become the B-side to The Ballad Of John And Yoko later in 1969. Towards the end of the day, they were in the middle of rehearsing I've got a Feeling, when Billy Preston (on keyboards) played a classic blues intro. All 4 Beatles picked up on it, Paul improvised the vocals and the lyrics, and You Won't Get Me That Way was born. They then played a little of Jimmy McCracklin's song "The Walk" before returning to I've Got a Feeling. A pretty disciplined rehearsal session, for Beatles standards in those days..... Still, the lyrics may betray some of what was on Paul's mind in these final days of January. The lyrics mainly consist of 'no, you won't get me that way, you're gonna have to go it on your own', with some additional lyrics at the very end: "you won't get what I can give you. No why should I give you what I gotta give, the way you treat me like you do.' The easiest explanation would be to label the lyrics as some pretty nonsense, produced on the spot. However, when improvising on the spot - as Paul was doing here - some inner thoughts might pop up that otherwise might have remained suppressed. Is it a coincidence that these lyrics emerge in the middle of rehearsing 'I've Got a Feeling, a feeling deep inside'? Let's find out what these lyrics could relate to! The first thing that comes to the attention, is the negative form of the lyrics; it is mostly 'No you won't'. This is unusual for McCartney, whose lyrics are usually upbeat. One of the few McCartney songs with lyrics in the negative form is 'You Never Give Me Your Money'. This song was written 2 months later, in March 1969. Could these 2 songs be related? 'You Won't Get Me That way' seems to be a reply to a request to give something to somebody. Paul will not do that, because of the way 'you treat me like you do'. In fist instance, we may imagine that this would be about some 'love' relationship of Paul's, but that doesn't agree with his actual situation. He had met with Linda (Eastman), was deeply in love, and would marry her soon afterwards (March 1969). It is highly unlikely that he would be singing about refusing Linda what she would ask of Paul. Therefore, the refusal could relate to business, or money matters. And that fits nicely with the lyrics of You Never Give Me Your Money; McCartney has said that this song was written with Allen Klein in mind, saying "it's basically a song about no faith in the person'. A notoriously brash character and tough negotiator, Klein invented the role of business manager, taking a stance as the outsider siding with the artists, the enemy of the record companies. And this Allen Klein would have very much been on McCartney's mind already in January 1969. Klein had been trying to become the Beatles financial manager since 1964. Epstein and Klein had met face-to-face, in London, Klein offering to help with handling the Beatles’ finances. Brian Epstein was royally offended at the suggestion that someone else should do his job for him, and he had Klein shown to the door. After Epstein's death in 1967, Klein renewed his efforts. He had spoken with Lennon during the recording of on 11 December 1968 of The Rolling Stones Rock and Roll Circus, where Lennon performed Yer Blues. A December 1968 article in Disc and Music Echo in which Lennon worried that the Beatles were nearly broke (Apple losing around 20000 pound each week) lent an air of urgency to Klein’s appeal for Lennon to meet with him to talk Beatles business, and Klein continued his contact with Lennon from the US. He managed to set up a meeting with John & Yoko on January 26, in the Harlequin suite of the Dorchester Hotel, London, where Klein was staying. Klein served them “a carefully researched and prepared vegetarian meal—exactly the macrobiotic dishes John and Yoko preferred.” Klein had studied the music and lyrics of Lennon and spoke sensibly about the meaning of Lennon’s songs. John & Yoko were very impressed with him, and John decided on the spot to make him his personal adviser. There and then he wrote to Sir Joseph Lockwood, the chairman of EMI: "Dear Sir Joe: From now on Allen Klein handles all my stuff." Lennon wrote a similar letter to Dick James, who ran Northern Songs to publish the Beatles songs. After meeting with John & Yoko, Klein set up a meeting with all four Beatles on 27- or 28 January. Paul McCartney preferred to be represented by Lee and John Eastman, the father and brother respectively of his fiancée, Linda. In fact, the Beatles had appointed Lee Eastman as their financial advisor earlier in January. But now, George and Ringo sided with John & Yoko, and Paul walked out of the meeting. Although we have no direct evidence, it seems likely that Paul was aware of Klein's presence and intentions on January 27th, when they recorded 'You Won't Get Me That Way'. Klein would have had to invite Paul to his meeting sometime during January 27, and they recorded You Won't Get Me' towards the end of the recording session. It was clear that the Beatles could not continue this way; John Eastman came over but could not convince the other 3 Beatles. Eastman felt he could not represent the Beatles if they did not have confidence in him. On 3 February the Beatles met again. Allen Klein was charged with examining their finances and finding a way to stop NEMS from bleeding them of a quarter of their income. As a compromise to Paul, Linda's father and brother were appointed as Apple's General Council, to keep an eye on Allen Klein's activities. However, Klein’s assignment would turn out badly for the Beatles: Dick James, their music publisher, owned a controlling 37.5% of Northern Songs. Lennon and McCartney owned 15% each. After Epstein's death on 27 August 1967, Lennon and McCartney sought to renegotiate their publishing deal with James. In 1968 they invited James for a meeting at Apple Records and it became clear to Dick James that Lennon and McCartney would not renew their contract with Northern Songs. With no new songs being published, Dick James expected that the value of Northern Songs would plummet, and he would lose millions as the major shareholder. In January, Dick James noticed the arrival of Klein through Lennon’s letter. James knew that Klein was a hardball player not averse to questionable business deals; he had a string of lawsuits behind him pending in the States. James feared that Klein would pull some scam that would suddenly leave James out in the cold with nothing. Dick James could no longer offer to sell his shares to Lennon and McCartney, because he expected that they would not pay the full price - threatening to write no more songs when their contract ran out. Therefore, Dick James sold his share of Northern Songs without informing Lennon and McCartney (or Klein), so they had no time to announce their intentions in public. Klein was unsuccessful in buying back NEMS or blocking the sale of Northern Songs, despite his intense efforts. Allen Klein's strategy became to sell Lennon and McCartney’s shares quickly and make some cash before news of the Beatles' breakup leaked - after which the shares would tumble in value. This is why, in the meeting at Apple in October of 1969, where John officially told Paul the Beatles were over, Allen Klein pressured everyone to keep quiet about the situation for at least the next few months. Thus Klein was a factor in Lennon and McCartney losing control of their songs, and they would only regain it decades later; thanks to a revision of copyright laws in the US, the copyright returns to the composer after 56 years, so only now do the first songs return to McCartney and Lennon's estate (Yoko Ono). Klein was successful in other business: sorting out the financial mess of their ill-fated Apple Corps venture. He put an end to the Apple Boutique and got rid of the charlatans and hangers-on. The Beatles’ existing deal with EMI and Capitol gave them 17.5% of the US wholesale price – a considerable amount already. Klein was able to increase to 25%. He argued that, should the label object, The Beatles would cease to record for them. Klein also gained Apple Corps the right to manufacture and sell The Beatles records in the US. EMI would retain the recordings, but Capitol would manufacture the releases on Apple’s behalf. Apple would then profit from the difference between manufacturing and retail costs. The new terms gave The Beatles the right, for the first time, to determine the ways in which their music was manufactured and sold. By 1971 the group’s entire back catalogue was made available on Apple Records. Klein also made sure Let It Be was released as a motion picture rather than a TV film, therefore fulfilling the group's contractual obligations with United Artists. So, the positive contribution of Klein was that The Beatles’ personal incomes were greatly improved, and Apple was guaranteed a regular income until at least 1976. Still, it was downhill from there for Allan Klein and the Beatles. Klein held on to the proceeds from the Concert for Bangladesh, the charity event he organized with Harrison at New York's Madison Square Garden in 1971, delaying the release of the funds to UNICEF for years, and was investigated by the US authorities. After Klein’s contract with Lennon, Harrison and Starr expired in March 1973, they opted not to renew it. The group eventually paid Klein an estimated $4m when all litigation was finally settled in January 1977. Klein was the subject of veiled references in the Harrison song "Beware Of Darkness" – from 1971's All Things Must Pass – and the Lennon composition "Steel And Glass" – on 1974's Walls And Bridges album. In 1979, Klein was sentenced to two months in jail for tax evasion after helping himself to the proceeds from the sale of promotional copies of the Concert For Bangladesh triple album. Klein died 4 July 2009. Of course, McCartney did not know all of this on 27 January 1969, but he must have seen troubles coming his way in the form of Allan Klein. And his sub-conscious pushed the lyrics to his lips: "You won't get what I can give you. No why should I give you what I gotta give, the way you treat me like you do."

You know him as the photographer responsible for one Beatles album cover (two in the US); their last group photo shoot, and as the official photographer on the “Get Back” / Let It Be project (his photos filled the book packaged with the original issue). But Ethan Russell also produced iconic images for the Rolling Stones and The Who, as well as album covers and short films for an array of artists, plus wrote several books (including Dear Mr. Fantasy). His latest is in the works as part of a Kickstarter campaign – check out EthanRussell.com for details. In this first conversation, we present an overview of his life and career. More detailed Beatle-centric recollections will come in the second installment.

You know him as the photographer responsible for one Beatles album cover (two in the US); their last group photo shoot, and as the official photographer on the “Get Back” / Let It Be project (his photos filled the book packaged with the original issue). But Ethan Russell also produced iconic images for the Rolling Stones and The Who, as well as album covers and short films for an array of artists, plus wrote several books (including Dear Mr. Fantasy). His latest is in the works as part of a Kickstarter campaign – check out EthanRussell.com for details. In this first conversation, we present an overview of his life and career. More detailed Beatle-centric recollections will come in the second installment.

This is the second part of a discussion begun with Doug Sulpy (co-author of Drugs, Divorce and a Slipping Image/Get Back), this time with blogger Dan Rivkin. His blog, They May Be Parted, is a detailed examination of the Nagra tapes of the “Get Back”/Let It Be project. Dan adds detail, analysis and context to the recordings, and we dive deep into what all there is to be gleaned from the extant record (and speculate on what to expect from Peter Jackson). Part one of January 1969 here. Dan’s blog: https://theymaybeparted.com/ Twitter: https://twitter.com/TheyMayBeParted Facebook: https://www.facebook.com/theymaybeparted/

This is the second part of a discussion begun with Doug Sulpy (co-author of Drugs, Divorce and a Slipping Image/Get Back), this time with blogger Dan Rivkin. His blog, They May Be Parted, is a detailed examination of the Nagra tapes of the “Get Back”/Let It Be project. Dan adds detail, analysis and context to the recordings, and we dive deep into what all there is to be gleaned from the extant record (and speculate on what to expect from Peter Jackson). Part one of January 1969 here. Dan’s blog: https://theymaybeparted.com/ Twitter: https://twitter.com/TheyMayBeParted Facebook: https://www.facebook.com/theymaybeparted/

With Apple’s announcement that Peter Jackson will be reworking the Let It Be footage, we go back to the actual sessions to examine this period from George Martin’s perspective. Martin and The Beatles advanced the use of the recording studio in a variety of creative ways, but what would happen if they took away their method of building a recording with layers of intricate overdubs and played everything live? On the Get Back/Let It Be project, the Beatles did just that, setting aside the recording process they had developed with their producer over the previous six years. But without “production,” what was Martin’s role in this project, and how much was he actually there? And who actually produced these sessions?

To call the stunningly-talented musician/singer/songwriter a “Beatles sideman” is to sell short his tremendous gifts and the tangible effect he had on the group when they most needed a spark plug. Billy Preston was a keyboard savant for sure, but he was also someone the Beatles embraced as an equal; going so far as to float him as an actual “fifth Beatle.” I’m joined by multi-instrumentalist/producer/recording artist/Beatles author Anthony Robustelli for a conversation covering not just the “Get Back”/Let It Be sessions, but also Billy’s collaborations with the ex-Beatles going into the solo years (and with the Rolling Stones). Check out Anthony’s work here: https://www.anthonyrobustelli.com/ https://www.thebeatlesiwanttotellyou.com/ https://www.shadybear.com/ https://shadybearbklyn.podbean.com/ and the video I referenced here: https://www.youtube.com/watch?v=OXSPZd9hYy4 The post 137: With Billy Preston appeared first on Something About The Beatles.

To call the stunningly-talented musician/singer/songwriter a “Beatles sideman” is to sell short his tremendous gifts and the tangible effect he had on the group when they most needed a spark plug. Billy Preston was a keyboard savant for sure, but he was also someone the Beatles embraced as an equal; going so far as to float him as an actual “fifth Beatle.” I’m joined by multi-instrumentalist/producer/recording artist/Beatles author Anthony Robustelli for a conversation covering not just the “Get Back”/Let It Be sessions, but also Billy’s collaborations with the ex-Beatles going into the solo years (and with the Rolling Stones). Check out Anthony’s work here: https://www.anthonyrobustelli.com/ https://www.thebeatlesiwanttotellyou.com/ https://www.shadybear.com/ https://shadybearbklyn.podbean.com/ and the video I referenced here: https://www.youtube.com/watch?v=OXSPZd9hYy4 The post 137: With Billy Preston appeared first on Something About The Beatles.

In this episode, Robert and Richard discuss the various iterations of the album produced from the fractious “Get Back/Let It Be sessions. Featuring an exclusive interview with Glyn Johns, songs include “One After 909,” “Two of Us” and “Across The Universe.” April 2016 is upon us and so are the Something About The Beatles 2016 calendars, featuring hundreds of Beatles history dates and 24 full color original illsutrations – get one of the last remaining copies in stock here and specially priced! The post 51: A “Cardboard Tombstone”? – The Beatles’ Epitaph appeared first on Something About The Beatles.

In this episode, Robert and Richard discuss the various iterations of the album produced from the fractious “Get Back/Let It Be sessions. Featuring an exclusive interview with Glyn Johns, songs include “One After 909,” “Two of Us” and “Across The Universe.” April 2016 is upon us and so are the Something About The Beatles 2016 calendars, featuring hundreds of Beatles history dates and 24 full color original illsutrations – get one of the last remaining copies in stock here and specially priced! The post 51: A “Cardboard Tombstone”? – The Beatles’ Epitaph appeared first on Something About The Beatles.

In this special extended episode, Richard and Robert provide a thorough day-by-day overview of the first two weeks of the “Get Back” / Let It Be sessions, including George’s walk-out. Songs include: “Get Back,” “All Things Must Pass,” “Let It Be,” and “Madman.” February 2016 is here and so is the Something About The Beatles 2016 calendar – get one of the copies in stock now here and specially priced!   The post 40: “Winter of Our Discontent” Part One – Twickenham appeared first on Something About The Beatles.

In this special extended episode, Richard and Robert provide a thorough day-by-day overview of the first two weeks of the “Get Back” / Let It Be sessions, including George’s walk-out. Songs include: “Get Back,” “All Things Must Pass,” “Let It Be,” and “Madman.” February 2016 is here and so is the Something About The Beatles 2016 calendar – get one of the copies in stock now here and specially priced!   The post 40: “Winter of Our Discontent” Part One – Twickenham appeared first on Something About The Beatles.

In dit tweede deel bespreekt Fab4Cast de avonturen van John, Paul, George en Ringo in de Apple Studios. Billy Preston versterkt de gelederen, waardoor de sfeer aanzienlijk verbetert. The Beatles vlammen nog 1 keer live tijdens het beroemde concert op het dak, maar de nasleep verdient weer geen schoonheidsprijs. Het komt allemaal voorbij in deze laatste Get Back/Let It Be-aflevering!

On this episode of Compleatly Beatles, Ian and Dave take a look at Get Back/Let It Be, the Beatles most turbulent album, recorded at a particularly unhappy time for the band – George Harrison himself called the recording sessions “hell”. There is so much history and drama to this album that the historical context almost […]

"Commonwealth" was recorded January 9, 1969, at Twickenham Film Studios, London, England, during the "Get Back/Let It Be" rehearsals. The lyrics are improvised, as well as the instrumentation, with Paul McCartney ad-libbing on lead vocals, and John Lennon ad-libbing a backing vocal ("yes"). It was never officially released on either a solo Beatle album or as a cover version. The session was captured on film as well, showing how Lennon enjoyed himself, sitting on an amp with Yoko Ono. The film shows that Harrison was did not play on this take, but was discussing with an engineer. The lyrics mention (Harold) Wilson and (Ted) Heath, who were prime ministers around this time. The focus appears to be on Cabinet minister Enoch Powell, who had delivered his anti-immigrant “Rivers of Blood” speech the previous year, which dealt mainly with Pakistani immigration. As the song continues, John and Paul touch on Britain’s entry into the European Common Market, which had been denied in late 1968, making a pun out of the phrase “common market.” Race issues evidently played on McCartney's mind during the Get Back sessions. This theme also occurred in the early lyrics of Get Back, which were not used and replaced by the story of Jo Jo and Loretta Martin in the released version of Get Back. There is only one take of "Commonwealth", indicating that it served to relieve the tedium and depression the Beatles were in, in the early days of January. It is interesting to hear the Lennon-McCartney composer team in action; On the fly, Lennon changes McCartney's "you're much to wealthy for me' into "you're much too common for me", which is indeed a more powerful lyric. The songs itself sits somewhere between Get Back and the Ballad of John and Yoko; perhaps could have been released, if they had cleaned up the lyrics and spent some effort on a middle-eight....... In the beginning, the chord scheme is quite unstable, later on, it becomes more like a regular blues scheme. Listening to this remix, I feel ever more strongly that Paul's Commonwealth served as 'inspiration' for John's Ballad of John and Yoko. Not just the chords, but also the lyrics share a lot: travel to different countries, names of actual people, returning to England etc. So, after all, The Ballad IS correctly registered as a Lennon/McCartney composition ! This remix was first released on IT IS TO LAFF 3, still available at: http://www.groovytimewithdjuseo.blogspot.com/2013/06/it-is-to-laff-3-funny-mashups.html