Podcasts about Good Day Sunshine

Some call Revolver The Beatles at their peak, we know it at the very least as The Beatles at the beginning of their prime, when their music began to transcend all of pop culture, leaving the mop top era in the dust. 1966 was a banner year for music and of course the Fab Four were right there in the thick of it, innovating, expanding and creating some of the greatest music ever made. To celebrate this remarkable time, we thought it wise to put Revolver through the test track by track, and giving those songs the Classic Albums Worst To First treatment. We couldn't think of anyone we'd rather have joining us for this exercise than our good friends in the 'Nard aka Oxnard, CA - the delightful Marina V and Nick Baker, with an assist from the great Shannon Hurley. Feelings were hurt, toes were stepped on but it's all in good fun and it's our little way of celebrating this phenomenal piece of music. Picks 14-8 are featured in Part 1.Nick and Marina are always working on new material and there's exciting stuff happening these days. Find out more athttps://marinav.com/Shannon Hurley is the consummate and constant creator. Her work new and old can be heard and seen at:https://shannonhurley.com/All hail the beloved Patreon people! These upstanding citizens put their money where their mouth is and keep the show afloat by contributing $5 a month. In return they're rewarded with a monthly bonus episode using our patented Emergency Pod format, our improv game where we pull a playlist out of our butts in real time. Shannon Hurley was kind enough to join for July's new episode and we couldn't be more excited to share it with you. FInd out more at:https://www.patreon.com/alltimetoptenChat with us! On Facebook! Get more involved in the ATTT cinematic universe by chatting with us on the Facebook Music Chat Group. Start a conversation about music!https://www.facebook.com/groups/940749894391295

Vincent's son Edgar has an idea for Good Day Sunshine's new puppet. But before he can convince his father, the boy disappears on the way to school. --- Support this podcast: https://podcasters.spotify.com/pod/show/mo-sisco/support

Wzruszający thriller stworzony przez Abi Morgan osadzony w Nowym Jorku lat 80. opowiada historię ojca desperacko poszukującego swojego dziewięcioletniego syna, który zaginął w drodze do szkoły. Vincent, znany nowojorski lalkarz oraz twórca popularnego programu telewizyjnego dla dzieci "Good Day Sunshine", nie może pogodzić się z utratą syna Edgara oraz stopniowo popada w coraz głębszą rozpacz. Przepełniony nienawiścią do siebie i poczuciem winy postanawia ożywić w telewizji niebieską lalkę potwora o imieniu Eric z rysunków syna, przekonany, że dzięki temu Edgar wróci do domu. Gdy destruktywne zachowanie Vincenta doprowadza do konfliktów z rodziną, współpracownikami i śledczymi próbującymi mu pomóc, to właśnie Eric, ułuda konieczności, staje się jego jedynym sprzymierzeńcem w dążeniu do odzyskania dziecka. Rozmawiają Małgorzata Steciak i Łukasz Muszyński.

Former Lt. Gov. Mandela Barnes now leads an organization called Forward Together Wisconsin designed to connect Wisconsin residents to more than $62 million available for solar energy upgrades. He joins Melissa Baldauff for our weekly Climate Check. And Kyle Kaminski from the MichiGanja Report tells us about the Biden administration announcing it would ease the federal classification of marijuana. UpNorthNews with Pat Kreitlow airs on several stations across the Civic Media radio network, Monday through Friday from 6-8 am. Subscribe to the podcast to be sure not to miss out on a single episode! To learn more about the show and all of the programming across the Civic Media network, head over to https://civicmedia.us/shows to see the entire broadcast line up. Follow the show on Facebook, X, and Instagram to keep up with Pat & the show! Guests: Mandela Barnes, Melissa Baldauff, Kyle Kaminski

This is Charles Rosenay's second time on StoryBeat. He's been in the entertainment business for over four decades as an actor, promoter, music aficionado, entertainer, MC, DJ, humorist, and author.Recently, he released his latest book, The Book of Top 10 Beatles Lists, which contains dozens of top ten lists from pop-culture notables, like Pete Best, Dick Cavett, Tommy Chong, Melanie, and even Dave Winfield, all laying out their favorite songs by the Beatles, who are, for me, the greatest rock band of all time. Among all of his other accomplishments, Charles has produced Beatles Conventions and Festivals since 1978, and he's been the organizer and host of the “Magical History Tour” since 1983, bringing Beatles fans to Liverpool and London. Charles published and edited the magazine, “Good Day Sunshine, one of the world's most famous Beatles/Sixties magazines. He has also promoted Monkees conventions since the early ‘80s. As an MC, Charles has shared the stage with countless entertainment figures, including Charles Grodin, Geraldo Rivera, and the late Danny Aiello. For the record, Steve was part of a group that Charles led on an outstanding Dracula tour of Transylvania. Charles also leads GHOSTours in England.

How do you get a dog to eat that refuses to do so? Force doesn't work. Neither does pleading. And panicking certainly doesn't help … but we all tend to panic when our dogs won't eat. So, what do we do? Veterinarian, teacher, and veterinary nutrition expert Dr. Susan Recker joins us for an enlightening discussion about why dogs don't eat, and what we can do to help them. Whether the cause is nausea or pain, she has tips and advice about when to worry about not eating and not drinking, and when to call the vet. Dr. Recker guides us on how to figure out what's actually wrong – and by the way, it might not be anything wrong with your dog that's causing the inappetence! Call +1 808-868-3200 to leave a question on our Listener Line for a future show! Links Mentioned in Today's Show:  “Good Day Sunshine” by The Beatles https://www.youtube.com/watch?v=6dC7ILQ_vtE Article on Dog Not Eating: https://www.dogcancer.com/articles/side-effects/dog-not-eating/ Related Links: Podcast with Dr. Demian Dressler's advice on a Dog Not Eating: https://www.youtube.com/watch?v=znYpd8tiCDE Podcast with Dr. Trina Hazzah's advice on Why Is My Dog Not Eating: https://www.youtube.com/watch?v=f44dXvaj4uk Podcast with Dr. Sue Ettinger's advice on What To Do When Your Dog Won't Eat: https://www.youtube.com/watch?v=MslnrrWYpjE Chapters: 00:01 Intro 00:53 Why Dogs Don't Eat 01:38 Is it Nausea? 03:44 Pain Can Be a Big Cause 05:54 When To Go To the Vet 08:53 Is the Food Safe? 13:13 Is My Dog Getting Full on Treats? 21:57 Food as an Enrichment Activity 23:05 Gentle Warming Might Be All You Need 25:02 Put the Bowl Somewhere New! 31:33 Peanut Butter or Almond Butter as Toppers 35:05 Bottom Line: Something (Anything) Is Better Than Nothing 37:34 Outro -- Get to know today's guest, Susan Recker, DVM, cVSMT: https://www.dogcancer.com/people/susan-recker-dvm-cvsmt/ For more details, articles, podcast episodes, and quality education, go to the episode page: https://www.dogcancer.com/podcast/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Positivity leads to maximized results.  Life is Hard, get over it!  Get the Mindset right and reap the rewards.  Good Day Sunshine!

Singles Going Around- Operation Retrieve- Mono Beatles Volume One"Act Naturally" (T 2553)"Nowhere Man" (T 2553)We Can Work It Out" (T 2553)"Day Tripper" (T 2553)"I've Just Seen A Face" (T 2442)"It's Only Love" (T 2442)"Think For Yourself" (T 2442)"Michelle" (T 2442)"I Want To Tell You" (T 2576)"Got To Get You Into My Life" (T 2576)"Tomorrow Never Knows" (T 2576)"I'm Only Sleeping" (T 2553) *"Doctor Robert" (T 2553) *"And Your Bird Can Sing" (T 2553) *"You Won't See Me" (T 2442)"Wait" (T 2442)"Good Day Sunshine" (T 2576)"Getting Better" (MAS 2653)"When I'm Sixty Four" (MAS 2653)"Lovely Rita" (MAS 2653)"Good Morning, Good Morning" (MAS 2653)"What Goes On?" (T 2553)"Sgt Pepper's Lonely Heart Club Band (Reprise) (MAS 2653)"A Day In The Life" (MAS 2653)* These mono mixes from Yesterday and Today are different from those used on the mono mixes from Revolver.

Ana and Eric light the fire on Wood County, a diverse county in the heart of Wisconsin offering cities like Marshfield, a major medical hub, and Wisconsin Rapids, known for its papermaking, water skiing, golf, and - more recently - competitive BMX racing, as well as beautiful, serene rural areas from farms to forest and plenty of open space for outdoor fun. They open the Cabin door for Matt McLean from Visit Marshfield and Meredith Kleker from the Wisconsin Rapids Convention & Visitors Bureau for an in-depth look at the county they both call home. One major note about Wood County is its penchant for cranberries. Not only do they produce a sizable share of Wisconsin's cranberry crop (which leads the nation and is tops among the world), Pittsville is home to the only Cranberry Program in a high school and a “Cranberry Road” Auto Tour offers people the opportunity for a colorful tour of the bogs and marshes. Pittsville is also the geographic center of the state, by the way, in case you were curious about why we say Wood County is in the heart of Wisconsin. Outdoor adventures abound in the county, from bountiful hunting areas to beautiful trails; designated areas like the Mead Wildlife Area offers opportunities for both. Powers Bluff near the center of the county is a literal standout, rising prominently among the landscape while offering winter recreation from tubing to snowboarding. Wood County is becoming more of a golf destination, from nearby Sand Valley to Lake Arrowhead. The Wisconsin River, which runs along the eastern side of the county and right through Wisconsin Rapids, is home to active water ski groups who put on popular shows in season. We dive into Wisconsin Rapids with Meredith, checking out the city's sports offerings from its Central Wisconsin BMX track to baseball games at Witter Field for Wisconsin Rapids Rafters action - and unique way they deliver beers to you! If hockey is more your sport, the Wisconsin Rapids River Kings have you covered in winter. The city's paper history is showcased in the Papermaking Museum, and one of the newer breweries in the state, Two Doors Down Brewing, is right downtown, not far from Hotel Mead, Wisconsin Rapids; own boutique hotel. Matt highlights Marsjhfield with us, including art galleries, museums, historic sites, the World's Largest Round Barn on the Central Wisconsin State Fairgrounds, and some excellent shopping up and down the city's main drag, Central Avenue. Blue Heron Brewpub is Marshfield's own brewery, and if you want to wander among some remarkable sculptures and metal art, the Jurustic Walk downtown will mesmerize. Marshfield also offers a fantastic (and free) zoo in Wildwood Park, which features an impressive display holding two Kodiak bears along with a wide variety of other animals. Wisconsin's reputation for cheese shines in Nasonville with their dairy and the very popular Dairy State Cheese Store in Rudolph, which also has the amazing Rudolph Grotto nearby and is the home of Dick Trickle and other popular race car drivers. We cover it all in this episode - make sure you cover all of Wood County to truly experience it! Wood County: https://www.woodcountywi.gov/Visit Marshfield: https://www.visitmarshfield.com/. Follow on social @VisitMarshfield  Wisconsin Rapids Convention & Visitors Bureau: https://www.visitwisrapids.com/. Follow in Instagram @visitwisrapids.

In today's episode of The Herbalist's Path, I explore natural remedies for sunburns. Discover how melanin protects our DNA but isn't foolproof against prolonged UV exposure. I discuss Good Day Sunshine, a herbal sunscreen with Calendula and St. John's Wort. While prevention is key, I also highlight powerful herbal remedies for soothing and healing sunburns. Vulnerary herbs are perfect for healing wounds, and mucilaginous herbs like aloe vera, which offer cooling and soothing effects can work wonders and provide much needed relief to sunburned skin. Other herbs like calendula, lavender, comfrey, plantain, and marshmallow root are also noted for their remarkable healing properties. Although I stress on prevention throughout the episode, I also highlight the incredible power of herbs to heal sunburns. For those of you wanting to stock up on some sunburn soothing herbs, Mountain Rose Herbs has a special promotion right now. You can get a 15% discount on your orders until the end of July, 2023. The discount code is MRHPartner15. You can find the link right here. I do have a partnership with Mountain Rose Herbs. Therefore, every order made through my link provides me with a small commission. I thank you for your love and support and hope you will share this episode with your circle of friends! Let's help herbalism #spreadlikewild

The biggest-selling musical act of all time isn't necessarily well-known for the time they spent in Florida, but Bob Kealing says they should be. The Beatles stopped in Florida just after their world-changing appearance on the "Ed Sullivan Show," and were exposed to a magical side of America. The Beatles soaked up Miami's beaches, bikinis and sunshine, and spent more time in Florida than anywhere else during their first sojourn to the US. They would return several months later to play a show in Jacksonville, and wound up taking a stand that impacted the Civil Rights movement and the music industry forever. Bob is a foremost authority on Florida history, and paints a vivid picture of the Beatles in Florida, using an array of sources that only he could have cultivated.Information on "Good Day Sunshine State" can be found at https://upf.com/book.asp?id=9780813068930Bob Kealing is on social media at https://twitter.com/Bob_KealingSupport our show at https://patreon.com/axelbankhistory**A portion of every contribution is given to a charity for children's literacy** "Axelbank Reports History and Today" can be found on social media at https://twitter.com/axelbankhistory https://instagram.com/axelbankhistoryHistory Nerds UnitedLet's make history fun again! Come listen to interviews with today's best authors.Listen on: Apple Podcasts Spotify

I can't imagine my youth – or my life - without The Beatles – Butch Patrick Most people have a favorite Beatles song. In fact, most people grew up having a favorite Beatle. In this book, sixty-four celebrities and Beatles associates reveal their Top 10 favorite Beatles songs, albums, themes, and memories. Who doesn't love a Top 10 List? They're short, they're fun, and we always want to see if our choices match. Will your favorite Beatles song show up on any of these lists? The author, Charles F. Rosenay!!!, is well known to Beatles fans for over four decades of promoting conventions, festivals, and events. Since 1983 he has hosted the "Magical Mystery Tour" to London and Liverpool during Beatleweek, which brings travelers on the ultimate fan experience. For almost twenty years he was the publisher and editor of the world-famous Beatles magazine Good Day Sunshine. Having edited or contributed to countless Beatles books in the past, and after issuing two non-Beatles books, Charles has finally released a unique book that is very different from any out there. After years of contacting celebrities, rock stars, actors, athletes, authors, and notables connected to The Beatles history, here is a unique and very special treasury for pop-culture enthusiasts, music lovers, and fans of the greatest rock and roll band in history. A must for any library. Here is THE BOOK OF TOP 10 BEATLES LISTS. Order Charles' Book Today! https://www.dw.com/en/how-the-beatles-career-started/a-63332022 https://www.owltail.com/people/BELLq-charles-rosenay/appearances

Most people have a favorite Beatles song. In fact, most people grew up having a favorite Beatle. In Charles F. Rosenay's The Book of Top 10 Beatles Lists, sixty-four celebrities and Beatles associates reveal their Top 10 favorite Beatles songs, albums, themes, and memories.Rosenay is well known to Beatles fans for over four decades of promoting conventions, festivals, and events. Since 1983 he's hosted the "Magical Mystery Tour" to London and Liverpool during Beatleweek, an event which brings travelers on the ultimate fan experience. For almost twenty years he was the publisher and editor of the world-famous Beatles magazine Good Day Sunshine. After years of contacting celebrities, rock stars, actors, athletes, authors, and notables connected to The Beatles history, Charles has put together this book for pop-culture enthusiasts, music lovers, and fans of the greatest rock and roll band in history – The Beatles.I've put together my own top 10 Beatles song list which you can find below. I'd love to hear what your top ten is. Post yours on the Booked on Rock Facebook, Twitter and Instagram pages or by email to thebookedonrockpodcast@gmail.com.Purchase a copy of The Book of Top 10 Beatles Lists through Amazon HEREVisit the The Book of Top 10 Beatles Lists website HERE Visit the Liverpool Tours website HERE Visit Charles F. Rosenay's Facebook page HERE Check out Eric's Top 10 Beatles Songs List HERE Visit the Booked On Rock Website HERE https://www.bookedonrock.com Watch exclusive video segments from the Booked On Rock podcast HERE Follow The Booked On Rock with Eric Senich:FACEBOOK TWITTER INSTAGRAM TIKTOK Support Your Local Bookstore! Find your nearest independent bookstore HERE Contact The Booked On Rock Podcast: thebookedonrockpodcast@gmail.com The Booked On Rock Music: “Whoosh” by Crowander https://www.crowander.com / “Last Train North” by TrackTribe https://www.youtube.com/channel/UCALNf7YM2pEGJvIHf1zxftA

In 10 games, Pete Alonso has hit five home runs, the second time in his career that he's started a season that way, as in 2019, the then-rookie made an instant impact with not only the five dingers, but 10 other hits for a .385/.429/.923 start to his career. To start this season, Alonso's line is at .237/.326/.658. It's been a weird first couple of weeks.This isn't a record-setting start, although Alonso does have as many homers so far as the Guardians, Nationals, and Tigers. Dave Kingman had the most dingerrific start to a Mets season, with seven in the first 10 games in 1976 — he wound up with 37 (of the Mets' 102 total) home runs, finishing second in the National League to Mike Schmidt's 38. While the season total for Kingman was first eclipsed by Darryl Strawberry in 1987, and now is just outside the top 10 in Mets history, the 7-in-10 start remains alone at the top, according to Stathead.With six homers in the first 10 games of a season, we find Ray Knight in 1986 (finished with 11, plus one more in Game 7 of the World Series), John Buck in 2013 (finished with 15, all with the Mets before being traded with Marlon Byrd to the Pirates for Dilson Herrera and Vic Black), and Yoenis Céspedes in 2017 (finished with 17, played only 81 games).Also with five for a nice 90-homer pace after the season's opening 10 games? The aforementioned Strawberry on his way to breaking Kingman's team record in 1987, Gary Carter in 1988 (finished with 11), and Jeff Kent in 1994 (finished with 14 in 107 games before the strike).What's next for Alonso, the first Met ever to start two seasons with five dingers in 10 games? He's already tied for 36th on the team's list for homers in the first 20 games, and the record there, the one that all Mets fans will want to see fall in the next 10, is shared by Kingman's 1976 effort and the nine homers that Neil Walker hit to start 2016, on his way to going deep 23 times that year.Alonso is currently tied for 11th on that list with his seven homers to start 2019, while the list at eight is fascinating, too: Frank Thomas 1962 (finished with 34), Kingman in 1982 (a league-leading 37 that time), Kent in 1994 (14), Todd Hundley in 1994 (16) and 1996 (then team-record 41), Richard Hidalgo in 2004 (and here's where we note that this is in the player's first X number of games, not the team's, because Hidalgo joined the Mets in a June trade for Jeremy Griffiths and David Weathers, having already hit four homers for the Astros — he wound up wiht 21 in 86 games as a Met, still the record for most homers by a player with 145 or fewer games played with the club — Eduardo Escobar is currently at 21 homers in 145 games, and Byrd had 21 in 117, for what it's worth, while Mo Vaughn is next on whatever this list is at 29 in 166), Carlos Delgado in 2006, and Céspedes in 2016 (31). This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit willetspen.substack.com/subscribe

We're talking all things #Beatles with veteran journalist #BobKealing! Check out his riveting new book “Good Day Sunshine State: How the Beatles Rocked Florida”! Some amazing stories, and first hand accounts from folks who rubbed shoulders with The Fab Four back in the day!

Seattle - one of the most depressed cities (or is it?) //A California city has banned balloons due to their polluting the ocean.//Odd mythsSee omnystudio.com/listener for privacy information.

In today's episode of This Day in Miami History, we talk to Bob Kealing, author of "Good Day Sunshine State: How the Beatles Rocked Florida." Our discussion covers the band's history in Florida, their impact on our music scene and how the Fab Four left our state changed forever.You can but Bob's book at local bookseller Books & Books here! https://shop.booksandbooks.com/aff/thisdaymiamipod_34958/book/9780813068930Support this podcast at — https://redcircle.com/this-day-in-miami-history-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

New ads and accusations in Jacksonville's mayoral race; a flashback to 1964 when the Beatles integrated the Gator Bowl; new resources for people leaving incarceration on the First Coast; and the First Coast Connect book club.

The two taxmen of trivia are back to explore side two of the Fab Four's 1966 masterwork. They go track by track to discuss the surprising song that inspired “Good Day Sunshine,” why Paul McCartney wrote “For No One” in the toilet after a fight with his girlfriend, the real-life NYC doc who gets name-checked in “Doctor Robert,” and which future George Harrison classic got rejected during the sessions. You'll also learn how the album was nearly recorded at a landmark Memphis recording studio and named after a groan-worthy Rolling Stones pun.See omnystudio.com/listener for privacy information.

If ever a Paul song fit the oft-used descriptor of “jaunty,” it's “Good Day Sunshine.” A tune written during the Revolver sessions, it's one of the sunnier moments on an album that sees a bit of a darker side of the Beatles than we'd seen before. It's maybe not the weightiest thing he's ever done, but it's amazing how Paul has the ability to soundtrack human emotions so easily; the song really has the bounce and light and fun of new love and a beautiful day. It's the part of the ying and yang, the light and dark that make the Beatles so successful. Joining us this week is comedian, actor, author, and now Emmy winning-producer Wayne Federman. Wayne is the producer of the documentary George Carlin's American Dream,”which recently won the 2022 Emmy for Outstanding Documentary. He's also the the author of the book The History of Standup: From Mark Twain to Dave Chapelle, was the head monologue writer for Late Night with Jimmy Fallon, and has popped up in a long list of movies and tv shows that you've definitely seen. We chat with Wayne about being a Ringo stan, the value of the Beatles brand comedy, musical DNA between songs, song inspiration, and much much more! Check out WayneFederman.com to grab his book, and follow him on Twitter at @federman. 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 official website, www.rankingthebeatles.com and our brand new webstore!! RANK YOUR OWN BEATLES with our new RTB poster! Pick up a tshirt, coffee cup, tote bag, and more! 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

¡Episodio final de temporada por todo lo alto! Elegimos qué canciones descartar, desde Revolver y hasta el final de la discografía de Los Beatles. Good Day Sunshine interpretado por Mona Lisa Twins Wild Honey Pie by 甲虫楽団 TOKYO ビートルズ中後期サウンド追求バンド

The Beatles nuevamente se hace presente en nuestro podcast con "Revolver", trabajo que nuestro equipo revisa analizando la transición de la banda hacia su etapa más experimental, sus métodos de grabación en el estudio, su influencia en el rock de la época, y otros temas.

Vitamin D comes mostly from the Sun. الطاقةالشمسية Énergie Solaire! Zonne énergie is kostenloos!

This week's episode looks at “All You Need is Love”, the Our World TV special, and the career of the Beatles from April 1966 through August 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a thirteen-minute bonus episode available, on "Rain" by the Beatles. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ NB for the first few hours this was up, there was a slight editing glitch. If you downloaded the old version and don't want to redownload the whole thing, just look in the transcript for "Other than fixing John's two flubbed" for the text of the two missing paragraphs. Errata I say "Come Together" was a B-side, but the single was actually a double A-side. Also, I say the Lennon interview by Maureen Cleave appeared in Detroit magazine. That's what my source (Steve Turner's book) says, but someone on Twitter says that rather than Detroit magazine it was the Detroit Free Press. Also at one point I say "the videos for 'Paperback Writer' and 'Penny Lane'". I meant to say "Rain" rather than "Penny Lane" there. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. Particularly useful this time was Steve Turner's book Beatles '66. I also used Turner's The Beatles: The Stories Behind the Songs 1967-1970. Johnny Rogan's Starmakers and Svengalis had some information on Epstein I hadn't seen anywhere else. Some information about the "Bigger than Jesus" scandal comes from Ward, B. (2012). “The ‘C' is for Christ”: Arthur Unger, Datebook Magazine and the Beatles. Popular Music and Society, 35(4), 541-560. https://doi.org/10.1080/03007766.2011.608978 Information on Robert Stigwood comes from Mr Showbiz by Stephen Dando-Collins. And the quote at the end from Simon Napier-Bell is from You Don't Have to Say You Love Me, which is more entertaining than it is accurate, but is very entertaining. Sadly the only way to get the single mix of "All You Need is Love" is on this ludicrously-expensive out-of-print box set, but the stereo mix is easily available on Magical Mystery Tour. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I start the episode -- this episode deals, in part, with the deaths of three gay men -- one by murder, one by suicide, and one by an accidental overdose, all linked at least in part to societal homophobia. I will try to deal with this as tactfully as I can, but anyone who's upset by those things might want to read the transcript instead of listening to the episode. This is also a very, very, *very* long episode -- this is likely to be the longest episode I *ever* do of this podcast, so settle in. We're going to be here a while. I obviously don't know how long it's going to be while I'm still recording, but based on the word count of my script, probably in the region of three hours. You have been warned. In 1967 the actor Patrick McGoohan was tired. He had been working on the hit series Danger Man for many years -- Danger Man had originally run from 1960 through 1962, then had taken a break, and had come back, retooled, with longer episodes in 1964. That longer series was a big hit, both in the UK and in the US, where it was retitled Secret Agent and had a new theme tune written by PF Sloan and Steve Barri and recorded by Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But McGoohan was tired of playing John Drake, the agent, and announced he was going to quit the series. Instead, with the help of George Markstein, Danger Man's script editor, he created a totally new series, in which McGoohan would star, and which McGoohan would also write and direct key episodes of. This new series, The Prisoner, featured a spy who is only ever given the name Number Six, and who many fans -- though not McGoohan himself -- took to be the same character as John Drake. Number Six resigns from his job as a secret agent, and is kidnapped and taken to a place known only as The Village -- the series was filmed in Portmeirion, an unusual-looking town in Gwynnedd, in North Wales -- which is full of other ex-agents. There he is interrogated to try to find out why he has quit his job. It's never made clear whether the interrogators are his old employers or their enemies, and there's a certain suggestion that maybe there is no real distinction between the two sides, that they're both running the Village together. He spends the entire series trying to escape, but refuses to explain himself -- and there's some debate among viewers as to whether it's implied or not that part of the reason he doesn't explain himself is that he knows his interrogators wouldn't understand why he quit: [Excerpt: The Prisoner intro, from episode Once Upon a Time, ] Certainly that explanation would fit in with McGoohan's own personality. According to McGoohan, the final episode of The Prisoner was, at the time, the most watched TV show ever broadcast in the UK, as people tuned in to find out the identity of Number One, the person behind the Village, and to see if Number Six would break free. I don't think that's actually the case, but it's what McGoohan always claimed, and it was certainly a very popular series. I won't spoil the ending for those of you who haven't watched it -- it's a remarkable series -- but ultimately the series seems to decide that such questions don't matter and that even asking them is missing the point. It's a work that's open to multiple interpretations, and is left deliberately ambiguous, but one of the messages many people have taken away from it is that not only are we trapped by a society that oppresses us, we're also trapped by our own identities. You can run from the trap that society has placed you in, from other people's interpretations of your life, your work, and your motives, but you ultimately can't run from yourself, and any time you try to break out of a prison, you'll find yourself trapped in another prison of your own making. The most horrifying implication of the episode is that possibly even death itself won't be a release, and you will spend all eternity trying to escape from an identity you're trapped in. Viewers became so outraged, according to McGoohan, that he had to go into hiding for an extended period, and while his later claims that he never worked in Britain again are an exaggeration, it is true that for the remainder of his life he concentrated on doing work in the US instead, where he hadn't created such anger. That final episode of The Prisoner was also the only one to use a piece of contemporary pop music, in two crucial scenes: [Excerpt: The Prisoner, "Fall Out", "All You Need is Love"] Back in October 2020, we started what I thought would be a year-long look at the period from late 1962 through early 1967, but which has turned out for reasons beyond my control to take more like twenty months, with a song which was one of the last of the big pre-Beatles pop hits, though we looked at it after their first single, "Telstar" by the Tornadoes: [Excerpt: The Tornadoes, "Telstar"] There were many reasons for choosing that as one of the bookends for this fifty-episode chunk of the podcast -- you'll see many connections between that episode and this one if you listen to them back-to-back -- but among them was that it's a song inspired by the launch of the first ever communications satellite, and a sign of how the world was going to become smaller as the sixties went on. Of course, to start with communications satellites didn't do much in that regard -- they were expensive to use, and had limited bandwidth, and were only available during limited time windows, but symbolically they meant that for the first time ever, people could see and hear events thousands of miles away as they were happening. It's not a coincidence that Britain and France signed the agreement to develop Concorde, the first supersonic airliner, a month after the first Beatles single and four months after the Telstar satellite was launched. The world was becoming ever more interconnected -- people were travelling faster and further, getting news from other countries quicker, and there was more cultural conversation – and misunderstanding – between countries thousands of miles apart. The Canadian media theorist Marshall McLuhan, the man who also coined the phrase “the medium is the message”, thought that this ever-faster connection would fundamentally change basic modes of thought in the Western world. McLuhan thought that technology made possible whole new modes of thought, and that just as the printing press had, in his view, caused Western liberalism and individualism, so these new electronic media would cause the rise of a new collective mode of thought. In 1962, the year of Concorde, Telstar, and “Love Me Do”, McLuhan wrote a book called The Gutenberg Galaxy, in which he said: “Instead of tending towards a vast Alexandrian library the world has become a computer, an electronic brain, exactly as an infantile piece of science fiction. And as our senses have gone outside us, Big Brother goes inside. So, unless aware of this dynamic, we shall at once move into a phase of panic terrors, exactly befitting a small world of tribal drums, total interdependence, and superimposed co-existence.… Terror is the normal state of any oral society, for in it everything affects everything all the time.…” He coined the term “the Global Village” to describe this new collectivism. The story we've seen over the last fifty episodes is one of a sort of cultural ping-pong between the USA and the UK, with innovations in American music inspiring British musicians, who in turn inspired American ones, whether that being the Beatles covering the Isley Brothers or the Rolling Stones doing a Bobby Womack song, or Paul Simon and Bob Dylan coming over to the UK and learning folk songs and guitar techniques from Martin Carthy. And increasingly we're going to see those influences spread to other countries, and influences coming *from* other countries. We've already seen one Jamaican artist, and the influence of Indian music has become very apparent. While the focus of this series is going to remain principally in the British Isles and North America, rock music was and is a worldwide phenomenon, and that's going to become increasingly a part of the story. And so in this episode we're going to look at a live performance -- well, mostly live -- that was seen by hundreds of millions of people all over the world as it happened, thanks to the magic of satellites: [Excerpt: The Beatles, "All You Need is Love"] When we left the Beatles, they had just finished recording "Tomorrow Never Knows", the most experimental track they had recorded up to that date, and if not the most experimental thing they *ever* recorded certainly in the top handful. But "Tomorrow Never Knows" was only the first track they recorded in the sessions for what would become arguably their greatest album, and certainly the one that currently has the most respect from critics. It's interesting to note that that album could have been very, very, different. When we think of Revolver now, we think of the innovative production of George Martin, and of Geoff Emerick and Ken Townshend's inventive ideas for pushing the sound of the equipment in Abbey Road studios, but until very late in the day the album was going to be recorded in the Stax studios in Memphis, with Steve Cropper producing -- whether George Martin would have been involved or not is something we don't even know. In 1965, the Rolling Stones had, as we've seen, started making records in the US, recording in LA and at the Chess studios in Chicago, and the Yardbirds had also been doing the same thing. Mick Jagger had become a convert to the idea of using American studios and working with American musicians, and he had constantly been telling Paul McCartney that the Beatles should do the same. Indeed, they'd put some feelers out in 1965 about the possibility of the group making an album with Holland, Dozier, and Holland in Detroit. Quite how this would have worked is hard to figure out -- Holland, Dozier, and Holland's skills were as songwriters, and in their work with a particular set of musicians -- so it's unsurprising that came to nothing. But recording at Stax was a different matter.  While Steve Cropper was a great songwriter in his own right, he was also adept at getting great sounds on covers of other people's material -- like on Otis Blue, the album he produced for Otis Redding in late 1965, which doesn't include a single Cropper original: [Excerpt: Otis Redding, "Satisfaction"] And the Beatles were very influenced by the records Stax were putting out, often namechecking Wilson Pickett in particular, and during the Rubber Soul sessions they had recorded a "Green Onions" soundalike track, imaginatively titled "12-Bar Original": [Excerpt: The Beatles, "12-Bar Original"] The idea of the group recording at Stax got far enough that they were actually booked in for two weeks starting the ninth of April, and there was even an offer from Elvis to let them stay at Graceland while they recorded, but then a couple of weeks earlier, the news leaked to the press, and Brian Epstein cancelled the booking. According to Cropper, Epstein talked about recording at the Atlantic studios in New York with him instead, but nothing went any further. It's hard to imagine what a Stax-based Beatles album would have been like, but even though it might have been a great album, it certainly wouldn't have been the Revolver we've come to know. Revolver is an unusual album in many ways, and one of the ways it's most distinct from the earlier Beatles albums is the dominance of keyboards. Both Lennon and McCartney had often written at the piano as well as the guitar -- McCartney more so than Lennon, but both had done so regularly -- but up to this point it had been normal for them to arrange the songs for guitars rather than keyboards, no matter how they'd started out. There had been the odd track where one of them, usually Lennon, would play a simple keyboard part, songs like "I'm Down" or "We Can Work it Out", but even those had been guitar records first and foremost. But on Revolver, that changed dramatically. There seems to have been a complex web of cause and effect here. Paul was becoming increasingly interested in moving his basslines away from simple walking basslines and root notes and the other staples of rock and roll basslines up to this point. As the sixties progressed, rock basslines were becoming ever more complex, and Tyler Mahan Coe has made a good case that this is largely down to innovations in production pioneered by Owen Bradley, and McCartney was certainly aware of Bradley's work -- he was a fan of Brenda Lee, who Bradley produced, for example. But the two influences that McCartney has mentioned most often in this regard are the busy, jazz-influenced, basslines that James Jamerson was playing at Motown: [Excerpt: The Four Tops, "It's the Same Old Song"] And the basslines that Brian Wilson was writing for various Wrecking Crew bassists to play for the Beach Boys: [Excerpt: The Beach Boys, "Don't Talk (Put Your Head on My Shoulder)"] Just to be clear, McCartney didn't hear that particular track until partway through the recording of Revolver, when Bruce Johnston visited the UK and brought with him an advance copy of Pet Sounds, but Pet Sounds influenced the later part of Revolver's recording, and Wilson had already started his experiments in that direction with the group's 1965 work. It's much easier to write a song with this kind of bassline, one that's integral to the composition, on the piano than it is to write it on a guitar, as you can work out the bassline with your left hand while working out the chords and melody with your right, so the habit that McCartney had already developed of writing on the piano made this easier. But also, starting with the recording of "Paperback Writer", McCartney switched his style of working in the studio. Where up to this point it had been normal for him to play bass as part of the recording of the basic track, playing with the other Beatles, he now started to take advantage of multitracking to overdub his bass later, so he could spend extra time getting the bassline exactly right. McCartney lived closer to Abbey Road than the other three Beatles, and so could more easily get there early or stay late and tweak his parts. But if McCartney wasn't playing bass while the guitars and drums were being recorded, that meant he could play something else, and so increasingly he would play piano during the recording of the basic track. And that in turn would mean that there wouldn't always *be* a need for guitars on the track, because the harmonic support they would provide would be provided by the piano instead. This, as much as anything else, is the reason that Revolver sounds so radically different to any other Beatles album. Up to this point, with *very* rare exceptions like "Yesterday", every Beatles record, more or less, featured all four of the Beatles playing instruments. Now John and George weren't playing on "Good Day Sunshine" or "For No One", John wasn't playing on "Here, There, and Everywhere", "Eleanor Rigby" features no guitars or drums at all, and George's "Love You To" only features himself, plus a little tambourine from Ringo (Paul recorded a part for that one, but it doesn't seem to appear on the finished track). Of the three songwriting Beatles, the only one who at this point was consistently requiring the instrumental contributions of all the other band members was John, and even he did without Paul on "She Said, She Said", which by all accounts features either John or George on bass, after Paul had a rare bout of unprofessionalism and left the studio. Revolver is still an album made by a group -- and most of those tracks that don't feature John or George instrumentally still feature them vocally -- it's still a collaborative work in all the best ways. But it's no longer an album made by four people playing together in the same room at the same time. After starting work on "Tomorrow Never Knows", the next track they started work on was Paul's "Got to Get You Into My Life", but as it would turn out they would work on that song throughout most of the sessions for the album -- in a sign of how the group would increasingly work from this point on, Paul's song was subject to multiple re-recordings and tweakings in the studio, as he tinkered to try to make it perfect. The first recording to be completed for the album, though, was almost as much of a departure in its own way as "Tomorrow Never Knows" had been. George's song "Love You To" shows just how inspired he was by the music of Ravi Shankar, and how devoted he was to Indian music. While a few months earlier he had just about managed to pick out a simple melody on the sitar for "Norwegian Wood", by this point he was comfortable enough with Indian classical music that I've seen many, many sources claim that an outside session player is playing sitar on the track, though Anil Bhagwat, the tabla player on the track, always insisted that it was entirely Harrison's playing: [Excerpt: The Beatles, "Love You To"] There is a *lot* of debate as to whether it's George playing on the track, and I feel a little uncomfortable making a definitive statement in either direction. On the one hand I find it hard to believe that Harrison got that good that quickly on an unfamiliar instrument, when we know he wasn't a naturally facile musician. All the stories we have about his work in the studio suggest that he had to work very hard on his guitar solos, and that he would frequently fluff them. As a technical guitarist, Harrison was only mediocre -- his value lay in his inventiveness, not in technical ability -- and he had been playing guitar for over a decade, but sitar only a few months. There's also some session documentation suggesting that an unknown sitar player was hired. On the other hand there's the testimony of Anil Bhagwat that Harrison played the part himself, and he has been very firm on the subject, saying "If you go on the Internet there are a lot of questions asked about "Love You To". They say 'It's not George playing the sitar'. I can tell you here and now -- 100 percent it was George on sitar throughout. There were no other musicians involved. It was just me and him." And several people who are more knowledgeable than myself about the instrument have suggested that the sitar part on the track is played the way that a rock guitarist would play rather than the way someone with more knowledge of Indian classical music would play -- there's a blues feeling to some of the bends that apparently no genuine Indian classical musician would naturally do. I would suggest that the best explanation is that there's a professional sitar player trying to replicate a part that Harrison had previously demonstrated, while Harrison was in turn trying his best to replicate the sound of Ravi Shankar's work. Certainly the instrumental section sounds far more fluent, and far more stylistically correct, than one would expect: [Excerpt: The Beatles, "Love You To"] Where previous attempts at what got called "raga-rock" had taken a couple of surface features of Indian music -- some form of a drone, perhaps a modal scale -- and had generally used a guitar made to sound a little bit like a sitar, or had a sitar playing normal rock riffs, Harrison's song seems to be a genuine attempt to hybridise Indian ragas and rock music, combining the instrumentation, modes, and rhythmic complexity of someone like Ravi Shankar with lyrics that are seemingly inspired by Bob Dylan and a fairly conventional pop song structure (and a tiny bit of fuzz guitar). It's a record that could only be made by someone who properly understood both the Indian music he's emulating and the conventions of the Western pop song, and understood how those conventions could work together. Indeed, one thing I've rarely seen pointed out is how cleverly the album is sequenced, so that "Love You To" is followed by possibly the most conventional song on Revolver, "Here, There, and Everywhere", which was recorded towards the end of the sessions. Both songs share a distinctive feature not shared by the rest of the album, so the two songs can sound more of a pair than they otherwise would, retrospectively making "Love You To" seem more conventional than it is and "Here, There, and Everywhere" more unconventional -- both have as an introduction a separate piece of music that states some of the melodic themes of the rest of the song but isn't repeated later. In the case of "Love You To" it's the free-tempo bit at the beginning, characteristic of a lot of Indian music: [Excerpt: The Beatles, "Love You To"] While in the case of "Here, There, and Everywhere" it's the part that mimics an older style of songwriting, a separate intro of the type that would have been called a verse when written by the Gershwins or Cole Porter, but of course in the intervening decades "verse" had come to mean something else, so we now no longer have a specific term for this kind of intro -- but as you can hear, it's doing very much the same thing as that "Love You To" intro: [Excerpt: The Beatles, "Here, There, and Everywhere"] In the same day as the group completed "Love You To", overdubbing George's vocal and Ringo's tambourine, they also started work on a song that would show off a lot of the new techniques they had been working on in very different ways. Paul's "Paperback Writer" could indeed be seen as part of a loose trilogy with "Love You To" and "Tomorrow Never Knows", one song by each of the group's three songwriters exploring the idea of a song that's almost all on one chord. Both "Tomorrow Never Knows" and "Love You To" are based on a drone with occasional hints towards moving to one other chord. In the case of "Paperback Writer", the entire song stays on a single chord until the title -- it's on a G7 throughout until the first use of the word "writer", when it quickly goes to a C for two bars. I'm afraid I'm going to have to sing to show you how little the chords actually change, because the riff disguises this lack of movement somewhat, but the melody is also far more horizontal than most of McCartney's, so this shouldn't sound too painful, I hope: [demonstrates] This is essentially the exact same thing that both "Love You To" and "Tomorrow Never Knows" do, and all three have very similarly structured rising and falling modal melodies. There's also a bit of "Paperback Writer" that seems to tie directly into "Love You To", but also points to a possible very non-Indian inspiration for part of "Love You To". The Beach Boys' single "Sloop John B" was released in the UK a couple of days after the sessions for "Paperback Writer" and "Love You To", but it had been released in the US a month before, and the Beatles all got copies of every record in the American top thirty shipped to them. McCartney and Harrison have specifically pointed to it as an influence on "Paperback Writer". "Sloop John B" has a section where all the instruments drop out and we're left with just the group's vocal harmonies: [Excerpt: The Beach Boys, "Sloop John B"] And that seems to have been the inspiration behind the similar moment at a similar point in "Paperback Writer", which is used in place of a middle eight and also used for the song's intro: [Excerpt: The Beatles, "Paperback Writer"] Which is very close to what Harrison does at the end of each verse of "Love You To", where the instruments drop out for him to sing a long melismatic syllable before coming back in: [Excerpt: The Beatles, "Love You To"] Essentially, other than "Got to Get You Into My Life", which is an outlier and should not be counted, the first three songs attempted during the Revolver sessions are variations on a common theme, and it's a sign that no matter how different the results might  sound, the Beatles really were very much a group at this point, and were sharing ideas among themselves and developing those ideas in similar ways. "Paperback Writer" disguises what it's doing somewhat by having such a strong riff. Lennon referred to "Paperback Writer" as "son of 'Day Tripper'", and in terms of the Beatles' singles it's actually their third iteration of this riff idea, which they originally got from Bobby Parker's "Watch Your Step": [Excerpt: Bobby Parker, "Watch Your Step"] Which became the inspiration for "I Feel Fine": [Excerpt: The Beatles, "I Feel Fine"] Which they varied for "Day Tripper": [Excerpt: The Beatles, "Day Tripper"] And which then in turn got varied for "Paperback Writer": [Excerpt: The Beatles, "Paperback Writer"] As well as compositional ideas, there are sonic ideas shared between "Paperback Writer", "Tomorrow Never Knows", and "Love You To", and which would be shared by the rest of the tracks the Beatles recorded in the first half of 1966. Since Geoff Emerick had become the group's principal engineer, they'd started paying more attention to how to get a fuller sound, and so Emerick had miced the tabla on "Love You To" much more closely than anyone would normally mic an instrument from classical music, creating a deep, thudding sound, and similarly he had changed the way they recorded the drums on "Tomorrow Never Knows", again giving a much fuller sound. But the group also wanted the kind of big bass sounds they'd loved on records coming out of America -- sounds that no British studio was getting, largely because it was believed that if you cut too loud a bass sound into a record it would make the needle jump out of the groove. The new engineering team of Geoff Emerick and Ken Scott, though, thought that it was likely you could keep the needle in the groove if you had a smoother frequency response. You could do that if you used a microphone with a larger diaphragm to record the bass, but how could you do that? Inspiration finally struck -- loudspeakers are actually the same thing as microphones wired the other way round, so if you wired up a loudspeaker as if it were a microphone you could get a *really big* speaker, place it in front of the bass amp, and get a much stronger bass sound. The experiment wasn't a total success -- the sound they got had to be processed quite extensively to get rid of room noise, and then compressed in order to further prevent the needle-jumping issue, and so it's a muddier, less defined, tone than they would have liked, but one thing that can't be denied is that "Paperback Writer"'s bass sound is much, much, louder than on any previous Beatles record: [Excerpt: The Beatles, "Paperback Writer"] Almost every track the group recorded during the Revolver sessions involved all sorts of studio innovations, though rarely anything as truly revolutionary as the artificial double-tracking they'd used on "Tomorrow Never Knows", and which also appeared on "Paperback Writer" -- indeed, as "Paperback Writer" was released several months before Revolver, it became the first record released to use the technique. I could easily devote a good ten minutes to every track on Revolver, and to "Paperback Writer"s B-side, "Rain", but this is already shaping up to be an extraordinarily long episode and there's a lot of material to get through, so I'll break my usual pattern of devoting a Patreon bonus episode to something relatively obscure, and this week's bonus will be on "Rain" itself. "Paperback Writer", though, deserved the attention here even though it was not one of the group's more successful singles -- it did go to number one, but it didn't hit number one in the UK charts straight away, being kept off the top by "Strangers in the Night" by Frank Sinatra for the first week: [Excerpt: Frank Sinatra, "Strangers in the Night"] Coincidentally, "Strangers in the Night" was co-written by Bert Kaempfert, the German musician who had produced the group's very first recording sessions with Tony Sheridan back in 1961. On the group's German tour in 1966 they met up with Kaempfert again, and John greeted him by singing the first couple of lines of the Sinatra record. The single was the lowest-selling Beatles single in the UK since "Love Me Do". In the US it only made number one for two non-consecutive weeks, with "Strangers in the Night" knocking it off for a week in between. Now, by literally any other band's standards, that's still a massive hit, and it was the Beatles' tenth UK number one in a row (or ninth, depending on which chart you use for "Please Please Me"), but it's a sign that the group were moving out of the first phase of total unequivocal dominance of the charts. It was a turning point in a lot of other ways as well. Up to this point, while the group had been experimenting with different lyrical subjects on album tracks, every single had lyrics about romantic relationships -- with the possible exception of "Help!", which was about Lennon's emotional state but written in such a way that it could be heard as a plea to a lover. But in the case of "Paperback Writer", McCartney was inspired by his Aunt Mill asking him "Why do you write songs about love all the time? Can you ever write about a horse or the summit conference or something interesting?" His response was to think "All right, Aunt Mill, I'll show you", and to come up with a lyric that was very much in the style of the social satires that bands like the Kinks were releasing at the time. People often miss the humour in the lyric for "Paperback Writer", but there's a huge amount of comedy in lyrics about someone writing to a publisher saying they'd written a book based on someone else's book, and one can only imagine the feeling of weary recognition in slush-pile readers throughout the world as they heard the enthusiastic "It's a thousand pages, give or take a few, I'll be writing more in a week or two. I can make it longer..." From this point on, the group wouldn't release a single that was unambiguously about a romantic relationship until "The Ballad of John and Yoko",  the last single released while the band were still together. "Paperback Writer" also saw the Beatles for the first time making a promotional film -- what we would now call a rock video -- rather than make personal appearances on TV shows. The film was directed by Michael Lindsay-Hogg, who the group would work with again in 1969, and shows Paul with a chipped front tooth -- he'd been in an accident while riding mopeds with his friend Tara Browne a few months earlier, and hadn't yet got round to having the tooth capped. When he did, the change in his teeth was one of the many bits of evidence used by conspiracy theorists to prove that the real Paul McCartney was dead and replaced by a lookalike. It also marks a change in who the most prominent Beatle on the group's A-sides was. Up to this point, Paul had had one solo lead on an A-side -- "Can't Buy Me Love" -- and everything else had been either a song with multiple vocalists like "Day Tripper" or "Love Me Do", or a song with a clear John lead like "Ticket to Ride" or "I Feel Fine". In the rest of their career, counting "Paperback Writer", the group would release nine new singles that hadn't already been included on an album. Of those nine singles, one was a double A-side with one John song and one Paul song, two had John songs on the A-side, and the other six were Paul. Where up to this point John had been "lead Beatle", for the rest of the sixties, Paul would be the group's driving force. Oddly, Paul got rather defensive about the record when asked about it in interviews after it failed to go straight to the top, saying "It's not our best single by any means, but we're very satisfied with it". But especially in its original mono mix it actually packs a powerful punch: [Excerpt: The Beatles, "Paperback Writer"] When the "Paperback Writer" single was released, an unusual image was used in the advertising -- a photo of the Beatles dressed in butchers' smocks, covered in blood, with chunks of meat and the dismembered body parts of baby dolls lying around on them. The image was meant as part of a triptych parodying religious art -- the photo on the left was to be an image showing the four Beatles connected to a woman by an umbilical cord made of sausages, the middle panel was meant to be this image, but with halos added over the Beatles' heads, and the panel on the right was George hammering a nail into John's head, symbolising both crucifixion and that the group were real, physical, people, not just images to be worshipped -- these weren't imaginary nails, and they weren't imaginary people. The photographer Robert Whittaker later said: “I did a photograph of the Beatles covered in raw meat, dolls and false teeth. Putting meat, dolls and false teeth with The Beatles is essentially part of the same thing, the breakdown of what is regarded as normal. The actual conception for what I still call “Somnambulant Adventure” was Moses coming down from Mount Sinai with the Ten Commandments. He comes across people worshipping a golden calf. All over the world I'd watched people worshiping like idols, like gods, four Beatles. To me they were just stock standard normal people. But this emotion that fans poured on them made me wonder where Christianity was heading.” The image wasn't that controversial in the UK, when it was used to advertise "Paperback Writer", but in the US it was initially used for the cover of an album, Yesterday... And Today, which was made up of a few tracks that had been left off the US versions of the Rubber Soul and Help! albums, plus both sides of the "We Can Work It Out"/"Day Tripper" single, and three rough mixes of songs that had been recorded for Revolver -- "Doctor Robert", "And Your Bird Can Sing", and "I'm Only Sleeping", which was the song that sounded most different from the mixes that were finally released: [Excerpt: The Beatles, "I'm Only Sleeping (Yesterday... and Today mix)"] Those three songs were all Lennon songs, which had the unfortunate effect that when the US version of Revolver was brought out later in the year, only two of the songs on the album were by Lennon, with six by McCartney and three by Harrison. Some have suggested that this was the motivation for the use of the butcher image on the cover of Yesterday... And Today -- saying it was the Beatles' protest against Capitol "butchering" their albums -- but in truth it was just that Capitol's art director chose the cover because he liked the image. Alan Livingston, the president of Capitol was not so sure, and called Brian Epstein to ask if the group would be OK with them using a different image. Epstein checked with John Lennon, but Lennon liked the image and so Epstein told Livingston the group insisted on them using that cover. Even though for the album cover the bloodstains on the butchers' smocks were airbrushed out, after Capitol had pressed up a million copies of the mono version of the album and two hundred thousand copies of the stereo version, and they'd sent out sixty thousand promo copies, they discovered that no record shops would stock the album with that cover. It cost Capitol more than two hundred thousand dollars to recall the album and replace the cover with a new one -- though while many of the covers were destroyed, others had the new cover, with a more acceptable photo of the group, pasted over them, and people have later carefully steamed off the sticker to reveal the original. This would not be the last time in 1966 that something that was intended as a statement on religion and the way people viewed the Beatles would cause the group trouble in America. In the middle of the recording sessions for Revolver, the group also made what turned out to be their last ever UK live performance in front of a paying audience. The group had played the NME Poll-Winners' Party every year since 1963, and they were always shows that featured all the biggest acts in the country at the time -- the 1966 show featured, as well as the Beatles and a bunch of smaller acts, the Rolling Stones, the Who, the Yardbirds, Roy Orbison, Cliff Richard and the Shadows, the Seekers, the Small Faces, the Walker Brothers, and Dusty Springfield. Unfortunately, while these events were always filmed for TV broadcast, the Beatles' performance on the first of May wasn't filmed. There are various stories about what happened, but the crux appears to be a disagreement between Andrew Oldham and Brian Epstein, sparked by John Lennon. When the Beatles got to the show, they were upset to discover that they had to wait around before going on stage -- normally, the awards would all be presented at the end, after all the performances, but the Rolling Stones had asked that the Beatles not follow them directly, so after the Stones finished their set, there would be a break for the awards to be given out, and then the Beatles would play their set, in front of an audience that had been bored by twenty-five minutes of awards ceremony, rather than one that had been excited by all the bands that came before them. John Lennon was annoyed, and insisted that the Beatles were going to go on straight after the Rolling Stones -- he seems to have taken this as some sort of power play by the Stones and to have got his hackles up about it. He told Epstein to deal with the people from the NME. But the NME people said that they had a contract with Andrew Oldham, and they weren't going to break it. Oldham refused to change the terms of the contract. Lennon said that he wasn't going to go on stage if they didn't directly follow the Stones. Maurice Kinn, the publisher of the NME, told Epstein that he wasn't going to break the contract with Oldham, and that if the Beatles didn't appear on stage, he would get Jimmy Savile, who was compering the show, to go out on stage and tell the ten thousand fans in the audience that the Beatles were backstage refusing to appear. He would then sue NEMS for breach of contract *and* NEMS would be liable for any damage caused by the rioting that was sure to happen. Lennon screamed a lot of abuse at Kinn, and told him the group would never play one of their events again, but the group did go on stage -- but because they hadn't yet signed the agreement to allow their performance to be filmed, they refused to allow it to be recorded. Apparently Andrew Oldham took all this as a sign that Epstein was starting to lose control of the group. Also during May 1966 there were visits from musicians from other countries, continuing the cultural exchange that was increasingly influencing the Beatles' art. Bruce Johnston of the Beach Boys came over to promote the group's new LP, Pet Sounds, which had been largely the work of Brian Wilson, who had retired from touring to concentrate on working in the studio. Johnston played the record for John and Paul, who listened to it twice, all the way through, in silence, in Johnston's hotel room: [Excerpt: The Beach Boys, "God Only Knows"] According to Johnston, after they'd listened through the album twice, they went over to a piano and started whispering to each other, picking out chords. Certainly the influence of Pet Sounds is very noticeable on songs like "Here, There, and Everywhere", written and recorded a few weeks after this meeting: [Excerpt: The Beatles, "Here, There, and Everywhere"] That track, and the last track recorded for the album, "She Said She Said" were unusual in one very important respect -- they were recorded while the Beatles were no longer under contract to EMI Records. Their contract expired on the fifth of June, 1966, and they finished Revolver without it having been renewed -- it would be several months before their new contract was signed, and it's rather lucky for music lovers that Brian Epstein was the kind of manager who considered personal relationships and basic honour and decency more important than the legal niceties, unlike any other managers of the era, otherwise we would not have Revolver in the form we know it today. After the meeting with Johnston, but before the recording of those last couple of Revolver tracks, the Beatles also met up again with Bob Dylan, who was on a UK tour with a new, loud, band he was working with called The Hawks. While the Beatles and Dylan all admired each other, there was by this point a lot of wariness on both sides, especially between Lennon and Dylan, both of them very similar personality types and neither wanting to let their guard down around the other or appear unhip. There's a famous half-hour-long film sequence of Lennon and Dylan sharing a taxi, which is a fascinating, excruciating, example of two insecure but arrogant men both trying desperately to impress the other but also equally desperate not to let the other know that they want to impress them: [Excerpt: Dylan and Lennon taxi ride] The day that was filmed, Lennon and Harrison also went to see Dylan play at the Royal Albert Hall. This tour had been controversial, because Dylan's band were loud and raucous, and Dylan's fans in the UK still thought of him as a folk musician. At one gig, earlier on the tour, an audience member had famously yelled out "Judas!" -- (just on the tiny chance that any of my listeners don't know that, Judas was the disciple who betrayed Jesus to the authorities, leading to his crucifixion) -- and that show was for many years bootlegged as the "Royal Albert Hall" show, though in fact it was recorded at the Free Trade Hall in Manchester. One of the *actual* Royal Albert Hall shows was released a few years ago -- the one the night before Lennon and Harrison saw Dylan: [Excerpt: Bob Dylan, "Like a Rolling Stone", Royal Albert Hall 1966] The show Lennon and Harrison saw would be Dylan's last for many years. Shortly after returning to the US, Dylan was in a motorbike accident, the details of which are still mysterious, and which some fans claim was faked altogether. The accident caused him to cancel all the concert dates he had booked, and devote himself to working in the studio for several years just like Brian Wilson. And from even further afield than America, Ravi Shankar came over to Britain, to work with his friend the violinist Yehudi Menuhin, on a duet album, West Meets East, that was an example in the classical world of the same kind of international cross-fertilisation that was happening in the pop world: [Excerpt: Yehudi Menuhin and Ravi Shankar, "Prabhati (based on Raga Gunkali)"] While he was in the UK, Shankar also performed at the Royal Festival Hall, and George Harrison went to the show. He'd seen Shankar live the year before, but this time he met up with him afterwards, and later said "He was the first person that impressed me in a way that was beyond just being a famous celebrity. Ravi was my link to the Vedic world. Ravi plugged me into the whole of reality. Elvis impressed me when I was a kid, and impressed me when I met him, but you couldn't later on go round to him and say 'Elvis, what's happening with the universe?'" After completing recording and mixing the as-yet-unnamed album, which had been by far the longest recording process of their career, and which still nearly sixty years later regularly tops polls of the best album of all time, the Beatles took a well-earned break. For a whole two days, at which point they flew off to Germany to do a three-day tour, on their way to Japan, where they were booked to play five shows at the Budokan. Unfortunately for the group, while they had no idea of this when they were booked to do the shows, many in Japan saw the Budokan as sacred ground, and they were the first ever Western group to play there. This led to numerous death threats and loud protests from far-right activists offended at the Beatles defiling their religious and nationalistic sensibilities. As a result, the police were on high alert -- so high that there were three thousand police in the audience for the shows, in a venue which only held ten thousand audience members. That's according to Mark Lewisohn's Complete Beatles Chronicle, though I have to say that the rather blurry footage of the audience in the video of those shows doesn't seem to show anything like those numbers. But frankly I'll take Lewisohn's word over that footage, as he's not someone to put out incorrect information. The threats to the group also meant that they had to be kept in their hotel rooms at all times except when actually performing, though they did make attempts to get out. At the press conference for the Tokyo shows, the group were also asked publicly for the first time their views on the war in Vietnam, and John replied "Well, we think about it every day, and we don't agree with it and we think that it's wrong. That's how much interest we take. That's all we can do about it... and say that we don't like it". I say they were asked publicly for the first time, because George had been asked about it for a series of interviews Maureen Cleave had done with the group a couple of months earlier, as we'll see in a bit, but nobody was paying attention to those interviews. Brian Epstein was upset that the question had gone to John. He had hoped that the inevitable Vietnam question would go to Paul, who he thought might be a bit more tactful. The last thing he needed was John Lennon saying something that would upset the Americans before their tour there a few weeks later. Luckily, people in America seemed to have better things to do than pay attention to John Lennon's opinions. The support acts for the Japanese shows included  several of the biggest names in Japanese rock music -- or "group sounds" as the genre was called there, Japanese people having realised that trying to say the phrase "rock and roll" would open them up to ridicule given that it had both "r" and "l" sounds in the phrase. The man who had coined the term "group sounds", Jackey Yoshikawa, was there with his group the Blue Comets, as was Isao Bito, who did a rather good cover version of Cliff Richard's "Dynamite": [Excerpt: Isao Bito, "Dynamite"] Bito, the Blue Comets, and the other two support acts, Yuya Uchida and the Blue Jeans, all got together to perform a specially written song, "Welcome Beatles": [Excerpt: "Welcome Beatles" ] But while the Japanese audience were enthusiastic, they were much less vocal about their enthusiasm than the audiences the Beatles were used to playing for. The group were used, of course, to playing in front of hordes of screaming teenagers who could not hear a single note, but because of the fear that a far-right terrorist would assassinate one of the group members, the police had imposed very, very, strict rules on the audience. Nobody in the audience was allowed to get out of their seat for any reason, and the police would clamp down very firmly on anyone who was too demonstrative. Because of that, the group could actually hear themselves, and they sounded sloppy as hell, especially on the newer material. Not that there was much of that. The only song they did from the Revolver sessions was "Paperback Writer", the new single, and while they did do a couple of tracks from Rubber Soul, those were under-rehearsed. As John said at the start of this tour, "I can't play any of Rubber Soul, it's so unrehearsed. The only time I played any of the numbers on it was when I recorded it. I forget about songs. They're only valid for a certain time." That's certainly borne out by the sound of their performances of Rubber Soul material at the Budokan: [Excerpt: The Beatles, "If I Needed Someone (live at the Budokan)"] It was while they were in Japan as well that they finally came up with the title for their new album. They'd been thinking of all sorts of ideas, like Abracadabra and Magic Circle, and tossing names around with increasing desperation for several days -- at one point they seem to have just started riffing on other groups' albums, and seem to have apparently seriously thought about naming the record in parodic tribute to their favourite artists -- suggestions included The Beatles On Safari, after the Beach Boys' Surfin' Safari (and possibly with a nod to their recent Pet Sounds album cover with animals, too), The Freewheelin' Beatles, after Dylan's second album, and my favourite, Ringo's suggestion After Geography, for the Rolling Stones' Aftermath. But eventually Paul came up with Revolver -- like Rubber Soul, a pun, in this case because the record itself revolves when on a turntable. Then it was off to the Philippines, and if the group thought Japan had been stressful, they had no idea what was coming. The trouble started in the Philippines from the moment they stepped off the plane, when they were bundled into a car without Neil Aspinall or Brian Epstein, and without their luggage, which was sent to customs. This was a problem in itself -- the group had got used to essentially being treated like diplomats, and to having their baggage let through customs without being searched, and so they'd started freely carrying various illicit substances with them. This would obviously be a problem -- but as it turned out, this was just to get a "customs charge" paid by Brian Epstein. But during their initial press conference the group were worried, given the hostility they'd faced from officialdom, that they were going to be arrested during the conference itself. They were asked what they would tell the Rolling Stones, who were going to be visiting the Philippines shortly after, and Lennon just said "We'll warn them". They also asked "is there a war on in the Philippines? Why is everybody armed?" At this time, the Philippines had a new leader, Ferdinand Marcos -- who is not to be confused with his son, Ferdinand Marcos Jr, also known as Bongbong Marcos, who just became President-Elect there last month. Marcos Sr was a dictatorial kleptocrat, one of the worst leaders of the latter half of the twentieth century, but that wasn't evident yet. He'd been elected only a few months earlier, and had presented himself as a Kennedy-like figure -- a young man who was also a war hero. He'd recently switched parties from the Liberal party to the right-wing Nacionalista Party, but wasn't yet being thought of as the monstrous dictator he later became. The person organising the Philippines shows had been ordered to get the Beatles to visit Ferdinand and Imelda Marcos at 11AM on the day of the show, but for some reason had instead put on their itinerary just the *suggestion* that the group should meet the Marcoses, and had put the time down as 3PM, and the Beatles chose to ignore that suggestion -- they'd refused to do that kind of government-official meet-and-greet ever since an incident in 1964 at the British Embassy in Washington where someone had cut off a bit of Ringo's hair. A military escort turned up at the group's hotel in the morning, to take them for their meeting. The group were all still in their rooms, and Brian Epstein was still eating breakfast and refused to disturb them, saying "Go back and tell the generals we're not coming." The group gave their performances as scheduled, but meanwhile there was outrage at the way the Beatles had refused to meet the Marcos family, who had brought hundreds of children -- friends of their own children, and relatives of top officials -- to a party to meet the group. Brian Epstein went on TV and tried to smooth things over, but the broadcast was interrupted by static and his message didn't get through to anyone. The next day, the group's security was taken away, as were the cars to take them to the airport. When they got to the airport, the escalators were turned off and the group were beaten up at the arrangement of the airport manager, who said in 1984 "I beat up the Beatles. I really thumped them. First I socked Epstein and he went down... then I socked Lennon and Ringo in the face. I was kicking them. They were pleading like frightened chickens. That's what happens when you insult the First Lady." Even on the plane there were further problems -- Brian Epstein and the group's road manager Mal Evans were both made to get off the plane to sort out supposed financial discrepancies, which led to them worrying that they were going to be arrested or worse -- Evans told the group to tell his wife he loved her as he left the plane. But eventually, they were able to leave, and after a brief layover in India -- which Ringo later said was the first time he felt he'd been somewhere truly foreign, as opposed to places like Germany or the USA which felt basically like home -- they got back to England: [Excerpt: "Ordinary passenger!"] When asked what they were going to do next, George replied “We're going to have a couple of weeks to recuperate before we go and get beaten up by the Americans,” The story of the "we're bigger than Jesus" controversy is one of the most widely misreported events in the lives of the Beatles, which is saying a great deal. One book that I've encountered, and one book only, Steve Turner's Beatles '66, tells the story of what actually happened, and even that book seems to miss some emphases. I've pieced what follows together from Turner's book and from an academic journal article I found which has some more detail. As far as I can tell, every single other book on the Beatles released up to this point bases their account of the story on an inaccurate press statement put out by Brian Epstein, not on the truth. Here's the story as it's generally told. John Lennon gave an interview to his friend, Maureen Cleave of the Evening Standard, during which he made some comments about how it was depressing that Christianity was losing relevance in the eyes of the public, and that the Beatles are more popular than Jesus, speaking casually because he was talking to a friend. That story was run in the Evening Standard more-or-less unnoticed, but then an American teen magazine picked up on the line about the Beatles being bigger than Jesus, reprinted chunks of the interview out of context and without the Beatles' knowledge or permission, as a way to stir up controversy, and there was an outcry, with people burning Beatles records and death threats from the Ku Klux Klan. That's... not exactly what happened. The first thing that you need to understand to know what happened is that Datebook wasn't a typical teen magazine. It *looked* just like a typical teen magazine, certainly, and much of its content was the kind of thing that you would get in Tiger Beat or any of the other magazines aimed at teenage girls -- the September 1966 issue was full of articles like "Life with the Walker Brothers... by their Road Manager", and interviews with the Dave Clark Five -- but it also had a long history of publishing material that was intended to make its readers think about social issues of the time, particularly Civil Rights. Arthur Unger, the magazine's editor and publisher, was a gay man in an interracial relationship, and while the subject of homosexuality was too taboo in the late fifties and sixties for him to have his magazine cover that, he did regularly include articles decrying segregation and calling for the girls reading the magazine to do their part on a personal level to stamp out racism. Datebook had regularly contained articles like one from 1963 talking about how segregation wasn't just a problem in the South, saying "If we are so ‘integrated' why must men in my own city of Philadelphia, the city of Brotherly Love, picket city hall because they are discriminated against when it comes to getting a job? And how come I am still unable to take my dark- complexioned friends to the same roller skating rink or swimming pool that I attend?” One of the writers for the magazine later said “We were much more than an entertainment magazine . . . . We tried to get kids involved in social issues . . . . It was a well-received magazine, recommended by libraries and schools, but during the Civil Rights period we did get pulled off a lot of stands in the South because of our views on integration” Art Unger, the editor and publisher, wasn't the only one pushing this liberal, integrationist, agenda. The managing editor at the time, Danny Fields, was another gay man who wanted to push the magazine even further than Unger, and who would later go on to manage the Stooges and the Ramones, being credited by some as being the single most important figure in punk rock's development, and being immortalised by the Ramones in their song "Danny Says": [Excerpt: The Ramones, "Danny Says"] So this was not a normal teen magazine, and that's certainly shown by the cover of the September 1966 issue, which as well as talking about the interviews with John Lennon and Paul McCartney inside, also advertised articles on Timothy Leary advising people to turn on, tune in, and drop out; an editorial about how interracial dating must be the next step after desegregation of schools, and a piece on "the ten adults you dig/hate the most" -- apparently the adult most teens dug in 1966 was Jackie Kennedy, the most hated was Barry Goldwater, and President Johnson, Billy Graham, and Martin Luther King appeared in the top ten on both lists. Now, in the early part of the year Maureen Cleave had done a whole series of articles on the Beatles -- double-page spreads on each band member, plus Brian Epstein, visiting them in their own homes (apart from Paul, who she met at a restaurant) and discussing their daily lives, their thoughts, and portraying them as rounded individuals. These articles are actually fascinating, because of something that everyone who met the Beatles in this period pointed out. When interviewed separately, all of them came across as thoughtful individuals, with their own opinions about all sorts of subjects, and their own tastes and senses of humour. But when two or more of them were together -- especially when John and Paul were interviewed together, but even in social situations, they would immediately revert to flip in-jokes and riffing on each other's statements, never revealing anything about themselves as individuals, but just going into Beatle mode -- simultaneously preserving the band's image, closing off outsiders, *and* making sure they didn't do or say anything that would get them mocked by the others. Cleave, as someone who actually took them all seriously, managed to get some very revealing information about all of them. In the article on Ringo, which is the most superficial -- one gets the impression that Cleave found him rather difficult to talk to when compared to the other, more verbally facile, band members -- she talked about how he had a lot of Wild West and military memorabilia, how he was a devoted family man and also devoted to his friends -- he had moved to the suburbs to be close to John and George, who already lived there. The most revealing quote about Ringo's personality was him saying "Of course that's the great thing about being married -- you have a house to sit in and company all the time. And you can still go to clubs, a bonus for being married. I love being a family man." While she looked at the other Beatles' tastes in literature in detail, she'd noted that the only books Ringo owned that weren't just for show were a few science fiction paperbacks, but that as he said "I'm not thick, it's just that I'm not educated. People can use words and I won't know what they mean. I say 'me' instead of 'my'." Ringo also didn't have a drum kit at home, saying he only played when he was on stage or in the studio, and that you couldn't practice on your own, you needed to play with other people. In the article on George, she talked about how he was learning the sitar,  and how he was thinking that it might be a good idea to go to India to study the sitar with Ravi Shankar for six months. She also talks about how during the interview, he played the guitar pretty much constantly, playing everything from songs from "Hello Dolly" to pieces by Bach to "the Trumpet Voluntary", by which she presumably means Clarke's "Prince of Denmark's March": [Excerpt: Jeremiah Clarke, "Prince of Denmark's March"] George was also the most outspoken on the subjects of politics, religion, and society, linking the ongoing war in Vietnam with the UK's reverence for the Second World War, saying "I think about it every day and it's wrong. Anything to do with war is wrong. They're all wrapped up in their Nelsons and their Churchills and their Montys -- always talking about war heroes. Look at All Our Yesterdays [a show on ITV that showed twenty-five-year-old newsreels] -- how we killed a few more Huns here and there. Makes me sick. They're the sort who are leaning on their walking sticks and telling us a few years in the army would do us good." He also had very strong words to say about religion, saying "I think religion falls flat on its face. All this 'love thy neighbour' but none of them are doing it. How can anybody get into the position of being Pope and accept all the glory and the money and the Mercedes-Benz and that? I could never be Pope until I'd sold my rich gates and my posh hat. I couldn't sit there with all that money on me and believe I was religious. Why can't we bring all this out in the open? Why is there all this stuff about blasphemy? If Christianity's as good as they say it is, it should stand up to a bit of discussion." Harrison also comes across as a very private person, saying "People keep saying, ‘We made you what you are,' well, I made Mr. Hovis what he is and I don't go round crawling over his gates and smashing up the wall round his house." (Hovis is a British company that makes bread and wholegrain flour). But more than anything else he comes across as an instinctive anti-authoritarian, being angry at bullying teachers, Popes, and Prime Ministers. McCartney's profile has him as the most self-consciously arty -- he talks about the plays of Alfred Jarry and the music of Karlheinz Stockhausen and Luciano Berio: [Excerpt: Luciano Berio, "Momenti (for magnetic tape)"] Though he was very worried that he might be sounding a little too pretentious, saying “I don't want to sound like Jonathan Miller going on" --

I'm back, Macca 80, Onyx Coffee, The Ouai, Hands almost there, body washes for summer

Vamos con una doble celebración en nuestro espacio. Primero, los 56 años que el próximo 5 de agosto se cumplirán del lanzamiento de un hito musical insuperable en la historia de la cultura occidental: Revolver de The Beatles. Y segundo, mañana 18 de junio nuestro genio de genios Paul McCartney cumplirá 80 años. Por estas dos razones regresamos a este álbum clásico. Ricardo Portmán nos cuenta su historia. Escucharemos Taxman, Eleanor Rigby, I’m Only Sleeping, Love You To, Here, There and Everywhere, Yellow Submarine, She Said She Said, Good Day Sunshine, And Your Bird Can Sing, For No One, Doctor Robert, I Want To Tell You, Got to Get You into My Life y Tomorrow Never Knows + Bonus tracks. Si os gusta el programa podéis apoyar Ecos del Vinilo Radio siendo patrocinadores ¡por lo que vale un café al mes! desde el botón azul de iVoox. Recuerden que nuestros programas los pueden escuchar también en: Nuestra web https://ecosdelvinilo.com Distancia Radio (Córdoba) miércoles 18:00 y domingos 23:00. Radio Free Rock (Cartagena) viernes 18:00. Radio M7 (Córdoba) lunes 18:00 y sábados 17:00. Generación Radio (Medellín, Colombia) jueves y domingos 19:00 (hora Col.) Radio Hierbabuena (Lima, Perú) jueves 20:00 (hora Perú)

Singles Going Around- Good Day SunshineRolling Stones- Out of TimeDick Dale- MiserlouThe Beatles- Think For YourselfChuck Berry- NadineThe Beach Boys- Salt Lake CityLink Wray- SlinkyThe Tornadoes- Bustin SurfboardsRolling Stones- Mothers Little HelperBeach Boys- CabinessenceInternational Submarine Band- Blue EyesPatsy Cline- You Belong To MeThe Beatles- Good Day Sunshine

Diane invites her friend Caroline Nadine Helsing to show off her beautiful dog, Daisy. They talk about their favorite pet moments and somehow wind up talking about that one time Diane got locked out of her hotel room naked. Follow Us: YoutubeDiane: Instagram | TwitterDanny: Twitter | InstagramCaroline: Twitter | Instagram | Website Westbury: Instagram | Twitter | Website

What a wonderful world-赵雨Love Will Tear Us Apart-BellestarWaterloo Sunset (Acoustic)Good Day Sunshine-John Daversa/Renee OlsteadWhy Worry-Nana MouskouriMrs.Cold-Flora Martinez

A burst of optimism, sunshine and capitalism cascades over our heat this week, as Good Day Sunshine, Money (That's What I Want), Got to Get You Into My Life and Julia go up against each other for the win. And sorry Vulture... we're not agreeing with you on 'worst Beatles song ever'

There it is, right there in the title. It's a good day in the sunshine. David and Michelle discuss the gratitude they have for Spring and the sun shining down on us on a Sunday. Travel along with them with their special exercise that challenges you not only to conjure but to document and create an indelible reminder of your Best Day Ever in the SUN. Don't be shy and don't hold back - but most importantly, share. And, if you have others around you, do it as a bonding event for each other. Have fun in the sun! --- Send in a voice message: https://anchor.fm/red-kite-movement/message Support this podcast: https://anchor.fm/red-kite-movement/support

Juliet and Terence on: 'Inventing Anna' on Netflix; from TV to movie - a step too far for Catherine Tate?; and The Beatles! In Spatial Audio! {Good Day Sunshine}

Charles Rosenay has been in the entertainment business for over four decades as an actor, promoter, music aficionado, entertainer, MC, DJ, humorist, and author.Most recently, he released the highly acclaimed book, Monsters, Celebrities, Actors, Athletes, and Rock Stars: The Book of Top 10 Horror Lists, which contains 100 top ten lists from pop-culture notables. Charles even include Steve Cuden's Top 10 Horror list in his truly wonderful book.  Since 1978, Charles has produced Beatles Conventions and Festivals, and since 1983 he's been the organizer and host of the “Magical History Tour” which brings Beatles fans to Liverpool and London. For over 20 years, Charles published and edited one of the world's most famous Beatles/Sixties magazines, “Good Day Sunshine.” Charles has also promoted Monkees conventions since the early 80s. As an MC, Charles has shared the stage with countless entertainment figures, including Charles Grodin, Geraldo Rivera, and the late Danny Aiello. Charles was an on-air host on the QVC/Home Shopping Network. He's also a professional comedic auctioneer, and has developed the horror host persona of “Cryptmaster Chucky” for Scared Stiff TV.Additionally, Charles is an accomplished actor with credits on over 40 films, TV shows, and commercials. He has appeared in Flight of the Conchords, All Screwed Up, The Truth About Lies, Kvetch, The Sadist, and the webisode series Winners. He was most recently featured in the thriller, Night at The Eagle Inn. Charles also leads Dracula Tours in Transylvania and GHOSTours in England.

I don't feel great today and I am having roadblocks researching the next album, so I am reuploading the live show from December 30th! This one is about the Revolver Album. SONGS COVERED Taxman, Eleanor Rigby, I'm Only Sleeping, Love You To, Here, There and Everywhere, Yellow Submarine, She Said She Said, Good Day Sunshine, And Your Bird Can Sing, For No One, Doctor Robert, I Want to Tell You, Got To Get You Into My Life, Tomorrow Never Knows --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/classicalbumpodcast/message

Charles Rosenay is a CT legend and may be best known in the state as the producer of the Connecticut Beatles conventions and festivals for over four decades and as a pro DJ/MC/Entertainer for as many years. Along with musical events, he published a magazine on The Beatles called Good Day Sunshine for 25 years and, since 1983, he has organized and hosted the Beatles Tours to Liverpool for fans. Charles is a Beatles aficionado, expert and promoter. Along with the Beatles-themed tours, Rosenay is the creator and organizer of the annual Dracula Tour to Transylvania, a “vampire vacation” that brings fans to the land of Vlad the Impaler and Dracula. Rosenay has acted in several horror films and shorts and was also the founder of Connecticut's largest and scariest indoor haunted attraction, “Fright Haven,” which still operates in Stratford. Just last year Rosenay published his first book, titled “The Book of Top 10 Horror Lists”, which collects lists of favorite monster movies, actors, and other themes from 100 celebrities. Charles is an extremely fascinating individual and we covered it all from the Beatles, to the tours to Liverpool & Transelvannya, ghost hunting, Paraconn, his new book, acting in horror films and so much more!

Cloverleaf Radio's host The Host with the Most Jimmy Falcon "The King of the Quarantine" welcomes back Author/DJ/Actor/Producer Charles Rosenay to the show! New Haven, Connecticut resident Charles Rosenay wears many hats. He is an entertainer, MC/DJ, producer, actor, impresario, tour organizer, promoter and haunted house operator. ‘As far as I'm concerned, my life began on February 9th, 1964, when The Beatles first appeared on The Ed Sullivan Show. It's actually my first memory in life and nothing was the same after that.' His mother Rose, from the Bronx, was a real New Yawker with a larger-than-life personality. She was very musical and played piano by ear: his father Harry was from Brooklyn, and Charles was born and raised in the Bronx until they moved to New Haven when he was ten. ‘They were the greatest, most loving, and most supportive parents on the planet. The radio was always playing in the background and in the car, and we were always singing,' Rosenay recalls. He doesn't have any siblings and he doesn't play any instruments but took accordion lessons and classical guitar growing up: abandoning both. But he always loved to sing. ‘Years later, I portrayed Davy Jones in a tribute band, MonkeeMania, and I was spot-on with the tambourine and maracas,' Charles notes, ‘I think if I had learned guitar or bass I would have auditioned for ‘Beatlemania,' but the Beatles world had different plans for me.' In the late '70's, he heard about a Beatles convention presented by Joe Pope, a pioneer who produced the first Beatles fan convention in America at Boston's Bradford Hotel. Pope also published an amazing Beatles fanzine ‘Strawberry Fields Forever.' Without knowing it, Pope was Rosenay's inspiration. However, it was the NY Beatlefest and seeing ‘Beatlemania' on Broadway that gave him the impetus to produce his own Beatles convention in Connecticut, in 1978, while still in high school. Liverpool Productions was born. In 1980, Charles felt he couldn't keep up with all the fans who were begging to have him present conventions in their own towns; so he decided to start publishing his own fanzine mostly as a networking tool to keep in touch with all of his new friends. ‘Good Day Sunshine' was born. Neither the conventions nor the publication could make a living, but that was okay because Rosenay had become a decent DJ; and was on the air starting with college radio stations and even doing work for major stations in his area. He has been one of the most in-demand DJ/MC/Entertainers in CT for four decades. In 1983, after three years of publication, ‘Good Day Sunshine' had become one of the most-read Beatle mags in the world, and the conventions were hitting their stride. Rosenay was getting invitations to produce and host conventions in other parts of the U.S and overseas. A Massachusetts upstart, Rock Apple Tours, approached him to host a tour of Liverpool, the home of The Beatles. It was the brainstorm of rock impresario Tony Raine, who lived on Cape Cod and promotes the Melody Tent today. --- Support this podcast: https://anchor.fm/jianetwork/support

Sweet 16: Lizette and Erica get together after a relaxing, summer break. Erica shares her recent vacation with her dad and hubby and also discusses how she felt traveling during this whole masking and vaccination resistance.  She even made an awesome YouTube vid for yoga on the beach! See link below! After her beautiful trip, Erica was able to reflect on her experiences by the ocean and the new meaning it brought to her. Blogpost linked below! The girls give a recap on their first ever girls' retreat where family/friends came together for yoga, meditation and brunch. Lizette's son started high school this year and she shares what she's done to help prepare them both. Here are some helpful articles on parenting those crazy teens: https://greatergood.berkeley.edu/article/item/three_ways_to_change_your_parenting_in_the_teenage_years https://kidshealth.org/en/parents/adolescence.html Links to topics discussed on today's show:  Good Day Sunshine w/ Erica https://www.youtube.com/watch?v=BSYh0vlrROM Vacation to Clear the Clutter https://www.ericajaneyoga.com Pure Heart: https://www.pureheartfoods.com/ LINK TO ROCKPORT AIR B&B https://abnb.me/HpCur368fjb --- Send in a voice message: https://anchor.fm/heartrx/message Support this podcast: https://anchor.fm/heartrx/support

Sweet 16: Lizette and Erica get together after a relaxing, summer break. Erica shares her recent vacation with her dad and hubby and also discusses how she felt traveling during this whole masking and vaccination resistance.  She even made an awesome YouTube vid for yoga on the beach! See link below! After her beautiful trip, Erica was able to reflect on her experiences by the ocean and the new meaning it brought to her. Blogpost linked below! The girls give a recap on their first ever girls' retreat where family/friends came together for yoga, meditation and brunch. Lizette's son started high school this year and she shares what she's done to help prepare them both. Here are some helpful articles on parenting those crazy teens: https://greatergood.berkeley.edu/article/item/three_ways_to_change_your_parenting_in_the_teenage_years https://kidshealth.org/en/parents/adolescence.html Links to topics discussed on today's show:  Good Day Sunshine w/ Erica https://www.youtube.com/watch?v=BSYh0vlrROM Vacation to Clear the Clutter https://www.ericajaneyoga.com Pure Heart: https://www.pureheartfoods.com/ LINK TO ROCKPORT AIR B&B https://abnb.me/HpCur368fjb --- Send in a voice message: https://anchor.fm/heartrx/message Support this podcast: https://anchor.fm/heartrx/support

Good day! The summer of ‘66 was a fruitful year for summertime songs. ‘Daydream' by the Lovin' Spoonful and ‘Sunny Afternoon' by the Kinks dominated the airwaves in England. Paul went to John's house on a sunny day and wrote this classic, ‘Good Day Sunshine'. Billy and Jay talk about the Beatles desire to make an American sounding album in Revolver, Jay dives into George Martin's use of the varispeed technique and Billy reveals his thoughts on Rolling Stone magazine's top 500. And of course, Billy and Jay offer up their unique perspective on playing this one live!Do you love this song as much as they do? It burns their feet as they touch the ground!!

Howlin' Wolf "Killing Floor"Charles Bradley "The World (Is Going Up In Flames)"Morgan Wade "Wilder Days"Jolie Holland "Sascha"Koko Taylor "I'd Rather Go Blind"Gillian Welch "Hello In There"Townes Van Zandt "Tecumseh Valley"The Beatles "Good Day Sunshine"Glossary "Chase Me out of the Dark"Shirley Ann Lee "There's A Light"Charlie Musselwhite "Hello Stranger"Son Volt "Arkey Blue"The Flying Burrito Brothers "Christine's Tune"Calvin Cook "Walk With Me"Tom Russell "Isaac Lewis"Big Maybelle "Say It Isn't' So"The Meters "Down By The River"Cedric Burnside "Step In"Candi Staton "The Best Thing You Ever Had"Jason Isbell "Chicago Promenade"Jeff Tweedy "Opaline"Wilco "Walken"Jeannie C. Riley "Games People Play"Grateful Dead "Brown-Eyed Women"Marie/Lepanto "Features / Fights"Will Johnson "Just to Know What You've Been Dreaming"Precious Bryant "Peepin' Out My Window"Guy Clark "Old Friends"Swamp Dogg "Sam Stone"Wanda Jackson "Two Shots"Aimee Mann "Suicide is Murder"Waxahatchee "Lilacs"Eilen Jewell "Rich Man's World"Bobbie Gentry "Okolona River Bottom Band"Bob Dylan "Drifter's Escape"Two Cow Garage "Continental Distance"Todd Snider "Turn Me Loose (I'll Never Be the Same)"Mississippi John Hurt "Candy Man Blues"James McMurtry "Out Here In the Middle"James Carr "I'm Going For Myself"Junior Kimbrough "Crawling King Snake"Baby Huey & The Baby Sitters "Hard Times"Allen Toussaint "Southern Nights"

Five minutes of civilised calm, recorded in East London, as the capital starts to wake up. Sign up at https://marcsalmanac.substack.com With a poem by Mark Jarman, Reminder. "You're here and God's in heaven..." From the show: Opening/closing music courtesy of Chillhop: Philanthrope, Leavv - What Was Before https://chll.to/d6b0ec27 On this day: 28th May, 1936, Alan Turing submits his paper On Computable Numbers, setting out the theoretical basis for modern computers On this day: 28th May, 1908, Ian Lancaster Fleming, the creator of James Bond, is born in London Music to wake you up – Good Day Sunshine by The Beatles Sign up to receive email alerts and show notes with links when a new episode goes live at https://marcsalmanac.substack.com Please share this with anyone who might need a touch of calm, and please keep sending in your messages and requests. You can leave a voice message at https://anchor.fm/marc-sidwell/message. If you like Marc's Almanac please do leave a review on Apple podcasts. It really helps new listeners to find me. Have a lovely day. --- Send in a voice message: https://anchor.fm/marc-sidwell/message

We are celebrating a new day and these are songs of hope, optimism and fun. The Winter of discontent is over and we now celebrate a new turn of the page. For the next hour we will be in a positive and hopeful state of mind. Time to greet the Sun.Also:You're financial contributions are welcomed in helping to keep the production going.Paypal account: sonictyme@yahoo.comListen to previous shows at the main webpage at:https://www.buzzsprout.com/1329053For your astrological chart reading, contact Astrologer Tisch Aitken at:https://www.facebook.com/AstrologerTisch/You may also enjoy Becky Ebenkamp's "Bubblegum & Other Delights" show. Join the fun at her WFMU New York page link and access the media player at:https://www.wfmu.org/playlists/OD?fbclid=IwAR0Efrmj-ts-uSiGq5qK7EETHFTXdtsiaXTYq-ng-7QDUkJxC-X0QfHB-EII'm listed in Feedspot's "Top 10 Psychedelic Podcasts You Must Follow". https://blog.feedspot.com/psychedelic_podcasts/

Special bonus episode! Every once in a while on a Wednesday, we may be dropping a surprise episode on y'all - here's the first one!It's time once again to investigate why some bands do the Beatles better than the Beatles: Erik and Weldon break down The Eyes' superior version of “Good Day Sunshine” (0:58), then The Score's epic retelling of “Please Please Me” (20:07). When Merseybeat meets Freakbeat, you know you're in for a treat!inthepastpodcast@gmail.com

Good day! The dummer of ‘66 was a fruitful year for summertime songs. ‘Daydream’ by the Lovin’ Spoonful and ‘Sunny Afternoon’ by the Kinks dominated the airwaves in England. Paul went to John’s house on a sunny day and wrote this classic, ‘Good Day Sunshine’.Billy and Jay talk about the Beatles desire to make an American sounding album in Revolver, Jay dives into George Martin’s use of the varispeed technique and Billy reveals his thoughts on Rolling Stone magazine’s top 500. And of course, Billy and Jay offer up their unique perspective on playing this one live!Do you love this song as much as they do? It burns their feet as they touch the ground!www.billymcguigan.com/beatlessongpodcast

Bonus episode!   Charles F. Rosenay!!! (Good Day Sunshine, Liverpool Productions) joins the show to discuss the Remember Lennon (www.rememberlennon.com) livestream taking place on John's 80th birthday.    

In this episode, I talk with a legend of the Beatles fan community, a man of many titles, Charles F. Rosenay(!!!)! We discuss the wonderful madness that is International Beatle Week, the origins of the "Good Day Sunshine" fanzine, buying "Something New" instead of "Magical Mystery Tour" in '67, highlights from Charles' old Beatle conventions, the Beatle tribute band world, and of course, Charles' Alan Williams story. All that, and so much more!This episode is available to stream wherever good podcasts can be heard! Keep up with Charles:http://www.toursandevents.com/  Follow us elsewhere!https://www.facebook.com/fansontherunpodcast/ https://www.instagram.com/fansontherunpodcast/ https://fansontherun.podbean.com/

In our fourth episode we uncover one of the most infamous Beatles conspiracy theories, toast rock giant Little Richard, and dive into Revolver with the Paul McCartney number "Good Day Sunshine." Who came in hot on the mic? Do we hit the Magical Mystery Word? Who takes a decidedly anti-Paul stance this early on? All questions are answered within.You can find Team Blotto Beatles on Instagram (@blottobeatles) and Twitter (@blottobeatles), by emailing us (blottobeatles@gmail.com), or on the web (blottobeatles.com). We want to hear from you!See the canonical, argument-ending list of Beatles songs we are assembling here: https://www.blottobeatles.com/list.Please remember to enjoy Blotto Beatles responsibly.Peace and Love.Hosts: Becker and TommyExecutive Producer: Scotty C.Additional Musical Supervision: RB (@ryanobrooks)

Howdy folks! Time for another update. I have some things to chat about like a new training course and upcoming races so all uplifting content. And for a bonus....the sun is actually out again! Enjoy!

237. Good Day Sunshine - The BeatlesRelated links for 237. Good Day Sunshine - The Beatles: Reply to this episode on ykyz: https://ykyz.com/p/3072db05ef5aacbbc9e5a3daa78993e1bbbd2a3d Music and Peace microcast: https://ykyz.com/c/microcast?&username=musicandpeace

¿Es Revolver el disco más influyente de los Beatles? ¿Es buena idea meter un micrófono en un vaso de agua? ¿Qué importancia tuvo el Swinging London en la realización de este disco? ¿Quién es Geoff Emerick y por qué su nombre mola tanto? Nosotros no tenemos ni idea, pero hemos buscado la opinión de un montón de gente que sí y te la contamos en este primer episodio de Lo Tengo Todo Documentado, el único podcast a salvo de demandas judiciales porque casi todo nuestro contenido es lo que piensa un tercero y el resto nos lo inventamos. Índice: Intro + Swinging London - (5:50). Beatles, año 1966 - (39:05). Abbey Road: el lugar del crimen - (54:12). Revolver: origen, portada, nombre y código postal - (1:04:12). Revolver, las canciones: Taxman - (1:18:00). Eleanor Rigby - (1:31:33). I'm Only Sleeping - (1:42:07). Love You To - (1:56:14). Here, There And Everywhere - (2:00:37). Yellow Submarine - (2:11:40). She Said, She Said - (2:31:07). Good Day Sunshine - (2:48:46). And Your Bird Can Sing - (2:54:51). For No One - (3:03:53). Descarga la cara B aquí mismo: https://www.ivoox.com/revolver-aka-el-condon-botella-leche-audios-mp3_rf_32394410_1.html

Feeling positive today, wanted to share it with you and hope you’ll be smiling along with me --- Support this podcast: https://anchor.fm/amelia-nil/support

A tribute to the recording engineer whose in-studio innovations helped shape The Beatles’ sound—and alter the course of popular music. Geoffrey Emerick (born 5th December 1945, died 2nd October 2018) was just 16-years-old when, on 6th June 1962, he joined the EMI Studios on Abbey Road as a tape operator. Two days later, he attended the group’s first recording session with Ringo Starr on drums. He subsequently assisted on a number of sessions, including those for ‘She Loves You’ and ‘I Want to Hold Your Hand’, before replacing Norman Smith as The Beatles’ chief engineer in early 1966 and diving straight into the deep end with the first track committed to tape for their landmark ‘Revolver’ LP: the revolutionary, now-legendary ‘Tomorrow Never Knows’. The following year, ‘Sgt. Pepper’s Lonely Hearts Club Band’ won him his first of four Grammy Awards. In this episode, Richard, Erik, Allan and Craig examine how, together with producer George Martin, Geoff helped realize The Beatles’ most far-flung creative ambitions. And there is also an enlightening interview with multi-award-winning engineer John Kurlander, who assisted Geoff on the group’s final album, ‘Abbey Road’. Featured Tracks Tomorrow Never Knows (STTS remix) Yer Blues Good Day Sunshine Good Morning Good Morning Golden Slumbers/Carry That Weight/The End (STTS remix) I’m Only Sleeping A Day in the Life (STTS remix)

The humidity is high but that will not stop Felder from answering your southern gardening questions. From dogwoods all the way to pretty looking weeds this is a garden party that welcomes all and turns away none. Let's get dirty! See acast.com/privacy for privacy and opt-out information.

This week, Steve Marinucci, Ken Michaels and Allan Kozinn welcome two people who have been involved with the publication of Beatles fan magazines. Al Sussman, executive editor of Beatlefan magazine, and Charles Rosenay!!!, the founder and editor of Good Day Sunshine in its early years, talk about the history of the two magazines, what it took to put out issues of each and how they saw their publication and the other Beatle publications that were out there. They also talk about the most memorable issues. As we do every week, we welcome your thoughts about this episode of the show or any other episode. You can send your comments to our show's 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 and iTunes and stream us through the Tune In Radio app and from our very own YouTube page.  Our shows appear just about every week. Please be sure and write a 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. And thank you very much for your continued support. Our download numbers have been rising steadily each week as more people discover us and it's all because of you! So we thank you very much for supporting us.   

The nation still faces the same problems it had one week ago, beginning with the party in power and includes the rift among those on the left who are fighting to win the country back. But the resounding citizen participation of this week's off-year elections (especially in Virginia) give renewed hope to MOMocrats Karoli, Aliza Worthington, and Donna Schwartz Mills - who promise that there will be basking in this week's political podcast from a progressive point of view... before they go into the litany of those problems we mentioned above. An Engender Media Group production.

PLUG: Live show coming up Monday Sep 4th 10:30pm at UCB Sunset in Los Angeles! Singing Beatles songs! Come out! ------------ Good idea gone terribly wrong? Brilliant art project? Or perhaps the most faithful fulfillment of the title of this podcast? Our panel (Will Hines, Ariana Lenarsky, Wayland McQueen) welcomes guest Arthur Meyer (writer for The Tonight Show, also a human being) as we go through EACH AND EVERY BEATLES SONG to see what our personal / emotional associations are. I somehow did not realize this would take two and a half hours. I honestly thought "eh, hour, hour and 10 minutes." You can hear me at the 90 minute mark apologize to the group and predict we were about half an hour away from being done. Nope. Another full hour awaited us. Did I think about chopping this episode down to a more humane length? Yes. I could have skipped all the early albums, for which we didn't have as many memories. Or cut every song for which we had zero personal memories (often true for amazing songs like Lucy in the Sky). But that seemed like a cop-out, hard, and also would still have only gotten this down to an hour and forty five minutes. So, I'm just leaving it here. Even if you never listen to this, I do recommend DOING this with your Beatle loving friends. We four learned about each other, and it WAS very fun to DO. You'll be surprised what memories come up. The Beatles are ubiquitous and have bled into our consciousnesses and memories throughout our lives.  Ariana remembers hearing "Yesterday" when she was six years old! Arthur seems to know the favorite Beatles songs of all of his friends and lovers! Wayland was married before! News to us! Will and his brother Brian used to wake up to a different Beatles song every day until they made the mistake of picking "Good Day Sunshine!" Anyway. Here it is. 2 and half hours of it. "Enjoy!"

Good Day Sunshine is ranked the worst while A Day in the Life came in at number 1.

We Join our hosts as they change their mind, for good reason, and review number 3 on RollingStone Magazines Top 500 Albums of all time list: The Beatles “Revolver”, while they Just scratch the surface on little more Paul is Dead talk, compare the Beatles to the Rolling Stones and more! Visit www.MusicByNumber.com for social networking links, Events, Host Bios, the Smk Signals Podcast Network and more. ABOUT THE ALBUM Released: 5 August 1966 Recorded: 6 April – 21 June 1966 Studio EMI Studios, London Genre Rock pop psychedelic rock Length 34:43 Label Parlophone Capitol Producer: George Martin The cover for Revolver was created by German-born bassist and artist Klaus Voormann, one of the Beatles' oldest friends from their time in Hamburg during the early 1960s. Voormann's artwork was part line drawing and part collage, using photographs taken over 1964–65 by Robert Freeman and others by Robert Whitaker. The following track listing is for the original UK release, whereas the US edition omitted "I'm Only Sleeping", "And Your Bird Can Sing" and "Doctor Robert", all of which had appeared on the North American release Yesterday and Today. The 1987 CD release, the 2009 remastered CD release, and all subsequent LP re-releases conformed with the full, fourteen-song order. All tracks written by Lennon–McCartney, except tracks with * by George Harrison. Side one No. Title Lead vocals Length 1. "Taxman" (*) Harrison 2:39 2. "Eleanor Rigby" McCartney 2:06 3. "I'm Only Sleeping" Lennon 3:00 4. "Love You To" (*) Harrison 2:59 5. "Here, There and Everywhere" McCartney 2:25 6. "Yellow Submarine" Starr 2:41 7. "She Said She Said" Lennon 2:37 Side two No. Title Lead vocals Length 1. "Good Day Sunshine" McCartney 2:08 2. "And Your Bird Can Sing" Lennon 2:00 3. "For No One" McCartney 2:00 4. "Doctor Robert" Lennon 2:14 5. "I Want to Tell You" (*) Harrison 2:29 6. "Got to Get You into My Life" McCartney 2:29 7. "Tomorrow Never Knows" Lennon 2:57 PERSONNEL According to Mark Lewisohn and Ian MacDonald: The Beatles John Lennon/Paul McCartney/George Harrison/Ringo Starr Additional musicians and production George Martin – producer; mixing engineer; piano on "Good Day Sunshine" and "Tomorrow Never Knows"; Hammond organ on "Got to Get You into My Life"; tape loops of the marching band on "Yellow Submarine" Anil Bhagwat, Alan Civil, Geoff Emerick, Mal Evans, Neil Aspinall, Brian Jones, Pattie Boyd, Marianne Faithfull, Alf Bicknell, Tony Gilbert, Sidney Sax, John Sharpe, Jurgen Hess, John Underwood, Derek Simpson, Norman Jones – cellos, Eddie Thornton, Ian Hamer, Les Condon; Peter Coe, Alan Branscombe orchestrated and conducted by George Martin (with Paul McCartney) http://www.rollingstone.com/music/lists/500-greatest-albums-of-all-time-20120531/the-beatles-revolver-20120524 https://en.wikipedia.org/wiki/Revolver_(Beatles_album) www.thebeatles.com Album, news reportage, and other audio clips utilized with regard to fair use under criticism and review for the purpose of education with no creative or monetary infringement intended. Music By # utilizes pod-safe and royalty free music courtesy of the royalty free youtube audio library for all Bumper, Ad, and Theme music: Opening Ad Music: Otis McDonald - "Scarlet Fire" MUB# Opening Theme: Dougie Wood - "Beach Disco" MUB# End Theme: Dougie Wood - "Disco Ball" If you enjoy MUB# and would like to help us out please Comment Rate and Subscribe wherever you fulfill your podcasting needs! We humbly appreciate any and all support! If you would like to DONATE to our equipment acquisitions fund We could use help getting new mixers, mics, and computers. Not to mention all the rental and purchasing fees associated with the films we watch and the running of our websites! Every little bit helps us keep the lights on and the movies playing! Find out more at www.gofundme.com/donateMBNpod

More Bad Apples - Ladd, Hope and Buzzi Season 1 Episode 12 Originally Aired on 11/11/77. Opening song "Nights On Broadway". Beach Bums skit. Concert spot songs "Good Day Sunshine", "Sun, Sun, Sun", "Don't Let The Sun Go Down On Me" & "Here Comes The Sun". The Perils Of Marie (The Burning Fuse). Donny & Cheryl Ladd sing "I Just Want To Be Your Everything". Charlie commercial spoof. "Who Dun It" finale..

Paul greets the day and feels good in a special way about "Good Day Sunshine!" See acast.com/privacy for privacy and opt-out information.

@ryanfarish #014 Chasing the Sun with Ryan Farish – Episode #14 Follow @ryanfarish #CTS www.facebook.com/ryanfarishofficial www.ryanfarish.com   Track List: CTS #14 1. Hello - Above & Beyond 2. Letting Go (Antillas & Dankann Radio Edit) - BT, Fractal USA & Jes 3. Now or Never (feat. JanSoon) - ATB 4. Good Day Sunshine (feat. Natalie Orlie) - Ryan Farish 5. Lycka (Original Mix) - Pryda 6. Infinite (feat. Marié Digby) [Somna Remix] - Ryan Farish 7. Touched (Club Mix) - EDX 8. Strangers (feat. Tove Lo) - Seven Lions & Myon & Shane 24 9. Round and Round (feat. Marié Digby) [DJ Aero Remix] - Ryan Farish 10. Prelude (feat. Richard Bedford) - Above & Beyond 11. Now or Never (feat. Phoebe Ryan) - Tritonal 12. Brave (feat. Jody Quine) - Ryan Farish 13. Hummingbird (feat. Augustus Ghost) - Tut Tut Child

Charlotte Medley is about to make a big scene in the adult contemporary and the adult alternative music industry. Her soul taking music consists of rare spiritual intensity and a melody that encourages people to stop everything and dance. Charlotte has been compared to top artists such as Natalie Merchant and Stevie Nicks. Her top notch artistry has already appeared on the morning show Good Morning America. She has also been signed to a major recording company. Now, she is back and ready to overtake the music world as we know it. Medley has a new album coming out in September of 2010, entitled Love Me Beautiful. Her intriguing story dates all the way back to her first performance. This performance was in kindergarten when she sang her rendition of The Beatles song entitled Good Day Sunshine. Medley, a Texas native, was instantly drawn to the world of performance. The captivating performance aspect encouraged Medley to join the local gospel choir and she then started performing in churches and also made television appearances. After years of performance, she dedicated herself to furthering her career by attending Florida's IMI School of Music and Ministry. After attending school at IMI, Medley proceeded to release her first solo. Charlotte Medley started exposing her music and building her vast fan base by playing coffee houses and other venues in the Texas area. It was then time for her to embark and shine onto the next phase of her career. She then moved to Nashville, Tennessee. Medley began playing all the famous venues on the circuit. After a short amount of time, she won Battle of the Bands sponsored by Bud Light and FM100 where she caught the attention of the top music industry executives. She then landed a major record deal with DreamWorks Records.