Podcasts about I Call Your Name

This is a Special Episode called THE BRITISH INVASION SHOW. It features the seven following stars from this magical era of the 1960s when English artists ruled the pop world and the charts. Each was previously a guest on the podcast.Peter Noone - Herman of Herman's Hermits. They had a spectacular run of hits including “No Milk Today”, “There's A Kind Of A Hush”, “Mrs. Brown You've Got A Lovely Daughter”, “I'm Henry VIII” and their first smash “I'm Into Something Good”.Rod Argent was the keyboard wizard of The Zombies. The band had two massive hits in the ‘60s, “She's Not There” and “Tell Her No”.Allan Clarke was the lead singer for The Hollies, another band that had a string of hits including “On A Carousel”, “Pay You Back With Interest” and “Long Cool Woman In A Black Dress”.Jim McCarty was the drummer for The Yardbirds, whose hits included “For Your Love” and “Heartful Of Soul”. The band had three famous guitarists in succession: Eric Clapton, Jeff Beck and Jimmy Page.Billy J. Kramer was the lead singer of Billy J. Kramer and the Dakotas. They were managed by Brian Epstein, the manager of The Beatles, and were given several Lennon/McCartney songs to record including “Do You Want To Know A Secret”, “I Call Your Name” and “Bad To Me”.Kenney Jones was the drummer for the Small Faces of “Itchycoo Park” fame, then the Faces starring Rod Stewart, and then joined The Who after the death of Keith Moon.John Lodge was the bassist and a singer and composer for The Moody Blues. Their big hits included “Go Now” and “Nights In White Satin”. John's hits included “Ride My See Saw” and “I'm Just A Singer In A Rock And Roll Band”.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.—----------------------------------------ROBERT'S RECENT SINGLES:“MOON SHOT” is Robert's latest single, reflecting his Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

This week on Classic Vinyl Podcast and our Meet The Beatles series, Justin and Tyler listen to and review the first two songs off of the Long Tall Sally EP, Long Tall Sally and I Call Your Name. Give them a listen and let us know what you think!

In this episode, we take a deep dive into The Beatles' lesser-known track "I Call Your Name" and explore its fascinating backstory. From its roots as an early John Lennon composition to its surprising ska influence, we uncover the hidden layers of this song. Along the way, we delve into the vibrant 1960s music scene and the intriguing story of Brigitte Bond, a figure deeply connected to ska and mod culture, whose resilience and trailblazing career provide a unique lens through which to view the era. Join us as we journey through music history, uncovering stories that go far beyond the surface. Full Brigitte Bond documentary at https://www.youtube.com/@MissUpsetterDesigns/videos After that, the Deep Dive hosts delve deeper into 1964, continuing the immersive experience that followers of (and participants in) the "Beatles 60" Facebook group experience. The group takes followers beyond the randomness found in typical fan spaces, offering a structured, day-by-day exploration of The Beatles' journey. This time, they focus on the rise of Blue Beat (ska) music and how it influenced the cultural backdrop of The Beatles' evolving sound. https://beatles60.group/group The episode highlights how the group's chronological approach allows followers to experience history as it unfolded, creating a connection to the band's story that is deeper and more immersive than what most other platforms offer. Key moments, such as The Beatles' return to London or the behind-the-scenes challenges faced by Brian Epstein and George Martin, are brought to life with an attention to buildup and context, offering insights that make even familiar stories feel fresh. Listeners who are already fans of the daily dives will appreciate how the "Beatles 60" group brings history to life in a way that balances both structure and discovery. The Beatles60 Facebook group stands out due to its highly structured, day-by-day approach to exploring the Beatles' journey in 1964. Each day, the group focuses on what the Beatles were doing 60 years prior, creating a "daily soap opera" experience for members. This sequential approach allows for a deeper understanding of how events unfolded and influenced each other. In contrast, most Facebook groups have a more random, less structured approach to content sharing. Beatles60 leverages this chronological framework to create a sense of "living in the history" with the band. By experiencing the events as they happened 60 years ago, members can immerse themselves in the era and gain a unique perspective on the band's journey. This immersive experience is further enhanced by the group's use of historical media, such as photos, articles, and interviews from 1964. The project goes beyond simply presenting facts and employs an "interpretive approach" to Beatles research. This means that the group encourages members to analyze the events, consider the broader context, and explore the motivations and emotions of those involved. The goal is to offer a deeper understanding of the band's journey, going beyond a simple recounting of facts. This interpretive approach, which involves drawing conclusions based on available evidence, is central to the Beatles60 project and distinguishes it from groups that may simply present information without offering analysis or interpretation. Beatles60 cultivates a strong sense of community among its members. Participants are encouraged to share their own memories, perspectives, and insights on the events of 1964. This collective engagement creates a shared experience of "living in the history" together, fostering a deeper connection between fans and the band's legacy. In essence, the Beatles60 Facebook group offers a unique and immersive way to explore the Beatles' story. By combining a structured chronological approach with an interpretive lens and a strong sense of community, the project allows fans to engage with the band's history in a way that goes beyond typical fan groups.

Billy J. Kramer, of Billy J. Kramer and the Dakotas, was a huge Rock Star during the British Invasion era of the 1960s. They had massive hits with a string of songs written by John Lennon and Paul McCartney including “Do You Want To Know A Secret”, “Bad To Me”, “From A Window”, “I'll Keep You Satisfied” and “I Call Your Name”. But their biggest hit was “Little Children”. They were managed by Brian Epstein and were part of Brian's stable of artists including Gerry and the Pacemakers and Lulu. He's got a new album out called “Are You With Me”.My featured song is “This Time” from the album Bobby M and the Paisley Parade. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“LOU'S BLUES” is Robert's new single. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's recent single. With guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------“MILES BEHIND”, Robert's debut album, recorded in 1994, was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Intro/Outro Voiceovers courtesy of:Jodi Krangle - Professional Voiceover Artisthttps://voiceoversandvocals.com Audio production:Jimmy RavenscroftKymera Films Connect with Billy at:www.billyjkramermusic.com Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Vor 60 Jahren versetzen die Beatles die Musikwelt in Aufruhr. Die vier Jungs aus Liverpool ließen nicht nur Teenagerherzen höherschlagen, sondern wurden zu einer der einflussreichsten und erfolgreichsten Bands der Musikgeschichte. Am 9. Juli 1964 veröffentlichten die Beatles ihr drittes Album "A Hard Day's Night" – eine Platte, die nicht nur in Großbritannien, sondern auch international die Charts eroberte. Nur wenige Tage zuvor erschien der dazugehörige Film mit dem Titel "Yeah, Yeah, Yeah". Film und Album eröffneten neue Marketingstrategien im Showbiz, die Boyband ist geboren. Zum ersten Mal kommen alle Kompositionen vom Songschreiber-Duo John Lennon und Paul McCartney. "Hard Day's Night" führte mit Songs wie "Can't Buy Me Love" und "Things We Said Today" die Charts an und beschritt gleichzeitig neue Wege in der damaligen Aufnahmetechnik. "A Hard Day's Night" Der Titel zum Song und Album "A Hard Day's Night" stammt von Ringo Starr. Der Legende zufolge waren die Beatles den ganzen Tag unterwegs und Ringo merkte erschöpft an, dass es ein harter Tag "A Hard Day" war, bis er merkte, dass es eigentlich schon Nacht war, weshalb er das "Night" noch angehängt hat. Das Album wurde in den Abbey Road Studios (damaligen EMI Studios) im Londoner Stadtteil Westminster aufgenommen. "A Hard Day's Night" war die Initialzündung für die Folk-Rock-Ära der 60er. Ein Instrument steht dafür wie kein zweites: Die 12-saitige E-Gitarre "Rickenbacker 360/12", die von George Harrison gespielt wurde. Sie inspirierte viele Musiker, unter anderem die Byrds, die den Sound übernahmen. Der ikonische Eröffnungsakkord des Titelsongs "A Hard Day's Night" fasziniert Musikliebhaber bis heute. Hier hat George Harrison mit der halbakustische E-Gitarre Rickenbacker 360/12 neue Soundmaßstäbe gesetzt. "Can't Buy Me Love" "Can't Buy Me Love" ist die erste Single-Auskopplung von "A Hard Day's Night" und die erfolgreichste: Nummer 1 in vielen Ländern und in den USA gab es gleich mehrere Rekorde: 5 Wochen an der Spitze der Billboard Hot 100, von Platz 27 direkt auf 1. Der Song wurde ursprünglich in Frankreich aufgenommen und später in der fertigen Version in den Abbey Road Studios. "Can't Buy Me Love" ist ein Klassiker, den Paul McCartney auch heute noch in seinen Live-Shows spielt. Mehr über die Geschichte hinter dem Titel von Film, Album und Song, was es mit der Genialität des berühmten Anfangsakkords von "A Hard Day's Night" auf sich hat und was die unvergleichliche "Beatles-Magie" ausmacht und noch vieles mehr, erfahren Sie im Meilensteine Podcast zu "A Hard Day's Night" von The Beatles. __________ Über diese Songs vom Album "A Hard Day's Night" wird im Podcast gesprochen (17:38) – "Can't Buy Me Love"(20:38) – "A Hard Day's Night"(51:07) – "And I Love Her"(57:37) – "Can't Buy Me Love"(1:01:08) – "Any Time At All"(1:04:30) – "Things We Said Today"__________ Über diese Songs wird außerdem im Podcast gesprochen (17:17) – "Komm gib mir deine Hand" von The Beatles(24:39) – "I Call Your Name" von The Beatles(34:12) – "Mr. Tambourine Man" von The Byrds(40:50) – "A Hard Day's Night" von Goldie Hawn(1:00:28) – "Can't Buy Me Love" von Ella Fitzgerald__________ Alle Shownotes und weiterführenden Links zur Folge "A Hard Day's Night" findet ihr hier: https://www.swr.de/swr1/rp/meilensteine/swr1-meilensteine-a-hard-days-night-the-beatles-100.html __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Meldet euch gerne per WhatsApp-Sprachnachricht an die (06131) 92 93 94 95 oder schreibt uns an meilensteine@swr.de

For this week's episode of Sample Sunday , Ball Hog Beats grabs a sample from Splice for another Drake inspired beat, after the botch sampling of “I Call Your Name” by Switch. --- Send in a voice message: https://podcasters.spotify.com/pod/show/ballhogbeats/message Support this podcast: https://podcasters.spotify.com/pod/show/ballhogbeats/support

It's four for the price of one this episode, as JG and Andrew tackle the whole of the Long Tall Sally EP in one go. So that'll be Long Tall Sally itself, I Call Your Name, Matchbox and Slow Down - plenty to be getting on with! How does the EP stack up when compared to the material that surrounds it? Does the band manage to make a good fist of the covers? And what of the lone Lennon/McCartney original? Rankings: Track-by-track Ranking eMail: beatlesstuffology@gmail.com Twitter: @beatles_ology JG's Blog: Judgementally Reviews… Andrew's Blog: Stuffology   Produced by: JG McQuarrie

What was originally a song given away to fellow Liverpudlian singer Billy J. Kramer, "I Call Your Name" is claimed to be one of John's earliest song attempts, pre-dating the Beatles when he was first learning to play guitar. The song was spruced up with Paul for Kramer, but then reclaimed by the Beatles in early 1964 in consideration for songs for A Hard Day's Night. That plan fell by the wayside, but the track found its' home on the Long Tall Sally EP and The Beatles Second Album in the US, though managed to stay somewhat of an obscurity, as far as Beatles songs go at least. However, that doesn't prevent it from being an ripping, if not adventurous slice of music from the boys. For such an early song, it goes to some interesting places melodically, showing John possessed his knack for songwriting at an early age. It features some fantastic 12 string work George, though he's still getting comfortable with the instrument. It's a song about being absolutely devastated by loss, to a point of not even being able to cry, and if the timing is correct as John claims, it seems like it may be about something really, really hurtful from his past. It's all held together by a phenomenal vocal performance from John, hitting the peak his of his early phase vocals. Then of course, there's that rhythm change in the solo, an imaginative, experimental move the band had never tried, completely out of left field. It's a fantastic song and recording, as evidenced by the fact that it was covered contemporaneously by acts like The Mamas & The Papas and The Buckinghams, among others. When we need to get deep on John, few are better to speak on it than Jude Kessler, author of the on-going 9 volume "The John Lennon Series." She's been researching Lennon's life since the 80s, and her books are becoming known to be the benchmark for deep diving on John and his history and what makes him tick. Plus we just like talking to her because she's incredibly nice! She's released 5 of the 9 volumes so far, and the audiobook for the 3rd volume, "She Loves You," is out now! Check it all out and get a copy at thejohnlennonseries.com! We chat with Jude about the Fest for Beatles Fans, John's family life, Beatle b-sides and so much more! What do you think? Too high? Too low? Or just right? Let us know in the comments on ⁠⁠⁠⁠Facebook⁠⁠⁠⁠, ⁠⁠⁠⁠Instagram ⁠⁠⁠⁠@rankingthebeatles, or ⁠⁠⁠⁠Twitter ⁠⁠⁠⁠@rankingbeatles! Be sure to visit ⁠⁠⁠⁠rankingthebeatles.com⁠⁠⁠⁠! Wanna show your support? Buy Us A Coffee! --- Send in a voice message: https://podcasters.spotify.com/pod/show/rankingthebeatles/message Support this podcast: https://podcasters.spotify.com/pod/show/rankingthebeatles/support

Vamos con The Beatles y la historia del EP Long Tall Sally de 1964, el primero de la banda que incluía canciones no lanzadas previamente en un álbum o sencillo en el Reino Unido. El EP contiene tres versiones, Long Tall Sally, Slow Down y Matchbox, y una canción original de Lennon-McCartney, I Call Your Name. Ricardo Portman nos cuenta su historia, track by track. Si os gusta el programa podéis apoyar Ecos del Vinilo Radio siendo patrocinadores ¡por lo que vale un café al mes! desde el botón azul de iVoox. Recuerden que nuestros programas los pueden escuchar también en: Nuestra web https://ecosdelvinilo.com Radio M7 (Córdoba) lunes 18:00 y sábados 17:00. Distancia Radio (Córdoba) jueves y sábados 19:00 Radio Free Rock (Cartagena) viernes 18:00. Generación Radio (Medellín, Colombia) jueves y domingos 19:00 (hora Col.) Radio Hierbabuena (Lima, Perú) jueves 20:00 (hora Perú)

** PLEASE SUBSCRIBE ** Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― “TRUTH IN RHYTHM” is the interview show that gets DEEP into the pocket with contemporary music's foremost masters of the groove. Become a TRUTH IN RHYTHM Member through YouTube or at https://www.patreon.com/truthinrhythm. Featured in TIR Episode 278 (Part 2 of 2): Drummer and singer Jody Sims, best known as a founding member of one of the most successful soul-funk bands of the late 1970s and early 1980s – Switch. First known as a Barry White protege group called White Heat, after being signed to Motown and under the mentorship of Jermaine Jackson, Switch released four straight Top 25 R&B albums and five Top 25 singles.  Featuring Bobby DeBarge's soaring falsetto, those hits included “There'll Never Be” and “I Call Your Name.” Other notable songs included “I Wanna Be Closer,” “Best Beat in Town,” “Love Over and Over Again,” “We Like to Party … Come On,” “Go on Doin' What You Feel,” “Power to Dance,” “You Keep Me High” and “Just Can't Pull Away.” Switch's wonderful music continues to delight thousands of listeners today. RECORDED NOVEMBER 2022 LEGAL NOTICE: All video and audio content protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281). Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c400

** PLEASE SUBSCRIBE ** Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― “TRUTH IN RHYTHM” is the interview show that gets DEEP into the pocket with contemporary music's foremost masters of the groove. Become a TRUTH IN RHYTHM Member through YouTube or at https://www.patreon.com/truthinrhythm. Featured in TIR Episode 278 (Part 1 of 2): Drummer and singer Jody Sims, best known as a founding member of one of the most successful soul-funk bands of the late 1970s and early 1980s – Switch. First known as a Barry White protege group called White Heat, after being signed to Motown and under the mentorship of Jermaine Jackson, Switch released four straight Top 25 R&B albums and five Top 25 singles.  Featuring Bobby DeBarge's soaring falsetto, those hits included “There'll Never Be” and “I Call Your Name.” Other notable songs included “I Wanna Be Closer,” “Best Beat in Town,” “Love Over and Over Again,” “We Like to Party … Come On,” “Go on Doin' What You Feel,” “Power to Dance,” “You Keep Me High” and “Just Can't Pull Away.” Switch's wonderful music continues to delight thousands of listeners today. RECORDED NOVEMBER 2022 LEGAL NOTICE: All video and audio content protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281). Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c400

A few technical difficulties occur due to the recent storms in California. Hello once again everyone I'm your host Ray Shasho and welcome to another edition of Interviewing the Legends. Dennis Tufano is the original "voice" of “The Buckinghams”. the Chicago-based group that scored a string of five Top Ten hits in the late-sixties including, the #1 “Kind of A Drag”, “Don't You Care”, “Mercy, Mercy, Mercy”, “Hey Baby, They're Playing Our Song”, “Susan” and “Back In Love Again”. Following his success in the Buckinghams, Dennis was part of the song-writing duo "Tufano and Giammarese" and recorded three albums with Lou Adler's custom label, Ode Records. Back on the road, Dennis joined Olivia Newton-John on her hugely successful tour and was featured, with her on the HBO Special in two dramatically inspired duets. As an actor, Dennis has also worked in film, television, radio and commercials. Please welcome the legendary voice of the Buckinghams DENNIS TUFANO to Interviewing the Legends …   FOR MORE INFORMATION ABOUT DENNIS TUFANO VISIT www.facebook.com/Dennistufanosings Facebook www.dtsings.com Dennis Tufano official website www.tufanofans.com/index.html Fan Site   DENNIS TUFANO 2023 Shows Friday, January 20, 2023, 7:00 pm ET Original Hitmakers of Summer Tour Dennis Tufano, Brian Hyland, Chris Montez, Rock and the Rollers Circle Square Cultural Center, Ocala, FL. Tickets: $35-$60; Doors open 6 pm ET   'ROCKY'S ROCKIN CRUISES' ROCKIN IN THE CARRIBEAN February 12 – 19, 2023 Wonder of the Seas EASTERN CARIBBEAN CRUISE Rocky & The Rollers America's Premier Rock and Roll Band Jon “Bowzer” Bauman “Formerly of Sha Na Na – Born to Hand Jive” Johnny Contardo “Formerly of Sha Na Na – Those Magic Changes” Dennis Tufano “original lead singer of The Buckinghams – Kind of a Drag” Jay Siegel's Tokens “The Lion Sleeps Tonight – Portrait of My Love” La La Brooks “original lead singer of The Crystals – He's a Rebel” Brian Hyland    “Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini” Chris Montez “The More I See You – Let's Dance” Joey Dee “Peppermint Twist -Shout”  Peggy March “I Will Follow Him” Port Canaveral, FL | CocoCay, Bahamas| Charlotte Amalie, St. Thomas | Basseterre, St. Kitts | Port Canaveral, FL   Saturday, February 25, 2023, 8:00 pm PT Best of the '60s Dennis Tufano with Special Guests Cannibal and The Headhunters The Coach House, San Juan Capistrano, CA All ticket purchasers will be entered to win a guitar that will be autographed by the artists in the show. Tickets: $30; Doors open at 6 pm PT   Saturday, March 11, 2023, 7 pm ET Rockin' Oldies Dance Party Dennis Tufano, The Vogues, Bobby Wilson, The Trammps The Grand Opera House, Copeland Hall, Wilmington, DE   Saturday, April 29, 2023, 7 pm ET Sixties Spectacular Dennis Tufano, Herman's Hermits, Jay and the Americans, 1910 Fruitgum Company Proctor's Theater, Schenectady, NY     'MALT SHOP CRUISE' October 28th-November 4th 2023 The Temptations … Little Anthony …Jay And The Americans …The Lettermen… Al Jardine, Founding Member of The Beach Boys, & His Endless Summer Band… Darlene Love… The Bronx Wanderers… Peter Asher… Dennis Tufano the Original Lead Singer of The Buckinghams… The Vogues… The Skyliners… The Contours… The Elegants …The Reflections… Linda Gail Lewis (sister of Jerry Lee Lewis) … Bobby Wilson     And more surprises to come!     DISCOGRAPHY with THE BUCKINGHAMS Kind of a Drag (1967, USA Records) Time and Charges (1967, Columbia) Portraits (1967, Columbia) In One Ear and Gone Tomorrow (1968, Columbia)   SINGLES 1965 "Sweets for My Sweet" b/w "Beginners Love" 1966 "I'll Go Crazy" b/w "Don't Want to Cry" "I Call Your Name" b/w "Makin' Up and Breakin' Up" "I've Been Wrong Before" b/w "Love Ain't Enough" "Kind of a Drag" b/w "You Make Me Feel So Good" 1967 "Lawdy Miss Clawdy" b/w "I Call Your Name" (first pressings) "Makin' Up and Breakin' Up" (later pressings) "Summertime" b/w "I Don't Want to Cry" "Don't You Care" b/w "Why Don't You Love Me" "Mercy, Mercy, Mercy" b/w "You Are Gone" "Hey Baby (They're Playing Our Song)" b/w "And Our Love" (from Time & Charges) "Susan" b/w "Foreign Policy" (from Time & Charges) 1968 "Back In Love Again" b/w "You Misunderstand Me" (Non-album track) In One Ear and Gone Tomorrow "Where Did You Come From" b/w "Song of the Breeze" (from In One Ear and Gone Tomorrow) 1969 "This Is How Much I Love You" b/w "Can't Find the Words" (from In One Ear and Gone Tomorrow) "It's a Beautiful Day (For Lovin')" b/w "Difference of Opinion" 1970 "I Got a Feelin'" b/w "It Took Forever"   Support us!

Lovers of cowbells, claps, jets and waltzes will be well served this week, as another four Beatles songs go head to head. Will it be I Call Your Name, Eight Days a Week, Back in the USSR or I Me Mine that makes the cut? Free fade in with every episode. 

Welcome to "Norm! A Cheers Podcast." We continue our discussion of Cheers Season 3 with the "I Call Your Name" and "Fairy Tales Can Come True." Please follow us on Twitter (@cheers_norm), like our page on Facebook (@normcheerspodcast), and email us at normcheerspodcast@gmail.com. Thanks for listening!

Welcome to "Norm! A Cheers Podcast." We continue our discussion of Cheers Season 3 with the "I Call Your Name" and "Fairy Tales Can Come True." Please follow us on Twitter (@cheers_norm), like our page on Facebook (@normcheerspodcast), and email us at normcheerspodcast@gmail.com. Thanks for listening!

Episode 30 begins with discussion of Dr. Kiedes' wordsmithery, who is Riggs and who is Murtaugh in the Blotto Beatles host chairs, if we are too old to discuss what is cheugy, if Garfield is cheugy, the introduction of Brother Pat, learning about the Beatles at sensitive points of your formative years, brothers saying or not saying they love each other, getting off schedule when we can get back with each other, John Lennon's fake bayou accent, the worst guitars in rock, the introduction of The Lick 5, a reminder of our restaurant franchise "Margarita Town," how Scotty plays the cowbell just like Ringo, when early Lennon may have a deeper meaning than initially imagined, and the ska-influenced "I Call Your Name." As always, you can find Team Blotto Beatles on Instagram (@blottobeatles) and Twitter (@blottobeatles), by emailing us (blottobeatles@gmail.com), or on the web (blottobeatles.com).  We want to hear from you!Please also take the time to rate and review us on Apple podcasts or wherever you get your podcasts.We have a shop!  Grab some merch.  You can also drunk dial us (tel:+18572339793)  or leave us a tip in our new tip jar (don't forget to include a message telling us what drinks we should drink with the money).See the canonical, argument-ending list of Beatles songs we are assembling here: https://www.blottobeatles.com/list; listen to it on Spotify here.Please remember to enjoy Blotto Beatles responsibly. Peace and Love.Hosts: Becker and TommyExecutive Producer: Scotty C.Guest: Brother PatAdditional Musical Supervision: RB (@ryanobrooks)#PeteBestGetThatCheck

The twins run the gamut from Father's Day to misheard lyrics to tripping in Hollywood, sobriety, books, stolen Ray-Bans and much more - including an unearthed and digitized song from a 1989 gig at what became The Viper Room in Hollywood. Above: Twins at LuLu's North Myrtle Beach SHOW NOTES: 0:00 - "I Call Your Name" by Chris Yale - live at The Central (Viper Room) Hollywood, 1989 3:13 - Greetings and about the song / Kirby and the Gators / More about The Central 5:40 - Tempo and live performance / Playing in the moment 7:13 - Misheard lyrics / "Sweet Caroline" / Neil Diamond / J. Cole / R.E.M. / Michael Stipe 11:54 - Being misunderstood / Roger's blog post about that 12:43 - Father's Day, again / Our adult children / Chris' son-in-law / Chris' grandchildren Elijah and Miles / Dad Carl Yale / Dead Dads 15:00 - Dad taught us how to read / "We Three" & "We Three and Scottie" / Dad sang to us / Tap lessons 16:30 - Sobriety 17:58 - Tripping in Hollywood / Our friend the parking meter 19:41 - Dad died on our 21st birthday / "Man's Search for Meaning" / Viktor Frankl 21:07 - Loaning books that were never returned / Joe Smith, "Off the Record" / "South Carolina: A History" by Walter Edgar 22:29 - The stolen Ray-Bans / The almost-stolen Walkman / Good money after bad 25:27 - On taking action 26:28 - The baby twins at LuLu's North Myrtle Beach / Twin life / Dad would be 106 / Superstition, pseudo-religiosity and flawed thinking 30:15 - "Only Yesterday: An Informal History of the 1920s" by Frederick Lewis Allen and Guy Foster / "Crossing to Safety" by Wallace Stegner / "The Letters of Noel Coward" edited by Barry Day / Book Buyers Charlotte / Cats in bookstores / Blue Bicycle Books Charleston / "White Bicycles: Making Music in the 1960s" by Joe Boyd 34:00 - Digitizing 34:09 - Being foiled in dreams 35:48 - Andre De Shields

Hello Friends! Today we've got another Patron requested episode, taking a look at the debut LP from The Mamas and The Papas, "If You Can Believe Your Eyes and Ears". This California pop classic includes hit singles "Monday, Monday" and "California Dreamin'", along with classics like "Go Where You Wanna Go" and "I Call Your Name". The stereo mix of this album is notoriously wonky and unpleasurable compared with the cohesive sound of the mono, and with extended fades and variable balance between the two, we've got another treat for you to enjoy!  Happy Listening,  Frederick  Support the show and get hours of extra content at: https://www.patreon.com/backtomono Email the show at: backtomonoradio@gmail.com Listen to companion podcast Back to Mono: https://www.mixcloud.com/backtomonoradio/playlists/back-to-mono-complete/  Find me on Instagram @hypnoticfred Join the Facebook Community here: https://www.facebook.com/groups/backtomono

In this  episode of I Don't Like Reggae, I Love It, a special audio series on the historical origins and impact of reggae on popular music, I go back to the beginning and tell the story behind the granddaddy of all cod reggae tracks – Ob-La-Di Ob-La-Da by The Beatles.  As Beatlemania was reaching a frenzy in 1964, ska music was also exploding in popularity in the UK. And like everyone else in England, The Beatles were listening. After an early and brief exploration with ska in their song   "I Call Your Name,"  it was just a few years later that the band would experiment with Jamaican music again but in a bigger, more direct way.  As more non-reggae artists began to appropriate the sound of reggae and white audiences responded, this new “regatta de blanc” as The Police called their second album, received a less than flattering name – cod reggae. It's a harsh but efficient way of describing reggae music reconfigured for a mass audience.If you've listened and received some value from this episode, then please help support the podcast for as little as $3 per month on Patreon. Supporters get access to exclusive content like special episodes of this series and advanced promo chapters from the book. Just go to patreon.com/skaboompodcast for more information or click this link: https://patreon.com/skaboompodcast?utm_medium=social...Please note: The music clips included in this podcast fall under the “Fair Use Doctrine” as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, and news reporting.

This week’s episode looks at “My Boy Lollipop” and the origins of ska music. 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 “If You Wanna Be Happy” by Jimmy Soul. 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/ —-more—- Resources As usual, I have created a Mixcloud playlist containing every song heard in this episode — a content warning applies for the song “Bloodshot Eyes” by Wynonie Harris. The information about ska in general mostly comes from Bass Culture: When Reggae Was King by Lloyd Bradley, with some also from Reggae and Caribbean Music by Dave Thompson. Biographical information on Millie Small is largely from this article in Record Collector, plus a paywalled interview with Goldmine magazine (which I won’t link to because of the paywall). Millie’s early recordings with Owen Gray and Coxsone Dodd can be found on this compilation, along with a good selection of other recordings Dodd produced, while this compilation gives a good overview of her recordings for Island and Fontana. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Erratum I refer to “Barbara Gaye” when I should say “Barbie Gaye” Transcript Today, we’re going to take our first look at a form of music that would go on to have an almost incalculable influence on the music of the seventies, eighties, and later, but which at the time we’re looking at was largely regarded as a novelty music, at least in Britain and America. We’re going to look at the birth of ska, and at the first ska record to break big outside of Jamaica. We’re going to look at “My Boy Lollipop” by Millie: [Excerpt: Millie, “My Boy Lollipop”] Most of the music we’ve looked at so far in the podcast has been from either America or Britain, and I’m afraid that that’s going to remain largely the case — while there has been great music made in every country in the world, American and British musicians have tended to be so parochial, and have dominated the music industry so much, that relatively little of that music has made itself felt widely enough to have any kind of impact on the wider history of rock music, much to rock’s detriment. But every so often something from outside the British Isles or North America manages to penetrate even the closed ears of Anglo-American musicians, and today we’re going to look at one of those records. Now, before we start this, this episode is, by necessity, going to be dealing in broad generalisations — I’m trying to give as much information about Jamaica’s musical culture in one episode as I’ve given about America’s in a hundred, so I am going to have to elide a lot of details. Some of those details will come up in future episodes, as we deal with more Jamaican artists, but be aware that I’m missing stuff out. The thing that needs to be understood about the Jamaican music culture of the fifties and early sixties is that it developed in conditions of absolute poverty. Much of the music we looked at in the first year or so of the podcast came from extremely impoverished communities, of course, but even given how utterly, soul-crushingly, poor many people in the Deep South were, or the miserable conditions that people in Liverpool and London lived in while Britain was rebuilding itself after the war, those people were living in rich countries, and so still had access to some things that were not available to the poor people of poorer countries. So in Jamaica in the 1950s, almost nobody had access to any kind of record player or radio themselves. You wouldn’t even *know* anyone who had one, unlike in the states where if you were very poor you might not have one yourself, but your better-off cousin might let you come round and listen to the radio  at their house. So music was, by necessity, a communal experience.  Jamaican music, or at least the music in Kingston, the biggest city in Jamaica, was organised around  sound systems — big public open-air systems run by DJs, playing records for dancing. These had originally started in shops as a way of getting customers in, but soon became so popular that people started doing them on their own. These sound systems played music that was very different from the music played on the radio, which was aimed mostly at people rich enough to own radios, which at that time mostly meant white British people — in the fifties, Jamaica was still part of the British Empire, and there was an extraordinary gap between the music the white British colonial class liked and the music that the rest of the population liked.  The music that the Jamaican population *made* was mostly a genre called mento. Now, this is somewhere where my ignorance of this music compared to other musics comes into play a bit. There seem to have been two genres referred to as mento. One of them, rural mento, was based around instruments like the banjo, and a home-made bass instrument called a “rhumba box”, and had a resemblance to a lot of American country music or British skiffle — this form of mento is often still called “country music” in Jamaica itself: [Excerpt: The Hiltonaires, “Matilda”] There was another variant of mento, urban mento, which dropped the acoustic and home-made instruments and replaced them with the same sort of instruments that R&B or jazz bands used. Everything I read about urban mento says that it’s a different genre from calypso music, which generally comes from Trinidad and Tobago rather than Jamaica, but nothing explains what that difference is, other than the location. Mento musicians would also call their music calypso in order to sell it to people like me who don’t know the difference, and so you would get mento groups called things like Count Lasher and His Calypsonians, Lord Lebby and the Jamaica Calypsonians, and Count Owen and His Calypsonians, songs called things like “Hoola Hoop Calypso”, and mentions of calypso in the lyrics. I am fairly familiar with calypso music — people like the Mighty Sparrow, Lord Melody, Roaring Lion, and so on — and I honestly can’t hear any difference between calypso proper and mento records like this one, by Lord Power and Trenton Spence: [Excerpt: Lord Power and Trenton Spence, “Strip Tease”] But I’ll defer to the experts in these genres and accept that there’s a difference I’m not hearing. Mento was primarily a music for live performance, at least at first — there were very few recording facilities in Jamaica, and to the extent that records were made at all there, they were mostly done in very small runs to sell to tourists, who wanted a souvenir to take home. The music that the first sound systems played would include some mento records, and they would also play a fair number of latin-flavoured records. But the bulk of what they played was music for dancing, imported from America, made by Black American musicians, many of them the same musicians we looked at in the early months of this podcast. Louis Jordan was a big favourite, as was Wynonie Harris — the biggest hit in the early years of the sound systems was Harris’ “Bloodshot Eyes”. I’m going to excerpt that here, because it was an important record in the evolution of Jamaican music, but be warned that the song trivialises intimate partner violence in a way that many people might find disturbing. If you might be upset by that, skip forward exactly thirty seconds now: [Excerpt: Wynonie Harris, “Bloodshot Eyes”] The other artists who get repeatedly named in the histories of the early sound systems along with Jordan and Harris are Fats Domino, Lloyd Price, Professor Longhair — a musician we’ve not talked about in the podcast, but who made New Orleans R&B music in the same style as Domino and Price, and for slow-dancing the Moonglows and Jesse Belvin. They would also play jazz — Dizzy Gillespie, Duke Ellington, and Sarah Vaughan were particular favourites. These records weren’t widely available in Jamaica — indeed, *no* records were really widely available . They found their way into Jamaica through merchant seamen, who would often be tasked by sound men with getting hold of new and exciting records, and paid with rum or marijuana. The “sound man” was the term used for the DJs who ran these sound systems, and they were performers as much as they were people who played records — they would talk and get the crowds going, they would invent dance steps and perform them, and they would also use the few bits of technology they had to alter the sound — usually by adding bass or echo. Their reputation was built by finding the most obscure records, but ones which the crowds would love. Every sound man worth his salt had a collection of records that nobody else had — if you were playing the same records that someone else had, you were a loser. As soon as a sound man got hold of a record, he’d scratch out all the identifying copy on the label and replace it with a new title, so that none of his rivals could get hold of their own copies. The rivalry between sound men could be serious — it started out just as friendly competition, with each man trying to build a bigger and louder system and draw a bigger crowd, but when the former policeman turned gangster Duke Reid started up his Trojan sound system, intimidating rivals with guns soon became par for the course. Reid had actually started out in music as an R&B radio DJ — one of the few in Jamaica — presenting a show whose theme song, Tab Smith’s “My Mother’s Eyes”, would become permanently identified with Reid: [Excerpt: Tab Smith, “My Mother’s Eyes”] Reid’s Trojan was one of the two biggest sound systems in Kingston, the other being Downbeat, run by Coxsone Dodd. Dodd’s system became so popular that he ended up having five different sound systems, all playing in different areas of the city every night, with the ones he didn’t perform at himself being run by assistants who later became big names in the Jamaican music world themselves, like Prince Buster and Lee “Scratch” Perry. Buster performed a few other functions for Dodd as well — one important one being that he  knew enough about R&B that he could go to Duke Reid’s shows, listen to the records he was playing, and figure out what they must be — he could recognise the different production styles of the different R&B labels well enough that he could use that, plus the lyrics, to work out the probable title and label of a record Reid was playing. Dodd would then get a merchant seaman to bring a copy of that record back from America, get a local record pressing plant to press up a bunch of copies of it, and sell it to the other sound men, thus destroying Reid’s edge. Eventually Prince Buster left Dodd and set up his own rival sound system, at which point the rivalry became a three-way one. Dodd knew about technology, and had the most powerful sound system with the best amps. Prince Buster was the best showman, who knew what the people wanted and gave it to them, and Duke Reid was connected and powerful enough that he could use intimidation to keep a grip on power, but he also had good enough musical instincts that his shows were genuinely popular in their own right. People started to see their favourite sound systems in the same way they see sports teams or political parties — as marks of identity that were worth getting into serious fights over. Supporters of one system would regularly attack supporters of another, and who your favourite sound system was *really mattered*. But there was a problem. While these systems were playing a handful of mento records, they were mostly relying on American records, and this had two problems. The most obvious was that if a record was available publicly, eventually someone else would find it. Coxsone Dodd managed to use one record, “Later For Gator” by Willis “Gatortail” Jackson, at every show for seven years, renaming it “Coxsone Hop”: [Excerpt: Willis “Gatortail” Jackson, “Later For Gator”] But eventually word got out that Duke Reid had tracked the song down and would play it at a dance. Dodd went along, and was allowed in unmolested — Reid wanted Dodd to know he’d been beaten.  Now, here I’m going to quote something Prince Buster said, and we hit a problem we’re likely to hit again when it comes to Jamaica. Buster spoke Jamaican Patois, a creole language that is mutually intelligible with, but different from, standard English. When quoting him, or any other Patois speaker, I have a choice of three different options, all bad. I could translate his words into standard English, thus misrepresenting him; I could read his words directly in my own accent, which has the problem that it can sound patronising, or like I’m mocking his language, because so much of Patois is to do with the way the words are pronounced; or I could attempt to approximate his own accent — which would probably come off as incredibly racist. As the least bad option of the three, I’m choosing the middle one here, and reading in my own accent, but I want people to be aware that this is not intended as mockery, and that I have at least given this some thought: “So we wait. Then as the clock struck midnight we hear “Baaap… bap da dap da dap, daaaa da daap!” And we see a bunch of them down from the dancehall coming up with the green bush. I was at the counter with Coxsone, he have a glass in him hand, he drop it and just collapse, sliding down the bar. I had to brace him against the bar, then get Phantom to give me a hand. The psychological impact had knocked him out. Nobody never hit him.” There was a second problem with using American records, as well — American musical tastes were starting to change, and Jamaican ones weren’t. Jamaican audiences wanted Louis Jordan, Fats Domino, and Gene & Eunice, but the Americans wanted Elvis and Jerry Lee Lewis and Bobby Darin. For a while, the sound men were able to just keep finding more and more obscure old R&B and jump band records, but there was a finite supply of these, and they couldn’t keep doing it forever. The solution eventually became obvious — they needed Jamaican R&B. And thankfully there was a ready supply. Every week, there was a big talent contest in Kingston, and the winners would get five pounds — a lot of money in that time and place. Many of the winners would then go to a disc-cutting service, one of those places that would record a single copy of a song for you, and use their prize money to record themselves. They could then sell that record to one of the sound men, who would be sure that nobody else would have a copy of it. At first, the only sound men they could sell to were the less successful ones, who didn’t have good connections with American records. A local record was clearly not as good as an American one, and so the big sound systems wouldn’t touch it, but it was better than nothing, and some of the small sound systems would find that the local records were a success for them, and eventually the bigger systems would start using the small ones as a test audience — if a local record went down well at a small system, one of the big operators would get in touch with the sound man of that system and buy the record from him. One of the big examples of this was “Lollipop Girl”, a song by Derrick Harriott and Claudie Sang. They recorded that, with just a piano backing, and sold their only copy to a small sound system owner. It went down so well that the small sound man traded his copy with Coxsone Dodd for an American record — and it went down so well when Dodd played it that Duke Reid bribed one of Dodd’s assistants to get hold of Dodd’s copy long enough to get a copy made for himself. When Dodd and Reid played a sound clash — a show where they went head to head to see who could win a crowd over — and Reid played his own copy of “Lollipop Girl”, Dodd pulled a gun on Reid, and it was only the fact that the clash was next door to the police station that kept the two men from killing each other. Reid eventually wore out his copy of “Lollipop Girl”, he played it so much, and so he did the only sensible thing — he went into the record business himself, and took Harriott into the studio, along with a bunch of musicians from the local big bands, and cut a new version of it with a full band backing Harriott. As well as playing this on his sound system, Reid released it as a record: [Excerpt: Derrick Harriott, “Lollipop Girl”] Reid didn’t make many more records at this point, but both Coxsone Dodd and Prince Buster started up their own labels, and started hiring local singers, plus people from a small pool of players who became the go-to session musicians for any record made in Jamaica at the time, like trombone player Rico Rodriguez and guitarist Ernest Ranglin. During the late 1950s, a new form of music developed from these recordings, which would become known as ska, and there are three records which are generally considered to be milestones in its development. The first was produced by a white businessman, Edward Seaga, who is now more famous for becoming the Prime Minister of Jamaica in the 1980s. At the time, though, Seaga had the idea to incorporate a little bit of a mento rhythm into an R&B record he was producing. In most music, if you have a four-four rhythm, you can divide it into eight on-beats and off-beats, and you normally stress the on-beats, so you stress “ONE and TWO and THREE and FOUR and”. In mento, though, you’d often have a banjo stress the off-beats, so the stresses would be “one AND two AND three AND four AND”. Seaga had the guitarist on “Manny Oh” by Higgs and Wilson do this, on a track that was otherwise a straightforward New Orleans style R&B song with a tresillo bassline. The change in stresses is almost imperceptible to modern ears, but it made the record sound uniquely Jamaican to its audience: [Excerpt: Higgs and Wilson, “Manny Oh”] The next record in the sequence was produced by Dodd, and is generally considered the first real ska record. There are a few different stories about where the term “ska” came from, but one of the more believable is that it came from Dodd directing Ernest Ranglin, who was the arranger for the record, to stress the off-beat more, saying “play it ska… ska… ska…” Where “Manny Oh” had been a Jamaican sounding R&B record, “Easy Snappin'” is definitely a blues-influenced ska record: [Excerpt: Theo Beckford, “Easy Snappin'”] But Duke Reid and Coxsone Dodd, at this point, still saw the music they were making as a substitute for American R&B. Prince Buster, on the other hand, by this point was a full-fledged Black nationalist, and wanted to make a purely Jamaican music. Buster was, in particular, an adherent of the Rastafari religion, and he brought in five drummers from the Rasta Nyabinghi tradition, most notably Count Ossie, who became the single most influential drummer in Jamaica, to record on the Folkes brothers single “Oh Carolina”, incorporating the rhythms of Rasta sacred music into Jamaican R&B for the first time: [Excerpt: The Folkes Brothers, “Oh Carolina”] 1962 was a turning point in Jamaican music in a variety of ways. Most obviously, it was the year that Jamaica became independent from the British Empire, and was able to take control of its own destiny. But it was also the year that saw the first recordings of a fourteen-year-old girl who would become ska’s first international star. Millie Small had started performing at the age of twelve, when she won the Vere Johns Opportunity Hour, the single biggest talent contest in Kingston. But it was two years later that she came to the attention of Coxsone Dodd, who was very interested in her because her voice sounded spookily like that of Shirley, from the duo Shirley and Lee. We mentioned Shirley and Lee briefly back in the episode on “Ko Ko Mo”, but they were a New Orleans R&B duo who had a string of hits in the early and mid fifties, recorded at Cosimo Matassa’s studio, pairing Leonard Lee’s baritone voice with Shirley Goodman’s soprano. Their early records had been knock-offs of the sound that Little Esther had created with Johnny Otis and his male vocalists — for example Shirley and Lee’s “Sweethearts”: [Excerpt: Shirley and Lee, “Sweethearts”] bears a very strong resemblance to “Double-Crossing Blues”: [Excerpt: Little Esther, Johnny Otis, and the Robins, “Double-Crossing Blues”] But they’d soon developed a more New Orleans style, with records like “Feel So Good” showing some of the Caribbean influence that many records from the area had: [Excerpt: Shirley and Lee, “Feel So Good”] Shirley and Lee only had minor chart success in the US, but spawned a host of imitators, including Gene and Eunice and Mickey and Sylvia, both of whom we looked at in the early months of the podcast, and Ike and Tina Turner who will be coming up later. Like much New Orleans R&B, Shirley and Lee were hugely popular among the sound system listeners, and Coxsone Dodd thought that Mille’s voice sounded enough like Shirley’s that it would be worth setting her up as part of his own Shirley and Lee soundalike duo, pairing her with a more established singer, Owen Gray, to record songs like “Sit and Cry”, a song which combined the vocal sound of Shirley and Lee with the melody of “The Twist”: [Excerpt: Owen and Millie, “Sit and Cry”] After Gray decided to continue performing on his own, Millie was instead teamed with another performer, Roy Panton, and “We’ll Meet” by Roy and Millie went to number one in Jamaica: [Excerpt: Roy and Millie, “We’ll Meet”] Meanwhile, in the UK, there was a growing interest in music from the Caribbean, especially Jamaica. Until very recently, Britain had been a very white country — there have always been Black people in the UK, especially in port towns, but there had been very few. As of 1950, there were only about twenty thousand people of colour living in the UK. But starting in 1948, there had been a massive wave of immigration from other parts of what was then still the British Empire, as the government encouraged people to come here to help rebuild the country after the war. By 1961 there were nearly two hundred thousand Black people in Britain, almost all of them from the Caribbean.  Those people obviously wanted to hear the music of their own culture, and one man in particular was giving it to them. Chris Blackwell was a remarkably privileged man. His father had been one of the heirs to the Crosse and Blackwell fortune, and young Chris had been educated at Harrow, but when not in school he had spent much of his youth in Jamaica. His mother, Blanche, lived in Jamaica, where she was a muse to many men — Noel Coward based a character on her, in a play he wrote in 1956 but which was considered so scandalous that it wasn’t performed in public until 2012. Blanche attended the premiere of that play, when she was ninety-nine years old. She had an affair with Errol Flynn, and was also Ian Fleming’s mistress — Fleming would go to his Jamaican villa, GoldenEye, every year to write, leaving his wife at home (where she was having her own affairs, with the Labour MPs Hugh Gaitskell and Roy Jenkins), and would hook up with Blanche while he was there — according to several sources, Fleming based the characters of Pussy Galore and Honeychile Ryder on Blanche. After Fleming’s death, his wife instructed the villa’s manager that it could be rented to literally anyone except Blanche Blackwell, but in the mid-1970s it was bought by Bob Marley, who in turn sold it to Chris Blackwell. Chris Blackwell had developed a fascination with Rasta culture after having crashed his boat while sailing, and being rescued by some Rasta fishermen, and he had decided that his goal was to promote Jamaican culture to the world. He’d started his own labels, Island Records, in 1959, using his parents’ money, and had soon produced a Jamaican number one, “Boogie in My Bones”, by Laurel Aitken: [Excerpt: Laurel Aitken, “Boogie in My Bones”] But music was still something of a hobby with Blackwell, to the point that he nearly quit it altogether in 1962. He’d been given a job as a gopher on the first James Bond film, Dr. No, thanks to his family connections, and had also had a cameo role in the film. Harry Saltzman, the producer, offered him a job, but Blackwell went to a fortune teller who told him to stick with music, and he did. Soon after that, he moved back to England, where he continued running Island Records, this time as a distributor of Jamaican records. The label would occasionally record some tracks of its own, but it made its money from releasing Jamaican records, which Blackwell would hand-sell to local record shops around immigrant communities in London, Manchester, and Birmingham. Island was not the biggest of the labels releasing Jamaican music in Britain at the time — there was another label, Blue Beat, which got most of the big records, and which was so popular that in Britain “bluebeat” became a common term for ska, used to describe the whole genre, in the same way as Motown might be. And ska was becoming popular enough that there was also local ska being made, by Jamaican musicians living in Britain, and it was starting to chart. The first ska record to hit the charts in Britain was a cover of a Jimmy Cliff song, “King of Kings”, performed by Ezz Reco and the Launchers: [Excerpt: Ezz Reco and the Launchers, “King of Kings”] That made the lower reaches of the top forty, and soon after came “Mockingbird Hill”, a ska remake of an old Les Paul and Mary Ford hit, recorded by the Migil Five, a white British R&B group whose main claim to fame was that one of them was Charlie Watts’ uncle, and Watts had occasionally filled in on drums for them before joining the Rolling Stones: [Excerpt: Migil Five, “Mockingbird Hill”] That made the top ten. Ska was becoming the in sound in Britain, to the point that in March 1964, the same month that “Mockingbird Hill” was released, the Beatles made a brief detour into ska in the instrumental break to “I Call Your Name”: [Excerpt: The Beatles, “I Call Your Name”] And it was into this atmosphere that Chris Blackwell decided to introduce Millie. Her early records had been selling well enough for him that in 1963 he had decided to call Millie’s mother and promise her that if her daughter came over to the UK, he would be able to make her into a star. Rather than release her records on Island, which didn’t have any wide distribution, he decided to license them to Fontana, a mid-sized British label. Millie’s first British single, “Don’t You Know”, was released in late 1963, and was standard British pop music of the time, with little to distinguish it, and so unsurprisingly it wasn’t a hit: [Excerpt: Millie, “Don’t You Know”] But the second single was something different. For that, Blackwell remembered a song that had been popular among the sound systems a few years earlier; an American record by a white singer named Barbara Gaye. Up to this point, Gaye’s biggest claim to fame had been that Ellie Greenwich had liked this record enough that she’d briefly performed under the stage name Ellie Gaye, before deciding against that. “My Boy Lollipop” had been written by Robert Spencer of the Cadillacs, the doo-wop group whose biggest hit had been “Speedoo”: [Excerpt: The Cadillacs, “Speedoo”] Spencer had written “My Boy Lollipop”, but lost the rights to it in a card game — and then Morris Levy bought the rights from the winner for a hundred dollars. Levy changed the songwriting credit to feature a mob acquaintance of his, Johnny Roberts, and then passed the song to Gaetano Vastola, another mobster, who had it recorded by Gaye, a teenage girl he managed, with the backing provided by the normal New York R&B session players, like Big Al Sears and Panama Francis: [Excerpt: Barbie Gaye, “My Boy Lollipop”] That hadn’t been a hit when it was released in 1956, but it had later been picked up by the Jamaican sound men, partly because of its resemblance to the ska style, and Blackwell had a tape recording of it. Blackwell got Ernest Ranglin, who had also worked on Dr. No, and who had moved over to the UK at the same time as Blackwell, to come up with an arrangement, and Ranglin hired a local band to perform the instrumental backing. That band, Jimmy Powell and the Five Dimensions, had previously been known as the Moontrekkers, and had worked with Joe Meek, recording “Night of the Vampire”: [Excerpt: The Moontrekkers, “Night of the Vampire”] Ranglin replaced the saxophone solo from the original record with a harmonica solo, to fit the current fad for the harmonica in the British charts, and there is some dispute about who played it, but Millie always insisted that it was the Five Dimensions’ harmonica player, Rod Stewart, though Stewart denies it: [Excerpt: Millie, “My Boy Lollipop”] “My Boy Lollipop” came out in early 1964 and became a massive hit, reaching number two on the charts both in the UK and the US, and Millie was now a star. She got her own UK TV special, as well as appearing on Around The Beatles, a special starring the Beatles and produced by Jack Good. She was romantically linked to Peter Asher of Peter and Gordon. Her next single, though, “Sweet William”, only made number thirty, as the brief first wave of interest in ska among the white public subsided: [Excerpt: Millie, “Sweet William”] Over the next few years, there were many attempts made to get her back in the charts, but the last thing that came near was a remake of “Bloodshot Eyes”, without the intimate partner violence references, which made number forty-eight on the UK charts at the end of 1965: [Excerpt: Millie, “Bloodshot Eyes”] She was also teamed with other artists in an attempt to replicate her success as a duet act. She recorded with Jimmy Cliff: [Excerpt: Millie and Jimmy Cliff, “Hey Boy, Hey Girl”] and Jackie Edwards: [Excerpt: Jackie and Millie, “Pledging My Love”] and she was also teamed with a rock group Blackwell had discovered, and who would soon become big stars themselves with versions of songs by Edwards, on a cover version of Ike and Tina Turner’s “I’m Blue (the Gong Gong Song)”: [Excerpt: The Spencer Davis Group, “I’m Blue (The Gong Gong Song)”] But the Spencer Davis Group didn’t revive her fortunes, and she moved on to a succession of smaller labels, with her final recordings coming in the early 1970s, when she recorded the track “Enoch Power”, in response to the racism stirred up by the right-wing politician Enoch Powell: [Excerpt: Millie Small, “Enoch Power”] Millie spent much of the next few decades in poverty. There was talk of a comeback in the early eighties, after the British ska revival group Bad Manners had a top ten hit with a gender-flipped remake of “My Boy Lollipop”: [Excerpt: Bad Manners, “My Girl Lollipop”] But she never performed again after the early seventies, and other than one brief interview in 2016 she kept her life private. She was given multiple honours by the people of Jamaica, including being made a Commander in the Order of Distinction, but never really got any financial benefit from her enormous chart success, or from being the first Jamaican artist to make an impact on Britain and America. She died last year, aged seventy-two.

This week's episode looks at "She Loves You", the Beatles in 1963, and the start of Beatlemania in the UK. 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 "Glad All Over" by the Dave Clark Five. 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/ ----more---- Resources As usual, I have created a Mixcloud playlist containing every song heard in this episode (except for the excerpt of a Beatles audience screaming, and the recording of me singing, because nobody needs those.) While there are many books on the Beatles, and I have read dozens of them,  All These Years Vol 1: Tune In by Mark Lewisohn is simply the *only* book worth reading on the Beatles' career up to the end of 1962. It is the most detailed, most accurate, biography imaginable, and the gold standard by which all other biographies of musicians should be measured. I only wish volumes two and three were available already so I could not expect my future episodes on the Beatles to be obsolete when they do come out. There are two versions of the book -- a nine-hundred page mass-market version and a 1700-page expanded edition. I recommend the latter.  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, other than Tune In, 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.   "She Loves You" can be found on Past Masters, a 2-CD compilation of the Beatles' non-album tracks that includes the majority of their singles and B-sides.    Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we're going to look at a record that is one of the most crucial turning points in the history of rock music, and of popular culture as a whole, a record that took the Beatles from being a very popular pop group to being the biggest band in Britain -- and soon to be the world. We're going to look at "She Loves You" by the Beatles: [Excerpt: The Beatles, "She Loves You"] When we left the Beatles, they had just released their first single, and seen it make the top twenty -- though we have, of course, seen them pop up in other people's stories in the course of our narrative, and we've seen how Lennon and McCartney wrote a hit for the Rolling Stones. But while we've been looking the other way, the Beatles had become the biggest band in Britain. Even before "Love Me Do" had been released, George Martin had realised that the Beatles had more potential than he had initially thought. He knew "Love Me Do" would be only a minor hit, but he didn't mind that -- over the sessions at which he'd worked with the group, he'd come to realise that they had real talent, and more than that, they had real charisma.  The Beatles' second single was to be their real breakthrough. "Please Please Me" was a song that had largely been written by John, and which had two very different musical inspirations. The first was a song originally made famous by Bing Crosby in 1932, "Please": [Excerpt: Bing Crosby, "Please"] Lennon had always been fascinated by the pun in the opening line -- the play on the word "please" -- and wanted to do something similar himself. The other influence is less obvious in the finished record, but makes sense once you realise it. A lot of Roy Orbison's records have a slow build up with a leap into falsetto, like "Crying": [Excerpt: Roy Orbison, "Crying"] Now, I'm going to have to do something I'm a little uncomfortable with here, and which I've honestly been dreading since the start of this project two years ago -- to demonstrate the similarity between "Please Please Me" and an Orbison song, I'm going to have to actually sing. I have a terrible voice and appalling pitch, and I could easily win an award for "person who has the least vocal resemblance to Roy Orbison of anyone in existence", so this will not be a pleasant sound, but it will hopefully give you some idea of how Lennon was thinking when he was writing "Please Please Me": [Excerpt: Me singing "Please Please Me"] I'm sorry you had to hear that, and I hope we can all move past it together. I promise that won't be a regular feature of the podcast. But I hope it gets the basic idea across, of how the song that's so familiar now could have easily been inspired by Orbison. Lennon had played that to George Martin very early on, but Martin had been unimpressed, thinking it a dirge. At Martin's suggestion, they took the song at a much faster tempo, and they rearranged the song so that instead of Lennon singing it solo, he and McCartney sang it as a duo with Everly Brothers style harmonies. They also changed the ascending "come on" section to be a call and response, like many of the Black vocal groups the Beatles were so influenced by, and by taking elements from a variety of sources they changed what had been a derivative piece into something totally original. For good measure, they overdubbed some harmonica from Lennon, to provide some sonic continuity with their earlier single. The result was a very obvious hit: [Excerpt: The Beatles, "Please Please Me"] After they'd finished recording that, George Martin said to them, "Gentlemen, you've just made your first number one" -- there are a number of slight variations of the wording depending on when Martin was telling the story, but it was something very close to that. Now that the Beatles had recorded something that really displayed their talents, they were clearly on their way to becoming very big, and it was at this point that George Martin brought in the final part of the team that would lead to that success; someone who would work closely with himself, the Beatles, and Brian Epstein. Dick James was someone who had himself had been a successful performer -- he's most famous now for having recorded the theme tune for the 1950s Robin Hood TV series: [Excerpt: Dick James, "Robin Hood"] That record had been produced by George Martin, as had several of James' other records, but James had recently retired from singing -- in part because he had gone prematurely bald, and didn't look right -- and had set up his own publishing company. George Martin had no great love for the people at Ardmore and Beechwood -- despite them having been the ones who had brought the Beatles to him -- and so he suggested to Brian Epstein that rather than continue with Ardmore and Beechwood, the group's next single should be published by Dick James. In particular, he owed James a favour, because James had passed him "How Do You Do It?", and Martin hadn't yet been able to get that recorded, and he thought that giving him the publishing for another guaranteed hit would possibly make up for that, though he still intended to get "How Do You Do It?" recorded by someone. Epstein had been unsure about this at first -- Epstein was a man who put a lot of stock in loyalty, but he ended up believing that Ardmore and Beechwood had done nothing to promote "Love Me Do" -- he possibly never realised that in fact it was them who were responsible for the record having come out at all, and that they'd had a great deal to do with its chart success. He ended up having a meeting with James, who was enthused by "Please Please Me", and wanted the song. Epstein told him he could have it, if he could prove he would be more effective at promoting the song than Ardmore and Beechwood had been with "Love Me Do". James picked up the telephone and called the producer of Thank Your Lucky Stars, one of the most popular music programmes on TV, and got the group booked for the show. He had the publishing rights. "Please Please Me" and its B-side "Ask Me Why" were published by Dick James Music, but after that point, any songs written by the Beatles for the next few years were published by a new company, Northern Songs. The business arrangements behind this have come in for some unfair criticism over the years, because Lennon and McCartney have later said that they were under the impression that they owned the company outright, but in fact they owned forty percent of the company, with Epstein owning ten percent, and the remaining fifty percent owned by Dick James and his business partner Charles Silver.  Obviously it's impossible to know what Lennon and McCartney were told about Northern Songs, and whether they were misled, but at the time this was very far from a bad deal. Most songwriters, even those with far more hits under their belt at the time, wrote for publishing companies owned by other people -- it was almost unheard of for them to even have a share in their own company. And at this time, it was still normal for publishing companies to actually have to work for their money, to push songs and get cover versions of them from established artists. Obviously the Beatles would change all that, and after them the job of a publisher became almost nonexistent, but nobody could have predicted how much the entire world of music was about to change, and so the deal that Lennon and McCartney got was an astonishingly good one for the time. This is something that's also true of a lot of the business decisions that Epstein made for the group early on. The Beatles earned incalculably less than they would have if they'd got the kind of contracts that people who started even a year or so after them got -- but their contracts were still vastly superior to anything that other performers in British music at the time were getting. Remember that Larry Parnes' teen idols were on a fixed salary, as were, for example, all the members of the Dave Clark Five except Clark himself, and you can see that the assumptions that apply when you look at later acts don't apply here. Either way, Dick James now had the publishing of what became the Beatles' first number one: [Excerpt: The Beatles, "Please Please Me"] At least, it became the Beatles' first number one as far as anyone paying attention in 1963 was concerned. But it's not their first number one according to any modern reference. These days, the British charts are compiled by a company called the Official Charts Company. That company started, under another name, in 1969, and is run by a consortium of record companies and retailers. If you see anywhere referring to "the UK charts" after 1969, that's always what they're referring to. In 1963, though, there were multiple singles charts in Britain, published by different magazines, and no single standard music-industry one. "Please Please Me" went to number one in the charts published by the NME and Melody Maker, two general-interest magazines whose charts were regarded by most people at the time as "the real charts", and which had huge audiences. However, it only made number two in the chart published by Record Retailer, a smaller magazine aimed at music industry professionals and the trade, rather than at the wider public. However, because the Official Charts Company is an industry body, the people who ran it were the people Record Retailer was aimed at, and so when they provide lists of historical charts, they use the Record Retailer one for the period from 1960 through 69 (they use the NME chart for 1952 through 59). So retroactively, "Please Please Me" does not appear as a number one in the history books, but as far as anyone at the time was concerned, it was. The record that kept "Please Please Me" off the top on the Record Retailer charts was "The Wayward Wind" by Frank Ifield: [Excerpt: Frank Ifield, "The Wayward "Wind"] Oddly, Ifield would himself record a version of "Please", the song that had inspired "Please Please Me", the next year: [Excerpt: Frank Ifield, "Please"] As a result of the success of "Please Please Me", the group were quickly brought into the studio to record an album. George Martin had originally intended to make that a live album, recorded at the Cavern, but having visited it he decided that possibly the huge amounts of condensation dripping from the ceiling might not be a good idea to mix with EMI's expensive electronic equipment. So instead, as we talked about briefly a couple of months back, the group came into Abbey Road on a rare day off from a package tour they were on, and recorded ten more songs that would, with the A- and B-sides of their first two singles, round out an album. Those tracks were a mixture of six songs that they performed regularly as part of their normal set -- covers of songs by the Cookies, the Shirelles, and Arthur Alexander, plus "Twist and Shout" and the soft pop ballad "A Taste of Honey", all of which they'd performed often enough that they could turn out creditable performances even though they all had colds, and Lennon especially was definitely the worse for wear (you can hear this in some of his vocals -- his nose is particularly congested on "There's a Place"), plus four more  recent Lennon and McCartney originals. By the time that first album came out, Lennon and McCartney had also started expanding their songwriting ambitions, offering songs to other performers. This had always been something that McCartney, in particular, had considered as part of their long-term career path -- he knew that the average pop act only had a very small time in the spotlight, and he would talk in interviews about Lennon and McCartney becoming a songwriting team after that point. That said, the first two Lennon/McCartney songs to be released as singles by other acts -- if you don't count a version of "Love Me Do" put out by a group of anonymous session players on a budget EP of covers of hits of the day, anyway -- were both primarily Lennon songs, and were both included on the Please Please Me album. "Misery" was written by Lennon and McCartney on a tour they were on in the early part of the year. That tour was headlined by Helen Shapiro, a sixteen-year-old whose biggest hits had been two years earlier, when she was fourteen: [Excerpt: Helen Shapiro, "Walking Back to Happiness"] Shapiro had also, in 1962, appeared in the film It's Trad, Dad!, which we've mentioned before, and which was  the first feature film directed by Richard Lester, who would later play a big part in the Beatles' career. Lennon and McCartney wrote "Misery" for Shapiro, but it was turned down by her producer, Norrie Paramor, without Shapiro ever hearing it -- it's interesting to wonder if that might have been, in part, because of the strained relationship between Paramor and George Martin. In the event, the song was picked up by one of the other artists on the tour, Kenny Lynch, who recorded a version of it as a single, though it didn't have any chart success: [Excerpt: Kenny Lynch, "Misery"] Lennon apparently disliked that record, and would mock Lynch for having employed Bert Weedon as the session guitarist for the track, as he regarded Weedon as a laughable figure. The other non-Beatles single of Lennon/McCartney songs that came out in early 1963 was rather more successful. Billy J Kramer and the Dakotas were another act that Brian Epstein managed and who George Martin produced. Their first single, "Do You Want To Know A Secret?" was a cover of a song mostly written by Lennon, which had been an album track on Please Please Me. Kramer's version went to number two on the charts (or number one on some charts): [Excerpt: Billy J. Kramer and the Dakotas, "Do You Want To Know A Secret?"] They also gave a song to Kramer for the B-side -- "I'll Be On My Way", which the group never recorded in the studio themselves, though they did do a version of it on a radio show, which was later released on the Live at the BBC set. In 1963 and 64 Lennon and McCartney would write a further three singles for Kramer, "I'll Keep You Satisfied", "Bad to Me", and "From a Window", all of which also became top ten hits for him. and none of which were ever recorded by the Beatles. They also gave him "I Call Your Name" as a B-side, but they later recorded that song themselves. As well as the Rolling Stones, who we've obviously looked at a few weeks back, Lennon and McCartney also wrote hits in 1963 and early 64 for The Fourmost: [Excerpt: The Fourmost, "I'm In Love"] Cilla Black: [Excerpt: Cilla Black, "It's For You"] And Peter & Gordon: [Excerpt: Peter & Gordon, "World Without Love"] As well as a flop for Tommy Quickly: [Excerpt: Tommy Quickly, "Tip of My Tongue"] Kramer, the Fourmost, and Black were all managed by Epstein and produced by Martin, while Quickly was also managed by Epstein, and they were part of a massive shift in British music that started with "Please Please Me", and then shifted into gear with Gerry and the Pacemakers, another act managed by Epstein, who Martin also produced. Their first single was a version of "How Do You Do It?", the song that Dick James had published and that Martin had tried to get the Beatles to record: [Excerpt: Gerry and the Pacemakes, "How Do You Do It?"] "How Do You Do It?" went to number one, and when it dropped off the top of the charts, it was replaced by the Beatles' next single. "From Me to You" was a song they wrote on the tour bus of that Helen Shapiro tour, and lyrically it was inspired by the NME's letter column, which had the header "From You To Us": [Excerpt: The Beatles, "From Me To You"] "From Me To You" often gets dismissed when talking about the Beatles' early hits, but it has a few points worth noticing. Firstly, it's the first Beatles single to be written as a true collaboration. Both sides of the "Love Me Do" single had been written by McCartney, with Lennon helping him fix up a song he'd started and largely finished on his own. And in turn, both "Please Please Me" and its B-side were Lennon ideas, which McCartney helped him finish. "From Me to You" and its B-side "Thank You Girl" were written together, "one on one, eyeball to eyeball", to use Lennon's famous phrase, and that would be the case for the next two singles. It's also an interesting stepping stone. The song retains the harmonica from the first two singles, which would be dropped by the next single, and it also has the octave leap into falsetto that "Please Please Me" has, on the line "If there's anything I can do", but it also has the "ooh" at the end of the middle eight leading back into the verse, a trick they'd picked up from "Twist and Shout", and an opportunity for Lennon and McCartney to shake their heads while making a high-pitched noise, a bit of stagecraft that set the audiences screaming and which turned up again in the next single. The other notable aspect is that the song is more harmonically sophisticated than their previous work. McCartney always singles out the change to the minor of the dominant at the start of the middle eight (on the word  "arms") as being interesting: [Excerpt: The Beatles, "From Me To You"] And that is an interesting change, and it sets up an unexpected key change to F, but I'd also note the change from G to G augmented at the end of the middle eight, on the "fied" of "satisfied". That's a very, very, Lennon chord change -- Lennon liked augmented chords in general, and he'd already used one in "Ask Me Why", but the G augmented chord in particular is one he would use over and over again. For those who don't understand that -- chords are normally made up of three notes, the first, third, and fifth of the scale for a major chord, and the flrst, flattened third, and fifth of a scale for a minor chord. But you can get other chords that have unexpected notes in them, and those can be particularly useful if you want to change key or move between two chords that don't normally go together. All the Beatles had particular favourite odd chords they would use in this way -- Paul would often use a minor fourth instead of a major one, and John would use it occasionally too, so much so that some people refer to a minor fourth as "the Beatle chord". George, meanwhile, would often use a diminished seventh in his songwriting, especially a D diminished seventh. And John's chord was G augmented. An augmented chord is one where the fifth note is raised a semitone, so instead of the first, third and fifth: [demonstrates] it's the first, third, and sharpened fifth: [demonstrates] In this case, John moves from G to G augmented right as they're going into the climax of the middle eight, so the top note of the chord goes higher than you'd normally expect, giving an impression of being so excited you just can't stop going up. "From Me To You" knocked "How Do You Do It" off the top of the charts, and at this point, the British music scene had been changed irrevocably. While we've seen that, according to the Official Charts Company, the number one records in the UK for eleven of the first fourteen weeks of 1963 were by either Cliff Richard, the Shadows, or ex-members of the Shadows, with only Frank Ifield breaking their dominance, between the eleventh of April 1963 and the sixteenth of January 1964, thirty-two out of forty weeks at the top were taken up by the Beatles, Gerry and the Pacemakers, and Billy J Kramer and the Dakotas -- all acts from Liverpool, managed by Brian Epstein and produced by George Martin. And two of the other acts to hit number one in that period were Brian Poole and the Tremeloes, who were a London band, but doing a Motown cover, "Do You Love Me?", in a style clearly inspired by the Beatles' version of "Twist and Shout", and The Searchers, another band from Liverpool who rose to prominence as a result of the sudden dominance of Liverpudlian acts, and who we'll be looking at next week. The only pre-April acts to go to number one for the rest of 1963 were Frank Ifield and Elvis. In 1964 there was only Roy Orbison. There would be occasional number one hits by older acts after that -- Cliff Richard would have several more over his career -- but looking at the charts from this time it's almost as if there's a switch thrown, as if when people heard "Please Please Me", they decided "that's what we want now, that's what music should be", and as soon as there was more supply of stuff like that, as soon as the next Merseybeat single came out, they decided they were going to get that in preference to all other kinds of music. And of course, they were choosing the Beatles over every other Merseybeat act. The Beatles were, of course, a great band, and they are still nearly sixty years later the most commercially successful band ever, but so much has focused on what happened once they hit America, and so much time has passed, that it becomes almost impossible to see clearly just how huge they became how quickly in Britain. But they dominated 1963 culturally in the UK in a way that nothing else has before or since.  And the song that cemented that dominance was their next single, "She Loves You": [Excerpt: The Beatles, "She Loves You"] "She Loves You" was another step forward in the group's songwriting, and in the technical aspects of their recording. The group were, at this point, still only recording on two-track machines, but Norman Smith, the engineer, and his assistant Geoff Emerick, came up with a few techniques to make the sound more interesting. In particular, Emerick decided to use separate compressors on the drums and bass, rather than putting them both through the same compressor, and to use an overhead mic on Ringo's drums, which he'd never previously used.  But it was the songwriting itself that was, once again, of most interest. The idea for "She Loves You" came from McCartney, who was particularly inspired by a hit by one of the interchangeable Bobbies, Bobby Rydell, who was in the charts at the time with "Forget Him": [Excerpt: Bobby Rydell, "Forget Him"] McCartney took the idea of having a song be one side of a conversation with someone about their relationship, and decided that it would be an interesting idea to have the song be telling someone else "she loves you", rather than be about the singer's own relationships, as their previous singles had been. Everything up to that point had been centred around the first person addressing the second -- "Love ME Do", "PS I Love You", "Please Please ME", "Ask ME Why", "From ME to You", "Thank You Girl". This would be about addressing the second person about a third. While the song was McCartney's idea, he and Lennon wrote it together, but it was Harrison who added a crucial suggestion -- he came up with the idea that the final "Yeah" at the end of the chorus should be a major sixth instead of a normal chord, and that they should end with that as well: [Excerpt: The Beatles, "She Loves You"] George Martin was not keen on that -- while the Beatles saw it as something exciting and new, something they'd not done before, to Martin it was reminiscent of the 1940s -- both the Andrews Sisters and Glenn Miller would use similar tricks, and it was quite dated even then, being a standard technique of barbershop harmony. But to the Beatles, on the other hand, it didn't matter if other people had done it before, *they'd* not done it before, and while they agreed to try it both ways, Martin eventually agreed that it did sound better the way they were doing it. "She Loves You" took, by the standards of the Beatles in 1963, an inordinately long time to record -- though by today's standards it was ridiculously quick. While they had recorded ten tracks in ten hours for the Please Please Me album, they took six hours in total to record just "She Loves You" and its B-side "I'll Get You". This is partly explained by the fact that Please Please Me consisted of songs they'd been playing every night for years, while John and Paul finished writing "She Loves You" only four days before they went into the studio to record it. The arrangement had to be shaped in the studio -- apparently it was George Martin's idea to start with the chorus -- and there are clear edits in the final version, most audibly just before and after the line "you know it's up to you/I think it's only fair" [Excerpt: The Beatles, "She Loves You"] For those of you who want to see if you can spot the edits, they're most audible on the original CD issue of Past Masters vol. 1 from the eighties -- the later CD versions I have (the 2009 Mono Masters CD and the 2015 reissue of the 1 compilation) have been mastered in a way that makes the edits less obvious. As far as I can tell, there are six audible edit points in the song, even though it's only two minutes twenty-one -- a clear sign that they had to do a lot of studio work to get the song into a releasable shape. That work paid off, though. The single sold half a million advance copies before being released, quickly sold over a million, and became the biggest-selling single in British history -- there wouldn't be another single that sold more until fourteen years later, when Paul McCartney's solo single "Mull of Kintyre" overtook it. While "Please Please Me" and "From Me To You" had been big hits, it was "She Loves You" that caught the cultural moment in the UK. The "Yeah Yeah Yeah" chorus, in particular, caught on in a way few if any cultural phenomena ever had before. The phenomenon known as Beatlemania had, by this point, started in earnest. As the Beatles started their first national tour as headliners, their audiences could no longer hear them playing -- every girl in the audience was screaming at the top of her lungs for the entire performance.  Beatlemania is something that's impossible to explain in conventional terms. While I'm sure everyone listening to this episode has seen at least some of the footage, but for those who haven't, the only way to explain it is to hear the level of the screaming compared to the music. This is from some newsreel footage of the Beatles playing what was then the ABC in Ardwick. It's fascinating because most of the footage of Beatlemania shows gigs in the US at places like Shea Stadium or the Hollywood Bowl -- places where you get enough people that you can understand how they made that much noise. But this is a medium-sized theatre, and having been there many times myself (it's now the Manchester Apollo) I actually can't imagine how a crowd in that venue could make this much noise: [Excerpt: The Beatles, "Twist and Shout", Ardwick ABC] I won't be including that on the Mixcloud, by the way, as the noise makes it unlistenable, but the footage can easily be found on YouTube and is worth watching.  After "She Loves You" came their second album, With The Beatles, another album very much along the same lines as the first -- a mixture of Lennon/McCartney songs and covers of records by Black American artists, this time dominated by Motown artists, with versions of "Money", "Please Mr Postman", and the Miracles' "You Really Got A Hold On Me", all with Lennon lead vocals. That went to number one on the album charts, knocking Please Please Me down to number two. "She Loves You", meanwhile, remained at number one for a month, then dropped down into the top three, giving Brian Poole and the Tremeloes and Gerry and the Pacemakers a chance at the top spot, before it returned to number one for a couple of weeks -- the last time a record would go back to number one after dropping off the top until "Bohemian Rhapsody" went back to number one after Freddie Mercury died, nearly thirty years later. But while all this had been going on in Britain, the Beatles had had no success at all in the USA. Capitol, the label that had the right of first refusal for EMI records in the US, had a consistent pattern of turning down almost every British record, on the grounds that there was no market in the US for foreign records. This also meant that any record that EMI tried to license to any other label, that label knew had been turned down by Capitol. So the Beatles' first singles and album were licensed by a small label, VeeJay, who mostly put out soul records but also licensed Frank Ifield's material and had a hit act in The Four Seasons. VeeJay was close to bankruptcy, though, and didn't do any promotion of the Beatles' music. "She Loves You" was put out by an even smaller label, Swan, whose biggest hit act was Freddie "Boom Boom" Cannon. But Brian Epstein and George Martin were convinced that the Beatles could break America, and the group's next single was written specifically with the American audience in mind, and recorded using the unbelievably advanced technology of four-track tape machines -- the first time they'd used anything other than two-track: [Excerpt: The Beatles, "I Want To Hold Your Hand"] "I Want To Hold Your Hand" went to number one in the UK, of course, replacing "She Loves You" -- the only time that an artist would knock themselves off the number one spot until 1981, when John Lennon did it as a solo artist in far more tragic circumstances. At this point, the Beatles had the number one and two spots on the singles chart, the number one and two positions on the album charts, and were at numbers one, two and three on the EP chart.  It would also be the start of Beatlemania in the USA. After the Beatles' famous appearance on the Royal Variety Performance, at the time the most prestigious booking an entertainer could get in the UK, Brian Epstein flew to New York, with a few aims in mind. He brought Billy J. Kramer with him, as he thought that Kramer had some potential as a lounge singer and could maybe get some club work in the US, but mostly he was there to try to persuade Capitol to release "I Want to Hold Your Hand", using the news coverage of Beatlemania as a reason they should pick up on it. By this time, Capitol were running out of excuses. Given the group's popularity was at a different level from any other British artist ever, they had no reason not to release "I Want to Hold Your Hand". They agreed they would put it out on January the thirteenth 1964. [Excerpt: The Beatles, “I Want to Hold Your Hand”] Epstein also had two more meetings while he was in New York. One was with the makers of the Ed Sullivan Show -- Sullivan had been in London and been at the airport when the Beatles had arrived back from a trip abroad, and had seen the response of the crowds there. He was mildly interested in having the group on his show, and he agreed to book them. The other meeting was with Sid Bernstein, a promoter who had been in the UK and was willing to take a gamble on putting the group on at Carnegie Hall. Both of these were major, major bookings for a group who had so far had no commercial success whatsoever in the US, but by this point the Beatles were *so* big in the UK that people were willing to take a chance on them. But it turned out that they weren't taking a chance at all. In November, a CBS journalist had done a quick "look at those wacky Brits" piece to use as a filler in the evening news, including some footage of the Beatles performing "She Loves You". That had originally been intended to be shown on November the 22nd, but with President Kennedy's murder, the news had more important things to cover. It was eventually shown, introduced by Walter Cronkite, on December the tenth. Cronkite's broadcast got the attention of his friend Ed Sullivan, who had already more or less forgotten that he'd booked this British group whose name he couldn't even remember. He phoned Cronkite and asked him about these "Bugs, or whatever they call themselves", and started actually promoting their appearance on his show. At the same time, a fifteen-year-old girl named Marsha Albert in Maryland was very impressed with "She Loves You", after seeing the news report and wrote to a DJ called Carroll James, asking "Why can't we have this music in America?" James got a friend who worked as a flight attendant to bring him a copy of "I Want to Hold Your Hand" on her next return from the UK, and started playing it on December the seventeenth. He played it a *lot*, because the audience loved it and kept calling in for more. Capitol tried to get him to stop playing the record -- they weren't planning on releasing it for another month yet! What was he doing, actually promoting this record?!  Unfortunately for Capitol, by the time they got round to this, DJs at a couple of other stations had heard about the reaction the record was getting, and started playing their own copies as well. Capitol changed the release date, and put the record out early, on December the twenty-sixth. It sold a quarter of a million copies in the first three days. By the week of its originally scheduled release date, it was at number one on the Cashbox chart, and it would hit the same position on Billboard soon after. By the time the Beatles arrived in America for their Ed Sullivan show, it was half-way through a seven-week run at the top of the charts, and only got knocked off the top spot by "She Loves You", which was in its turn knocked off by "Can't Buy Me Love". The Beatles had hit America, and the world of music would never be the same again.

#AgeofAquarius #Inspiration #Motivation #God #Love #Energy #Positivity #Vibes #Spirituality #Happiness #Joy #ManifestationSubscribe to my Youtube Channel: http://youtube.com/c/GoddessDawnMusic in this video:"If You Really Love Me" by Stevie Wonder, "Love's Holiday" by Earth Wind and Fire, "I Call Your Name" by SwitchI Do Not Own the Rights to this Music!!!SUPPORT THE WARRIOR FUND & DONATE: CashApp$goddessdawn23ORpaypal.me/goddessdawn623READ: "Key to Yourself" by Dr. Venice Bloodworth: https://amzn.to/3eDskUPBuy Your Own Truth Bell: https://amzn.to/3l65zLFLadies, look and feel like a Queen when relaxing at home; purchase your Goddess-wear here: https://amzn.to/32hYS1NSign up for Instacart! It will save you the headache of grocery and convenience store shopping during this pandemic. Here's the link to let them know that I sent you: https://instacart.oloiyb.net/6rqOKFOLLOW ME ON IG @Goddess_DawnAnd Twitter too— @GoddessDawn3Email for Tarot Card Readings & Guided Meditation... or just to say "What's Up!": Goddess.Dawn623@gmail.comTHANK YOU

Welcome to the Big Beatles Sort Out, a show in which I, author and musician Garry Abbott, attempt to finally decide my favourite Beatles recordings by scoring each and every one for lyrical content, musicality and production. I am assisted in this venture by my brother and resident Beatles expert, Paul Abbott, with a deep knowledge of the Beatles and the wider context in which they operated. Each episode we explore and score 5 songs from the Beatles full recording catalogue. The songs are drawn at random to try and avoid any album or era prejudices skewing the results. So please join us as we try and sort out, The Beatles. Episode 15 Songs: Can't Buy Me Love, Hey Bulldog, I Call Your Name, Hello Goodbye, I Need You PLUS 'mini' RUTLES BONUS! Between us!. Please let anyone know about this podcast who might be interested! You can contact me on Twitter @big_sort or @Garry_Abbott, email at BigBeatlesSortOut@Gmail.com, or via my website www.garryabbott.co.uk. Please listen out for Paul's other Podcasts, 'The Head Ballet' - all about novelty music, and 'Hark! 87th Precinct Podcast' - all about Ed McBain's seminal police procedural novel series. You can listen along to the songs featured in this episode on this handy Spotify playlist: https://open.spotify.com/playlist/7ErP3gYBCd5xHYaAdGcGRX Keep up with the scoring charts, or start your own using the blank-master, with this handy google sheet: https://docs.google.com/spreadsheets/d/1Qc7mHMeBBM9LSPUV0L6zrYrF2Rib9eX-Xssua-Wox3g/edit?usp=sharing

El pasado 9 de Octubre se cumplía el 80º aniversario del nacimiento de John Lennon y por ello dedicamos nuestro programa a escuchar varias de sus composiciones en las voces de músicos incluidos en el gran paraguas de la Americana. El próximo martes será obligado recordar que 40 años atrás un loco asesino que no merece ni tan siquiera que se recuerde su nombre nos privó de su presencia a las puertas del edificio Dakota de Nueva York. Por eso, hoy nos adelantamos a esa fecha para recordar cómo los más significativos músicos de Americana han mirado en alguna ocasión las canciones que John Lennon creó para formar parte de la discografía de los Beatles.  El cuarteto de Liverpool grabó “One After 909” en su concierto de la terraza y esa versión en directo fue la que se incluyó en el álbum original. Era un tema de Lennon que compuso con 17 años y hacía referencia a un número, el 9, que parecía perseguirle. Nació el 9 de octubre y por entonces vivía en el 9 de Newcastle Road. Por entonces se escuchaban varias canciones que hablaban de trenes de carga como "Rock Island Line" o “Midnight Special” y John y PaulMcCartney decidieron ponerla un ritmo similar. El cuarteto llegó a grabar la canción en la primavera de 1963, durante las sesiones de "From Me to You" y "Thank You Girl”, que conformaron su tercer single, pero el resultado no les convenció y la desestimaron. Willie Nelson quiso homenajear al grupo con su propia versión. Los más veteranos artistas de country también han tenido un momento en su carrera para rememorar alguna canción de los Beatles. Kris Kristofferson también echó una mirada a los Fab 4 para versionar una canción claramente compuesta por John Lennon como fue “Paperback Writer” haciendo referencia a su faceta de escritor. Sería grabada por los Beatles cuando trabajaban en 1966 en Revolver, y aunque se editó en single en su momento, quedó fuera de sus álbumes oficiales. Se acaban de cumplir 55 años de la salida al mercado de Rubber Soul, uno de los discos más determinantes de la discografía de los Beatles y en el que las canciones de John Lennon tuvieron una significación relevante. Aquel trabajo lo cerraba “Run For Your Life”, que fue, por el contrario, la primera canción que grabaron para el disco. Para componer aquel tema sobre los celos con tonalidades de country, Lennon se basó en Elvis y su "Baby Let's Play House", utilizando incluso una frase completa de aquella canción de El Rey. John Cowan, una de las voces más potentes de la Americana, firmó en 2014 por el sello Compass para afrontar un proyecto que tituló Sixty, producido por su buen amigo y compañero de los Doobie Brothers, John McFee, y en el que pudimos encontrar una lista interminable de selectos invitados, desde Leon Russell, Alison Krauss y Rodney Crowell, hasta Bernie Leadon, Sam Bush o Chris Hillman, pasando por Huey Lewis, Bonnie Bramlett, Ray Benson y varios más. Su versión de “Run For Your Life” se convirtió en uno de los cortes de bonificación de la edición de lujo de Sixty, donde el artista de Ohio exhibió su poderío vocal. En Rubber Soul John Lennon compuso cuatro temas de forma independiente y otros tantos McCartney. También fueron cuatro en los que la pareja colaboró conjuntamente y dos los firmó George Harrison. “Norwegian Wood (This Bird Has Flown)” pasó a ser la primera canción de rock en la que aparecía un sitar y, como todo aquel álbum Rubber Soul al que pertenecía, marcó en música y letra un paso de gigante en la evolución de los Beatles. De hecho, John Lennon la creó como una carta a su mujer, Cynthia, admitiendo una aventura. Tim O’Brien aprovechó las tonalidades folkies para realizar una versión imponente que sirvió de cierre a su disco de 2011 Two Journeys. En realidad, escarbó en los antecedentes irlandeses del cuarteto de Liverpool, un importante puerto de entrada para tantos exiliados que buscaban trabajo. Una de las bandas míticas del bluegrass es Hot Rize, fundada en 1978 por Tim O'Brien, Pete Wernick, Charles Sawtelle y Mike Scap, aunque este último fue reemplazado muy pronto por Nick Forster. Además, tenían un divertido “alter ego” llamado Red Knuckles & The Trailblazers. En su álbum Shades In The Past incluyeron su particular versión de “Nowhere Man”, que también pertenece a Rubber Soul, el sexto álbum de los Beatles y que parece definir en un principio el carácter del propio John Lennon. Tras admitir posteriormente que consumía drogas, el personaje de esta canción 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. Rhett Miller, el nombre artístico de Stewart Ransom Miller II, siempre ha estado asociado a la banda Old 97’s como su líder y cantante solista. The Dreamer es el quinto álbum de estudio que graba al margen de su banda y un disco en el que se marca un cambio en sus exposiciones personales. Resultaba curioso que cuando Rhett Miller grababa en solitario tenía ciertas inclinaciones hacia el pop con cierto acento británico, mientras que con Old 97’s se manifestaba mucho más inclinado a las raíces. En 2005 se realizó un álbum dedicado al álbum Rubber Soul con motivo de su cumpleaños número 40, This Bird Has Flown – A 40th Anniversary Tribute to the Beatles' Rubber Soul, y en él participó el músico tejano con esta versión de “Girl”. El siglo XXI comenzó con una película llamada I Am Sam que protagonizaron Sean Penn y Michelle Pfeiffer. Los productores pretendieron que su banda sonora estuviera compuesta de grabaciones originales de los Beatles, pero ante su imposibilidad, optaron por reunir toda una serie de versiones de la banda de Liverpool realizadas por nombres tan sonoros como Rufus Wainwright, los Wallflowers, Sheryl Crow, Nick Cave, Ben Harper o los Black Crowes, entre otros. Poco antes de su disolución en 2002, la banda de los hermanos Robinson grabó “Lucy In The Sky With Diamonds”, una de las composiciones de Lennon siempre controvertida que formó parte en 1967 de Sgt. Pepper's Lonely Hearts Club Band, el disco que lo cambió todo. El tema de apertura del último álbum grabado por los Beatles, Abbey Road, aunque se publicara en 1969, antes que Let It Be, es uno de los más musculosos del grupo. En parte tiene que ver con la veneración de John Lennon por Chuck Berry y su entrega a las campañas en favor de la paz en las que estaba muy implicado por entonces. El tejano Delbert McClinton escogió “Come Together” para el álbum Come Together - America Salutes The Beatles de 1995, en el que participaron varios de los grandes nombres de la country music. Espléndido con la armónica, en una gira por Gran Bretaña a comienzos de los 60 con Bruce Channel, al que había acompañado en su clásico "Hey! Baby", enseñó a John Lennon algunos trucos con la armónica. Se notó mucho en “Love Me Do”. Cuando Rosanne Cash dejó el sello Columbia en 1965, la compañía publicó un recopilatorio titulado Retrospective, al que se añadió esta versión de “I’m Only Sleeping”, que John Lennon compuso para Revolver en 1966 en el reverso de una carta. Refleja a la perfección su estado de ánimo de entonces cuando no estaba de gira con los Beatles. Se pasaba el día en la cama bajo los efectos de las drogas durmiendo, escribiendo o leyendo… hasta que McCartney venía a interrumpirle para trabajar sobre las canciones. Los Beatles impulsaron el comienzo de diversas bandas del Merseybeat. Varias de sus composiciones sirvieron para que aquellos grupos empezaran a despuntar. En 1963 John Lennon entregó uno de esos temas a Billy J. Kramer & The Dakotas. Era “I Call Your Name”, que él mismo había escrito antes incluso de que se formaran los Beatles en casa de su tía Mimi, con la que se crió. Billy J. Kramer & The Dakotas la utilizaron como B de “Bad To Me”, otra composición del binomio Lennon/McCartney, pero no acabó de convencerlos, de tal forma que los Beatles hicieron su propia versión, apareciendo primeramente en Estados Unidos dentro del llamado Second Album y en 1964 en Gran Bretaña formando parte del EP Long Tall Sally. En 1966, The Mamas And The Papas, “la familia real de Laurel Canyon”, hicieron su debut con el álbum If You Can Believe Your Eyes and Ears y la dieron a conocer a nivel popular en Estados Unidos. “In My Life” se incluyó originalmente en un Lp tan imponente como Rubber Soul de los Beatles. En el texto, aunque la autoría fue compartida con McCartney, un John Lennon que acababa de cumplir 25 años recordaba con nostalgia a la gente y los lugares donde pasó una parte muy importante de sus años jóvenes. La canción tiene claras reminiscencias de “Penny Lane” y “Strawberry Fields Forever” y el músico exploraría la misma temática en los siguientes momentos de su carrera, de forma muy especial en el doble álbum del cuarteto, bien conocido como el Álbum Blanco. En 1994, Crosby, Stills & Nash editaron su álbum After The Storm coincidiendo con el 25º aniversario de su disco de debut, tras haber estado dedicados a ampliar su discografía en solitario, con dos nuevos álbumes por parte de Stills y Crosby, además de un recopilatorio de Nash. Todas las canciones de este disco que les llevó a hacer una larga gira, incluyendo el Woodstock ’94, pertenecían a los tres músicos, excepto una versión de “In My Life”.  John Lennon siempre admitió las más variadas experiencias, que se fueron ampliando con el paso de los años. El rock and roll de sus comienzos dio paso a una cierta fijación por figuras como las de Elvis, los Everly Brothers o Bob Dylan y su forma de crear canciones. Si ellos podían hacerlo, Lennon también. “You've Got To Hide Your Love Away” fue una de sus primeras reflexiones sobre su manera de escribir, que había comenzado con temas como "I'm a Loser" en el verano del 64. Lennon la compuso en casa, buscando un nuevo tema para la película Help!. Jackson Browne, que al versionar a los Beatles siempre se ha inclinado por las creaciones de John Lennon, la cantó así en uno de sus homenajes. Jonathan Edwards es un veterano artista de Aitkin, Minnesota, que empezó su carrera abriendo los conciertos de B.B. King y la Allman Brothers Band, fichando por Capricorn Records y lanzando su disco de debut hace 47 años. En 2011, Jonathan Edwards publicaba su álbum My Love Will Keep incluyendo una versión de “She Loves You”, muy alejada de como conocíamos aquella canción de los Beatles que a mediados de septiembre de 1963 se editaba como single en Estados Unidos en un pequeño sello discográfico llamado Swan Records. En este caso, “She Loves You” tiene que ver con una cierta fijación de Paul McCartney con una canción de Bobby Rydell titulada “Forget Him” (“Olvídale”) y pensó en crear una dónde preguntar “¿Ella te quiere?” y que los demás contestaran “Si”. Lo comentó con Lennon y la idea quedó flotando en el ambiente. Empezaron a trastear con las guitarras en el hotel mientras estaban de gira con Roy Orbison y Gerry and the Pacemakers y terminaron aquella composición en casa de Paul al día siguiente. Jim Lauderdale también se fijó en el álbum Rubber Soul del cuarteto de Liverpool y eligió “I’m Looking Through You”, llevándose el tema hasta el sonido de Bakersfield y las influencias de Buck Owens. Producido por Phil Madeira y grabado en la Music City, Nueva York y San Francisco, el álbum Let Us In Americana contaba entre los invitados con Buddy Miller, Will Hoge, Rodney Crowell, Ketch Secor de Old Crow Medicine Show, Steve Earle y Allison Moorer. Escuchar audio

This Veterans Day, we share our interview with Major Eric Connor of the United States Army Reserve. He has a total of 28 years of service, currently serving as United States Army Reserve, Chief of Public Affairs for the Aviation Command, based in Fort Knox, Kentucky. He also worked in television production, in front of and behind the camera, from news anchor to executive producer and everything in between. Originally from Los Angeles, California, he relocated to Shreveport, Louisiana at age sixteen. He'd made a pact with his cousin that they'd attend high school together. Either the cousin had to move to Los Angeles or Eric would need to move to Shreveport. He never looked back. He attended Grambling University, one of the Historic Black Colleges and Universities based in Louisiana. Eric's favorite words include a quote and two books. Quote: Do unto others as you would have them do unto you. His two favorite books are The Autobiography of Dr. Martin Luther King Jr. and The Five People You Meet in Heaven. Eric's favorite song is I Call Your Name by Switch. If you enjoyed this episode, please subscribe wherever you get your podcasts or visit us at 365brothers.com. Apple Stitcher Google Podcasts About this podcast: In each episode, a Brother reflects on his life; explores the experience of being a Black man in America; shares his interactions with law enforcement; and answers the question "If America was a woman, what would you say to her?" Every interview starts with getting-to-know-you questions about favorites, accomplishments and then goes deeper. You won't find a collection of conversations with Black men like this anywhere else. Hear their wisdom. Host, Rahbin Shyne, is an author, educator, creative and avid half-marathon walker. Follow on Instagram @allthingshyne or on Facebook. Interested in being a guest? Click here. Special thanks to Sonji Walker, Shedrick Sanders, Abigail Gonzalez, Don Davis and William Hamilton for their generous support.

Yo-Yo stay at home fun times with Annie, Popcorn, tittie-shakers and Freakbeat from Peru and Japan. Top drawer Northern Soul and influences from the Rolling Stones and The Beatles peppered throughout. This week demands multiple listens due to its magnatude, don't miss a thing. FACEBOOK: facebook.com/ontargetpodcast INSTAGRAM: instagram.com/modmarty TWITTER: twitter.com/modmarty ----------------------------------------------- The Playlist Is: "Yo-Yo" Billy Joe Royal - Columbia "Annie Get Your Yo-Yo" Little Junior Parker - Duke "Work With Me Annie" Jock Mitchell - Impact "Money (That's What I Want)" Barrett Strong - Anna "Little Bitty Pretty One" Cyde McPhatter - Mercury "Get Back" Roy Head & The Traits - Scepter "Yesterday's Game" Traffic Sound - Mag "This Bad Girl" The Golden Cups - Capitol "Jun Mayuzumi" Black Room - Capitol "(I Can't Get No) Satisfaction" Aretha Franklin - Atlantic "Jackie Ross" I've Got The Skill - Chess "634-5789 (Soulsville U.S.A.)" Wilson Picket - Atlantic "What Kind Of Lady" Dee Dee Sharp - Gamble "Landslide" Tony Clarke - Chess "Gonna Fix You Good" Little Anthony & The Imperials - Veep "Greazee" Billy Preston - Derby "She's The One" The Chartbusters - Quality "I Call Your Name" The Buckinghams - USA "Thigh Spy" The Persuaders - Atco "I Can't Convince My Heart" The Free Movement - Decca "Penetration" The Pyramids - Best

Hoy tuvimos el privilegio de tener a Fulin Lawen en #ElSoundtrackdelaVida contándonos de su último LP Eneri (2019). Y luego seguimos escuchando buenos temas de bandas como Silver Apples, Guns 'n' Roses (para el #MomentoREMEMBER), Francis Bebey, Dire Straits, Nina Simone y Supergrass, aprovechando que dijeron que vuelven para el 2020. Por último, guitarrié I Call Your Name (1963) de The Beatles para el #MomentoFOGATERO

The Bobby DeBarge Story Movie Review - Season 2 Episode 20 In this episode of the TVMusic Network Podcast with Phyllis and Belinda, the Thomas Sisters discuss The Bobby DeBarge Story Movie that premiered on TV One during Black Music Month.  "The Bobby DeBarge Story," is a personal look into the life of the eldest member of the DeBarge Musical Family who was part of the 70s R & B band, "Switch." The movie stars Roshon Fegan as Bobby DeBarge. Any story of the man behind such hits that are considered R & B classics today must include the music. The band, with members Bobby and Tommy DeBarge, Phillip Ingram, Greg Williams, Eddie Fluellen, and Jody Sims had a string of hits in the 70s - "I Call Your Name," "Love Me Over and Over Again" and "There'll Never Be." Check out our thoughts on the movie in this podcast. 

Rachael and Sheehan are dismayed by the rocky relationship between Frasier and Diane, and focus much too much on the failures of Cliff in Cheers Season 3 Episodes 3 & 4, "I Call Your Name" and "Fairy Tales Can Come True." New episodes of the Frasier CraneCast air weekly in the month of August! The next episode drops on Tuesday, August 14th.Interact on twitter! @CraneCast, and contact the show by email to send in recorded voice memos for the in-house radio shrink: info@frasiercranecast.comProduced by Sheehan ParkerHosted by Rachael Johnson & Sheehan ParkerMusic by Lost Signal (www.lostsignal.space)

Rock-solid and understated, subtle yet ballsy, inventive and full of feel—these are just some of the descriptions that have been applied to the artistry and iconic, highly influential drumming of Sir Richard Starkey, M.B.E. Now, hot on the heels of Ringo’s 78th birthday, Richard, Erik, Allan, and Craig analyse and appraise his Beatles-related contributions behind the kit—both onstage and in the studio—while discussing his musical evolution, comparing him to his contemporaries, and assessing if he was indeed the man best suited to drum for the world’s greatest rock group. Featured tracks: Rain Long Tall Sally I Call Your Name I Want to Hold Your Hand She Loves You Ticket to Ride Please Please Me Thank You Girl I Feel Fine You Can’t Do That You’ve Really Got a Hold on Me A Day in the Life Long Long Long The End Good Morning Good Morning Here Comes the Sun I’m Gonna Sit Right Down and Cry (Over You)

Back in the 1960s, courtesy of Capitol Records executive Dave Dexter, Jr., American Beatles fans bought different records and often heard very different mixes to those enjoyed by their British counterparts: ones bathed in reverb and converted into fake stereo “with the assistance” of Mr. Dexter. Those mixes have long since been eliminated from the catalogue, but they’re back with a vengeance in this show—and subjected to the scrutiny of Messrs. Taros, Buskin, Bartock and Kozinn as they discuss the pros, cons, and marketing strategies behind these alternately popular and egregious alterations to The Beatles’ music. What emerges is information that will enlighten listeners on both sides of the Atlantic—while jolting them with juxtaposed U.S. and U.K. mixes of some legendary tracks. The music: ‘Thank You Girl’ ‘I’ll Get You’ ‘I Call Your Name’ ‘You Can’t Do That’ ‘The Word’ ‘I’m Looking Through You’ ‘And I Love Her’ ‘She Loves You’ ‘Help!’ ‘She’s a Woman’ ‘I Feel Fine’ ‘I’m Only Sleeping’ ‘And Your Bird Can Sing’ ‘Doctor Robert’ ‘That Means a Lot’ ‘Long Tall Sally’ ‘Roll Over Beethoven’

**East Of The Sun, West Of The Moon** (1990) es el cuarto álbum de estudio de la banda noruega a-ha que incluye el clásico de The Everly Brothers "Crying In The Rain". El álbum fue lanzado el 27 de octubre de 1990 por Warner Bros. Records y ha vendido alrededor de tres millones de copias en todo el mundo. Del álbum se extrajeron tres sencillos: "Crying In the Rain", "I Call Your Name" y "Early Morning". Alan Tarney abandonó la producción del álbum por Chris Neil e Ian Stanley. Además incluye una colaboración entre Pål Waaktaar y Lauren Savoy (su mujer) en "Cold River"

Randy gives his top-shelf recommendation for Santa Clarita Diet - Season 2 (including a discussion on the proper name enunciation of co-lead Timothy Olyphant), George sings a Blockbuster Video commercial jingle while also buying a Screaming Viking for a loyal listener, and Frasier/Sam/Diane forever change your view of the names Thor and Elektra.  Grab a brew, chat about the RV show and enjoy the third episode of Season 3, “I Call Your Name”! (Review starts - 11:42) 

In this episode, we dissect the early John Lennon song "I Call Your Name," which never found a happy home in the Beatles catalog (it was put on an EP, then a B-side, etc.). We discuss some interesting instrumental and musical features about the song, and as always, play you a variety of unique cover songs. Enjoy!

Host Deardra Shuler interviews EL DEBARGE, known for his unique high tenor register and signature falsetto. The singer will be appearing with Troop and Tank at Lehman Center for the Performing Arts in the Bronx on Nov. 19th at 8pm.   El Debarge is a singer, songwriter, keyboardist and producer that grew up in a large family in Detroit and Grand Rapids, Michigan. His first professional recording was as a background vocalist on the 1979 hit “I Call Your Name”, recorded by his older brothers Bobby and Tommy DeBarge’s band Switch.  He and his brothers were signed to Motown in 1980.  Their album All This Love (1982) went gold with the hits “I Like It” and “All This Love”. Their second gold album, In A Special Way, featured “Time Will Reveal” and “Love Me in a Special Way”. The group’s 1985 release, Rhythm of the Night, became their best selling album yet.. El DeBarge produces, arranges and co-write songs. He had a massive hit with the song “Who’s Johnny.”   El DeBarge was honored with three Grammy nominations for his 2010 album  Second Chance. For tickets call 718-960-8833 or go online at www.lehmancenter.org As listeners heard El Debarge did not show up for the interview after confirming. Left me with dead air.  His mgmt said he wanted to do it, so I set it up again. again a no show.  So that is it, folks.  I tried to get this interview but seems his management cannot deliver it.

From Michigan and Ohio, SWITCH originally consisted of Founder, Gregory Williams (trumpet/keyboards/lead vocals), Bobby DeBarge (lead vocals/ keyboards/drums), Phillip Ingram (lead vocals/percussion/keyboards), Tommy DeBarge (bass/vocals/keyboards), Eddie Fluellen (trombone/ keyboards/vocals) and Jody Sims (drums/vocals).  After the break-up of the RCA Records group "White Heat" (which was named and managed by the late music legend Barry White and included Gregory, Bobby, Jody and later Tommy), determined to chase his dreams and stay in the record business Gregory, envisioned and soon after formed SWITCH in December 1976. Founder/Leader (and later manager) of former Motown Records group "Switch", discovered by Jermaine Jackson and Hazel Gordy Jackson. Group acquired two Platinum Albums - "Switch" and "Switch II"; and three Gold Albums "Switch", "Switch II" and "This Is My Dream".  Producer, Writer, Arranger, Musician and Vocalist with the group Switch on (6) Six Albums and (14) Fourteen Singles including (3) three Top 40 Singles -  "There'll Never Be", "I Call Your Name" and "Love Me Over And Over Again"; 1978 through 1983. Group single "Keeping Secrets", recorded for Total Experience/RCA Records, was the #3 pop song on the European charts for (6) consecutive weeks; 1985 release. Brought the family group "DeBarge" to Motown Records and the music industry.

"I Call Your Name" and it must be Will Ferrell. See acast.com/privacy for privacy and opt-out information.

  Founder/Leader (and later manager) of former Motown Records group "Switch", discovered by Jermaine Jackson and Hazel Gordy Jackson. Group acquired two Platinum Albums - "Switch" and "Switch II"; and three Gold Albums "Switch", "Switch II" and "This Is My Dream".Producer, Writer, Arranger, Musician and Vocalist with the group Switch on (6) Six Albums and (14) Fourteen Singles including (3) three Top 40 Singles - "There'll Never Be", "I Call Your Name" and "Love Me Over And Over Again"; 1978 through 1983.

Here's the twentieth episode, highlighting the first eight albums on Capitol Records by The Beatles. Tracks: 1. Help! (from "HELP!") 2. This Boy (from "Meet The Beatles") 3. I Call Your Name (from "The Beatles' Second Album") 4. Things We Said Today (from "Something New") 5. I Feel Fine (from "Beatles '65") 6. Ask Me Why (from "The Early Beatles") 7. Yes It Is (from "Beatles VI") 8. Another Hard Day's Night (from "HELP!") 9. I'm Looking Through You (from "Rubber Soul") All tracks Produced by George Martion, with assistance from Dave Dexter. All tracks written by John Lennon and Paul McCartney. "Another Hard Day's Night" by John Lennon, Paul McCartney and Ken Thorne. The Beatles are John Lennon (vocals; guitar), Paul McCartney (vocals; bass), George Harrison (vocals; guitar) and Ringo Starr (vocals; drums). www.dsl89.blogspot.com "Pease and Love!"