Podcasts about Hold You

Programa 427 del 14 de mayo, trasmitiendo en España en Sol y Rabia, TNT Radio Rock, El Lokal del Rock y Asalto Mata Radio Rock, en Argentina en Lado Salvaje Radio y en Puerto Rico en Heavy Metal Mansion. Con bandas clásicas como Kiss, junto a otras más frescas como Ancestor of Chaos, Skull Fist, Magic Dance, Black Eye, Black Paisley, Kiss The Vyper, Later Sons, T3nors, Dool, Sleazer y Sorceress of Sin. De España, Mortal Maze y Los restos Humanos. Bandas que escucharás hoy: 1.Ancestor of Chaos - Death by Hanging, 2.Ancestor of Chaos - Legacy, 3.Skull Fist - Paid in Full, 4.Magic Dance - Oh No, 5.Mortal Maze - Deathmination, 6.Los Restos Humanos - Juramento, 7.Black Eye - The Hurricane, 8.Black Paisley - Silent Asylum, 9.Kiss The Vyper - Hope You Like It, 10.Kiss - I'll Fight Hell to Hold You, 11.Later Sons - Never Surrender, 12.T3nors - Strength to Carry On, 13.Dool - Hermagorgon, 14.Dool - Venus in Flames, 15.Sleazer - Sarnath, 16.Sorceress of Sin - Necropolis, 17.Sorceress of Sin - Realm of Elysium

For our last episode of 2024 (and released on the day the Beatles were officially disbanded 50 years ago!), Dave interviews Chip Madinger, co-author of Eight Arms to Hold You and Lennonology, about all the events in the Beatles world in 1974. They talk about John's "Lost Weekend," Walls and Bridges, Paul and Wings in their new incarnation, Ringo's album Goodnight Vienna, and George Harrison's North American tour and Dark Horse. In many ways, this was the last year when all four Beatles were really active.  Learn more about Chip at this link. You can buy his books and learn all about his work there. See you in 2025! Feel free to email or record a message to ivegotabeatlespodcat@outlook.com and we'll include you in our "Please Mr. Postman" segment. Also, please rate us wherever you listen to your podcasts. You can now hear us on YouTube! Complete episodes can be found at https://ivegotabeatlespodcast.podbean.com. Email: ivegotabeatlespodcast@hotmail.com X: @ivegotabeatles Facebook: I've Got A Beatles Podcast Our video venture: "Song Album Career!"  

In Episode 416 of Things We Said Today, Ken Michaels, Allan Kozinn and Darren Devivo discuss the new 6 CD / 2 Blu-ray archival edition of John Lennon's “Mind Games” album with Chip Madinger, the co-author of the unfolding “Lennonology” series and “Eight Arms to Hold You.” [[The intro and news segment runs until 24'30”, followed by the discussion with Chip.]]             As always, we welcome your thoughts about this episode of the show or any other episode. We invite you to send your comments about this or any of our other shows to our email address thingswesaidtodayradioshow@gmail.com, join our "Things We Said Today Beatles Fans" Facebook page and comment there, tweet us at @thingswesaidfab or catch us each on Facebook and give us your thoughts. And we thank you very much for listening. You can hear and download our show on Podbean, the Podbean app and iTunes and stream us through the Tune In Radio app and from our very own YouTube page.  Our shows appear every two weeks. Please be sure and write a (good, ideally!) review of our show on our iTunes page. If you subscribe to any of our program providers, you'll get the first word as soon as a new show is available. We don't want you to miss us. Our download numbers have been continually rising, as more people discover us and it's all because of you. So we thank you very much for your support!             Be sure to check out the video version of Things We Said Today on our YouTube channel, https://www.youtube.com/channel/UC-zgHaPfL6BGmOX5NoyFE-A. The audio version can be found at Podbean: https://beatlesexaminer.podbean.com/ as well as at iHeart Radio, Apple podcasts and other distributors of fine podcasts.             MANY MANY WAYS TO CONTACT US:             Our email address: thingswesaidtodayradioshow@gmail.com             Twitter @thingswesaidfab             Facebook:  Things We Said Today video podcast      ALLAN on Facebook: Allan Kozinn or Allan Kozinn Remixed.             Allan's Twitter feed: @kozinn             The McCartney Legacy's website: https://www.mccartneylegacy.com/             The McCartney Legacy on Facebook: McCartney Legacy, and on Twitter: @McCARTNEYLEGACY             The McCartney Legacy YouTube channel: https://www.youtube.com/channel/UC8zaPoY45IxDZKRMf2Z6VyA             KEN's YouTube Channel, Ken Michaels Radio: https://www.youtube.com/channel/UCq_Dkp6fkIsYwGq_vCwltyg             Ken's Website Beatles Trivia Page: https://www.kenmichaelsradio.com/beatles-trivia--games.html Ken's other podcast, Talk  More Talk: A Solo-Beatles Videocast You Tube channel:  https://www.youtube.com/@talkmoretalksolobeatles             Ken's Weekly Beatles radio show "Every Little Thing" On Demand:  http://wfdu.fm/Listen/hd1%20recent%20archives/             Ken's e-mail:  everylittlething@att.net Ken's Facebook Page: https://www.facebook.com/ken.michaels.31/ DARREN's radio show can be heard 10pm to 2am Monday through Thursday and 1pm to 4pm Saturday on WFUV 90.7 FM (or 90.7 FM HD2), or at wfuv.org, or on the WFUV app.             Darren on Facebook: Darren DeVivo, and Darren DeVivo: WFUV DJ and Beatles Podcaster Darren's email: darrendevivo@wfmu.org  

One thing that we find particularly fun about this podcast (most of the time) is re-appraising records from our youth. Taking a closer, critical look at something you were once super familiar with is often eye opening. Particularly if it's a record you remember liking a lot at one time but have since stopped listening to. Most of the time, it's a fun experience. And this episode on Eight Arms to Hold You by Veruca Salt is one of those times! Mostly. Chris was not super into this band when he was younger, but he did like this album a lot. In this episode we talk all about the band's career, before ending on the album in question. Dig in!

This week on The Balcony Show power pop artist Totten Bridge is on the show and he is talking about his brand new single “Control” and more! Our dude of all things awesome Madcat has the single “Hold You” from Alan Tuck, Donna Gallucci has the new single “Have My Way With You” from Kendra Erika, Bo has another great tip in Indie Radar. Tune in for another great episode! Other music from Born Lost and Kenzo#catchingrisingstars #thebalconyshowrocks #tottenbridge #internetradioshow #indiepopmusic #LikeFollowShare Hosted on Acast. See acast.com/privacy for more information.

Georgette Forney is the director of Anglicans for Life and co-founder of the Silent No More Awareness campaign. At age 16, Georgette had an abortion. Even after becoming a Christian, she struggled to believe that God could forgive her. She joins us this week to share how God helped her bring her abortion into the light, receive His forgiveness, and walk free from guilt and shame. Although she describes herself as an unlikely activist, Georgette has obeyed God's call to advocate for the preborn. By sharing her story, she helps women and men experience forgiveness, healing, and hope in Christ after abortion.     Anglicans for Life  Forgiven and Set Free by Linda Cochran  I'll Hold You in Heaven by Jack Hayford  Tilly by Frank Peretti  Tearing Us Apart: How Abortion Harms Everything and Solves Nothing by Ryan T. Anderson, Alexandra Desanctis  Strong Women Podcast S3 26: Contending for Life in a Post-Roe America, One Year in With Alexandra DeSanctis  Silent No More Awareness Campaign  Secular culture has widely embraced the destructive ideas produced by Critical Theory. But these ideas have caused great cultural divisions and a loss of faith. Neil Shenvi and Pat Sawyer's latest book, Critical Dilemma, is a much-needed resource to help Christians understand Critical Theory in all its forms and respond with discernment, truth, and love. You can claim your copy today at colsoncenter.org/swcriticaldilemma .  Registration for our 2024 Colson Center National Conference – Courageous Faith – is now open! From May 30 – June 2, we'll gather in Arlington, Texas at the brand-new Loews Hotel & Resort. We at the Colson Center believe every Christian can live like one. But we also know that, when the world around us is changing rapidly, it's hard to know how to live as a Christian in this time and place. The Colson Center National Conference is a gathering of people who want to face today's unique challenges with informed and courageous faith. This year's gifted speakers include Sean McDowell, Neil Shenvi, Kathy Koch and more. They will help us tackle the complex worldview challenges of today with biblical insight and practical application. To register at our lowest price, go to colsonconference.org today.  The Strong Women Podcast is a product of the Colson Center which equips Christians to live out their faith with clarity, confidence, and courage in this cultural moment. Through commentaries, podcasts, videos, and more, we help Christians better understand what's happening in the world, and champion what is true and good wherever God has called them.  Learn more about the Colson Center here: https://www.colsoncenter.org/   Visit our website and sign up for our email list so that you can stay up to date on what we are doing here and also receive our monthly book list: https://www.colsoncenter.org/strong-women   Join Strong Women on Social Media:   https://www.facebook.com/StrongWomenCC  https://www.facebook.com/groups/strongwomencommunitycc/  https://www.instagram.com/strongwomencc/   

This Week on America's Podcast, Free Form Rock Nation!! Jeff Beers Joins Us for controversial album among Kiss Fans..  Kiss' Crazy Nights is an album that has divided the band's fanbase since it was released in 1987. With its heavy use of synthesizers, pop-influenced hooks, and glossy production, some fans considered it a departure from the band's trademark hard rock sound. Others, however, were drawn to the album's upbeat energy and catchy melodies.   The album's opening track, "Crazy Crazy Nights," is a prime example of the pop-rock sound that dominates the album. Its infectious chorus and driving beat make it a fan favorite and a frequent concert staple. Other tracks, like "I'll Fight Hell to Hold You" and "Bang Bang You," follow a similar formula, relying on catchy choruses and shiny production to propel them forward.   For fans who prefer Kiss' heavier sound, Crazy Nights may feel like a betrayal. Some of the album's tracks, like "No, No, No" and "Hell or Hallelujah," offer glimpses of the band's classic style, but they are few and far between. Instead, the album leans heavily on keyboards and synth-driven arrangements, creating a sound that feels more at home on the pop charts than in the metal underground.   Despite these criticisms, however, Crazy Nights has its moments of charm. Songs like the ballad "Reason to Live" showcase a softer, more emotional side of the band, while the album's closing track, "Good Girl Gone Bad," features a bluesy guitar solo that harks back to Kiss' roots.   In the end, Crazy Nights is a polarizing album that will likely leave some fans divided. Those who embrace it for its pop textures and upbeat energy will find much to enjoy, while those who prefer Kiss' harder sound may feel left out in the cold. However, as with all things Kiss, there is no denying its enduring legacy and enduring appeal to both die-hard fans and casual listeners alike. Tracks of the Week Jeff, "Tom Sawyer' by Sabastian Bach. Charles, "Working Man" by Rush. Jerry, Comin 'Under Fire' by Def Leppard then we end with "Breakout" by Bon Jovi.. Until Next Week don't forget the mass amounts of Hairspray make sure and check if the bong is loaded!! Oh don't forget to leave us a 5 Star Review on Apple Podcasts, Podchasser or follow us on Podbean!! #kiss #crazynights #80s #Freeformrockpodcast #americaspodcast #freeformrocknation  

Katie recommends the book I'll Hold You In Heaven: Healing and Hope for the Parent Who Has Lost a Child through Miscarriage, Stillbirth, Abortion or Early Infant Death by Jack HayfordIt's an honor to carry any life inside your body, no matter how short their time was here on EarthWhen we talk about our miscarried babies, we honor life and we honor God and it helps us healKatie recommends checking for MTHFR mutations by visiting a doctor who could diagnose the condition and give solutions

The Good Shepherd Wants to Lead You, Feed You, and Hold You by Fr. Michael Denk

"You inspire us to work hard to improve the service we do for the music community." In this episode of MFM Speaks Out, Dawoud Kringle offers a retrospective of the progress of the MFM Speaks Out podcast in 2022. The guests mentioned, and / or whose music was included, include Ken Butler, Ariel Hyatt, Neel Murgai, Banning Eyre, Baba Don Eaton Babatunde, William Parker, Bruce Lee Gallanter, Jeff Slatnick, Hubert Howe, and April Centrone.The progress and accomplishments of MFM as a whole during the year 2022 were also briefly discussed. Topics discussed:Our guest for episode 35 in January was musician, experimental musical instrument builder, and visual artist Ken Butler. He builds hybrid musical instruments and other artworks that explore the interaction and transformation of common and uncommon objects, altered images, sounds and silence.He is internationally recognized as an innovator of experimental musical instruments created from diverse materials including tools, sports equipment, and household objects.February's episode 36 featured Ariel Hyatt. Ariel is a digital marketer, writer, and teacher who assists independent musicians in career development. She is the author of Music Success in 9 Weeks, Cyber PR For Musicians, Crowdstart, and other books. Hyatt worked at New York City's WNEW-FM, and the What Are Records? record label. She moved to Boulder CO, where she managed and handled publicity for the funk band, Lord of Word. She is also the founder and owner of the New York-based public relations firm Cyber PR. Her clients included the Toasters and George Clinton.Neel Murgai was our 37th guest in March. Neel is a sitarist, overtone singer, percussionist, composer, teacher, and Co-Artistic Director of the Brooklyn Raga Massive, a raga inspired musician's collective.Banning Eyre is a writer, guitarist and producer, and the senior editor and producer of the public radio program Afropop Worldwide.  He has traveled and done music research in over 20 African countries, as well as in the Caribbean, South America and Europe. His latest initiative is the launch of Lion Songs Records, an independent label dedicated to uplifting overlooked, mostly acoustic music from the African universe. He is the author of several books, and the co-author of AFROPOP! An Illustrated Guide to Contemporary African Music. Eyre is a contributor to National Public Radio's All Things Considered, and his writing has been published in Billboard, Guitar Player, Salon, the Boston Phoenix, College Music Journal, Option, The Beat, Folk Roots, Global Rhythm, and other publications. He also has a background in technology, and worked for 10 years as a software technical writer. Eyre is also on the Advisory Committee of Musicians for Musicians.  Baba Don Eaton Babatunde. He is a percussionist and master of African Drumming and the rhythms of the African Diaspora in the Americas. Baba Don has performed and recorded with Abidun Oyewole and The Last Poets, Pattie Labelle, Joe Henderson, Donald Brown, Jason Linder, Tyrone Jefferson, Tevin Thomas, James Spaulding, Ron Carter, George Clinton, Pharaoh Sanders, the Metropolitan Orchestra, Bill Laswell, and Philycia Rashadto name a few. His work with dance companies and choreographers includes The Dance Theatre of Harlem, Alvin Ailey Dance Theatre, Maurice Hines, Gregory Hines, Andy Williams, Chuck Davis Dance theatre, Frank Hatchet, Geoffrey Holder, Louis Johnson, and Pyramid Dance Company.Episode 40 featured free jazz bass master William Parker. He has also performed and recorded with Cecil Taylor, Peter Brotzmann, Derek Bailey, John Zorn, Hamid Drake, Anthony Braxton, Milford Graves, Oliver Lake, Daniel Carter, Billy Bang, Andrew Cyrille, Matthew Shipp, Roy Campbell, Warren Smith, Joe McPhee, Roscoe Mitchell, Jemeel Moondoc, Joe Morris, Steve Swell, David S. Ware, Leena Conquest, and many others. He was the leader of the Little Huey Creative Music Orchestra and In Order to Survive, a member of the Other Dimensions in Music cooperative, and co-founder of the musician's non-profit organization Arts For Art. Our guest for episode 41 was Bruce Lee Gallanter, the owner and proprietor of Downtown Music Gallery (DMG), a Manhattan based music store that specializes in new, used, hard to find, and out of print CDs, Vinyl, DVDs, and books. DMG was started in 1991 by David Yamner & Steve Popkin, with Gallanter working for the store. They remained in their first location on east 4th street in Manhattan for 12 years until 2003, and started having weekly free concerts, an idea that Gallanter had started with Manny Maris when they worked at Lunch For Your Ears. Gallanter became the owner in 1997. Around the time. he and Emperor Mike started the DMG newsletter, In 2003, they moved into a new store on the Bowery, not far from St. Marks Place, Tower Records, and Other Music.Jeff Slatnick was our 42nd guest. Jeff has been an employee and later the owner of Music Inn for over 54 years. Music Inn is one of the oldest music stores in New York City (second in longevity only to Sam Ash). It is a landmark music store in the West Village of NYC specializing in imported world and western instruments, rare and exotic music items, and records. Music Inn has been described as “a museum, rich with music history from around the world.” Music Inn is also the headquarters of Limulus, a company that designs and manufactures unique solid body string instruments. Hubert Howe graced the annals of our podcast as our 43rd guest. Hubert was one of the first researchers in computer music, and became Professor of Music and Director of the Electronic Music studios at Queens College in New York, where he was also Director of the Aaron Copland School of Music from 1989 to 1998, 2001 to 2002, and Autumn 2007. He taught at the Juilliard School from 1974 through 1994. In 1988-89 he held the Endowed Chair in Music at the University of Alabama. He has been a member of the Society of Composers, Inc. , President of the US section of the League of Composers / International Society of Contemporary Music, a member of the International Computer Music Association, and directed the International Computer Music Conference at Queens College, a member of Society for Electro-Acoustic Music, a member of BMI, and the American Composers Alliance since 1974 and served as their President from 2002 to 2011. He is a member of the New York Composer's Circle and has served as Executive Director since 2013. In 2009, he founded the New York City Electroacoustic Music Festival, and he continues as Director.Our final guest for for 2022 was April Centrone. April Centrone is a multi-instrumentalist (specialising in the riqq, darbuka, frame drum, trap drum, and oud), co-founder of the New York Arabic Orchestra, teacher, composer, film producer and director, and music therapist. She is a Carnegie Hall World Explorer musician and educator, business owner and founder of 10PRL, arts/film/event space on the Jersey Shore. Shehas performed in venues such as the United Nations, NYC Opera House, Carnegie Hall and Lincoln Center, and has toured throughout Europe, the Americas, Middle East and Far East.Music on this episode:"Aurora" by Adam Reifsteck / Sonic Fear"Building a Desert Blizzard" by Ken Butler"Bagheshri Unbound" by Neel Murgai"Today is a New Day" by Voyagers"25 Years" by Abiodun Oyewole, featurning Baba Don Eaton"Give Me Back My Drum" by William Parker"Warm Arms to Hold You" by Dawoud the Renegade Sufi (a.k.a. Dawoud Kringle)"Inharmonic Fantasy No. 7" by Hubert Howe"New Moon" by April Centrone"Welcome New Iran" by SoSaLa (a.k.a. Sohrab Saadat Ladjevardi)(All music used by permission)

October is Pregnancy and Infant Loss Awareness month. Danielle had a stillbirth at 25 weeks of pregnancy. She was young, and was completely unaware of what her or her baby's rights were. In addition to being treated horribly, Danielle never received a birth certificate or a death certificate for her son. Later, when Danielle was in nursing school, she learned that she could have advocated for her son, and that they both had rights. When a health condition arose with another pregnancy, Danielle did what she had to do for herself and her baby. Danielle is now a nurse who is a fierce advocate for her patients. She stands up for people who are vulnerable or are in need of support. She does what no one did for her in one of her darkest times. Authentic Points of View with Danielle BooherResources: Navigating Baby Loss- Jennifer SennExpecting Rainbow- Justine WanStill a Part of Us- Winter and Lee ReddI'll Hold You in Heaven-Jack HayfordWeighted BearsWalter's BearsMolly BearsMemory BearsTammy BearsHold A Memory BearsLaborLessons.comEnjoy listening to Labor Lessons? Leave a review here! Let me know what your favorite episode is and why!Follow me on Instagram: Labor LessonsDisclosure: Links to other sites may be affiliate links that generate us a small commission at no extra cost to you.

Col·leccionable dedicat al naixement del tweepop a Mallorca. No té altre nom més que Redpoppy, quartet inquer que posteriorment es rebatejava com The Aprons. Emmirallats en el so anomenat tweepop, C86, indie pop o jangle pop, de cases com el referenciat segell de Bristol Sarah Records. Foren precursors d'aquell so, els primers i dels únics a l'època a reivindicar-lo des de l'arxipèlag, en paral·lel a referents estatals com Le Mans. Posaríem la mà al foc, que en aquells anys, era el 1994, els inquers degueren ser els primers de l'Estat a reivindicar una de les referències de Sarah, The Sea Urchins, fent una versió, com també en farien de Luna i més endavant de Belle and Sebastian.Com a Redpoppy varen fer dues maquetes; reconvertits ja en The Aprons, dues més. Eren els germans Simó i Antoni Reus, responsables del fanzine April Eyes, mític i seminal a l'època, a més de Joan Reynés i Núria Mestre. Venien de fer noise com Nuevas Criaturas i L’Encruïa. Tant en una pell com en l'altre, els anys de Redpoppy o The Aprons es convertien també en seminals i mítics per a una història que esdevenia un tresor local que va despuntar poc més enllà de la mar i que després evolucionaria en el que són Marlovers. Sonen: “Pristine Christine”, de The Sea Urchins (Sarah Records, 1987) “Cling Film”, de The Sea Urchins (“Stardust”, Sarah Records, 1992) “Cling Film”, de Redpoppy (maqueta “Swallow”, 1994) “Hold You”, de Redpoppy (maqueta “Songs From Lilliput”, 1996) “Inside My Sorrow”, de Redpoppy (“Songs From Lilliput”, 1996) “Keep Smiling”, de Redpoppy (“Songs From Lilliput”, 1996) “It Never Comes”, de The Aprons (maqueta “Autumn Time”, 1997) “High and Low”, de The Aprons (“Autumn Time”, 1997) "Full of Love”, de The Aprons (“Autumn Time”, 1997) “Hold Me”, de The Aprons (maqueta “Polaroid”, 1999) “Twenty Five”, de The Aprons (“Polaroid”, 1999) “Glowing Field”, de The Aprons (“Polaroid”, 1999) “My Dreams”, de The Aprons (“Polaroid”, 1999) “Bad Liar”, de Marlovers (“I Don't Feel Like Myself”, Rock Indiana, 2021)

Une voix envoûtante qui vous plonge dans un univers à la fois familier et onirique. Lʹautrice, compositrice et chanteuse Colour of Rice, qui se définit comme une " citoyenne de la planète terre ", puise ses racines musicales dans les sons qui lʹentourent et quʹelle transforme dans une folk aussi intimiste que puissante. Avant son concert aux Aubes musicales à Genève (30 juillet 2022) et aux Eléphantaisies de Delémont (10 août 2022), Colour of Rice raconte au micro dʹAnya Leveillé, ses univers et son prochain album, "Hold You".

This year marks the 40th anniversary of Paul McCartney's landmark album, and two noted experts help us celebrate: Chip Madinger and Mark Easter, coauthors of Eight Arms to Hold You (now available in e-book format). In this special episode, we discuss the history of the book as well as the making of Tug of War.  How does the album hold up in 2022?  We debate that question and much more! For more information on Eight Arms to Hold You and Lennonology: https://lennonology.com/   talkmoretalk.com talkmoresolotalk@gmail.com @talkmoretalk1 https://www.facebook.com/talkmoretalkvideocast https://www.youtube.com/c/TalkMoreTalkASoloBeatlesVideocast

The true definition of Accountability is: The fact or condition of being accountable; responsibility. So that means we need to take responsibility of our own actions as to why we aren't where we want to be in life or what is stopping us from getting there. Hold YOU accountable good people and take yourself to heights unseen! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/antonio-wright5/support

Our goal is to bridge the gap between the mainstream & indie artists. Our main aim is to focus on 75% female & 25% male artists/groups.Non-stop, less chat, more in the mix (Neo Soul, Hip Hop, R&B, Soul, Gospel, Jazz) musical grooves.This show is syndicated Floradio (UK) Wed 3 pm UK (Monthly)WVRO (USA) Mon/Wed/Fri 6 pm UK (weekly)WHTL 95.2 FM (USA) Mon - Fri 9:30 am UK (weekly)Netta Brielle & J. Rená - DND    DJ GET on UP & Jennifair - BetterSticky The Menace - 10:31Zenesoul ft Esquire - GlowingArika Kane - Burnin 4 Ur LuvJulzzz - Pink PlantEgo Ella May - Introvert HotlineEva Lazarus - How Am I Looking?Kkeda - Blue JeansMumu Fresh - Soft AgainEfajemue, Olivia Jane & Zephyr Avalon ft Horace Bray - Beauty Isla Croll - Wondering    Radio Galaxy - AnewknockieLydia Persaud - Good For UsSharna Bass - Back Of My HandBea Anderson - Mirror MirrorLatrese Bush - Caffeine Benita - DopamineIvey Amour - MineYandji - Sad ShordieKayleigh Noble - Imaginary BoyfriendOpelsings - Addicted Atiya - Better DaysJes Norris ft Datin - BetterFinding Neo - No ManThe Della Kit - ClarityLila Forde - Come LooseAmethyst - Get ComfortablePip Millett - Ride With MeTiana Kocher - Back It UpImaniCarolyn - Coming HomeTeanna Bianca ft Agia - Make Me FeelSalome X Hunter Yerrell - Spell On MeTyte TheworldIsTyte - GreenZilo ft Devin Tracy - CompanyCilla Raie - LongtimeTaneal - Long Way HomeScribbles Who ft King Hoodie - REUPAutumn Corin - Sneaky LinkJha'mai - Brown Suga.Jill Valentyne ft Dariah Flame - Don't Lose Your ShitLuck - All The DiamondsMoonlyte Creatrix - It Ain't LoveTia Gordon - Call MePaulyae - No MoreRelyae & Amelia Rose - MidnightRuth Toynton - All Gone    Maxine Scott - Eryka U BadFaiza - BenchmarkMali Hâf - Tara's EyesApril Gallo - Time Of DayTraining Season - GoneAnika Marie - T i r e d A fDominé Brishawn - Red FlagsTianna Esperanza - LewisElle Eliades - Comfort In LiesJasmine Oakley - GoneJasmine Alvarado - CuídateVonné - Won't Hold You    Donnie Freeman ft NDO & Blazino - Better Off   

This week's episode looks at “Tomorrow Never Knows”, the making of Revolver by the Beatles, and the influence of Timothy Leary on the burgeoning psychedelic movement. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Keep on Running" by the Spencer Davis Group. 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/ Errata A few things -- I say "Fairfield" at one point when I mean "Fairchild". While Timothy Leary was imprisoned in 1970 he wasn't actually placed in the cell next to Charles Manson until 1973. Sources differ on when Geoff Emerick started at EMI, and he *may* not have worked on "Sun Arise", though I've seen enough reliable sources saying he did that I think it's likely. And I've been told that Maureen Cleave denied having an affair with Lennon -- though note that I said it was "strongly rumoured" rather than something definite. Resources As usual, a mix of all the songs excerpted in this episode is available at Mixcloud.com. 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. For information on Timothy Leary I used a variety of sources including The Most Dangerous Man in America by Bill Minutaglio and Steven L. Davis; Timothy Leary: Outside Looking In by Robert Forte; The Starseed Signals by Robert Anton Wilson; and especially The Harvard Psychedelic Club by Don Lattin. I also referred to both The Tibetan Book of the Dead and to The Psychedelic Experience. Leary's much-abridged audiobook version of The Psychedelic Experience can be purchased from Folkways Records. Sadly the first mono mix of "Tomorrow Never Knows" has been out of print since it was first issued. The only way to get the second mono mix is on this ludicrously-expensive out-of-print box set, but the stereo mix is easily available on Revolver. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start this episode, I'd like to note that it deals with a number of subjects some listeners might find upsetting, most notably psychedelic drug use, mental illness, and suicide. I think I've dealt with those subjects fairly respectfully, but you still may want to check the transcript if you have worries about these subjects. Also, we're now entering a period of music history with the start of the psychedelic era where many of the songs we're looking at are influenced by non-mainstream religious traditions, mysticism, and also increasingly by political ideas which may seem strange with nearly sixty years' hindsight. I'd just like to emphasise that when I talk about these ideas, I'm trying as best I can to present the thinking of the people I'm talking about, in an accurate and unbiased way, rather than talking about my own beliefs. We're going to head into some strange places in some of these episodes, and my intention is neither to mock the people I'm talking about nor to endorse their ideas, but to present those ideas to you the listener so you can understand the music, the history, and the mindset of the people involved, Is that clear? Then lets' turn on, tune in, and drop out back to 1955... [Opening excerpt from The Psychedelic Experience] There is a phenomenon in many mystical traditions, which goes by many names, including the dark night of the soul and the abyss. It's an experience that happens to mystics of many types, in which they go through unimaginable pain near the beginning of their journey towards greater spiritual knowledge. That pain usually involves a mixture of internal and external events -- some terrible tragedy happens to them, giving them a new awareness of the world's pain, at the same time they're going through an intellectual crisis about their understanding of the world, and it can last several years. It's very similar to the more common experience of the mid-life crisis, except that rather than buying a sports car and leaving their spouse, mystics going through this are more likely to found a new religion. At least, those who survive the crushing despair intact. Those who come out of the experience the other end often find themselves on a totally new path, almost like they're a different person. In 1955, when Dr. Timothy Leary's dark night of the soul started, he was a respected academic psychologist, a serious scientist who had already made several substantial contributions to his field, and was considered a rising star. By 1970, he would be a confirmed mystic, sentenced to twenty years in prison, in a cell next to Charles Manson, and claiming to different people that he was the reincarnation of Gurdjieff, Aleister Crowley, and Jesus Christ. In the fifties, Leary and his wife had an open relationship, in which they were both allowed to sleep with other people, but weren't allowed to form emotional attachments to them. Unfortunately, Leary *had* formed an emotional attachment to another woman, and had started spending so much time with her that his wife was convinced he was going to leave her. On top of that, Leary was an alcoholic, and was prone to get into drunken rows with his wife. He woke up on the morning of his thirty-fifth birthday, hung over after one of those rows, to find that she had died by suicide while he slept, leaving a note saying that she knew he was going to leave her and that her life would be meaningless without him. This was only months after Leary had realised that the field he was working in, to which he had devoted his academic career, was seriously broken. Along with a colleague, Frank Barron, he published a paper on the results of clinical psychotherapy, "Changes in psychoneurotic patients with and without psychotherapy" which analysed the mental health of a group of people who had been through psychotherapy, and found that a third of them improved, a third stayed the same, and a third got worse. The problem was that there was a control group, of people with the same conditions who were put on a waiting list and told to wait the length of time that the therapy patients were being treated. A third of them improved, a third stayed the same, and a third got worse. In other words, psychotherapy as it was currently practised had no measurable effect at all on patients' health. This devastated Leary, as you might imagine. But more through inertia than anything else, he continued working in the field, and in 1957 he published what was regarded as a masterwork -- his book Interpersonal Diagnosis of Personality: A Functional Theory and Methodology for Personality Evaluation. Leary's book was a challenge to the then-dominant idea in psychology, behaviourism, which claimed that it made no sense to talk about anyone's internal thoughts or feelings -- all that mattered was what could be measured, stimuli and responses, and that in a very real sense the unmeasurable thoughts people had didn't exist at all. Behaviourism looked at every human being as a mechanical black box, like a series of levers. Leary, by contrast, analysed human interactions as games, in which people took on usual roles, but were able, if they realised this, to change the role or even the game itself. It was very similar to the work that Eric Berne was doing at the same time, and which would later be popularised in Berne's book Games People Play. Berne's work was so popular that it led to the late-sixties hit record "Games People Play" by Joe South: [Excerpt: Joe South: "Games People Play"] But in 1957, between Leary and Berne, Leary was considered the more important thinker among his peers -- though some thought of him as more of a showman, enthralled by his own ideas about how he was going to change psychology, than a scientist, and some thought that he was unfairly taking credit for the work of lesser-known but better researchers. But by 1958, the effects of the traumas Leary had gone through a couple of years earlier were at their worst. He was starting to become seriously ill -- from the descriptions, probably from something stress-related and psychosomatic -- and he took his kids off to Europe, where he was going to write the great American novel. But he rapidly ran through his money, and hadn't got very far with the novel. He was broke, and ill, and depressed, and desperate, but then in 1959 his old colleague Frank Barron, who was on holiday in the area, showed up, and the two had a conversation that changed Leary's life forever in multiple ways. The first of the conversational topics would have the more profound effect, though that wouldn't be apparent at first. Barron talked to Leary about his previous holiday, when he'd visited Mexico and taken psilocybin mushrooms. These had been used by Mexicans for centuries, but the first publication about them in English had only been in 1955 -- the same year when Leary had had other things on his mind -- and they were hardly known at all outside Mexico. Barron talked about the experience as being the most profound, revelatory, experience of his life. Leary thought his friend sounded like a madman, but he humoured him for the moment. But Barron also mentioned that another colleague was on holiday in the same area. David McClelland, head of the Harvard Center for Personality Research, had mentioned to Barron that he had just read Diagnosis of Personality and thought it a work of genius. McClelland hired Leary to work for him at Harvard, and that was where Leary met Ram Dass. [Excerpt from "The Psychedelic Experience"] Ram Dass was not the name that Dass was going by at the time -- he was going by his birth name, and only changed his name a few years later, after the events we're talking about -- but as always, on this podcast we don't use people's deadnames, though his is particularly easy to find as it's still the name on the cover of his most famous book, which we'll be talking about shortly. Dass was another psychologist at the Centre for Personality Research, and he would be Leary's closest collaborator for the next several years. The two men would become so close that at several points Leary would go travelling and leave his children in Dass' care for extended periods of time. The two were determined to revolutionise academic psychology. The start of that revolution didn't come until summer 1960. While Leary was on holiday in Cuernavaca in Mexico, a linguist and anthropologist he knew, Lothar Knauth, mentioned that one of the old women in the area collected those magic mushrooms that Barron had been talking about. Leary decided that that might be a fun thing to do on his holiday, and took a few psilocybin mushrooms. The effect was extraordinary. Leary called this, which had been intended only as a bit of fun, "the deepest religious experience of my life". [Excerpt from "The Psychedelic Experience"] He returned to Harvard after his summer holiday and started what became the Harvard Psilocybin Project. Leary and various other experimenters took controlled doses of psilocybin and wrote down their experiences, and Leary believed this would end up revolutionising psychology, giving them insights unattainable by other methods. The experimenters included lecturers, grad students, and people like authors Allen Ginsberg and William Burroughs, jazz trumpeter Maynard Ferguson, and Alan Watts, who popularised Zen Buddhism in the West. Dass didn't join the project until early 1961 -- he'd actually been on the holiday with Leary, but had arrived a few days after the mushroom experiment, and nobody had been able to get hold of the old woman who knew where to find the mushrooms, so he'd just had to deal with Leary telling him about how great it was rather than try it himself. He then spent a semester as a visiting scholar at Berkeley, so he didn't get to try his first trip until February 1961. Dass, on his first trip, first had a revelation about the nature of his own true soul, then decided at three in the morning that he needed to go and see his parents, who lived nearby, and tell them the good news. But there was several feet of snow, and so he decided he must save his parents from the snow, and shovel the path to their house. At three in the morning. Then he saw them looking out the window at him, he waved, and then started dancing around the shovel. He later said “Until that moment I was always trying to be the good boy, looking at myself through other people's eyes. What did the mothers, fathers, teachers, colleagues want me to be? That night, for the first time, I felt good inside. It was OK to be me.” The Harvard Psilocybin Project soon became the Harvard Psychedelic Project. The term "psychedelic", meaning "soul revealing", was coined by the British psychiatrist Humphrey Osmond, who had been experimenting with hallucinogens for years, and had guided Aldous Huxley on the mescaline trip described in The Doors of Perception. Osmond and Huxley had agreed that the term "psychotomimetic", in use at the time, which meant "mimicking psychosis", wasn't right -- it was too negative. They started writing letters to each other, suggesting alternative terms. Huxley came up with "phanerothyme", the Greek for "soul revealing", and wrote a little couplet to Osmond: To make this trivial world sublime Take half a gramme of phanerothyme. Osmond countered with the Latin equivalent: To fathom hell or soar angelic Just take a pinch of psychedelic Osmond also inspired Leary's most important experimental work of the early sixties. Osmond had got to know Bill W., the founder of Alcoholics Anonymous, and had introduced W. to LSD. W. had become sober after experiencing a profound spiritual awakening and a vision of white light while being treated for his alcoholism using the so-called "belladonna cure" -- a mixture of various hallucinogenic and toxic substances that was meant to cure alcoholism. When W. tried LSD, he found it replicated his previous spiritual experience and became very evangelistic about its use by alcoholics, thinking it could give them the same kind of awakening he'd had. Leary became convinced that if LSD could work on alcoholics, it could also be used to help reshape the personalities of habitual criminals and lead them away from reoffending. His idea for how to treat people was based, in part, on the ideas of transactional analysis. There is always a hierarchical relationship between a therapist and their patient, and that hierarchical relationship itself, in Leary's opinion, forced people into particular game roles and made it impossible for them to relate as equals, and thus impossible for the therapist to truly help the patient. So his idea was that there needed to be a shared bonding experience between patient and doctor. So in his prison experiments, he and the other people involved, including Ralph Metzner, one of his grad students, would take psilocybin *with* the patients. In short-term follow-ups the patients who went through this treatment process were less depressed, felt better, and were only half as likely to reoffend as normal prisoners. But critics pointed out that the prisoners had been getting a lot of individual attention and support, and there was no control group getting that support without the psychedelics. [Excerpt: The Psychedelic Experience] As the experiments progressed, though, things were becoming tense within Harvard. There was concern that some of the students who were being given psilocybin were psychologically vulnerable and were being put at real risk. There was also worry about the way that Leary and Dass were emphasising experience over analysis, which was felt to be against the whole of academia. Increasingly it looked like there was a clique forming as well, with those who had taken part in their experiments on the inside and looking down on those outside, and it looked to many people like this was turning into an actual cult. This was simply not what the Harvard psychology department was meant to be doing. And one Harvard student was out to shut them down for good, and his name was Andrew Weil. Weil is now best known as one of the leading lights in alternative health, and has made appearances on Oprah and Larry King Live, but for many years his research interest was in mind-altering chemicals -- his undergraduate thesis was on the use of nutmeg to induce different states of consciousness. At this point Weil was an undergraduate, and he and his friend Ronnie Winston had both tried to get involved in the Harvard Psilocybin Project, but had been turned down -- while they were enthusiastic about it, they were also undergraduates, and Leary and Dass had agreed with the university that they wouldn't be using undergraduates in their project, and that only graduate students, faculty, and outsiders would be involved. So Weil and Winston had started their own series of experiments, using mescaline after they'd been unable to get any psilocybin -- they'd contacted Aldous Huxley, the author of The Doors of Perception and an influence on Leary and Dass' experiments, and asked him where they could get mescaline, and he'd pointed them in the right direction. But then Winston and Dass had become friends, and Dass had given Winston some psilocybin -- not as part of his experiments, so Dass didn't think he was crossing a line, but just socially. Weil saw this as a betrayal by Winston, who stopped hanging round with him once he became close to Dass, and also as a rejection of him by Dass and Leary. If they'd give Winston psilocybin, why wouldn't they give it to him? Weil was a writer for the Harvard Crimson, Harvard's newspaper, and he wrote a series of exposes on Leary and Dass for the Crimson. He went to his former friend Winston's father and told him "Your son is getting drugs from a faculty member. If your son will admit to that charge, we'll cut out your son's name. We won't use it in the article."  Winston did admit to the charge, under pressure from his father, and was brought to tell the Dean, saying to the Dean “Yes, sir, I did, and it was the most educational experience I've had at Harvard.” Weil wrote about this for the Crimson, and the story was picked up by the national media. Weil eventually wrote about Leary and Dass for Look magazine, where he wrote “There were stories of students and others using hallucinogens for seductions, both heterosexual and homosexual.” And this seems actually to have been a big part of Weil's motivation. While Dass and Winston always said that their relationship was purely platonic, Dass was bisexual, and Weil seems to have assumed his friend had been led astray by an evil seducer. This was at a time when homophobia and biphobia were even more prevalent in society than they are now, and part of the reason Leary and Dass fell out in the late sixties is that Leary started to see Dass' sexuality as evil and perverted and something they should be trying to use LSD to cure. The experiments became a national scandal, and one of the reasons that LSD was criminalised a few years later. Dass was sacked for giving drugs to undergraduates; Leary had gone off to Mexico to get away from the stress, leaving his kids with Dass. He would be sacked for going off without permission and leaving his classes untaught. As Leary and Dass were out of Harvard, they had to look for other sources of funding. Luckily, Dass turned William Mellon Hitchcock, the heir to the Mellon oil fortune, on to acid, and he and his brother Tommy and sister Peggy gave them the run of a sixty-four room mansion, named Millbrook. When they started there, they were still trying to be academics, but over the five years they were at Millbrook it became steadily less about research and more of a hippie commune, with regular visitors and long-term residents including Alan Ginsberg, William Burroughs, and the jazz musician Maynard Ferguson, who would later get a small amount of fame with jazz-rock records like his version of "MacArthur Park": [Excerpt: Maynard Ferguson, "MacArthur Park"] It was at Millbrook that Leary, Dass, and Metzner would write the book that became The Psychedelic Experience. This book was inspired by the Bardo Thödol, a book allegedly written by Padmasambhava, the man who introduced Buddhism to Tibet in the eighth century, though no copies of it are known to have existed before the fourteenth century, when it was supposedly discovered by Karma Lingpa. Its title translates as Liberation Through Hearing During the Intermediate State, but it was translated into English under the name The Tibetan Book of the Dead, as Walter Evans-Wentz, who compiled and edited the first English translation was, like many Westerners who studied Buddhism in the early part of the twentieth century, doing so because he was an occultist and a member of the Theosophical Society, which believes the secret occult masters of the world live in Tibet, but which also considered the Egyptian Book of the Dead -- a book which bears little relationship to the Bardo Thödol, and which was written thousands of years earlier on a different continent -- to be a major religious document. So it was through that lens that Evans-Wentz was viewing the Bardo Thödol, and he renamed the book to emphasise what he perceived as its similarities. Part of the Bardo Thödol is a description of what happens to someone between death and rebirth -- the process by which the dead person becomes aware of true reality, and then either transcends it or is dragged back into it by their lesser impulses -- and a series of meditations that can be used to help with that transcendence. In the version published as The Tibetan Book of the Dead, this is accompanied by commentary from Evans-Wentz, who while he was interested in Buddhism didn't actually know that much about Tibetan Buddhism, and was looking at the text through a Theosophical lens, and mostly interpreting it using Hindu concepts. Later editions of Evans-Wentz's version added further commentary by Carl Jung, which looked at Evans-Wentz's version of the book through Jung's own lens, seeing it as a book about psychological states, not about anything more supernatural (although Jung's version of psychology was always a supernaturalist one, of course). His Westernised, psychologised, version of the book's message became part of the third edition. Metzner later said "At the suggestion of Aldous Huxley and Gerald Heard we began using the Bardo Thödol ( Tibetan Book of the Dead) as a guide to psychedelic sessions. The Tibetan Buddhists talked about the three phases of experience on the “intermediate planes” ( bardos) between death and rebirth. We translated this to refer to the death and the rebirth of the ego, or ordinary personality. Stripped of the elaborate Tibetan symbolism and transposed into Western concepts, the text provided a remarkable parallel to our findings." Leary, Dass, and Metzner rewrote the book into a form that could be used to guide a reader through a psychedelic trip, through the death of their ego and its rebirth. Later, Leary would record an abridged audiobook version, and it's this that we've been hearing excerpts of during this podcast so far: [Excerpt: The Psychedelic Experience "Turn off your mind, relax, float downstream" about 04:15] When we left the Beatles, they were at the absolute height of their fame, though in retrospect the cracks had already begun to show.  Their second film had been released, and the soundtrack had contained some of their best work, but the title track, "Help!", had been a worrying insight into John Lennon's current mental state. Immediately after making the film and album, of course, they went back out touring, first a European tour, then an American one, which probably counts as the first true stadium tour. There had been other stadium shows before the Beatles 1965 tour -- we talked way back in the first episodes of the series about how Sister Rosetta Tharpe had a *wedding* that was a stadium gig. But of course there are stadiums and stadiums, and the Beatles' 1965 tour had them playing the kind of venues that no other musician, and certainly no other rock band, had ever played. Most famously, of course, there was the opening concert of the tour at Shea Stadium, where they played to an audience of fifty-five thousand people -- the largest audience a rock band had ever played for, and one which would remain a record for many years. Most of those people, of course, couldn't actually hear much of anything -- the band weren't playing through a public address system designed for music, just playing through the loudspeakers that were designed for commentating on baseball games. But even if they had been playing through the kind of modern sound systems used today, it's unlikely that the audience would have heard much due to the overwhelming noise coming from the crowd. Similarly, there were no live video feeds of the show or any of the other things that nowadays make it at least possible for the audience to have some idea what is going on on stage. The difference between this and anything that anyone had experienced before was so great that the group became overwhelmed. There's video footage of the show -- a heavily-edited version, with quite a few overdubs and rerecordings of some tracks was broadcast on TV, and it's also been shown in cinemas more recently as part of promotion for an underwhelming documentary about the Beatles' tours -- and you can see Lennon in particular becoming actually hysterical during the performance of "I'm Down", where he's playing the organ with his elbows. Sadly the audio nature of this podcast doesn't allow me to show Lennon's facial expression, but you can hear something of the exuberance in the performance. This is from what is labelled as a copy of the raw audio of the show -- the version broadcast on TV had a fair bit of additional sweetening work done on it: [Excerpt: The Beatles, "I'm Down (Live at Shea Stadium)"] After their American tour they had almost six weeks off work to write new material before going back into the studio to record their second album of the year, and one which would be a major turning point for the group. The first day of the recording sessions for this new album, Rubber Soul, started with two songs of Lennon's. The first of these was "Run For Your Life", a song Lennon never later had much good to say about, and which is widely regarded as the worst song on the album. That song was written off a line from Elvis Presley's version of "Baby Let's Play House", and while Lennon never stated this, it's likely that it was brought to mind by the Beatles having met with Elvis during their US tour. But the second song was more interesting. Starting with "Help!", Lennon had been trying to write more interesting lyrics. This had been inspired by two conversations with British journalists -- Kenneth Allsop had told Lennon that while he liked Lennon's poetry, the lyrics to his songs were banal in comparison and he found them unlistenable as a result, while Maureen Cleave, a journalist who was a close friend with Lennon, had told him that she hadn't noticed a single word in any of his lyrics with more than two syllables, so he made more of an effort with "Help!", putting in words like "independence" and "insecure". As he said in one of his last interviews, "I was insecure then, and things like that happened more than once. I never considered it before. So after that I put a few words with three syllables in, but she didn't think much of them when I played it for her, anyway.” Cleave may have been an inspiration for "Norwegian Wood (This Bird Has Flown)". There are very strong rumours that Lennon had an affair with Cleave in the mid-sixties, and if that's true it would definitely fit into a pattern. Lennon had many, many, affairs during his first marriage, both brief one-night stands and deeper emotional attachments, and those emotional attachments were generally with women who were slightly older, intellectual, somewhat exotic looking by the standards of 1960s Britain, and in the arts. Lennon later claimed to have had an affair with Eleanor Bron, the Beatles' co-star in Help!, though she always denied this, and it's fairly widely established that he did have an affair with Alma Cogan, a singer who he'd mocked during her peak of popularity in the fifties, but who would later become one of his closest friends: [Excerpt: Alma Cogan, "Why Do Fools Fall in Love?"] And "Norwegian Wood", the second song recorded for Rubber Soul, started out as a confession to one of these affairs, a way of Lennon admitting it to his wife without really admitting it. The figure in the song is a slightly aloof, distant woman, and the title refers to the taste among Bohemian British people at the time for minimalist decor made of Scandinavian pine -- something that would have been a very obvious class signifier at the time. [Excerpt: The Beatles, "Norwegian Wood (This Bird Has Flown)"] Lennon and McCartney had different stories about who wrote what in the song, and Lennon's own story seems to have changed at various times. What seems to have happened is that Lennon wrote the first couple of verses while on holiday with George Martin, and finished it off later with McCartney's help. McCartney seems to have come up with the middle eight melody -- which is in Dorian mode rather than the Mixolydian mode of the verses -- and to have come up with the twist ending, where the woman refuses to sleep with the protagonist and laughs at him, he goes to sleep in the bath rather than her bed, wakes up alone, and sets fire to the house in revenge. This in some ways makes "Norwegian Wood" the thematic centrepiece of the album that was to result, combining several of the themes its two songwriters came back to throughout the album and the single recorded alongside it. Like Lennon's "Run For Your Life" it has a misogynistic edge to it, and deals with taking revenge against a woman, but like his song "Girl", it deals with a distant, unattainable, woman, who the singer sees as above him but who has a slightly cruel edge -- the kind of girl who puts you down when friends are there,  you feel a fool, is very similar to the woman who tells you to sit down but has no chairs in her minimalist flat. A big teaser who takes you half the way there is likely to laugh at you as you crawl off to sleep in the bath while she goes off to bed alone. Meanwhile, McCartney's two most popular contributions to the album, "Michelle" and "Drive My Car", also feature unattainable women, but are essentially comedy songs -- "Michelle" is a pastiche French song which McCartney used to play as a teenager while pretending to be foreign to impress girls, dug up and finished for the album, while "Drive My Car" is a comedy song with a twist in the punchline, just like "Norwegian Wood", though "Norwegian Wood"s twist is darker. But "Norwegian Wood" is even more famous for its music than for its lyric. The basis of the song is Lennon imitating Dylan's style -- something that Dylan saw, and countered with "Fourth Time Around", a song which people have interpreted multiple ways, but one of those interpretations has always been that it's a fairly vicious parody of "Norwegian Wood": [Excerpt: Bob Dylan, "Fourth Time Around"] Certainly Lennon thought that at first, saying a few years later "I was very paranoid about that. I remember he played it to me when he was in London. He said, what do you think? I said, I don't like it. I didn't like it. I was very paranoid. I just didn't like what I felt I was feeling – I thought it was an out and out skit, you know, but it wasn't. It was great. I mean he wasn't playing any tricks on me. I was just going through the bit." But the aspect of "Norwegian Wood" that has had more comment over the years has been the sitar part, played by George Harrison: [Excerpt: The Beatles, "Norwegian Wood"] This has often been called the first sitar to be used on a rock record, and that may be the case, but it's difficult to say for sure. Indian music was very much in the air among British groups in September 1965, when the Beatles recorded the track. That spring, two records had almost simultaneously introduced Indian-influenced music into the pop charts. The first had been the Yardbirds' "Heart Full of Soul", released in June and recorded in April. In fact, the Yardbirds had actually used a sitar on their first attempt at recording the song, which if it had been released would have been an earlier example than the Beatles: [Excerpt: The Yardbirds, "Heart Full of Soul (first version)"] But in the finished recording they had replaced that with Jeff Beck playing a guitar in a way that made it sound vaguely like a sitar, rather than using a real one: [Excerpt: The Yardbirds, "Heart Full of Soul (single)"] Meanwhile, after the Yardbirds had recorded that but before they'd released it, and apparently without any discussion between the two groups, the Kinks had done something similar on their "See My Friends", which came out a few weeks after the Yardbirds record: [Excerpt: The Kinks, "See My Friends"] (Incidentally, that track is sometimes titled "See My Friend" rather than "See My Friends", but that's apparently down to a misprint on initial pressings rather than that being the intended title). As part of this general flowering of interest in Indian music, George Harrison had become fascinated with the sound of the sitar while recording scenes in Help! which featured some Indian musicians. He'd then, as we discussed in the episode on "Eight Miles High" been introduced by David Crosby on the Beatles' summer US tour to the music of Ravi Shankar. "Norwegian Wood" likely reminded Harrison of Shankar's work for a couple of reasons. The first is that the melody is very modal -- as I said before, the verses are in Mixolydian mode, while the middle eights are in Dorian -- and as we saw in the "Eight Miles High" episode Indian music is very modal. The second is that for the most part, the verse is all on one chord -- a D chord as Lennon originally played it, though in the final take it's capoed on the second fret so it sounds in E. The only time the chord changes at all is on the words "once had" in the phrase “she once had me” where for one beat each Lennon plays a C9 and a G (sounding as a D9 and A). Both these chords, in the fingering Lennon is using, feel to a guitarist more like "playing a D chord and lifting some fingers up or putting some down" rather than playing new chords, and this is a fairly common way of thinking about stuff particularly when talking about folk and folk-rock music -- you'll tend to get people talking about the "Needles and Pins" riff as being "an A chord where you twiddle your finger about on the D string" rather than changing between A, Asus2, and Asus4. So while there are chord changes, they're minimal and of a kind that can be thought of as "not really" chord changes, and so that may well have reminded Harrison of the drone that's so fundamental to Indian classical music. Either way, he brought in his sitar, and they used it on the track, both the version they cut on the first day of recording and the remake a week later which became the album track: [Excerpt: The Beatles, "Norwegian Wood (This Bird Has Flown)"] At the same time as the group were recording Rubber Soul, they were also working on two tracks that would become their next single -- released as a double A-side because the group couldn't agree which of the two to promote. Both of these songs were actual Lennon/McCartney collaborations, something that was increasingly rare at this point. One, "We Can Work it Out" was initiated by McCartney, and like many of his songs of this period was inspired by tensions in his relationship with his girlfriend Jane Asher -- two of his other songs for Rubber Soul were "I'm Looking Through You" and "You Won't See Me".  The other, "Day Tripper",  was initiated by Lennon, and had other inspirations: [Excerpt: The Beatles, "Day Tripper"] John Lennon and George Harrison's first acid trip had been in spring of 1965, around the time they were recording Help! The fullest version of how they came to try it I've read was in an interview George Harrison gave to Creem magazine in 1987, which I'll quote a bit of: "I had a dentist who invited me and John and our ex-wives to dinner, and he had this acid he'd got off the guy who ran Playboy in London. And the Playboy guy had gotten it off, you know, the people who had it in America. What's his name, Tim Leary. And this guy had never had it himself, didn't know anything about it, but he thought it was an aphrodisiac and he had this girlfriend with huge breasts. He invited us down there with our blonde wives and I think he thought he was gonna have a scene. And he put it in our coffee without telling us—he didn't take any himself. We didn't know we had it, and we'd made an arrangement earlier—after we had dinner we were gonna go to this nightclub to see some friends of ours who were playing in a band. And I was saying, "OK, let's go, we've got to go," and this guy kept saying, "No, don't go, finish your coffee. Then, 20 minutes later or something, I'm saying, "C'mon John, we'd better go now. We're gonna miss the show." And he says we shouldn't go 'cause we've had LSD." They did leave anyway, and they had an experience they later remembered as being both profound and terrifying -- nobody involved had any idea what the effects of LSD actually were, and they didn't realise it was any different from cannabis or amphetamines. Harrison later described feelings of universal love, but also utter terror -- believing himself to be in hell, and that world war III was starting. As he said later "We'd heard of it, but we never knew what it was about and it was put in our coffee maliciously. So it really wasn't us turning each other or the world or anything—we were the victims of silly people." But both men decided it was an experience they needed to have again, and one they wanted to share with their friends. Their next acid trip was the one that we talked about in the episode on "Eight Miles High", with Roger McGuinn, David Crosby, and Peter Fonda. That time Neil Aspinall and Ringo took part as well, but at this point Paul was still unsure about taking it -- he would later say that he was being told by everyone that it changed your worldview so radically you'd never be the same again, and he was understandably cautious about this. Certainly it had a profound effect on Lennon and Harrison -- Starr has never really talked in detail about his own experiences. Harrison would later talk about how prior to taking acid he had been an atheist, but his experiences on the drug gave him an unshakeable conviction in the existence of God -- something he would spend the rest of his life exploring. Lennon didn't change his opinions that drastically, but he did become very evangelistic about the effects of LSD. And "Day Tripper" started out as a dig at what he later described as weekend hippies, who took acid but didn't change the rest of their lives -- which shows a certain level of ego in a man who had at that point only taken acid twice himself -- though in collaboration with McCartney it turned into another of the rather angry songs about unavailable women they were writing at this point. The line "she's a big teaser, she took me half the way there" apparently started as "she's a prick teaser": [Excerpt: The Beatles, "Day Tripper"] In the middle of the recording of Rubber Soul, the group took a break to receive their MBEs from the Queen. Officially the group were awarded these because they had contributed so much to British exports. In actual fact, they received them because the Prime Minister, Harold Wilson, had a government with a majority of only four MPs and was thinking about calling an election to boost his majority. He represented a Liverpool constituency, and wanted to associate his Government and the Labour Party with the most popular entertainers in the UK. "Day Tripper" and "We Can Work it Out" got their TV premiere on a show recorded for Granada TV,  The Music of Lennon and McCartney, and fans of British TV trivia will be pleased to note that the harmonium Lennon plays while the group mimed "We Can Work it Out" in that show is the same one that was played in Coronation Street by Ena Sharples -- the character we heard last episode being Davy Jones' grandmother. As well as the Beatles themselves, that show included other Brian Epstein artists like Cilla Black and Billy J Kramer singing songs that Lennon and McCartney had given to them, plus Peter Sellers, the Beatles' comedy idol, performing "A Hard Day's Night" in the style of Laurence Olivier as Richard III: [Excerpt: Peter Sellers, "A Hard Day's Night"] Another performance on the show was by Peter and Gordon, performing a hit that Paul had given to them, one of his earliest songs: [Excerpt: Peter and Gordon, "A World Without Love"] Peter Asher, of Peter and Gordon, was the brother of Paul McCartney's girlfriend, the actor Jane Asher. And while the other three Beatles were living married lives in mansions in suburbia, McCartney at this point was living with the Asher family in London, and being introduced by them to a far more Bohemian, artistic, hip crowd of people than he had ever before experienced. They were introducing him to types of art and culture of which he had previously been ignorant, and while McCartney was the only Beatle so far who hadn't taken LSD, this kind of mind expansion was far more appealing to him. He was being introduced to art film, to electronic composers like Stockhausen, and to ideas about philosophy and art that he had never considered. Peter Asher was a friend of John Dunbar, who at the time was Marianne Faithfull's husband, though Faithfull had left him and taken up with Mick Jagger, and of Barry Miles, a writer, and in September 1965 the three men had formed a company, Miles, Asher and Dunbar Limited, or MAD for short, which had opened up a bookshop and art gallery, the Indica Gallery, which was one of the first places in London to sell alternative or hippie books and paraphernalia, and which also hosted art events by people like members of the Fluxus art movement. McCartney was a frequent customer, as you might imagine, and he also encouraged the other Beatles to go along, and the Indica Gallery would play an immense role in the group's history, which we'll look at in a future episode. But the first impact it had on the group was when John and Paul went to the shop in late 1965, just after the recording and release of Rubber Soul and the "Day Tripper"/"We Can Work It Out" single, and John bought a copy of The Psychedelic Experience by Leary, Dass, and Metzner. He read the book on a plane journey while going on holiday -- reportedly while taking his third acid trip -- and was inspired. When he returned, he wrote a song which became the first track to be recorded for the group's next album, Revolver: [Excerpt: The Beatles, "Tomorrow Never Knows"] The lyrics were inspired by the parts of The Psychedelic Experience which were in turn inspired by the Tibetan Book of the Dead. Now, it's important to put it this way because most people who talk about this record have apparently never read the book which inspired it. I've read many, many, books on the Beatles which claim that The Psychedelic Experience simply *is* the Tibetan Book of the Dead, slightly paraphrased. In fact, while the authors use the Tibetan Book of the Dead as a structure on which to base their book, much of the book is detailed descriptions of Leary, Dass, and Metzner's hypotheses about what is actually happening during a psychedelic trip, and their notes on the book -- in particular they provide commentaries to the commentaries, giving their view of what Carl Jung meant when he talked about it, and of Evans-Wentz's opinions, and especially of a commentary by Anagarika Govinda, a Westerner who had taken up Tibetan Buddhism seriously and become a monk and one of its most well-known exponents in the West. By the time it's been filtered through so many different viewpoints and perspectives, each rewriting and reinterpreting it to suit their own preconceived ideas, they could have started with a book on the habitat of the Canada goose and ended with much the same result. Much of this is the kind of mixture between religious syncretism and pseudoscience that will be very familiar to anyone who has encountered New Age culture in any way, statements like "The Vedic sages knew the secret; the Eleusinian Initiates knew it; the Tantrics knew it. In all their esoteric writings they whisper the message: It is possible to cut beyond ego-consciousness, to tune in on neurological processes which flash by at the speed of light, and to become aware of the enormous treasury of ancient racial knowledge welded into the nucleus of every cell in your body". This kind of viewpoint is one that has been around in one form or another since the nineteenth century religious revivals in America that led to Mormonism, Christian Science, and the New Thought. It's found today in books and documentaries like The Secret and the writings of people like Deepak Chopra, and the idea is always the same one -- people thousands of years ago had a lost wisdom that has only now been rediscovered through the miracle of modern science. This always involves a complete misrepresentation of both the lost wisdom and of the modern science. In particular, Leary, Dass, and Metzner's book freely mixes between phrases that sound vaguely scientific, like "There are no longer things and persons but only the direct flow of particles", things that are elements of Tibetan Buddhism, and references to ego games and "game-existence" which come from Leary's particular ideas of psychology as game interactions. All of this is intermingled, and so the claims that some have made that Lennon based the lyrics on the Tibetan Book of the Dead itself are very wrong. Rather the song, which he initially called "The Void", is very much based on Timothy Leary. The song itself was very influenced by Indian music. The melody line consists of only four notes -- E, G, C, and B flat, over a space of an octave: [Demonstrates] This sparse use of notes is very similar to the pentatonic scales in a lot of folk music, but that B-flat makes it the Mixolydian mode, rather than the E minor pentatonic scale our ears at first make it feel like. The B-flat also implies a harmony change -- Lennon originally sang the whole song over one chord, a C, which has the notes C, E, and G in it, but a B-flat note implies instead a chord of C7 -- this is another one of those occasions where you just put one finger down to change the chord while playing, and I suspect that's what Lennon did: [Demonstrates] Lennon's song was inspired by Indian music, but what he wanted was to replicate the psychedelic experience, and this is where McCartney came in. McCartney was, as I said earlier, listening to a lot of electronic composers as part of his general drive to broaden his mind, and in particular he had been listening to quite a bit of Karlheinz Stockhausen. Stockhausen was a composer who had studied with Olivier Messiaen in the 1940s, and had then become attached to the Groupe de Recherche de Musique Concrète along with Messiaen, Pierre Boulez, Edgard Varese and others, notably Pierre Schaeffer and Pierre Henry. These composers were interested in a specific style of music called musique concrète, a style that had been pioneered by Schaeffer. Musique concrète is music that is created from, or at least using, prerecorded sounds that have been electronically altered, rather than with live instruments. Often this would involve found sound -- music made not by instruments at all, but by combining recorded sounds of objects, like with the first major work of musique concrète, Pierre Schaeffer's Cinq études de bruits: [Excerpt: Pierre Schaeffer, "Etude aux Chemins de faire" (from Cinq études de bruits)] Early on, musique concrète composers worked in much the same way that people use turntables to create dance music today -- they would have multiple record players, playing shellac discs, and a mixing desk, and they would drop the needle on the record players to various points, play the records backwards, and so forth. One technique that Schaeffer had come up with was to create records with a closed groove, so that when the record finished, the groove would go back to the start -- the record would just keep playing the same thing over and over and over. Later, when magnetic tape had come into use, Schaeffer had discovered you could get the same effect much more easily by making an actual loop of tape, and had started making loops of tape whose beginnings were stuck to their ending -- again creating something that could keep going over and over. Stockhausen had taken up the practice of using tape loops, most notably in a piece that McCartney was a big admirer of, Gesang der Jeunglinge: [Excerpt: Karlheinz Stockhausen, "Gesang der Jeunglinge"] McCartney suggested using tape loops on Lennon's new song, and everyone was in agreement. And this is the point where George Martin really starts coming into his own as a producer for the group. Martin had always been a good producer, but his being a good producer had up to this point mostly consisted of doing little bits of tidying up and being rather hands-off. He'd scored the strings on "Yesterday", played piano parts, and made suggestions like speeding up "Please Please Me" or putting the hook of "Can't Buy Me Love" at the beginning. Important contributions, contributions that turned good songs into great records, but nothing that Tony Hatch or Norrie Paramor or whoever couldn't have done. Indeed, his biggest contribution had largely been *not* being a Hatch or Paramor, and not imposing his own songs on the group, letting their own artistic voices flourish. But at this point Martin's unique skillset came into play. Martin had specialised in comedy records before his work with the Beatles, and he had worked with Peter Sellers and Spike Milligan of the Goons, making records that required a far odder range of sounds than the normal pop record: [Excerpt: The Goons, "Unchained Melody"] The Goons' radio show had used a lot of sound effects created by the BBC Radiophonic Workshop, a department of the BBC that specialised in creating musique concrète, and Martin had also had some interactions with the Radiophonic Workshop. In particular, he had worked with Maddalena Fagandini of the Workshop on an experimental single combining looped sounds and live instruments, under the pseudonym "Ray Cathode": [Excerpt: Ray Cathode, "Time Beat"] He had also worked on a record that is if anything even more relevant to "Tomorrow Never Knows". Unfortunately, that record is by someone who has been convicted of very serious sex offences. In this case, Rolf Harris, the man in question, was so well-known in Britain before his arrest, so beloved, and so much a part of many people's childhoods, that it may actually be traumatic for people to hear his voice knowing about his crimes. So while I know that showing the slightest consideration for my listeners' feelings will lead to a barrage of comments from angry old men calling me a "woke snowflake" for daring to not want to retraumatise vulnerable listeners, I'll give a little warning before I play the first of two segments of his recordings in a minute. When I do, if you skip forward approximately ninety seconds, you'll miss that section out. Harris was an Australian all-round entertainer, known in Britain for his novelty records, like the unfortunately racist "Tie Me Kangaroo Down Sport" -- which the Beatles later recorded with him in a non-racist version for a BBC session. But he had also, in 1960, recorded and released in Australia a song he'd written based on his understanding of Aboriginal Australian religious beliefs, and backed by Aboriginal musicians on didgeridoo. And we're going to hear that clip now: [Excerpt. Rolf Harris, "Sun Arise" original] EMI, his British label, had not wanted to release that as it was, so he'd got together with George Martin and they'd put together a new version, for British release. That had included a new middle-eight, giving the song a tiny bit of harmonic movement, and Martin had replaced the didgeridoos with eight cellos, playing a drone: [Excerpt: Rolf Harris, "Sun Arise", 1962 version ] OK, we'll just wait a few seconds for anyone who skipped that to catch up... Now, there are some interesting things about that track. That is a track based on a non-Western religious belief, based around a single drone -- the version that Martin produced had a chord change for the middle eight, but the verses were still on the drone -- using the recording studio to make the singer's voice sound different, with a deep, pulsating, drum sound, and using a melody with only a handful of notes, which doesn't start on the tonic but descends to it. Sound familiar? Oh, and a young assistant engineer had worked with George Martin on that session in 1962, in what several sources say was their first session together, and all sources say was one of their first. That young assistant engineer was Geoff Emerick, who had now been promoted to the main engineer role, and was working his first Beatles session in that role on “Tomorrow Never Knows”. Emerick was young and eager to experiment, and he would become a major part of the Beatles' team for the next few years, acting as engineer on all their recordings in 1966 and 67, and returning in 1969 for their last album. To start with, the group recorded a loop of guitar and drums, heavily treated: [Excerpt: "Tomorrow Never Knows", loop] That loop was slowed down to half its speed, and played throughout: [Excerpt: "Tomorrow Never Knows", loop] Onto that the group overdubbed a second set of live drums and Lennon's vocal. Lennon wanted his voice to sound like the Dalai Lama singing from a mountaintop, or like thousands of Tibetan monks. Obviously the group weren't going to fly to Tibet and persuade monks to sing for them, so they wanted some unusual vocal effect. This was quite normal for Lennon, actually. One of the odd things about Lennon is that while he's often regarded as one of the greatest rock vocalists of all time, he always hated his own voice and wanted to change it in the studio. After the Beatles' first album there's barely a dry Lennon solo vocal anywhere on any record he ever made. Either he would be harmonising with someone else, or he'd double-track his vocal, or he'd have it drenched in reverb, or some other effect -- anything to stop it sounding quite so much like him. And Geoff Emerick had the perfect idea. There's a type of speaker called a Leslie speaker, which was originally used to give Hammond organs their swirling sound, but which can be used with other instruments as well. It has two rotating speakers inside it, a bass one and a treble one, and it's the rotation that gives the swirling sound. Ken Townsend, the electrical engineer working on the record, hooked up the speaker from Abbey Road's Hammond organ to Lennon's mic, and Lennon was ecstatic with the sound: [Excerpt: The Beatles, "Tomorrow Never Knows", take one] At least, he was ecstatic with the sound of his vocal, though he did wonder if it might be more interesting to get the same swirling effect by tying himself to a rope and being swung round the microphone The rest of the track wasn't quite working, though, and they decided to have a second attempt. But Lennon had been impressed enough by Emerick that he decided to have a chat with him about music -- his way of showing that Emerick had been accepted. He asked if Emerick had heard the new Tiny Tim record -- which shows how much attention Lennon was actually paying to music at this point. This was two years before Tim's breakthrough with "Tiptoe Through the Tulips", and his first single (unless you count a release from 1963 that was only released as a 78, in the sixties equivalent of a hipster cassette-only release), a version of "April Showers" backed with "Little Girl" -- the old folk song also known as "In the Pines" or "Where Did You Sleep Last Night?": [Excerpt: Tiny Tim, "Little Girl"] Unfortunately for Emerick, he hadn't heard the record, and rather than just say so he tried bluffing, saying "Yes, they're great". Lennon laughed at his attempt to sound like he knew what he was talking about, before explaining that Tiny Tim was a solo artist, though he did say "Nobody's really sure if it's actually a guy or some drag queen". For the second attempt, they decided to cut the whole backing track live rather than play to a loop. Lennon had had trouble staying in sync with the loop, but they had liked the thunderous sound that had been got from slowing the tape down. As Paul talked with Ringo about his drum part, suggesting a new pattern for him to play, Emerick went down into the studio from the control room and made some adjustments. He first deadened the sound of the bass drum by sticking a sweater in it -- it was actually a promotional sweater with eight arms, made when the film Help! had been provisionally titled Eight Arms to Hold You, which Mal Evans had been using as packing material. He then moved the mics much, much closer to the drums that EMI studio rules allowed -- mics can be damaged by loud noises, and EMI had very strict rules about distance, not allowing them within two feet of the drum kit. Emerick decided to risk his job by moving the mics mere inches from the drums, reasoning that he would probably have Lennon's support if he did this. He then put the drum signal through an overloaded Fairfield limiter, giving it a punchier sound than anything that had been recorded in a British studio up to that point: [Excerpt: The Beatles, "Tomorrow Never Knows", isolated drums] That wasn't the only thing they did to make the record sound different though.  As well as Emerick's idea for the Leslie speaker, Ken Townsend had his own idea of how to make Lennon's voice sound different. Lennon had often complained about the difficulty of double-tracking his voice, and so Townsend had had an idea -- if you took a normal recording, fed it to another tape machine a few milliseconds out of sync with the first, and then fed it back into the first, you could create a double-tracked effect without having to actually double-track the vocal. Townsend suggested this, and it was used for the first time on the first half of "Tomorrow Never Knows", before the Leslie speaker takes over. The technique is now known as "artificial double-tracking" or ADT, but the session actually gave rise to another term, commonly used for a similar but slightly different tape-manipulation effect that had already been used by Les Paul among others. Lennon asked how they'd got the effect and George Martin started to explain, but then realised Lennon wasn't really interested in the technical details, and said "we take the original image and we split it through a double-bifurcated sploshing flange". From that point on, Lennon referred to ADT as "flanging", and the term spread, though being applied to the other technique. (Just as a quick aside, some people have claimed other origins for the term "flanging", and they may be right, but I think this is the correct story). Over the backing track they added tambourine and organ overdubs -- with the organ changing to a B flat chord when the vocal hits the B-flat note, even though the rest of the band stays on C -- and then a series of tape loops, mostly recorded by McCartney. There's a recording that circulates which has each of these loops isolated, played first forwards and then backwards at the speed they were recorded, and then going through at the speed they were used on the record, so let's go through these. There's what people call the "seagull" sound, which is apparently McCartney laughing, very distorted: [Excerpt: Tomorrow Never Knows loop] Then there's an orchestral chord: [Excerpt: Tomorrow Never Knows loop] A mellotron on its flute setting: [Excerpt: Tomorrow Never Knows loop] And on its string setting: [Excerpt: Tomorrow Never Knows loop] And a much longer loop of sitar music supplied by George: [Excerpt: Tomorrow Never Knows loop] Each of these loops were played on a different tape machine in a different part of Abbey Road -- they commandeered the entire studio complex, and got engineers to sit with the tapes looped round pencils and wine-glasses, while the Beatles supervised Emerick and Martin in mixing the loops into a single track. They then added a loop of a tamboura drone played by George, and the result was one of the strangest records ever released by a major pop group: [Excerpt: The Beatles, "Tomorrow Never Knows"] While Paul did add some backwards guitar -- some sources say that this is a cut-up version of his solo from George's song "Taxman", but it's actually a different recording, though very much in the same style -- they decided that they were going to have a tape-loop solo rather than a guitar solo: [Excerpt: The Beatles, "Tomorrow Never Knows"] And finally, at the end, there's some tack piano playing from McCartney, inspired by the kind of joke piano parts that used to turn up on the Goon Show. This was just McCartney messing about in the studio, but it was caught on tape, and they asked for it to be included at the end of the track. It's only faintly audible on the standard mixes of the track, but there was actually an alternative mono mix which was only released on British pressings of the album pressed on the first day of its release, before George Martin changed his mind about which mix should have been used, and that has a much longer excerpt of the piano on it. I have to say that I personally like that mix more, and the extra piano at the end does a wonderful job of undercutting what could otherwise be an overly-serious track, in much the same way as the laughter at the end of "Within You, Without You", which they recorded the next year. The same goes for the title -- the track was originally called "The Void", and the tape boxes were labelled "Mark One", but Lennon decided to name the track after one of Starr's malapropisms, the same way they had with "A Hard Day's Night", to avoid the track being too pompous. [Excerpt: Beatles interview] A track like that, of course, had to end the album. Now all they needed to do was to record another thirteen tracks to go before it. But that -- and what they did afterwards, is a story for another time. [Excerpt, "Tomorrow Never Knows (alternate mono mix)" piano tag into theme music]

Author : Angela Teagardner Narrator : Barry Deutsch Host : Katherine Inskip Audio Producer : Jeremy Carter Artist : Katherine Inskip Cast of Wonders 486: Eight Arms to Hold You is a Cast of Wonders original. Eight Arms to Hold You by Angela Teagardner Oscar woke with the sun. He turned one glassy eye toward […] The post Cast of Wonders 486: Eight Arms to Hold You appeared first on Cast of Wonders.

Hold You by Shut Up Dog Productions

Programa 258 del 29 de septiembre trasmitiendo en España en Sol y Rabia, Revi Radio, TNT Radio Rock, Asalto Mata Radio Rock y CD Music Radio, en Argentina en Lado Salvaje Radio y en Puerto Rico en Heavy Metal Mansion. Un programa con clásicos como Moonspell, Megadeth, Cactus, Led Zeppelin, Paul Stanley’s Soul Station y Kiss, y música de bandas frescas como Confusion Field, The Treatment, Infinite & Divine, Helltrail, Frozen Crown, Mädhouse, Benthos, The End Machine y de España tenemos a Endemia y Doble Esfera. Canciones que escucharas hoy: 1.Endemia - Lloverá ES 2.Moonspell - Hermitage 3.Megadeth - Never Walk Alone a Call to Arms 4.Doble Esfera - Futuro 5.Cactus - Primitive Touch 6.Led Zeppelin - Candy Store Rock 7.Confusion Field - Close Call 8.The Treatment - Rat Race 9.Infinite & Divine - Silver Lining 10.Helltrail - Final Hour 11.Frozen Crown - Crown Eternal 12.Mädhouse - Sick ot it All 13.Benthos - II 14.The End Machine - Crack The Sky 15.Paul Stanley’s Soul Station - Could it be I’m Falling in Love 16.Kiss - The Oath 17.Kiss - I’ll Fight Hell to Hold You 18.Kiss - Sure Know Something

This week's episode looks at "Ticket to Ride", the making of the Beatles' second film, and the influence of Bob Dylan on the Beatles' work and lives. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "The Game of Love" by Wayne Fontana and the Mindbenders. 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/ Resources No Mixcloud this week, as there are too many songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them, but the ones I specifically referred to while writing this episode were: 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 material on the making of the film, I referred to Getting Away With It by Steven Soderbergh, a book which is in part a lengthy set of conversations between Soderbergh and Richard Lester. Sadly the only way to legally get the original mix of "Ticket to Ride" is this ludicrously-expensive out-of-print box set, but the 1987 remix is widely available on the CD issue of the Help! soundtrack. The film is available on DVD. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When we last looked at the Beatles, they had just achieved their American success, and had appeared in their first film, A Hard Day's Night. Today, we're going to look at the massive artistic growth that happened to them between late 1964 and mid 1965, the making of their second film, Help!, the influence, both artistic and personal, of Bob Dylan on the group, and their introduction both to studio experimentation and to cannabis. We're going to look at "Ticket to Ride": [Excerpt: The Beatles, "Ticket to Ride"] 1964 was a tremendously busy year for the Beatles. After they'd finished making A Hard Day's Night, but even before it was released, they had gone on yet another tour, playing Denmark, the Netherlands, Hong Kong, Australia, and New Zealand, though without Ringo for much of the tour -- Ringo had to have his tonsils removed, and so for the first eight shows of the tour he was replaced by session drummer Jimmy Nicol, the former drummer with Colin Hicks and his Cabin Boys, who had played on several cheap soundalike records of Beatles songs. Nicol was a competent drummer, though very different in style from Ringo, and he found his temporary moment of celebrity hugely upsetting -- he later described it as the worst thing to ever happen to him, and ended up declaring bankruptcy only nine months after touring with the group. Nicol is now a recluse, and hasn't spoken to anyone about his time with the Beatles in more than thirty years. After Ringo returned to the group and the film came out they went back into the studio, only two months after the release of their third album, to start work on their fourth. They recorded four songs in two sessions before departing on their first full US tour. Those songs included two cover versions -- a version of "Mr. Moonlight" by Doctor Feelgood and the Interns that appeared on the album, and a version of Little Willie John's "Leave My Kitten Alone" that didn't see release until 1995 -- and two originals written mostly or entirely by John Lennon, "Baby's In Black", and "I'm a Loser": [Excerpt: The Beatles, "I'm a Loser"] "I'm a Loser" was an early sign of an influence that had particularly changed Lennon's attitude to songwriting -- that of Bob Dylan. Dylan had been on the group's radar for some time -- Paul McCartney in the Anthology book seems to have a confused memory of seeing Madhouse on Castle Street, the TV play Dylan had appeared in in January 1963 -- but early 1964 had seen him rise in prominence to the point that he was a major star, not just an obscure folk singer. And Lennon had paid particular attention to what he was doing with his lyrics. We've already seen that Lennon had been writing surreal poetry for years, but at this point in his life he still thought of his songwriting and his poetry as separate. As he would later put it "I had a sort of professional songwriter's attitude to writing pop songs; we would turn out a certain style of song for a single, and we would do a certain style of thing for this and the other thing. I'd have a separate songwriting John Lennon who wrote songs for the meat market, and I didn't consider them (the lyrics or anything) to have any depth at all." This shouldn't be taken as Lennon saying that the early Beatles songs were lacking in quality, or that he didn't take the work seriously, but that it wasn't about self-expression. He was trying to do the best work he could as a craftsman. Listening to Dylan had showed him that it was possible instead to treat pop songwriting as art, in the sense Lennon understood the term -- as a means of personal expression that could also allow for experimentation and playing games. "I'm a Loser" is a first tentative step towards that, with Lennon for one of the first times consciously writing about his own emotions -- though careful to wrap those feelings both in a conventional love song structure and in a thick layer of distancing irony, to avoid making himself vulnerable -- and the stylistic influence of Dylan is very noticeable, as much in the instrumentation as in the lyrics. While several early Beatles singles had featured Lennon playing harmonica, he had been playing a chromatic harmonica, a type of harmonica that's mostly used for playing single-note melodies, because it allows the player to access every single note, but which is not very good for bending notes or playing chords. If you've heard someone playing the harmonica as a single-note melody instrument with few or no chords, whether Stevie Wonder, Larry Adler, or Max Geldray, the chances are they were playing a chromatic harmonica. On "I'm a Loser", though, Lennon plays a diatonic harmonica -- an instrument that he would refer to as a "harp" rather than a harmonica, because he associated it with the blues, where it's often referred to as a harp. Diatonic harmonicas are the instrument of choice for blues players because they allow more note-bending, and it's easier to play a full chord on them -- the downside, that you have a smaller selection of notes available, is less important in the blues, which tends towards harmonic minimalism. Diatonic harmonicas are the ones you're likely to hear on country, blues, and folk recordings -- they're the instrument played by people like Little Walter, Sonny Boy Williamson, Charlie McCoy, and Bob Dylan. Lennon had played a diatonic before, on "I Should Have Known Better", another song which shows Dylan's influence in the performance, though not in the lyrics. In both cases he is imitating Dylan's style, which tends to be full of chordal phrases rather than single-note melody. What's interesting about “I'm a Loser” though is contrasting John's harmonica solo with George's guitar solo which follows immediately after: [Excerpt: The Beatles, "I'm a Loser"] That's a pure Carl Perkins solo, and the group would, in their choices of cover versions for the next few months, move away somewhat from the soul and girl-group influences that dominated the covers on their first two albums, and towards country and rockabilly -- they would still cover Larry Williams, Little Richard, and Chuck Berry, but there were no more covers of contemporary Black artists, and instead there were cover versions of Buddy Holly, Carl Perkins, and Buck Owens, and Harrison switched from the Rickenbacker that had been his main instrument on A Hard Day's Night to playing a Gretsch -- the brand of guitar that Chet Atkins and Eddie Cochrane played.  The consensus among commentators -- with which, for once, I agree -- seems to be that this was also because of the influence of Dylan. The argument is that the Beatles heard Dylan's music as a form of country music, and it inspired them to go back to their other country-oriented influences. And this makes a lot of sense -- it was only fifteen years earlier, at the same time as they replaced "race" with "rhythm and blues", that Billboard magazine chose to rename their folk chart to the country and western chart -- as Tyler Mahan Coe puts it, "after years of trying to figure out what to call their “poor Black people music” and “poor white people music” charts". And Dylan had been as influenced by Hank Williams as by Woody Guthrie. In short what the Beatles, especially Lennon, heard in Dylan seems to have been three things -- a reminder of the rockabilly and skiffle influences that had been their first love before they'd discovered R&B and soul, permission to write honestly about one's own experiences, and an acknowledgement that such writing could include surrealistic wordplay. Fundamentally, Dylan, as much as being a direct influence, seems to have given the group a kind of permission -- to have shown them that there was room in the commercial sphere in which they were now operating for them to venture into musical and lyrical areas that had always appealed to them. But of course, that was not the only influence that Dylan had on the group, as anyone who has ever read anything at all about their first full US tour knows. That tour saw them playing huge venues like the Hollywood Bowl -- a show which later made up a big part of their only official live album, which was finally released in 1977: [Excerpt: The Beatles, "Things We Said Today (live at the Hollywood Bowl 1964)"] It was nine days into the tour, on the twenty-eighth of August 1964, that they met Bob Dylan for the first time. The meeting with Dylan is usually called the first time the Beatles ever smoked cannabis -- and that's true, at least if you're talking about them as a group. Lennon had tried it around 1960, and both Lennon and Harrison had tried it at a show at the Southport Floral Hall in early 1962, but neither had properly understood what they were smoking, and had both already been drunk before smoking it. According to a later interview with Harrison, that had led to the two of them madly dancing the Twist in their dressing room, shouting "This stuff isn't doing anything!" But it was at this meeting that Paul and Ringo first smoked it, and it also seems to have been taken by Lennon and Harrison as their "real" first time, possibly partly because being introduced to cannabis by Bob Dylan in a New York hotel sounds a lot cooler than being introduced to it by your support band's drummer in Southport, possibly because it was the first time that they had all smoked it together as a group, but mostly because this was the time when it became a regular part of the group's life. Oddly, it happened because of a misheard lyric. Dylan had loved "I Want to Hold Your Hand", and had misheard "I can't hide" as "I get high", and thus just assumed that the British band were already familiar with cannabis. The drug had a profound effect on them -- McCartney later recalled being convinced he had discovered the meaning of life, writing it down on a bit of paper, and getting their roadie Mal Evans to hold the paper for safekeeping. The next morning, when he looked at the paper, he found it merely said "there are seven levels". Lennon, on the other hand, mostly remembered Dylan playing them his latest demos and telling them to listen to the words, but Lennon characteristically being unable to concentrate on the lyrics because in his stoned state he was overwhelmed by the rhythm and general sound of the music. From this point on, the use of cannabis became a major part of the group's life, and it would soon have a profound effect on their lifestyles, their songwriting, the production on their records, and every other aspect of their career. The Beatle on whom it seems to have had the strongest and most immediate effect was Lennon, possibly because he was the one who was coping least well with success and most needed something to take his mind off things. Lennon had always been susceptible to extremes of mood -- it's likely that he would these days be diagnosed as bipolar, and we've already seen how as soon as he'd started writing personally, he'd written "I'm a Loser". He was feeling trapped in suburbia, unsuited for his role as a husband and father, unhappy about his weight, and just generally miserable. Cannabis seemed, at least at first, to offer a temporary escape from that. All the group spent much of the next couple of years stoned, but Lennon probably more than any of them, and he was the one whose writing it seemed to affect most profoundly. On the group's return from the US, they carried on working on the next album, and on a non-album single designed to be released simultaneously with it. "I Feel Fine" is a major milestone in the group's career in a number of ways. The most obvious is the opening -- a brief bit of feedback which Lennon would always later claim to be the first deliberate use of the technique on a record: [Excerpt: The Beatles, "I Feel Fine"] Feedback had, up until this point, been something that musicians generally tried to avoid -- an unwanted sound that could wreck a performance. But among guitarists in London, especially, it was becoming the fashionable sound to incorporate, in a carefully controlled manner, in order to make sounds that nobody had heard before. Jeff Beck, Dave Davies, and Pete Townshend would all argue about which of them was the first to use the technique, but all were using it on stage by the time the Beatles recorded "I Feel Fine". But the Beatles were, if not the first to deliberately use feedback on a record (as I've said in the past, there is no such thing as a first anything, and there are debatable examples where feedback may be deliberate going back to the 1930s and some records by Bob Wills), certainly the most prominent artists to do so up to that point, and also the first to make it a major, prominent feature of a hit record in this manner. If they hadn't done it, someone else undoubtedly would, but they were the first to capture the sound that was becoming so popular in the London clubs, and as so often in their career they were able to capture something that was at the cutting edge of the underground culture and turn it into something that would be accepted by millions. "I Feel Fine" was important to the Beatles in another way, though, in that it was the first Beatles original to be based entirely around a guitar riff, and this was if anything a more important departure from their earlier records than the feedback was. Up to this point, while the Beatles had used riffs in covers like "Twist and Shout", their originals had avoided them -- the rhythm guitar had tended to go for strummed chords, while the lead guitar was usually reserved for solos and interjections. Rather than sustaining a riff through the whole record, George Harrison would tend to play answer phrases to the vocal melody, somewhat in the same manner as a backing vocalist. This time, though, Lennon wrote an entire song around a riff -- one he had based on an R&B record from a few years earlier that he particularly loved, "Watch Your Step" by Bobby Parker: [Excerpt: Bobby Parker, "Watch Your Step"] Parker's record had, in turn, been inspired by two others -- the influence of Ray Charles' "What'd I Say" is very obvious, but Parker had based the riff on one that Dizzy Gillespie had used in "Manteca", a classic early Afro-Cuban jazz record from 1947: [Excerpt: Dizzy Gillespie, "Manteca"] Parker had played that riff on his guitar, varied it, and come up with what may be the most influential guitar riff of all time, one lifted not only by the Beatles (on both "I Feel Fine" and, in a modified form, "Day Tripper") but Led Zeppelin, Deep Purple, the Allman Brothers Band, and many, many others: [Excerpt: Bobby Parker, "Watch Your Step"] Lennon took that riff and based a new song around it -- and it's important to note here that "I Feel Fine" *is* a new song. Both songs share the same riff and twelve-bar blues structure, but Lennon's lyric and melody are totally different, and the record has a different feel. There's a blurry line between plagiarism and homage, and to my mind "I Feel Fine" stays on the right side of that line, although it's a difficult issue because the Beatles were so much more successful than the unknown Parker. Part of the reason "I Feel Fine" could be the Beatles' first single based around a riff was it was recorded on a four-track machine, EMI having finally upgraded their equipment, which meant that the Beatles could record the instrumental and vocal tracks separately. This allowed Lennon and Harrison to hold down the tricky riff in unison, something Lennon couldn't do while also singing the melody -- it's noticeable that when they performed this song live, Lennon usually strummed the chords on a semi-acoustic guitar rather than doubling the riff as he does on the record. It's also worth listening to what Ringo's doing on the drums on the track. One of the more annoying myths about the Beatles is the claim made by a lot of people that Starr was in some way not a good drummer. While there has been some pushback on this, even to the extent that there is now a contrarian counterconsensus that says he was the best drummer in the world at the time, the general public still thinks of him as having been not particularly good. One listen to the part Starr played on "I Feel Fine" -- or indeed a close listen to any of his drum parts -- should get rid of that idea. While George and John are basically duplicating Parker's riff, Ringo picks up on the Parker record's similarity to "What'd I Say" and plays essentially the same part that Ray Charles' drummer had: [Excerpt: The Beatles, "I Feel Fine (isolated drum part)"] There are copies of that posted on YouTube, and almost all of them have comments from people claiming that the drumming in question must be a session drummer, because Starr couldn't play that well.  Several of the Beatles' singles for the next two years would feature a heavy guitar riff as their main instrumental hook. Indeed, it seems like late 1964 is a point where things start to change a little for the Beatles in how they conceptualise singles and albums. Up to this point, they seem to have just written every song as a potential single, then chosen the ones they thought of as the most commercial as singles and stuck the rest out as album tracks. But from autumn 1964 through early 1966 there seems, at least on Lennon's part, to be a divide in how he looked at songs. The songs he brought in that became singles were almost uniformly guitar-driven heavy rockers with a strong riff. Meanwhile, the songs recorded for albums were almost all based on strummed acoustic guitars, usually ballads or at most mid-tempo, and often with meditative lyrics. He clearly seems to have been thinking in terms of commercial singles and less commercial album tracks, even if he didn't quite articulate it that way.  I specify Lennon here, because there doesn't seem to be a comparable split in McCartney's writing -- partly because McCartney didn't really start writing riff-based songs until Lennon dropped the idea in late 1966. McCartney instead seems to start expanding his palette of genres -- while Lennon seems to be in two modes for about an eighteen-month period, and not really to venture out of either the bluesy riff-rocker or the country-flavoured folk rock mode, McCartney starts becoming the stylistic magpie he would become in the later period of the group's career. The B-side to the single, "She's a Woman" is, like the A-side, blues-based, but here it's McCartney in Little Richard mode. The most interesting aspect to it, though, is the rhythm guitar part -- off-beat stabs which sound very much like the group continuing to try to incorporate ska into their work: [Excerpt: The Beatles, "She's a Woman"] The single went to number one, of course, as all the group's singles in this period did. Beatles For Sale, the album that came out of these sessions, is generally regarded as one of the group's weaker efforts, possibly because of the relatively large number of cover versions, but also because of its air of bleakness. From the autumnal cover photo to the laid-back acoustic feel of much of the album, to the depressing nature of Lennon's contributions to the songwriting -- "No Reply", "I'm a Loser", "Baby's in Black", and "I Don't Want to Spoil the Party" all being a far cry from "I Feel Fine" – it's not a fun album by any means. I've always had a soft spot for the album myself, but it's clearly the work of people who were very tired, depressed, and overworked. And they were working hard -- in the four months after the end of their American tour on the twentieth of September, they recorded most of Beatles For Sale and the accompanying single, played forty-eight gigs, made TV appearances on Shindig, Scene at 6:30, Thank Your Lucky Stars, Ready Steady Go, and Top of the Pops, radio appearances on Top Gear and Saturday Club, and sundry interviews. On top of that John also made an appearance on Peter Cook and Dudley Moore's show "Not Only... But Also", performing versions of some of his poetry with Moore and Norman Rossington, who had co-starred in A Hard Day's Night: [Excerpt: John Lennon, Dudley Moore and Norman Rossington, "All Abord Speeching"] They did get a month off from mid-January 1965 through mid-February, but then it was back to work on a new film and accompanying soundtrack album. The group's second film, Help!, is generally regarded with rather less fondness than A Hard Day's Night, and it's certainly the case that some aspects of the film have not dated at all well -- in particular the way that several characters are played by white actors in brownface doing very unconvincing Indian accents, and the less than respectful attitude to Hindu religious beliefs, are things which will make any modern viewer with the slightest sensitivity to such issues cringe terribly.  But those aren't the aspects of the film which most of its critics pick up on -- rather they tend to focus only on the things that the Beatles themselves criticise about the film, mostly that the group spent most of the filming stoned out of their minds, and the performances are thus a lot less focused than those in A Hard Day's Night, and also that the script -- written this time by Richard Lester's regular collaborator Charles Wood, from a story by Marc Behm, rather than by Alun Owen -- is also a little unfocused. All these are fair criticisms as far as they go, but it's also the case that Help! is not a film that is best done justice by being viewed on a small screen on one's own, as most of its critics have viewed it most of the time. Help! is part of a whole subgenre of films which were popular in the 1960s but largely aren't made today -- the loose, chaotic, adventure comedy in which a nominal plot is just an excuse for a series of comedy sketches strung together with spectacular visuals. The genre encompasses everything from It's a Mad Mad Mad Mad World to Casino Royale to The Pink Panther, and all of these films are meant to be seen on a big screen which allows the audience to appreciate their visual inventiveness, and in a communal audience which is laughing along with them. And when seen in that light, Help! is actually a remarkably entertaining example of the type. Yes, it doesn't hold together as well as A Hard Day's Night, and it doesn't resolve so much as just stop, but structurally it's remarkably close to the films of the Marx Brothers, especially their Paramount films, and it's odd that the Marx comparisons get made about A Hard Day's Night, a slice-of-life film inspired by the French New Wave, and not about the screwball comedy that ends in a confused chase sequence. There is one thing that is worth noting about Help! that is often obscured -- part of the reason for its globetrotting nature was because of the levels of taxation in Britain at the time. For top earners, like the Beatles were, the marginal rate of income tax was as high as ninety-five percent in the mid-sixties. Many of us would think this was a reasonable rate for people who were earning many, many times in a year what most people would earn in a lifetime, but it's also worth noting that the Beatles'  success had so far lasted only two years, and that a pop act who was successful for five years was remarkably long-lived -- in the British pop industry only Cliff Richard and the Shadows had had a successful career as chart artists for longer than that, and even they were doing much less well in 1965 than they had been in 1963. In retrospect, of course, we know that the Beatles would continue to sell millions of records a year for more than sixty years, but that was not something any of them could possibly have imagined at the time, and we're still in a period where Paul McCartney could talk about going into writing musicals once the Beatles fad passed, and Ringo could still imagine himself as the owner of a hairdresser's. So it's not completely unreasonable of them to want to keep as much of their money as they could, while they could, and so while McCartney will always talk in interviews about how many of the scenes in the film were inspired by a wishlist from the group -- "We've never been skiing", "We've never been to the Bahamas" -- and there might even be some truth to that, it's also the case that the Bahamas were as known for their lax tax regime as for their undoubted charm as a tourist destination, and these journeys were not solely about giving the group a chance to have fun. But of course, before making the film itself, the group had to record songs for its soundtrack, and so on February the sixteenth they went into the studio to record four songs, including the next single, "Ticket to Ride": [Excerpt: The Beatles, "Ticket to Ride"] While "Ticket to Ride" is mostly -- or possibly solely -- John's song, the record is very much Paul's record. For most of 1964, McCartney hadn't really been pulling his weight in the songwriting department when compared to John -- the handful of songs he had written had included some exceptional ones, but for the most part he hadn't written much, and John had been the more productive member of their partnership, writing almost all of the A Hard Day's Night album, most of the better tracks on Beatles For Sale, and the non-album single "I Feel Fine".  But now, John was sinking into one of his periodic bouts of depression -- he was still writing strong material, and would produce some of the best songs of his career in 1965, but he was unfocused and unhappy, and it was showing in his slowed productivity -- while McCartney was energised by living in London, the cultural capital of the world at that point in time, and having a famous girlfriend who was exposing him to vast areas of culture he had never been aware of before.  I say that "Ticket to Ride" is written by John, but there is some slight dispute about who contributed what to the writing. John's statement was that the song was all him, and that Paul's main contribution was the drum pattern that Ringo plays. Paul, on the other hand, claims that the song is about a sixty-forty split, with John being the sixty. McCartney's evidence for that is the strong vocal harmony he sings -- usually, if there's a two-part harmony like that on a Beatles song, it came about because Lennon and McCartney were in the same room together while writing it, and singing the part together as they were writing. He also talks about how when writing it they were discussing Ryde in the Isle of Wight, where McCartney's cousin ran a pub. I can certainly see it being the case that McCartney co-wrote the song, but I can also easily see the musicianly McCartney feeling the need to harmonise what would otherwise have been a monotonous melody, and adding the harmonies during the recording stage.  Either way, though, the song is primarily John's in the writing, but the arrangement is primarily McCartney's work -- and while Lennon would later claim that McCartney would always pay less attention to Lennon's songs than to McCartney's own, in this middle period of the group's career most of their truly astounding work comes when  Lennon brings in the song but McCartney experiments with the arrangement and production. Over and over again we see McCartney taking control of a Lennon song in the studio and bringing out aspects of it that its composer either had not considered or had not had the musical vocabulary or patience to realise on his own. Indeed one can see this as part of the dynamic that eventually led to the group breaking up. Lennon would bring in a half-formed idea and have the whole group work on it, especially McCartney, and turn it into the best version of itself it could be, but this would then seem like McCartney trying to take over. McCartney, meanwhile, with his greater musical facility, would increasingly not bother asking for the input of the group's other members, even when that input would have turned a mediocre song into a good one or a good one into a great one.  But at this point in their careers, at least, the collaboration brought out the best in both Lennon and McCartney -- though one must wonder what Harrison and Starr felt about having their parts dictated to them or simply replaced. In the case of "Ticket to Ride", one can trace the evolution of McCartney's drum pattern idea over a period of a few months. He was clearly fascinated by Hal Blaine's drum intro to "Be My Baby": [Excerpt: The Ronettes, "Be My Baby"] and came up with a variation of it for his own song "What You're Doing", possibly the most interesting song on Beatles For Sale on a pure production level, the guitar part for which, owing a lot to the Searchers, is also clearly a pointer to the sound on “Ticket to Ride”: [Excerpt: The Beatles, "What You're Doing"] "Ticket to Ride"s drum part is a more complex variation on that slightly broken pattern, as you can hear if you listen to the isolated drum part: [Excerpt: The Beatles, "Ticket to Ride (isolated drums)"] Interestingly, Ringo doesn't keep that precise pattern up all the way through in the studio recording of the song, though he does in subsequent live versions. Instead, from the third verse onwards he shifts to a more straightforward backbeat of the kind he would more normally play: [Excerpt: The Beatles, "Ticket to Ride (isolated drums)"] The mono mix of "Ticket to Ride", which is how most listeners of the time encountered it, shows much more than the stereo mix just what the group, and particularly Paul, were trying to do.  It's a bass-heavy track, sluggish and thundering. It's also a song that sounds *obsessed*. For the first six bars of the verse, and the whole intro, the song stays on a single chord, A, only changing on the word "away", right before the chorus: [Excerpt: The Beatles, "Ticket to Ride"] This obsession with one chord was possibly inspired by soul music, and in particular by "Dancing in the Street", which similarly stays on one chord for a long time: [Excerpt: Martha and the Vandellas, "Dancing in the Street"] We'll be looking more at how soul music was increasingly doing away with chord progressions in favour of keeping to an extended groove on a single chord when we next look at James Brown in a few weeks' time. But in its single-chord focus and its broken drum beat, "Ticket to Ride" is very much a precursor of what the group would do a little over a year later, when they recorded "Tomorrow Never Knows". Of course, it was also around this time that the group discovered Indian music for the first time. There are scenes in the film Help! which feature musicians playing Indian instruments, and George Harrison became fascinated by the sound of the sitar and bought one, and we'll be seeing the repercussions of that for much of the next year. But it's interesting to note that a lot of the elements that make Indian classical music so distinctive to ears used to Western popular music -- the lack of harmonic movement, the modal melodies, the use of percussion not to keep a steady beat but in melodic interplay with the string instruments -- were all already present in songs like "Ticket to Ride", albeit far less obviously and in a way that still fit very much into pop song conventions. The Beatles grew immensely as musicians from their exposure to Indian music, but it's also the case that Indian music appealed to them precisely because it was an extension of the tastes they already had. Unlike when recording Beatles For Sale, the group clearly had enough original material to fill out an album, even if they ended up not doing so and including two mediocre cover versions on the album -- the last time that would happen during the group's time together. The B-sides of the two singles, John's "Yes It Is" and Paul's "I'm Down", both remained only available on the singles, even though the previous film soundtrack had included the B-sides of both its singles. Not only that, but they recorded two Lennon/McCartney songs that would remain unreleased until more than thirty years later. "If You've Got Troubles" was left unreleased for good reason -- a song written for Ringo to sing, it's probably the single worst Lennon/McCartney song ever attempted by the group, with little or nothing to redeem it. McCartney's "That Means a Lot" is more interesting. It's clearly an attempt by McCartney to write a "Ticket to Ride" part two, with a similar riff and feel: [Excerpt: The Beatles, "That Means a Lot"] It even has a sped-up repurposing of the hook line at the end, just as "Ticket to Ride" does, with "Can't you see?" taking the place of "My baby don't care": [Excerpt: The Beatles, "That Means a Lot"] The group spent a couple of sessions on that track, but seem to have given up on it. While it's far from the best thing they did, it's not worthless or unreleasable, and one suspects that they ended up thinking that the track couldn't go on the same album as "Ticket to Ride" because the two songs were just too close. Instead, they ended up giving the song to P.J. Proby, the American singer who had been brought over by Jack Good for the About The Beatles show, and who had built something of a career for himself in the UK with a string of minor hits. Lennon said "we found we just couldn't sing it. In fact, we made a hash of it, so we thought we'd better give it to someone who could do it well". And Proby *could* have done it well -- but whether he did or not is something you can judge for yourself: [Excerpt: P.J. Proby, "That Means a Lot"] Somehow, Proby's version of the song made the top thirty. When the group started filming "Help!", the film was still going under the working title "Eight Arms to Hold You", which absolutely nobody involved liked -- the title was even included on the label of some copies of "Ticket to Ride", but Lennon and McCartney particularly disliked the idea of writing a song to that title. Some have suggested that the plan was to use McCartney's "Eight Days a Week", an album track from Beatles For Sale that had been released as an American single, as a title track, but it seems unlikely that anyone would have considered that -- United Artists wanted something they could put out on a soundtrack album, and the song had already been out for many months. Instead, at almost the last minute, it was decided to name the film "Help!". This was actually close to the very first working title for the film, which had been "Help, Help". According to Lester, "the lawyer said it had already been registered and you mustn't use it so we had Beatles Two and then Eight Arms to Hold You". The only film I've been able to discover with the title "Help, Help", though, is a silent film from 1912, which I don't imagine would have caused much problem in this case.  However, after the group insisted that they couldn't possibly write a song called "Eight Arms to Hold You", Lester realised that if he put an exclamation mark after the word "help", that turned it into a different title. After getting legal approval he announced that the title of the new film was going to be "Help!", and that same day John came up with a song to that title: [Excerpt: The Beatles, "Help!"] Lennon later said that the song had started out as a slow, intense, ballad, and he had been persuaded to speed it up in the studio somewhat against his will. The song being performed as an upbeat pop song possibly made it harder for the public to see what was obvious to Lennon himself, that the song itself was a cry for help from someone going through a mental health crisis. Despite the title not being his, the sentiments certainly were, and for the first time there was barely even the fig-leaf of romantic love to disguise this. The song's lyrics certainly could be interpreted as being the singer wanting help from a romantic partner, but they don't actually specify this, which is not something that could be said about any of the group's other originals up to this point. The soundtrack album for Help! is also notable in other ways. George Harrison writes two songs on the album, when he'd only written one in total for the first four albums. From this point on he would be a major songwriting presence in the group. It also contains the most obvious Dylan homage yet, with Lennon impersonating Dylan's vocal style on "You've Got to Hide Your Love Away", recorded three days after "Ticket to Ride": [Excerpt: The Beatles, "You've Got to Hide Your Love Away"]  "You've Got to Hide Your Love Away" was notable in another way as well -- it was the first time that a musician other than the Beatles or George Martin was called in to work on a Beatles record (other than Andy White on the "Love Me Do" session, which was not something the Beatles chose or approved of). The flute player Johnny Scott overdubbed two tracks of flute at the end of the recording: [Excerpt: The Beatles, "You've Got to Hide Your Love Away"] That was a sign of things to come, because in June, once filming had completed, the group went into the studio to continue recording for the non-soundtrack side of the soundtrack album. This was the height of the group's success and embrace by the establishment -- two days earlier it had been announced that they were all to be awarded MBEs -- and it's also the point at which McCartney's new creative growth as a songwriter really became apparent. They recorded three songs on the same day -- his Little Richard soundalike "I'm Down", which ended up being used as the B-side for "Help!", an acoustic country song called "I've Just Seen a Face", and finally a song whose melody had come to him in a dream many months earlier. McCartney had been so impressed by the melody he'd dreamed that he'd been unable to believe it was original to him, and had spent a long time playing it to other people to see if they recognised it. When they didn't, he eventually changed the lyrics from his original jokey "Scrambled eggs/Oh my baby how I love your legs" to something more appropriate, and titled it "Yesterday": [Excerpt: The Beatles, "Yesterday (Anthology 2 early take)"] "Yesterday" was released as a Beatles track, on a Beatles album, but it had absolutely no involvement from John, George, and Ringo -- nobody could figure out how to adapt the song to a guitars/bass/drums format. Instead George Martin scored it for a string quartet, with some assistance from McCartney who, worried that strings would end up meaning something Mantovani-like, insisted that the score be kept as simple as possible, and played with almost no vibrato. The result was a Beatles track that featured five people, but only one Beatle: [Excerpt: The Beatles, "Yesterday"] The group's next album would see all the band members appearing on every track, and no musicians brought in from outside the group and their organisation, but the genie was now out of the bottle -- the label "The Beatles" on a record no longer meant that it featured John, Paul, George, and Ringo, but just that at least one of them was on the track and the others had agreed it could go out under their name. This would lead to immense changes in the way the group worked, and we'll be seeing how that played out throughout the rest of the 1960s.

Follow Us:www.Facebook.com/Wearepowertoolswww.Instagram.com/Wearepowertoolswww.Twitter.com/Wearepowertoolswww.Twitter.com/Richardvissionwww.Twitter.com/SwedishEgilwww.Twitter.com/IamDjChristowww.Twitter.com/DavidDelanoJuly 10th - NOW 104.3 - REV 92.7 - KRCK 97.7 - RHYTHM KRYC - C 89.5 - Z106.3 - Mix93fmChristo Tracklist:The Funk Hunters x Defunk x Akylla - Warn Ya (Cazztek Remix)JOBA - Dance Like YouStefano Noferini, Alann M - My SoulMele - Groove La AfrikaBiscits - Your BodyLeandro Da Silva, Bazzflow - AlrightPiero Pirupa - Everybody's Free (To Feel Good) (Deeper Purpose Extended Remix)Sonny Fodera & Ella Eyre - Wired (Sonny Fodera VIP Mix)Rene Amesz Ft. Javi Bora - Bustin (Javi Bora Extended Mix)Claptone - My Night Ft. Apre (Ferreck Dawn Remix)Kaleena Zanders & Vindata Tracklist:Kaleena Zanders - Reload (Vindata Remix)Mija x Vindata - Better (Chris Lorenzo Poolside Remix)Doja Cat - Streets (Disclosure Remix)Vindata - Circa ‘88 (Unreleased)Outkast - Spottieottiedopalicious (Nacey Remix)Tchami - Buenos AiresDario D'Attis - The Good Old DaysDisclosure - Douha (Mali Mali) (Original Mix)Not The Father - Black Beats (Vindata Remix)Party Pupils Feat. Drelli - The PlugSkin On Skin - MultiplyDj E-clyps - Scooty WoopDJ E-Clyps - Peaches and EggplantsLP Giobbi & Kaleena Zanders - Carry Us35mm Tracklist:35mm - Huh Uh35mm - She Knows EdNot Not - IDCiara - Get Up (Arnold & Lane Edit)Eldon - Booty Shaker (Dj Deeon Rework)Ninetoes - Feel ItOcean Roulette - IDPiero Pirupa - Gimme LuvWill Taylor (UK) - Ordinary ThingsAndy Roo - Party All Night (Holt 88 Remix)Vush & GIANT - Nothing Left To SayBomba Rosa - Numeros35mm & Baby J - IDManics - IDDavid Delano Tracklist:Siwell - Endless Moreno Pezzolato -  Rise UpMatt Sassari - Give It to MeHI-LO, Will Clarke - CheckEli Brown, Lovlee, Siege - Pulling Me Back Ft. LovleeTita Lau -  Hold YouChaney, Laura Davie  - Back To Me Ft. Laura DavieParachute Youth, John Summit - Better Than ThisLisa Lashes - Lookin' Good (Sam Divine Remix)

BOOTS & SADDLE - April 27, 2021 1. Loneliness Will Be My Destiny - The Grant Carson Band (The Grant Carson Band - 1984) 2. Little Pink Mack - Kay Adams (Wheels & Tears - 1966) 3. J.C Song - Righteous Ike (Some Sad Songs - 2020) 4. Down There By The Train - Johnny Cash (American Recordings - 1994) 5. Engagement - Mike T. Kerr (Heart Pine Valley - 2021) 6. My Whiskey Life - West of Texas (Heartache, Hangovers & Honky Tonks - 2021) 7. I Know I'm a Fool - Katie Jo (Pawn Shop Queen - 2021) 8. Whiskey Bay - Rebel Railroad (Rebel Railroad - 2021) 9. Another Bloody Morning - Nick Garza's Get Along (Single - 2021) 10. Are You Stringing Me Along - Brennen Leigh (The Box - 2010) 11. The Lover and the Oilrig/Rawhide - The Stanley County Cut-Ups (We Still Gotta Lotta Livin' To Do [Expanded] - 2021) 12. Devil and the Riot - Rodeo FM (Upgrade Of Truth - 2020) 13. Rose of San Antone [Instrumental] - Roy Penney (Twistin' The Pick - 1965) 14. What Lonely People Do - Eddie Eastman (Easy - 1979) 15. The Beast in Me - Johnny Cash (American Recordings - 1994) 16. You're Driving Me Mad - Jo Anne Campbell (I'm Nobody's Baby - 1959) 17. Be Nice to Everybody - Bev Munro (Single) 18. Cryin' Places - Carroll Baker (Single - 1977) 19. Drownin' The Memory - The Give ‘Em Hell Boys (Barn Burner - 2012) 20. Pay Dirt - K.D Lang And The Reclines (Angel With A Lariat - 1987) 21. Down By The Waterline - Hank & Ella with The Fine Country Band (Good at Being Lonely - 2021) 22. Laughing at Myself - The Golden Roses (Devil's In The Details - 2021) 23. Many Moons Ago - Melissa Carper (Daddy's Country Gold - 2021) 24. Don't Tell Me That - Charley Crockett (10 for Slim: Charley Crockett Sings James Hand - 2021) 25. I'll Hold You in My Heart - Jean Shepard (Lonesome Love - 1959) 26. Time Is a Selfish Man - Kathryn Legendre (Don't Give a Damn - EP - 2016) 27. Jesus Is My Pusher - Hank Topless (Songs I Hate To Sing - 2019) 28. Your Red Wagon - Robbie Fulks & Linda Gail Lewis (Wild! Wild! Wild! - 2018) 29. Men Like Me Can Fly - James Hand (Shadow On The Ground - 2009) 30. Los amores de José [instrumental] - Flaco Jiménez & Max Baca (Flaco & Max: Legends & Legacies - 2014) 31. The Divorce Sale - Tammy Wynette (Tammy's Touch - 1970)

Veruca Salt is an American alternative rock band founded in Chicago, Illinois, in 1992 by vocalist-guitarists Nina Gordon and Louise Post, drummer Jim Shapiro and bassist Steve Lack.They are best known for their first single, "Seether", that was released on the 1994 album American Thighs. They followed up that success with 1997's Eight Arms to Hold You. By 1998, Post was the only original member still in the band and continued on with other musicians. Veruca Salt released the album Resolver in 2000 and the album IV in 2006. After a hiatus in 2012, the band reformed with its original lineup. Their fifth studio album, Ghost Notes, was released in 2015.

Veruca Salt is an American alternative rock band founded in Chicago, Illinois, in 1992 by vocalist-guitarists Nina Gordon and Louise Post, drummer Jim Shapiro and bassist Steve Lack. They are best known for their first single, "Seether", that was released on the 1994 album American Thighs. They followed up that success with 1997's Eight Arms to Hold You. By 1998, Post was the only original member still in the band and continued on with other musicians. Veruca Salt released the album Resolver in 2000 and the album IV in 2006. After a hiatus in 2012, the band reformed with its original lineup. Their fifth studio album, Ghost Notes, was released in 2015.

Hola amigos, para esta nueva edición de JUST ROCK queremos presentar un especial :OJO DEL TIGRE. Esta dedicado a uno de los miembros mas queridos de JUST ROCK ,Javi que cumple años. Disfrutar de las canciones y un saludo de toda la familia que realizamos, Just Rock. Puedes comentar y pedir temas en el Chat de IVOOX y a través de Facebook, También puedes suscribirte, es gratis y estarás al día cuando se suba cada PodCast. Y recuerda, Si te gusta "No seas egoísta y comparte". Rock On!!! Y de nuevo gracias a todos esos músicos, medios de comunicación y amigos, que poco a poco con sus Saludos, ya forman parte importante de JUST ROCK.!! " EYE OF THE TIGER " Regards- Saludos Viri Aor Marc Quee Mike Della Bella Miguel Coello Raul MicroOndas Playlist: 1.- SURVIVOR - Eye Of The Tiger. 2.- LITA FORD - Kiss Me Deadly. 3.- MARK FREE- High Life . 4.- ROXETTE - Listen To Your Heart. ⭐ Sección "El Rincón Del Tigre".Con Raul Del MicroOndas. 5.- TOTO-Edless. 6.- PINK CREAM 69-The Edge Of Sorrow. ⭐ Sección "Los Consejos De David" 7.- SHANIA TWAIN-Man! I Feel Like A Woman. 8.- MIKE DELLA BELLA PROJECT- Flying. 9.- JIM PETERIK & WORLD STAGE-Without A Bullet Being Fired (feat. Mike Reno). 10.- MARC QUEE- Next Time I'll Hold You. 11.- JEFF SCOTT SOTO- Die A Little. 12.- MARTIKA - Toy Soldiers. 13.- DRIVE, SHE SAID- Hold On (Hands Around Your Heart). 14.- WHITESNAKE- Walking In The Shadow Of The Blues. 15.- KISS-Lick It Up. 16.- AGRESIVA - Los Olvidados. 17.- RED DAWN - I'll Be There. 18.- SURVIVOR - Didn't Know It Was Love. 19.-BONUS TRACK-Ojo Del Tigre……..

Todays topic Toxic Traits That should have no place in our  life.  Everyone posses  toxic traits including  yourself, and others. There is certain behavior that you possess as well as others that will drag you down, Hold You back, and cause you to suffer. Whether exhibited by you personally or by another major figure in your life (Mother father husband, spouse cousin, sibling), these behaviors can rightfully be classed as toxic because of their negative effect on your mental health and well-being. Before we move on, I am telling you that you even possess toxic traits that can hold you back. The people closest to you can also hold you back. So when we say I am surrounded by toxic people could we also be toxic? because we surround ourselves around toxic people? Inquiring minds want to know. We have the power to suck the joy and happiness from within us and we can replace it with self-doubt, stress, anger, sadness, and other unwelcome feelings. Others have the power to suck the joy and happiness from within us and they will replace those feeling with stress, anger, sadness, and any other unwelcoming feeling they may want to pass on to us. Its time to free ourselves from these behaiors. Once you free yourself you will notices an incredible shift in the way you view yourself and the way you view and interact with the world. The first step I need everyone to do to begin our mental health purge. Which  is to identify which toxic traits are present in your life. A mental Purge is a Self-Care Check. Evaluate your behaviors and others and ask yourself is this toxic and if you say yes stop the behavior if it's you or if its someone else you need to speak to the person and then you need to execute a consequence. Because toxic traits wont be tolerated from you or from others. Toxic traits that You may possess and Others May Posses. If one of these resonate with you, do your best to change that behavior.   https://linktr.ee/Jsselfcare   Disclaimer: This podcast is for educational purposes only. The host claims no responsibility to any person or entity for any liability, loss or damage caused or alleged to be caused directly or indirectly as a result of use of the application or interpretation of the information presented in this podcast.

" ROCK IN CHRISTMAS " Hola amigos, para esta nueva edición de JUST ROCK : Rock In Christmas. Un especial de Navidad que hemos hecho con mucho cariño. Disfrutarlas y un saludo de toda la familia que realizamos, Just Rock. Puedes comentar y pedir temas en el Chat de IVOOX y a través de Facebook, También puedes suscribirte, es gratis y estarás al día cuando se suba cada PodCast. Y recuerda, Si te gusta "No seas egoísta y comparte". Rock On!!! Y de nuevo gracias a todos esos músicos, medios de comunicación y amigos, que poco a poco con sus Saludos, ya forman parte importante de JUST ROCK.!! " Rock in Christmas '' Playlist: 1. - LEE AARON - I Don't Believe In Christmas. 2.- BELINDA CARLISLE - Heaven Is A Place On Earth. 3.- .DEGARMO & KEY- Every Moment. 4.- LYNYRD SKYNYRD - Rudolph The Red. 5.- ASFALTO - La Paz Es Verde. 6.- JOHN SCHLITT - Where Would I Be!. 7.- MICHAEL BOLTON - Santa Claus Is Coming To Town. 8. - HACKERS- Mil Recuerdos. 9.- PETER SUNDELL - Endless Summer. 11.-AT THE MOVIES - The Never Ending Story. 12.- LEE AARON -Everything's Gonna Be Cool This Christmas. 13.- BE FOR YOU - Those Sundays Are Gone. 14.- GLASS TIGER - My Song. 15.- DENNIS DEYOUNG - Damn That Dream. 16.- RAZA - Turrón De Marruecos. 17.- LA TRAMPA - Te Echo De Menos. 18.- MARC QUEE - Next Time I'll Hold You. 19. - LOU GRAMM - Angel With A Dirty Face. 20.- LYNYRD SKYNYRD - Run Run Rudolph.

Han pasado 80 años desde que el 9 de Octubre de 1940 viniera al mundo en la portuaria ciudad de Liverpool John Lennon, cantante, compositor, guitarrista y activista político. Un personaje indispensable para entender el desarrollo de la música popular en cuanto a sonido, estilo y actitud. Fue el más decidido y personal de los cuatro miembros de los Beatles, incansable buscador de nuevas sensaciones y un rebelde por naturaleza, lo que le llevó a situaciones comprometidas a lo largo de su vida. “Imagine” es, sin duda, la canción más representativa de toda la carrera musical de John Winston Lennon, a quien recordamos hoy, cuando se cumplen 70 años desde su nacimiento. Después de todo lo que se ha comentado en estas fechas tan solo nos queda escuchar una emocionante versión realizada por Emmylou Harris de este tema, que fue uno de los censurados por la Administración Bush tras los atentados del 11 de Septiembre de 2001 y que dejaba mensajes como: Imagina que no hay países. No es difícil de hacer. Nada por lo que matar o morir. Y tampoco ninguna religión… John Lennon incluyó originalmente “Grow Old With Me” en su álbum Milk And Honey. Una línea de la letra estaba tomada del poema “Rabbi Ben Ezra”, de Robery Browning, y la canción venía a expresar los sueños de John sobre que le hubiera gustado hacer cuando envejeciera. Sueños simples como los de vivir para siempre una vida sencilla con la persona querida. Mary Chapin Carpenter interpretó esta canción en el álbum Working Class Hero… A Tribute To John Lennon. “Nowhere Man”, que pertenecía a Rubber Soul, el sexto álbum de los Beatles editado en 1965, parece definir en un principio el carácter del propio John Lennon. Tras admitir posteriormente que consumía drogas, el personaje fue analizado desde todos los puntos de vista posibles por los expertos. Como conclusión, aquél “hombre de ninguna parte” podía ser desde un “camello” al capitán del Submarino Amarillo. De forma casi sorprendente, Randy Travis, uno de los baluartes de la mejor etapa de los neotradicionalistas del country, la incluyó en un álbum imprescindible de homenaje a los Fab 4 como fue Come Together:America Salutes The Beatles publicado hace 25 años.  Con Kris Kristofferson y Willie Nelson en los coros, Chris Stapleton realizó esta poderosa versión de “You’ve Got To Hide Your Love Away”, una canción que compuso y cantó como solista John Lennon en una etapa en la que el músico estaba especialmente influido por Bob Dylan. La canción es un ejemplo temprano de la autorreflexión de John en su escritura, que había comenzado con canciones como "I'm a Loser" en el verano de 1964. Esta canción, compuesta indudablemente por John Lennon, es uno de los cortes más sencillos del cuarteto al que solo se le añadió una flauta final en su versión original, incluida en la banda sonora de Help!. Los Beatles acababan de completar su segunda gran gira de conciertos por Estados Unidos cuando empezaron a grabar Beatles For Sale en pleno agosto de 1964. Cuando uno escucha con cierto detenimiento aquel disco es fácil de entender que el cuarteto estuviera exhausto en algunos de los cortes. Cuando John Lennon compuso “I’m A Loser” las influencias de Bob Dylan en su forma de escribir eran evidentes, como se demuestra en la utilización de ciertas expresiones y matices propios del genio de Minnesota en aquella época. En 1977, Doug Kershaw publicaba su álbum Flip, Flop & Fly con esta versión absolutamente campera. Help! fue uno de los momentos mágicos en la historia de los Beatles. Empezaron trabajando bajo el título de Beatles Phase II, pero muy pronto pasó a denominarse Eight Arms to Hold You (Ocho brazos para atraparte) hasta que se decidieron por Help!. Al parecer, la película está inspirada en el clásico de los Hermanos Marx Sopa de ganso, aunque en diferentes momentos encontramos alusiones satíricas de las series de James Bond como ocurre con el comienzo del tema central. De hecho, por entonces, Help! y las cintas de las aventuras del agente 007 tenían la misma distribuidora, United Artists, y llegaron a utilizar algunos sonidos muy característicos que no vieron la luz en el mercado europeo por entonces. Como canción, “Help!” fue una de las primeras canciones del cuarteto en que no se hablaba del chico que encuentra a la chica y la pierde después. Lennon súplica ayuda, comparando la situación en la que se encontró en los primeros tiempos, menos complicados. Dolly Parton nos sorprendió a todos llevándola al terreno del bluegrass. Lorrie Morgan, realizó hace años una extraordinaria versión de “Eight Days A Week”, que originalmente contaba con John Lennon como solista, abría la segunda cara del LP Beatles For Sale, que empezó a gestarse cuando habían terminado su segunda gran gira por los Estados Unidos. Se ha especulado sobre si el tema estaba dedicado a Brian Epstein, porque en aquellos tiempos tenía que dividirlo para atender como manager a multitud de grupos y solistas, de tal forma que trabajaba “ocho días a la semana”. La canción fue compuesta por John cuando el grupo estaba preparando su segunda película, que en principio iba a llamarse Eight Arms To Hold You y que, definitivamente, llevó el nombre de Help!. “I Feel Fine”  nos sirve también para recordar que esta canción se editó como single en 1964, con reservas de tres cuartos de millón de copias, como continuación de “A Hard Day’s Night”. Fue el octavo single del grupo y el sexto No.1 consecutivo y, sin embargo, no apareció en un álbum oficial hasta que vio la luz Past Masters. Volume One. Nativas de Manhattan Beach, al sur de California, y con una educación que mezclaba las tradiciones polacas y de Oklahoma, las hermanas Oliver, Kristine y Janis, empezaron a cantar juntas desde que tenían 7 y 9 años. Sus primeras apariciones musicales fueron en el coro de la iglesia local para llegar a la high school con un cierto sabor vaquero. Sus influencias incluyen a Dylan, Everly Brothers, Linda Ronstadt, Hank Williams, Bob Wills, el bluegrass y, como no, los Beatles. El segundo álbum de la familiar pareja con el nombre de Sweethearts Of The Rodeo, One Time, One Night, nos dejó esta versión de “I Feel Fine”, que fue editado en single en 1988, cinco años después de que Janis Oliver hubiera encontrado a Vince Gill, por entonces miembro de Pure Prairie League. Fue su primera mujer. “I Don’t Want To Spoil The Party” perteneció originalmente al álbum Beatles For Sale, editado en 1964. Estamos ante otra canción de Lennon con referencias a su infancia y sus relaciones familiares. En este caso tiene que ver con la alienación y un cierto sufrimiento. Ya que la chica a la que espera le da platón, decide dejar la fiesta para no estropearla a los demás. Tanto la letra como la música tienen claras reminiscencias de temas del estilo de "No Reply" y "I'm A Loser". En la versión original George Harrison fue solista junto a Lennon. Rosanne Cash incluyó esta espléndida versión en su recopilatorio Hits 1979-1989 logrando el primer puesto de las listas de singles de country… el último de su carrera por el momento. En el tiempo de TOMAUNO de hoy, nos visitan los más variopintos artistas de la escena de la Americana en sus distintas facetas. Así, Herb Pedersen recuerda un “Paperback Writer” que fue grabado durante las sesiones de Revolver  y se publicó como single en Junio de 1966, un par de meses antes de la edición del álbum, no publicándose en ningún Lp hasta la edición de Past Masters, Volume Two en el 88. La letra está inspirada por los dos libros de Lennon, “In His Own Write” y “Spaniard In The Works”, hablando del deseo de Paul McCartney de convertirse también en escritor. Steve Earle entendió la importancia del legado de los Beatles y llegó a realizar una versión muy particular de “I’m Looking Through You”, una canción que revelaba la influencia que Little Richard y Buddy Holly tuvieron en primeros escarceos del cuarteto de Liverpool, pero mantenidas durante el tiempo. Pertenecía a uno de sus álbumes más representativos, Rubber Soul, donde los llamados Fab 4 empezaron a tomar direcciones alternativas en su sonido. Los Lonely Boys es un trío de hermanos de San Angelo, Texas, que combinan elementos de rock and roll, blues, soul, country y música tejana siguiendo la tradición de su padre. Los hermanos Garza lo llaman Texican Rock’N’Roll. En la versión realizada originalmente por John Lennon estuvo acompañado de Elton John. “Whatever Gets You Thru The Night” está inspirada en una frase de un pastor evangelista durante un programa nocturno de televisión. En el álbum Instant Karma: The Amnesty International Campaign to Save Darfur, Jakob Dylan, hijo de Bob Dylan y líder de los Wallflowers, grababa una versión de “Gimme Some Truth” junto a Dhani Harrison, hijo de George Harrison, que tomó el lugar de su padre en la canción, tocando la guitarra solista. En "Gimme Some Truth" Lennon expresa su frustración con los políticos, especialmente con el entonces presidente de Estados Unidos, Richard Nixon, a quien llama "Tricky Dicky", un apodo que se utilizaría tras el escándalo Watergate. Fue compuesta tras de la Guerra de Vietnam e incluida en el álbum Imagine de 1971. Ayer mismo, conmemorando los 80 años del nacimiento de John Lennon, se editó Gimme Some Truth. The Ultimate Mixes. Bajo ese nombre, Yoko Ono y su hijo Sean han seleccionado 36 canciones de la carrera en solitario de Lennon por orden cronológico. El álbum Imagine es una referencia evidente en la discografía de John Lennon, por lo que versionar algunas de sus canciones ha sido especialmente atractivo. Aun siendo una de las interpretaciones más sólidas de la carrera de Lennon, "Oh My Love" es una de las menos conocidas. La compuso junto a Yoko Ono durante las sesiones de grabación del llamado White Album de los Beatles con el apoyo de George Harrison con su guitarra, como ocurrió en buena parte de los cortes de aquel disco. La canción tiene que ver con la terapia para superar sus traumas de la infancia. Jackson Browne la interpretó de esta forma en el proyecto Instant Karma: The Amnesty International Campaign to Save Darfur. Doug Dillard y Gene Clark unieron fuerzas para realizar dos aventuras discográficas que han pasado a la historia como referencias fundamentales de la combinación de géneros musicales apegados a la tradición, pero con una apuesta de futuro arriesgada y positiva. En aquella segunda entrega, titulada The Fantastic Expetion Of Dillard & Clark, escogieron para cerrarla un tema como “Don’t Let Me Down”, que fue la cara B de “Get Back”. Las dos canciones iban a aparecer en un disco titulado precisamente Get Back que los Beatles estaban intentando grabar en 1969 en los estudios de Apple en Savile Row. El disco se abandonó, pero el single se publicó en el mes de abril. Escuchar audio

Tracklist 1. Ils – Next Level 2. Soul Of Man – Sukdat (Rogue Element Remix) 3. Plump DJ’s – Shifting Gears (Acapella) 4. Atomic Hooligan – You Are Here 5. Freestylers & Pendulum – Fasten Your Seatbelts 6. Dee Patten – Who’s The Badman (JDS Remix) 7. Plump DJ’s – Fever 8. Freestylers – Push Up (Acapella) 9. Freestylers – Push Up (Plump DJ’s Remix) 10. Green Velvet – La La Land (Acapella) 11. Friendly – Bump N Grind 12. Krafty Kuts – There They GO (Acapella) 13. Azzido Da Bass – Dooms Night (Timo Mass Remix) 14. Rob Le Pitch – Twisted (Tom Real & Rogue Element Remix) 15. Tom Real & Rogue Element – Just Bash Out 16. JDS – Nine Ways (Plump DJ’s Remix) 17. Freq Nasty – Come Let Me Know (Acapella) 18. Stakker – Humanoid (Krafty Kuts Remix) 19. Zero – Emit (Rennie Pilgrem Remix) 20. Stanton Warriors – Dip & Get Low (Acapella) 21. PMT – Gyromancer 22. Deekline & DJ Assault – One In The Front (Acapella) 23. Evil 9 – Crooked 24. Prodigy – Spitfire (Future Funk Squad Remix) 25. Plump DJ’s – Electric Disco 26. Drumattic Twins – Feelin Kinda Strange (Nick Thayer & Basskleph Remix) 27. General Midi – Four Million Ways 28. Drumattic Twins – Feelin Kinda Strange (Acapella) 29. Electronaughts – Bumper (Plump DJ’s Remix) 30. Freestylers – The Slammer 31. Jammin – Hello 32. Deekline & Ed Solo – Handz Up (Stanton Warriors Remix) 33. Stanton Warriors – Precinct (Plump DJ’s Remix) 34. Dopamine – Hold You 35. Bassbin Twins – Woppa 36.Reach & Spin – Hyper (Stanton Warriors Remix) 37. Stanton Warriors – Da Antidote 38. Deekline & ED Solo – Mandy vs Space Invader 39. Freestylers – Boomblast (Deekline & Wizard Acapella) 40. Plump DJ’s – The Push 41. Sporty O Feat Keith Mackenzie – Guestlist (Acapella) 42.Rogue Element – Let Me Breath 43. Slyde – Kiss Kiss Bang Bang (Acapella) 44. Scam – Killer 45. Freestylers – Ruffneck (Acapella) 46. Ils – Angels 47. Dylan Rhymes Feat Katherine Ellis – Salty (Meat Katie Remix) 48. Freq Nasty – Amped 49. Rennie Pilgrem – Some Place Funky 50. Afrika Bambatta – Funky Heroes (Acapella) 51. Plump DJ’s – Theme x 52. Tube & Berger – Straight Ahead 53. Slyde – Vibrate To This 54. Krafty Kuts Bass Phenomenon 55. Plump DJ’s – Scram 56. Buckfunk 3000 – High Volume 57. Plump DJ’s – Get Kinky 58. DJ Zinc – Go DJ (Remix) 59. Santos – Camels (DJ Zinc Remix) 60.Slyde – Slippedy Slide 61. Sqaurepusher – Red Hot Car 62. Face Off – Soundboy 63. Player 1 – Into The Darkness 64. Freestylers – Punks 65. Krafty Kuts & Skool Of Thought – Soundcheck 66. Detroit Grand Pubahs – Sandwiches (Krafty Kuts Remix) 67. Krafty Kuts & DJ Icey – Thru The Door 68. Ed Solo & Skool Of Thought – When I Was A Yout

Hello friends! On today's episode I talk about my favorite tv shows and my roommate Karli joins in! Songs of the BiWeek:  He Won't Hold You by Jacob Collier ft. Rapsody Sir Duke by Stevie Wonder PLAYLIST (Apple Music): https://music.apple.com/us/playlist/songs-of-the-biweek/pl.u-oZylM7ZCRYd6KmJ PLAYLIST (Spotify): https://open.spotify.com/playlist/60b3aDtyvSRRIkVFusqD1t?si=vjMe3KnZTHS98_jWyJReuA SOCIAL MEDIA:   Blog: http://www.noellejanae.com/   Instagram: https://www.instagram.com/timenoellepod/ --- Support this podcast: https://podcasters.spotify.com/pod/show/diggingupdiggingdeep/support

Jesse Witney is an independent artist who mixes Soul, Brazilian and Roots music through his original songs. Born in a small town in Queensland called Gympie, Jesse currently lives in Melbourne, Australia, after living in Europe (Berlin, Germany) and South America (Rio de Janeiro, Brazil). Recorded on July 30, 2020 (Zoom recording) by Daniel Bacchieri. Music excerpts from the songs "Ao Seu Redor", "Apple of My Eye", "Australia", "Be It", "Hold You", "Make You Mine", "Paradise", "Rescue Me", "Teresa Teresinha", "The System". https://www.jessewitney.com/ https://www.facebook.com/jessewitneymusic/ https://www.instagram.com/jessewitney/ Photo Credit: Ellen Burbidge

In this episode, Ken Michaels, Allan Kozinn and Darren DeVivo speak with Chip Madinger, the co-author (with Mark Easter) of “Eight Arms to Hold You,” the indispensable guide to solo Beatles recordings up to 2000, and (with Scott Raille) the “Lennonology” series. As always, we welcome your thoughts about this episode of the show or any other episode. We invite you to send your comments about this or any of our other shows to our email address thingswesaidtodayradioshow@gmail.com, join our "Things We Said Today Beatles Fans" Facebook page and comment there, tweet us at @thingswesaidfab or catch us each on Facebook and give us your thoughts. And we thank you very much for listening. You can hear and download our show on Podbean, the Podbean app and iTunes and stream us through the Tune In Radio app and from our very own YouTube page.  Our shows appear every two weeks. Please be sure and write a (good, ideally!) review of our show on our iTunes page. If you subscribe to any of our program providers, you'll get the first word as soon as a new show is available. We don't want you to miss us. Our download numbers have been continually rising, as more people discover us and it's all because of you. So we thank you very much for your support!

Our time on Earth keeps pushing on and the sands of time keep doing whatever it is they are supposedly doing. Make the best out of what you got and support your friends, family &  neighbors whenever you can.    CB Radio Gorgeous - The Devil   Sub Space - I Walk the Devil   Counter Control - Unnamed Graves   Liquids - Dark   XOs(Hugs & Kisses) - City Slickers & Coal Mines   Sniffany and the Nits - Horse Girl   Final War - Final War   New Grave - Poison Cloud   Civic - Selling, Sucking, Blackmail, Bribes   Death Cult - Disappear   Gen Pop - Hanging Drum     Spizzenergi - Where's Captain Kirk   The Sleepers - A Murder   Kaare Og Partiet - Lat 2   Screamers - Mater Dolores   Ramones - Outsider     Ammo - All You Do(Is Want Me To Die)   Krash - Devestation   Impostor Syndrome - Canned Applause   Special Interest - Don't Kiss Me In Public   Milk Music - Pay Me   Last Words - Wounds   Brain Handle - Smiling Again     The Nuns - Walkin' the Beat   Red Cross - Cover Band   Adolescents - Amoeba   David Microwave - I Don't Want to Hold You   Spilittin' Teeth - 2nd Generation        

Audio del 4 de diciembre transmitiendo los miércoles de 11 a 13 en España en Sol y Rabia y Revi Radio, de 10 a 12 de la noche en A Salto Mata Radio Rock, y de 8 a 10 de la noche en TNT Radio Rock con repeticiones los viernes a las 10 de la mañana y con el nacimiento del lunes, a las 00.00 horas. También atent@s al podcast en http://www.ivoox.com/podcast-made-in-metal_sq_f1266383_1.html, la web: http://www.madeinmetal.es/index.php/radio o iTunes: https://itunes.apple.com/es/podcast/made-in-metal/id1444591596?l Programa 169 donde escucharas música de los discos nuevos de Lord Divine, Narnia, Phil Lanzon, Arallu, Wash Of Sounds, Magistarium y Myrath mientras recordamos a bandas clásicas como Kansas, Loudness y Kiss, promocionando además la nueva cancion de Sepultura mientras en el apartado español tenemos a Warg, Mago de Oz, Krenfen, Anya, y Brutal Thin. Estas son las canciones que escucharas hoy: 1.Lord Divine - Overture 2.Lord Divine - Reborn 3.Narnia –MNFST 4.Sepultura - Isolation 5.Phil Lanzon –Look at the Time 6.Kansas - Hopelessly Human 7.Arallu - The Center of the Unknown 8.Wash Of Sounds –For Real 9.Warg - The Arrival 10.Loudness - Crazy Night 11.Kiss - I’ll Fight Hell to Hold You 12.Magistarium - War for All and All for Won 13.Mago de Oz - Suspiria 14.Lord - United (Welcome Back) 15.Krenfen – Ignis 16.Anya –Siento tu Latir 17.Brutal Thin – Pata Negra 18.Myrath - Monster in my Closet

Gail “Yovanna” Logan-Momplaisir is an American television personality, actress, business owner, model, and socialite. Born in San Francisco, CA. She is best known for appearing on the reality television series The Real Housewives of Atlanta as Season 11 & Upcoming Season 12 cast member and friend of the show to American television personality Nene Leakes since 2018. She is also known for her fiery unforgettable debut on Say Yes to the Dress on the TLC and BrideZilla series on WETV where she married husband Rick Momplaisir April 21, 2013She grew up in San Francisco, CA before heading to Atlanta, GA. She was raised by her Costa Rican parents Harold Logan and Gilcenia Logan. She grew up as a middle to 3 sisters Natalie Logan, Hilda Logan, & Natashia Logan. During her college years at the historic Clark Atlanta University is where she got her start in the Entertainment World. She was casted as a video model alongside charting Hip Hop Artist Diamond from the group Crime Mob & The Real Housewives of Atlanta castmate Porsha Williams for Trillville’s 2002 “Some Cut’ video. In March 2005 she appeared as lead video model in Billboard Hot 100 song “Let me Hold You” video by Bow Wow ft. Omarion. This led to taking acting courses and exploring other tv/film opportunities. In September of 2008 she met husband Rick and they have been together for 11 years and married for 6 years. Yovanna & Rick currently have no children.In August of 2019 Yovanna is releasing her debut Apparel Line “That Bitch” which formed from her iconic phrase “I was that bitch…I was Yovanna from Clark..CAU” during unforgettable argument with RHOA cast member & America’s Top Model Winner Eva Marcille. Her outgoing & fiery personality has won over millions of viewers including American model and author Chrissy Teigen. Her YouTube show debuts August of 2019 entitled Boss Wives costarring husband Rick Momplaisir which showcases the everyday life between the two as they explore topics ranging from Beauty, Fashion, Lifestyle, and Travel with weekly appearances from celebrity guest. Yovanna has many upcoming tv projects and roles including the upcoming season 12 of The Real Housewives of Atlanta which debuts November 2019.On September 28th, she launched her Momplaisir by Yovanna boutique collection at the Atlanta International Fashion week.IG: @yovannamomplasir& @momplaisirbyyovannaTwitter: @yovanna_liveFacebook: Yovanna Momplaisir

It was quiet for a long time, but now Tito & Tarantula are finally going to release their new studio album „8 Arms to Hold You.” We talked to mastermind Tito Larriva about the new and sixth record, about the studio sessions near El Paso, about collaborating with his daughter Lolita und of course, about the upcoming tour! Enjoy!

This Beatles News Briefs Extra! features an interview with Chip Madinger and Mark Easter, co-authors of the pioneering Beatles reference "Eight Arms to Hold You" that chronicled the Beatles' solo careers. They talk about the making of the book and how it's been updated for the digital age. Plus the latest Beatles news. Check it out, rate us on iTunes and please subscribe to us! (It's free!) And thanks for listening!

Det här är fjärde veckan som Svensktoppen baseras på ett nytt mätsystem och lite överraskande så halkar melodifestivalvinnaren John Lundvik ner från andraplatsen - men hur långt? Det här är fjärde veckan som Svensktoppen baseras på ett nytt mätsystem där låtarna som spelas mest i all svensk radio räknas samman med de mest nedladdade och strömmade. Det är dock endast låtar som spelas i P4 som mäts. Veckans lista SOS med Avicii och Aloe Blacc behåller förstaplatsen, men får se upp nu när Zara Larsson avancerar med Don´t worry bout me som nu är tvåa. Lite överraskande tappar melodifestivalvinnaren John Lundvik till tredjeplatsen med Too late for love. Med två veckor kvar till Eurovisionfinalen finns det dock anledning att tro att Johns formkurva åter kan vända uppåt framöver. Ytterligare två låtar från årets Melodifestival märks av på listan. Hold You med Hanna Ferm & Liamoo avancerar till veckans fjärdeplats och Mohombi är femma med Hello. Det blev ingen dubbelplacering för Molly Sandén den här veckan heller. Hon har ju slutat precis utanför listan de senaste veckorna med Den som e den och samtidigt balanserat farligt nära den nedre kanten med Sand som fortsätter på tiondeplatsen. Precis utanför veckan lista hamnar även bubblarna Miriam Bryant med Du med dig och Kygo & Sandro Cavazza med Happy Now.   Carolina Norén, programledare och producent carolina.noren@sverigesradio.se

För att på ett modernare sätt spegla den svenska musiksmaken baseras listan nu på de 10 låtar som nedladdats, strömmats och lyssnats på mest i samtliga svenska radiostationer. De låtar som mäts är de som spelas i P4. Fyra låtar håller sig kvar på listan jämfört med förra veckan. Sand med Molly Sandén (9:a), Forgive me Friend med Smith & Thell (7:a), Ashes to Ashes med Anna Bergendahl (6:a) och Too late for love med John Lundvik som behåller förstaplatsen även med den nya mätmetoden. En annan förändring som märks av denna vecka är att låtar får komma tillbaka till listan, därför återfinner vi nu Hold You med Hanna Ferm & Liamoo på femteplatsen. Dessutom tas tidsbegränsningen på 52 veckor bort. Nytt är också att de traditionella utmanarna ersätts av bubblare de tre låtar som varje vecka hamnar precis utanför listan. De presenteras i programmet utan inbördes ordning. Veckans bubblare är Miriam Bryant med Du med Dig, Molly Sandén med Den som e den samt Wiktoria med Not with me. carolina.noren@sverigesradio.se

För att på ett modernare sätt spegla den svenska musiksmaken baseras listan nu på de 10 låtar som nedladdats, strömmats och lyssnats på mest i samtliga svenska radiostationer. De låtar som mäts är de som spelas i P4. Fyra låtar håller sig kvar på listan jämfört med förra veckan. Sand med Molly Sandén (9:a), Forgive me Friend med Smith & Thell (7:a), Ashes to Ashes med Anna Bergendahl (6:a) och Too late for love med John Lundvik som behåller förstaplatsen även med den nya mätmetoden. En annan förändring som märks av denna vecka är att låtar får komma tillbaka till listan, därför återfinner vi nu Hold You med Hanna Ferm & Liamoo på femteplatsen. Dessutom tas tidsbegränsningen på 52 veckor bort. Nytt är också att de traditionella utmanarna ersätts av bubblare de tre låtar som varje vecka hamnar precis utanför listan. De presenteras i programmet utan inbördes ordning. Veckans bubblare är Miriam Bryant med Du med Dig, Molly Sandén med Den som e den samt Wiktoria med Not with me. carolina.noren@sverigesradio.se

Hanna Ferm & Liamoo får lämna listan efter bara en vecka med Hold You. Men så är det två nykomlingar som har lyckats ta sig in på listan. Lyssna på programmet för att höra vilka ... Tidigare Svensktoppsdrottningen Laleh gör comeback på listan och är ny på tiondeplatsen med Tack och Förlåt. Arvingarna får sin 20:e svensktoppslåt när de går rakt in på femteplatsen med melodifestivalsjuan I do. Melodifestivalen märks även i toppstriden där John Lundvik fortsätter att toppa listan med Too late for love och Anna Bergendahl behåller andraplatsen sen förra veckan med Ashes to Ashes. Linnea Henriksson noterar sin bästa svensktoppsplacering någonsin när hon klättrar till tredjeplatsen med Den stora dagen. Hanna Ferm & Liamoo får lämna listan efter bara en vecka med Hold You och för förra veckans utmanare Malou Prytz med I do me och Kygo & Sandro Cavazza med Happy Now blir det ingen listplacering. Veckans nya utmanare är Mohombi med Hello, Kaah & Pauline med Flyger upp samt Elisa Lindström med Lyckligt folk. carolina.noren@sverigesradio.se

1) Play That Fast Thing (One More Time) 2) So It Goes 3) Teacher, Teacher 4) Cry 5) Knife and Fork 6) Oh What A Thrill 7) Hold You and Pet You 8) Girls Talk 9) Singing The Blues 10) They Call It Rock 11) Crawling From The Wreckage 12) I Hear You Knockin'

Förra veckan klättrade Anna Bergendahl från en sjätteplats på listan och blev etta. Men behåller hon förstaplatsen även denna vecka ... Trots ny konkurrens från fler finalartister från Melodifestivalen behåller Anna Bergendahl förstaplatsen med Ashes to Ashes. John Lundvik blir högsta nykomling på andraplatsen med Too late for love. Trea är nu tidigare ettorna Smith & Thell med Forgive me friend. Zara Larsson får lämna listan efter 15 veckor med Ruin my life och Linnea Henriksson faller ned till tiondeplatsen med Den stora dagen. Bishara och Wiktoria går inte in på listan med On my own respektive Not with me. Veckans tre nya utmanare är också hämtade från Melodifestivalen, Jon Henrik Fjällgren med Norrsken, Lina Hedlund med Victorious och Hanna Ferm & Liamoo med Hold You. /Carolina   Carolina Norén carolina.noren@sverigesradio.se

January 1965 — “Beatles for Sale” by The Beatles By the start of 1965 The Beatles were already a household name, with Beatlemania reaching its peak the year before. Their fourth album released in the UK, Beatles for Sale, would continue their prolific work with a turn to more introspective lyrics and a handful of cover songs. The Beatles entire catalog is incredible, and this album contains some of the best examples from their height. Join us on this brief time machine ride back to the beginning of the rock era. “I’ll Follow the Sun” The Beatles were putting out an album every 6 months at this time. This song was a softer, more folk oriented track than many of their upbeat tunes. “Baby’s in Black” This track is perhaps a foreshadowing of Eleanor Rigby in its lyrics. Lennon and McCartney's harmonies are always a striking feature of the early to mid-Beatles music catalog, and this song showcases that well. “Eight Days a Week” A well-known track. The original title was “Eight Arms to Hold You,” but (thankfully) it was changed before the song came out. “I’m a Looser” A low key tune that is more negative, and perhaps emotionally self-reflective. The harmonica work is inspired by Bob Dylan. ENTERTAINMENT TRACK: “Johnny Quest” - theme Great instrumental work from this 60's vintage cartoon. STAFF PICKS: “You Really Got Me” by the Kinks Their third single would be their first number 1 hit. Rob shares this love song for street kids. They got their fuzzy guitar sound by slicing the amps with a knife. “Do You Love Me (now that I can dance)” by the Dave Clark Five Bruce riffs on the second British Invasion group that performed this cover of the Motown hit by the Contours. “Downtown” by Petula Clark Tony Hatch was inspired to write this song after visiting Times Square, and took the song to Petula Clark in Paris, as explained by Brian. “She’s not There” by the Zombies This debut single for The Zombies is about a girl who left her boyfriend for another guy. Wayne shares that Santana also covered this song successfully in the 70's. LAUGH TRACK: “Hawaii Tattoo” by The Waikikis This instrumental track from the Aloha State takes us out on this EARLIEST of our "What the Riff" months.

Hello, and welcome to today's episode of the Littlest PetCast. In today's episode, we go over the episode "Eight Arms to Hold You", written by Tom Minton and directed by Dallas Parker. In this episode, Russell has an overnight stay planned at the Littlest Pet Shop, and Blythe surprises him by agreeing to stay with him. Vinnie and Sunil want to crash the party, but they aren't the only ones. But they could be the only ones...who are ALIVE! DUN DUN DUH! (Spoilers: The other thing crashing is alive.)Why does the title kind of give away the ending? Do you think that Russell's homebrew of My First Formal Dance makes it a better game? Would Professor X be so upset about New York City breaking up that he would not set foot in Downtown City? Can animals read CreepyPasta? Is Gian right behind me telling me he's correct?

TRACKLIST FOR #006   00:00 - 1.  Jack Wins Feat. Caitlyn Scarle - "Freewheelin" [Axtone] [2018] 05:19 - 2.  Just Kiddin - "Indiana" (VIP Mix) [Nothing Else Matters] [2018] 09:09 - 3.  Sam Feldt Feat. Alex Schulz - "Be My Lover" (Toby Green Remix) [Spinnin Records] [2018] 12:32 - 4.  Aeroloid - "Disconnect" [Plasmapool] [2018] 15:25 - 5.  Shift K3Y - "Only You" (Offiah Remix) [Sony Music] [2018] 17:59 - 6.  Matrix - "Get Out" (Detroit Swindle Remix) [Mad House Records] [2018] 24:07 - 7.  Unorthodox - "Hold You" (Original Mix) [Glasgow Underground] [2018] 29:19 - 8.  Fatboy Slim - "Right Here, Right Now" (Camelphat Remix) [Toolroom] [2018] 34:42 - 9.  Yves Deruyter - "To The Rhythm" (Moguai Remix) [Bonzai] [1998]   41:19 - 10. Arno Cost + Arias - "Magenta" [CR2] [2007] 47:33 - 11. Planet Funk - "Chase The Sun" [Virgin] [2000] 51:23 - 12. Martin Roth - "Ultraviolet" [Anjunadeep] [2018] 54:43 - 13. Steve Callaghan - "Catch My Breath" [Fight The Future] [2018]   Follow Me: http://www.soundcloud.com/stevecallaghan http://www.mixcloud.com/stevecallaghan http://www.twitter.com/djstecallaghan http://www.facebook.com/stevecallaghanmusic

TRACKLIST FOR #006   00:00 - 1.  Jack Wins Feat. Caitlyn Scarle - "Freewheelin" [Axtone] [2018] 05:19 - 2.  Just Kiddin - "Indiana" (VIP Mix) [Nothing Else Matters] [2018] 09:09 - 3.  Sam Feldt Feat. Alex Schulz - "Be My Lover" (Toby Green Remix) [Spinnin Records] [2018] 12:32 - 4.  Aeroloid - "Disconnect" [Plasmapool] [2018] 15:25 - 5.  Shift K3Y - "Only You" (Offiah Remix) [Sony Music] [2018] 17:59 - 6.  Matrix - "Get Out" (Detroit Swindle Remix) [Mad House Records] [2018] 24:07 - 7.  Unorthodox - "Hold You" (Original Mix) [Glasgow Underground] [2018] 29:19 - 8.  Fatboy Slim - "Right Here, Right Now" (Camelphat Remix) [Toolroom] [2018] 34:42 - 9.  Yves Deruyter - "To The Rhythm" (Moguai Remix) [Bonzai] [1998]   41:19 - 10. Arno Cost + Arias - "Magenta" [CR2] [2007] 47:33 - 11. Planet Funk - "Chase The Sun" [Virgin] [2000] 51:23 - 12. Martin Roth - "Ultraviolet" [Anjunadeep] [2018] 54:43 - 13. Steve Callaghan - "Catch My Breath" [Fight The Future] [2018]   Follow Me: http://www.soundcloud.com/stevecallaghan http://www.mixcloud.com/stevecallaghan http://www.twitter.com/djstecallaghan http://www.facebook.com/stevecallaghanmusic

Iain chats to author Simon Wells who wrote “Eight Arms to Hold You: 50 Years of Help! and the Beatles”, Caddick’s down in the dumps at still being single, Van Man calls from the toilet, Nigel from Maidstone’s drum solo & Neil Diamond song, The second hour is straight to air calls to do the […]

Sestra Playlist: https://open.spotify.com/user/mixtressrae/playlist/2u1nM9DjK0RhNkGsg6Xavw I break my silence on Toddler Tyrant, kind of. I also do some more babbling about The Cure, my VHS adventures, and my new tattoo. The album of the week is Veruca Salt's "Eight Arms to Hold You" which I just realized, as an adult, is about trying to keep a junkie alive and in a relationship with you. Creepy. Listen to it if you want... -------------------------- What's This Bitch Talking About? is the podcast version of Mixtress Radio (airs every Friday from 7-11pm CST on mixtressrae.com) Most of the songs mentioned are contained in the Sestra Playlist, link above.

show#638 04/09/16 Really Strong Show Spencer Davis Group - Strong Love from The Singles 2003 (2:14) Coco Montoya - Wish I Could Be That Strong from Can't Look Back 2002 (4:49) Ian Siegal - strong woman from Candy Store Kid 2012 (2:15) Duke Tumatoe and the All Star Frogs - Strong Man from Naughty Child 1980 (4:30) W.C. Clark - Stronger Than You Need to Be from Deep in the Heart 2004 (4:05) Robben Ford & The Blue Line - Strong Will To Live from Handful Of Blues 1995 (3:16) Paul deLay Band - Nice & Strong from Nice & Strong 1998 (4:47) Keb' Mo' - Stand Up (And Be Strong) from The Door 2000 (2:26) Anthony Rosano & The Conqueroos - Strong Motor Baby from Get Rood 2014 (4:50) Curtis Salgado - Strong Suspicion from Strong Suspicion 2004 (4:46) Trickbag - My Love Is Strong from With Friends Vol. 1 2013 (3:03) Big Bill Morganfield - Strong Love from Blues in the Blood 2003 (3:44) Craig Erickson - Strongman Down from Force Majeure 1996 (5:08) Delbert McClinton - Old Weakness (Coming on Strong) from One of the Fortunate Few 1997 (2:56) Dr. Hector & the Groove Injectors - Two Strong People from House Calls 1991 (3:29) Ellis Hooks - Your Love Is Too Strong from Undeniable 2002 (3:10) Janiva Magness - There It is from Stronger For It 2012 (3:29) Etta James - How Strong Is A Woman from Seven Year Itch 1988 (3:27) Otis Redding - That's How Strong My Love Is from The Great Otis Redding Sings Soul Ballads 1965 (2:24) Rolling Stones - That's How Strong My Love Is from Out Of Our Heads 1965 (2:24) O.V. Wright & the Keys - That's How Strong My Love Is from 45 RPM Single 1964 (2:59) Taj Mahal - That's How Strong My Love Is from Dancing the Blues 1993 (3:12) Little Milton - That's How Strong My Love Is from Waiting For Little Milton 1973 (11:09) The Jeff Healey Band - How Long Can a Man Be Strong from Hell to Pay 1990 (4:22) Jimmy Thackery & the Drivers - I Got to Be Strong from Switching Gears 1998 (3:32) Levee Town - Hurt But Strong from Pages Of Paperwork 2011 (5:30) Melvin Taylor & the Slack Band - Don't Throw Your Love on Me So Strong from Melvin Taylor & the Slack Band 1995 (6:42) Sean Chambers - Strong Temptation from Live From The Long Island Blues Warehouse 2011 (3:09) Snooks Eaglin - My Love Is Strong from Teasin' You 1992 (2:43) Deborah Coleman - Strong Enough to Hold You from Time Bomb 2007 (4:02) Wallace Coleman - Strong Love from Stretch My Money 2000 (3:35) Woodleg Odd - It's Not Easy to Be Strong from Foot Fetish 2006 (3:50)

Inspired by Radio 1s long running Saturday night show where established DJs perform a 2 hour mix showcasing their style, my Essential Mix 2006 is a snap shot of the records I was playing at the time from bootleg white label remixes to some of the biggest breakbeat tunes of the year.Subscribe in iTunesDirect download link Tracklist01. Gorillaz – Feel Good Inc (Stanton Warriors Remix) - White02. Krafty Kuts and Tim Deluxe – Bass Phenomenon – Against The Grain03. Groove Diggerz – Big Bad Bruiser (Diverted Remix) – Even Flow04. Raul Rincon – Test Tube Baby - Tenor05. Bootyheads - The Bomb - White06. Unknown - Booty Power - White07. Dave McCullen - Bitch - Nebula08. Studio B - See Girls (Tom Neville Remix) - Data 09. Chris Lake - Until She Rises - Rising10. D Ramirez and Meat Katie - Venus and Mars - Lot 4911. Oliver Klein and Peter Jurgens - Let The Music Take Control - Mutekki12. SOTO - Ghetto Blast Ya! - Menu Music13. Slyde - Right On - FingerLickin' 14. Stereo 8 - Never Coming Back - FingerLickin'15. DJ Defkline and Red Polo - Busta Touch It Bring It - Hot Cakes16. Dopamine - Hold You - TCR17. Unknown - Don't Go - White18. Soul Of Man - Sukdat - FingerLickin'19. Mr No Hands - Fat Cats - Diverted Traffic20. Tom Real Vs The Rogue Element - He's So Hot Right Now - Functional21. Klaus Heavyweight Hill - Deep Space (Dopamine Remix) - Title Fight22. Sifter and Adan - Mack That Ass Up - Boombox23. Plump DJ's - Soul Vibrates - FingerLickin'24. Soul Of Man - Shake 'em Down (Dylan Rhymes Remix) - FingerLickin'25. Atomic Hooligan - Head - Botchit and Scarper26. Plump DJ's - Blackjack - FingerLickin'

Street Underground Radio es un programa dedicado especialmente a la cultura urbana, música Reggae, Dancehall, Hiphop y otros estilos relacionados,nacional e internacional, el programa es emitido cada viernes de 17 a 19 (hora española) desde los estudios de Radio Espai Jove en Villareal, Castellon. Por myradiostream.com/radioespaijove Presentador, técnico de sonido y director: Sergio Vicent, aka Littleskinnybwoy. Temas de intro al programa realizados por Lyon Boss desde Madrid y Puter desde Barcelona. Tema presentacion: Turn me on, Kevin Lyttle ft Spragga Benz.(por problemas de los primeros programas hoy la presentacion se escucha muy muy poco, perdonar). 1- LYON BOSS, OTRA NORIA (PHOENIX) 2- CARLA TAPIA, TRUE STORY (THE ANSWER) 3- LITTLE PEPE, NO SE PARA (LA FABRICA DE LIRICA) 4- LITTLE PEPE, UNA COMO TU (PACMAN RIDDIM) 5- FYAHBWOY MAÑANA YA VERE (BL4QKFY4H) 6- SIERVO FT. OBA SIMBA, JAMAICA NICE (THIS IS THE MOMENT) 7- NEWTON FT. BUFFLEMAN, LA CANELA 8- JAH NATTOH FT. MORODO, LIRICA FRESCA (SOLO PARA TI) 9- ROE DELGADO FT. ALERTA KAMARADA, CANTO A LA VIDA (VIDA) 10- RAS GANJAH, HOT (BLESSED) 11- SEÑOR R FT. BMAN ZEROWAN, LO SABES TU (GIPSY REGGAE MUSIC) 12- IVAN NIETO FT FYAHBWOY, QUIEN ES QUIEN (WHITE MIRLO) 13- ISUSKO & SBRV, DIRECTO A TU CARA (MARIONETAS) 14- PUTER FT. TESO MR MOTTA, SIGO ACTIVO (ILLUSIONS) 15- TREJO FT BAD FAME, NEGRA NAVIDAD (SOBREDOSIS DE TINTA) 16- BRIAN (RPV), TODO CLARO (10 AÑOS PA ESTO) (PROD. KCHO) 17- BRIAN (RPV), MI VOZ AL CIELO (10 AÑOS PA ESTO) 18- RAPVIVOROS FT. TOSKO, ORGULLO (THEY ARE THE RAPERS) 19- MONKAS CRU, INESTABLES (LA PASTA DEL MONO) 20- RAS GANJAH, SUENA DANCEHALL (POLIFONIA) 21- BMAN ZEROWAN, BULLSHIT (THE DANCING MAN ON THE VOLCANO) 22- AFAZ NATURAL, ALLA EN EL BARRIO 23- AFAZ NATURAL FT. LIRIC TRAFFIC & JAM, THIS IS THE BOOM 24- RAPPER SCHOOL, PASE LO QUE PASE 25- GYPTIAN, HOLD YOU 26- PROTOJE FT. KY MANI MARLEY, RASTA LOVE 27- SEAN PAUL FT. DAMIAN MARLEY, RIOT 28- KONSHENS FT. J CAPRI, PULL UP TO MI BUMPER 29- J CAPRI FT. CHARLY BLACK, WHINE AND KOTCH 30- JOHN HOLT, POLICE IN HELICOPTER 31- 2PAC FT. DR.DRE, CALIFORNIA LOVE 32- EAZY E, BOYS IN THE HOOD 33- BOB MARLEY, COULD YOU BE LOVE

Street Underground Radio es un programa dedicado especialmente a la cultura urbana, música Reggae, Dancehall, Hiphop y otros estilos relacionados,nacional e internacional, el programa es emitido cada viernes de 17 a 19 (hora española) desde los estudios de Radio Espai Jove en Villareal, Castellon. Por myradiostream.com/radioespaijove Presentador, técnico de sonido y director: Sergio Vicent, aka Littleskinnybwoy. Temas de intro al programa realizados por Lyon Boss desde Madrid y Puter desde Barcelona. Tema presentacion: Turn me on, Kevin Lyttle ft Spragga Benz.(por problemas de los primeros programas hoy la presentacion se escucha muy muy poco, perdonar). 1- LYON BOSS, OTRA NORIA (PHOENIX) 2- CARLA TAPIA, TRUE STORY (THE ANSWER) 3- LITTLE PEPE, NO SE PARA (LA FABRICA DE LIRICA) 4- LITTLE PEPE, UNA COMO TU (PACMAN RIDDIM) 5- FYAHBWOY MAÑANA YA VERE (BL4QKFY4H) 6- SIERVO FT. OBA SIMBA, JAMAICA NICE (THIS IS THE MOMENT) 7- NEWTON FT. BUFFLEMAN, LA CANELA 8- JAH NATTOH FT. MORODO, LIRICA FRESCA (SOLO PARA TI) 9- ROE DELGADO FT. ALERTA KAMARADA, CANTO A LA VIDA (VIDA) 10- RAS GANJAH, HOT (BLESSED) 11- SEÑOR R FT. BMAN ZEROWAN, LO SABES TU (GIPSY REGGAE MUSIC) 12- IVAN NIETO FT FYAHBWOY, QUIEN ES QUIEN (WHITE MIRLO) 13- ISUSKO & SBRV, DIRECTO A TU CARA (MARIONETAS) 14- PUTER FT. TESO MR MOTTA, SIGO ACTIVO (ILLUSIONS) 15- TREJO FT BAD FAME, NEGRA NAVIDAD (SOBREDOSIS DE TINTA) 16- BRIAN (RPV), TODO CLARO (10 AÑOS PA ESTO) (PROD. KCHO) 17- BRIAN (RPV), MI VOZ AL CIELO (10 AÑOS PA ESTO) 18- RAPVIVOROS FT. TOSKO, ORGULLO (THEY ARE THE RAPERS) 19- MONKAS CRU, INESTABLES (LA PASTA DEL MONO) 20- RAS GANJAH, SUENA DANCEHALL (POLIFONIA) 21- BMAN ZEROWAN, BULLSHIT (THE DANCING MAN ON THE VOLCANO) 22- AFAZ NATURAL, ALLA EN EL BARRIO 23- AFAZ NATURAL FT. LIRIC TRAFFIC & JAM, THIS IS THE BOOM 24- RAPPER SCHOOL, PASE LO QUE PASE 25- GYPTIAN, HOLD YOU 26- PROTOJE FT. KY MANI MARLEY, RASTA LOVE 27- SEAN PAUL FT. DAMIAN MARLEY, RIOT 28- KONSHENS FT. J CAPRI, PULL UP TO MI BUMPER 29- J CAPRI FT. CHARLY BLACK, WHINE AND KOTCH 30- JOHN HOLT, POLICE IN HELICOPTER 31- 2PAC FT. DR.DRE, CALIFORNIA LOVE 32- EAZY E, BOYS IN THE HOOD 33- BOB MARLEY, COULD YOU BE LOVE

Josh Allison, a long time musician of Huntsville, recently completed a successful kickstarter campaign to finance his first EP “Hold You” We sat down with Josh and Judy Allison and Jason Humphress of King’s Haze to talk about how the album came together and their journey through song writing. On the interview we hear “Hold You” and “Pieces Together” recorded live right here at the studio as well as a clip off the new album “Satisfy”.

Josh Allison, a long time musician of Huntsville, recently completed a successful kickstarter campaign to finance his first EP “Hold You” We sat down with Josh and Judy Allison and Jason Humphress of King’s Haze to talk about how the album came together and their journey through song writing. On the interview we hear “Hold You” and “Pieces Together” recorded live right here at the studio as well as a clip off the new album “Satisfy”.

119 BPM easy Deep-House and a nice warm mood in autumn day, all this will give you a new 22 episode! Join the warm mood and light that takes Bass pleasant feeling of calm relaxation. Emotional podcast series continues to delight all listeners. Every day, people listen to their favorite episodes on school, work, or just at home before going to bed for a cup of hot chocolate. Thank you for being with us! 300,000 downloads in iTunes and thousands of fans around the world! Peace Today, many of our favorite young talented guys from Russia. Great job on Chocolate Avenue, this guy does quality work, and this time we took him just two tracks: I Want Everything and Another Day. We also recommend listening to joint work of our guys Matuya and Eldar Stuff called Dance Dance remix of Outlife, which came out on a great label LoveStyle Records where a lot of great tracks. Such as a track from Domyan titled Flying Higher remix of Lou Van is present as well in this episode. Great job on Sasch, this guy always pleases great quality tracks and remixes, and this time it's a track called Missing You. Again, awesome remix from Moe Turk on a track called U Gonna Want Me by Saccao, Biatlone, Vintage Culture. Patrick Podage and its one of the oldest works titled Hold You always great tracks from this talented guy. You've heard about the label Dear Deer? Here's a great remix from the label of Gorkiz on a track called Let Me Leave by D15COM8. It is also worth to mention one of the first works in KANT, a track called Hurt with beautiful vocals will have the taste of many. It should also be noted a great track with Dubai label/night club Audio Tonic, a track called Johnna by Deeper Shade. And of course, one of our top remixes in September work titled Space Trip feat. Axel B by Yves Murasca in a great remix from Ian Tosel.

Introspection 1.0   Looking inwards for a few sets as in order to progress, one has to allow time for Introspection.   The Menu: from the somewhat darker, Indie and Nu-Disco side of Progressive House.   Do not be alarmed with the first track, just play along even if you think like my eleven year old son that old rockers are not your cup of tea.. The rest is a very solid, clever and original upload. Let yourselves go with this one, reward beckons!   Two acknowledgments: Richard Vasquez aka Doctor Love (check his podcast here) because under his influence I am trying to be more eclectic and less mechanical in my mixing. Lars who is driving my slow shift to progressive and trance and is introducing me to German Progressive house. Thanks guys, genuinely grateful.   I hope you give this Introspection series a fair listen. In the next few sets, you will discover new tunes, new sounds and you will be listening to some very clever music. It will not be boring! At worst, it will be mildly challenging but extremely rewarding..   Since I preventively gave ourselves 3 hours of soulful vocal happy pills before this Series we really should not experience any severe withdrawal symptoms for a few weeks.   Now dim the lights and relax..   Playlist:   1978 Private Investigations (Remastered Live Version). Dire Straits    2012 Love Lives In the Dark (Ralph Myerz and Olivier Rohrbach 5am Eternal Mix). Vanessa Daou                        2013 But Maybe (Rampue Remix) [Xtian Edit]. Oliver Schories 2014 Julia (Original Mix) [Xtian Elements Edit feat. Danny Tenaglia]. F3 2013 Left Your Love (Original Mix) [Xtian More Elements Edit feat. Danny Tenaglia]. Climbers feat Yasmine Azaiez 2013 Hold You (Original Mix). KANT 2014 On The Inside (Tosel  Hale Remix). Motif 2014 Good News (Original Mix). Thomas Langner 2013 Too Late (Alternative Version). Gui Boratto 2014 Deep Inside (Original Mix) [The House is Xtian Edit feat. Papa Je Aviance] . Ben Delay 2014 Falling (Original Mix). Nikolas Noam feat. Anaid 2013 Let The Music (ReDeep Mix 2013). Simone Vitullo & Redondo feat. Lady Vale 2013 Summertime Sadness (Asadinho Main Vocal Mix). Lana Del Rey   Highlights:   Starting with the remastered live version of “Private Investigations” from famed rock band Dire Straits..  Not sure what gave me the idea and the urge except maybe hearing on Richard Vasquez’s podcast drops one would not expect in a house set. But I can feel the intimate connection between progressive rock and progressive house.. Furthermore knowing that this was recorded live in front of an audience of 110,000 blows my mind.  The respect I have for artists who can not only write, sing but also perform at that level is limitless. So I hope you will enjoy it and if like my 11 year old you have a problem with “the cheesy sax” it is Ok there are a lot of very good tunes to come in the set..   Vanessa Daou’s “Loves Lives in the Dark”. The track prefigures what I hope the set will be. Great production, big BIG driving bassline and interesting left field vocals.   “But Maybe” from the great Hamburg based German progressive house producer Oliver Schories. Instrumental cut, with great pads nice breaks.. I am telling you the German Progressive House scene is where interesting things are happening..   “Julia” all about the atmosphere and a massive bassline.. If you can listen to it on a good system or headphones the better.. I love those melodic journey tracks. I “had’ to add some vocal samples. As most of you now well know, Xtian would have trouble going through 30 minutes without any vocals..    And yes I did go a little bit heavy on the sample but I was in MY journey and it felt gooood!   “Left Your Love” by Climbers.. By now it was time to inject a little melodic sugar in the set.. and What a track.. The vocalist, Yasmine Azaeiz, has the perfect range and phrasing for progressive and trance..  At 51:18 keys are starting and you just know that we are oh so so close of those great vocal trance tunes of the 90’s .. You will be sing along “ à la première écoute”..   Give me 10 similar tracks with a few higher BPM ones and I return to trance in a heartbeat..   KANT Danish producer of Progressive/Indie), I have used “Hold You” before, I absolute adore this track. It is built and structured like classical music, a very simple vocal hook but perfectly pitched ( who says Xtian does not do male vocalist?). It is clever, it is happy.. Love it!   “On The Inside” from Motif, apart from the very sloppy mixing (too late to correct), this fits so well in the general mood of the set. Again heavy bass, simple vocal hook, discrete percussions yet so intricate.. This could ONLY be produced in Europe..   “Good News” by Thomas Langner from Cracow Poland (check his soundcloud), I love the filtered bass, those very subtle guitar.. If you do not feel the connection between Progressive House and Progressive Rock there , you need to re-listen to you classics..   I have covered Gui Boratto ‘s “Too Late” before therefore will not say much but for my absolute admiration for unknown vocalist. Very sexy voice! As for the guitar in the background.. Yeah!   Ben Delay’s” Deep Inside” love everything the production, the dirty filtered bass, a 2014 track which is already in my top ten..   “Falling” from Nikolas Noam . Call it Progressive House, call it down tempo Trance, Trouse..  who cares? but please find a good reason to spend 6 minutes with it.. I guarantee you will feel better for it.. I particular love the looping key pads in the back, just lovely..   “Let The Music” back to VERY clever sugar with trance sounding vocalist.. Again so so close to Trance heaven.. Just push the bass and let your self be driven, seriously.. headphones on, high volume I dare you not to throw your hands in the air and dance..  Yes “Let the Music…”.   “Summertime Sadness” I am going through a bit of a Lana del Rey obsession..  But everyone will have to admit that this remix is fab.. Talk about dirty, dirty filtered bassline..  Lana’s voice so close to have the same effect on me than Nadia Ali’s.. So close.. It will pass but in the meantime Lana will pop in and out of this podcast often.   I hope you give this podcast a fair listen, it will grow on you, it will.   Back with Introspection 2.0 very soon… This one will come to yu from Hong Kong..   A très bientôt   Xtian

Pod of Thunder - 044 - I'll Fight Hell to Hold You: Andy, Chris, and Nick break down 1987's"I'll Fight Hell to Hold You" from Crazy Nights. Also, the guys discuss the recent revelations regarding the Rock and Roll Hall of Fame.

Adam Mitchell has written some very cool KISS Klassics, “Creatures of the Night”, “Crazy Nights”, “Danger”, “Keep Me Comin'”, “I’m a Legend Tonight”, “Partners in Crime”, “I’ll Fight Hell to Hold You”, “Little Caesar”,  He has also written for Chicago, Olivia Newton-John, Art Garfunkel, John Waite, Linda Ronstadt and many others. Decibel Geek & PodKISSt’s own Chris Czynszak interviewed this […]

He is so good he wore out one piano and had to take a break to bring in a second one. From the impressive Rose Garden Theater in Second Life Chris brings us some of his original songs Mirror, Mirror, Memphis Jive, Being Beautifulm So Damn Easy, I Can't Pretend, I Feel You, Kiss Me Please, Hold You, Take Me To Your PartyLive N Kickin Dedicated to Delinda Dyrssen