Podcasts about I Feel Fine

Spring 2025 Season Finale Host Ted Asregadoo closes out the spring season by shining a spotlight on the most essential—yet often overlooked—members of any great band: the drummers. Reuniting with John Young (John was a co-host during the first year of Planet LP's existence in 2021), this episode serves as both a musical celebration and a reminder that creativity and joy persist even in the darkest of times. Or, to quote Sting, "When the world is running down, you make the best of what's still around." Rhythm Masters Featured:

This week on Classic Vinyl Podcast and our 10th Meet the Beatles Episode, Justin and Tyler listen to and review the A and B side singles I Feel Fine and She's A Woman. Released in late 1964, how do you think these songs still hold up to this day? Give them a listen and let us know what you think.

After being down for a week with the flu I am back and I feel like I woke up in Stupid Town. The entire world is losing its’ collective mind but a lot like the 80s REM song, “I Feel Fine”. Why? How? The real inoculation is being able to see all the crazy and go on with your own life anyway. Join Me Today to Discuss… The Bitcoin SBR is great news so of course the price dropped The special retards are at it again on “this is not what we signed up for” on the SBR The biggest … Continue reading →

What happens when Frankie Valli and his buddies go up against a Bob Crewe certified copy, and another, completely separate duplicate? Tune in and find out! More Trini. More Brenda. More Peter Paul and Mary, and Kit and I get into a knock-down drag-out over Jewel Aiken. We then make up and I acknowledge She's a Woman, and I Feel Fine! Support this podcast at the $6/month level on patreon to get extra content! Create your podcast today! #madeonzencastr . If you are looking for Beatles summer fun, join our friends at the Magical Mystery Camp!

A Tribute to Jim Reeves, and a tribute to Dennny Laine (Go Now entered the British Charts in December 1964) lead side B (British charts, part two). Brian Epstein and NEMS continue their role, as does Cliff Richard. I Feel Fine, do you? Support this podcast at the $6/month level on patreon to get extra content! Create your podcast today! #madeonzencastr

This episode explores Beatles '65 and Beatles for Sale, two albums that captured a pivotal moment in The Beatles' journey. These recordings showcase their creative growth, the challenges of Beatlemania, and the ways record companies shaped the music people heard. https://beatles60.group/ We reflect on how Capitol Records reworked Beatles for Sale for the U.S. market, creating Beatles '65. Six tracks were cut, new ones like “I Feel Fine” were added, and the sound was altered with added reverb. These changes weren't just technical decisions—they shaped the album's reception and reveal the industry's influence on how music was marketed. Beyond the industry's impact, the albums themselves mark The Beatles' evolution as artists. From the raw honesty of “I'm a Loser” to the bittersweet harmonies of “Baby's in Black,” these tracks delve into introspective themes that contrast with earlier love songs. The use of African drums, organ, and other unconventional instruments adds a rich depth to the music. Looking back, these albums aren't just relics of the 1960s—they continue to resonate. Songs like “I'll Follow the Sun” and “No Reply” evoke both nostalgia and fresh appreciation, serving as a soundtrack for moments of reflection and rediscovery. This episode combines historical context, personal memories, and thoughtful analysis to celebrate the enduring legacy of Beatles '65 and Beatles for Sale. Join us as we explore the music, the stories behind it, and what it means to us today.

2024 Nov 17 SUN: THIRTY-THIRD SUNDAY IN ORDINARY TIME Dn 12: 1-3/ Ps 16: 5. 8. 9-10. 11 (1)/ Heb 10: 11-14. 18/ Mk 13: 24-32 So this is the time of year when in our liturgical calendar we find ourselves thinking a lot about what theologically we would call the last things. More popularly people will refer to the end of the world, although that specific phrase is not found in the Scriptures. But obviously the idea of the end of the world works upon our imaginations. I was thinking about the fact that there are a number of popular songs that in fact have the end of the world in the title. For instance you may be familiar with a 1987 song, "It's the End of the World as We Know It and I Feel Fine." I found the lyrics; they go on for a couple of pages and I really couldn't do anything with that song. [Laughter] I would stress that it seems that a lot of the imagination surrounding the end of the world has to do with things happening outside. And it seems these days as if there are some people who want to see it happen, they want to see upheaval and a change of what we expect and they'd like to go and break things to help it along. I don't think that's a good idea.  But in fact I believe that we can take some of these words of Jesus and other parts of the Scriptures and realize that internally each of us undergoes various upheavals that feel to us like it's the end or we have to start over or we don't really know the way.  And when it comes to saying oh, it's upon us, well, yes, God is all-powerful, he is the master of his creation and he could intervene at any time and say, well, this is over. But we have to appreciate the fact that God who is the author of time has been operating on a scale of time which is vast. I once put together what you could call kind of a "convincer" so we could get a feel for how vast the expanse of time has been since the Big Bang, which by the way this man did not give it that name, but this astronomer about a hundred years ago found evidence, and he aided this theory, and it happens he was a Catholic priest. Well, what I have here is a little notebook and instead of having a lot of pages it has just one long page of stiff paper and I used both sides of the paper in order to visualize how vast the expanse of time has been. [Shows whole expanse of timeline; laughter] And I like to ask people what one millimeter stands for on this timeline in all the time since the Big Bang, and I do it multiple choice:  is it 300 years or 3,000 years or 3 million years and the answer is 3 million years and you only go a millimeter on this. So that's a good thing to think about, and you know the cosmos will take care of itself, but we have to in fact consider what is going on within us; what are the upheavals that we experience within; what are our insecurities; how do we find that there are things that just don't sustain us. And with regard to those concerns I did find another song about the end of the world which I think really gets to the heart of things. This song is from 1962. Why does the sun go on shining?  Why does the sea rush to shore?  Don't they know it's the end of the world?  'Cause you don't love me anymore  Why do the birds go on singing?  Why do the stars glow above?  Don't they know it's the end of the world?  It ended when I lost your love  I wake up in the morning, and I wonder  Why everything's the same as it was  I can't understand, no, I can't understand  How life goes on the way it does  Why does my heart go on beating?  Why do these eyes of mine cry?  Don't they know it's the end of the world?  It ended when you said, "Goodbye"  Well, happily, we have been reading from the great promise that the Letter to the Hebrews gives to us, and we have come today to the last portion [in the Sunday Lectionary] of that amazing book. We've been talking about Jesus as the great high priest and we hear a summary today. Jesus is the great high priest: the one who is at one and the same time the priest offering sacrifice and the sacrifice being offered. He has offered the sacrifice for all of us, once for all, and this is something that we need to search out in our own hearts. Have we accepted that this gift has been given to us? Do we accept that it is personal? Do we accept that it is the opposite of the lyrics of the song that I just recited? We can think about endings all we want but we do in fact have the good news today that accepting this gift is for us the beginning.

Matt and Rob talk about some exciting news in the TTRPG world, talk through some sticky bits in their games, and reflect on the state of the world and the hobby (but in a chill way, we promise) https://www.patreon.com/DungeonMasterOfNone  Join the DMofNone Discord! Music: Pac Div - Roll the Dice REM - It's the End of the World as We Know It (and I Feel Fine)

Counting down the official MEANINGWAVE TOP 50 most streamed songs on DSPs for September '24! Where's your favourite?Follow the official MEANINGWAVE TOP 50 playlist: https://go.meaningwave.com/MeaningwaveTop50New products in the store! https://www.meaningwave.com/All songs Produced, arranged, composed, and performed by Akira The DonIf you get value from the music, consider getting some merch, downloading some albums, or making a donation. To those who support Meaningwave, thank you!https://www.meaningwave.com/blogs/meaningwave/support-meaningwave____________________TRACKLISTING00:00 - 50. GO! ft. Jocko Willink04:23 - 49. NEITHER CAN YOU ft. David Goggins07:26 - 48. WE BECOME WHAT WE THINK ABOUT ft. Earl Nightingale11:50 - 47. JUST KEEP MOVING (UNCLE IROH) ft. Uncle Iroh15:45 - 46. UNACCEPTABLE ft. David Goggins19:00 - 45. I FEEL FINE ft. Jocko Willink21:25 - 44. Always Hoping ft. Alan Watts24:04 - 43. TAKE ACTION ft. David Goggins30:06 - 42. INTO THE INFINITE ft. Rupert Spira34:59 - 41. WARRIOR ft. David Goggins41:05 - 40. WAKE UP ft. David Goggins 44:56 - 39. CONFORMITY ft Earl Nightingale48:49 - 38. Any Dream You Wanted ft. Alan Watts54:48 - 37. Play On Demand ft. Alan Watts58:34 - 36. HATERS (NEVER IN LIFE) ft. David Goggins01:01:59 - 35. BOBBLEHEADS ft. David Goggins01:04:45 - 34. THE RAIN ft. David Goggins01:08:08 - 33. Be the Hero ft. Joe Rogan01:14:04 - 32. Mind Control ft. Jocko Willink01:19:49 - 31. GOGGINS ft. David Goggins01:24:23 - 30. DEFAULT AGGRESSIVE ft. Jocko Willink01:29:09 - 29. EVERY SECOND COUNTS ft. Jocko Willink01:33:32 - 28. THE PURPOSE IS YOU ft. David Goggins01:37:49 - 27. SHUT THE FUCK UP ft. David Goggins01:41:03 - 26. On the Other Side Is Greatness ft. David Goggins01:44:18 - 25. I Don't Wanna Hear That ft. Joe Rogan01:49:07 - 24. Our Revels Now Are Ended ft. Alan Watts01:52:00 - 23. WHY NOT? ft Berton Braley01:55:36 - 22. THERE IS NO OPPONENT ft. Bruce Lee01:58:05 - 21. LET IT DIE ft. Charles Bukowski02:00:44 - 20. The Buddha Said ft. Alan Watts02:05:26 - 19. Fight ft. Jocko Willink02:10:39 - 18. I Wake Up Early (Thinking About the Enemy) ft. Jocko Willink02:15:59 - 17. From Suffering ft. David Goggins02:21:38 - 16. PEOPLE ARE NOT GOOD TO EACH OTHER (THE CRUNCH) ft. Charles Bukowski02:26:34 - 15. I KNOW WHAT DARKNESS LOOKS LIKE ft. David Goggins02:29:36 - 14. CRAPPY LIFE ft. Charles Bukowski02:34:19 - 13. BLUEBIRD ft. Charles Bukowski02:36:26 - 12. Discipline Gets Things Done ft. Joe Rogan & Jocko Willink02:40:29 - 11. Music (The Angels Fly Because They Take Themselves Lightly) ft. Alan Watts02:43:00 - 10. STAY FUCKIN' HARD ft. David Goggins02:46:21 - 9. Ordinary Everyday Consciousness ft. Alan Watts02:52:33 - 8. Taking Souls ft. David Goggins02:58:57 - 7. KALI YUGA ft. David Lynch03:04:12 - 6. Discipline Equals Freedom ft. Jocko Willink03:10:05 - 5. Good ft. Jocko Willink03:16:19 - 4. There Must Be Discipline ft. Jocko Willink03:21:02 - 3. THE STRANGEST SECRET ft. Earl Nightingale03:25:07 - 2. Oh My God Isn't That Gorgeous ft. Alan Watts03:28:01 - 1. WHO'S GONNA CARRY THE BOATS (THEY DON'T KNOW ME SON) ft. David Goggins

While the actor has been working steadily both before and after this 90s FOX show I loved (I got yelled at by a lot of Stargate fans for not bringing up that show), I bother Corin about "Parker Lewis," hanging with "Terry," and being inspired by "The Goonies."  We also talk about his two latest films, "Place of Bones" and "I Feel Fine."

What's your most loved and least favorite song on the La's self-titled debut album?! Jim follows up our 1990 Matthew Sweet episode with....a 1990 classic from his beloved Liverpool. A ton of fun talking about our favorite one album wonders. One pandemic day, Adam's roommate Mike Dalke confessed that he tour managed Straightjacket Fits on the La's lone US tour in 1991. Makes him a perfect expert witness/guest ranker along with 91X's Mike Halloran who does our first guest closing credits in a very long while. Listen at WeWillRankYouPod.com, Apple, Spotify and your favorite Liverpudlian sweet shoppe. Follow us and weigh in with your favorites on Facebook, Instagram & Threads and Twitter @wewillrankyoupod . SPOILERS/FILE UNDER:The Beatles, Cast, Elvis Costello, Mike Dalke, Doledrum, Dolgernon, England, Everton, eyeball, Failure, Feelin', Freedom Song, Mike Halloran, Herman's Hermits, I Can't Sleep, I Feel Fine, I.O.U., jangle pop, the Kinks, the La's, Liberty Ship, Steve Lillywhite, Liverpool, Looking Glass, Lee Mavers, Neil Mavers, Oasis, John Power, Redd Kross, Rolling Stones, self-titled debut album, skiffle, So I Married An Axe Murderer, Son of a Gun, Straightjacket Fits, Barry Sutton, There She Goes, there she goes again, Timeless Melody, Eddie Vedder, Way Out, we hate our own record, Wibling Rivalry, 1990. US: http://www.WeWillRankYouPod.com wewillrankyoupod@gmail.comhttp://www.facebook.com/WeWillRankYouPodhttp://www.instagram.com/WeWillRankYouPodhttps://www.threads.net/@WeWillRankYouPodhttp://www.twitter.com/WeWillRankYouPo http://www.YourOlderBrother.com(Sam's music page) http://www.YerDoinGreat.com (Adam's music page)https://open.spotify.com/user/dancecarbuzz (Dan's playlists)

Singles Going Around- Back To The GarageSide ALos Shains- "El Tren Pasa Esta Noche"The Amboy Dukes- "Scottish Tea"Captain Beefheart- "China Pig"Jack White- "High Ball Stepper"Los Mustang- "Please Please Me"The Beatles- "I Feel Fine"The Mar- Keys- "Black"Dr John- "Stack-A- Lee"13th Floor Elevators- "Levitation"The Raconteurs- "Headin' For The Texas Border"The Yardbirds- "Got To Hurry"Side BLos Salvajes- "La Neurastenia"The Rolling Stones- "She Said Yeah"The Boogie Kings- "Philly Walk"Captain Beefheart- "Grow Fins"The Amboy Dukes- "Journey To The Center of The Mind"Los Apson- "Voy Por Ti"The 5.6.7.8's- "Great Balls Of Fire"The Meters- "Britches"The Uniques- "Double Shot Of My Baby's Love"Los Matematicos- "Me Atrapaste"

rWotD Episode 2530: Don't Call Us, We'll Call You Welcome to random Wiki of the Day where we read the summary of a random Wikipedia page every day.The random article for Sunday, 7 April 2024 is Don't Call Us, We'll Call You."Don't Call Us, We'll Call You" is a hit song by the American rock band Sugarloaf. Co-written by lead vocalist Jerry Corbetta, the song was featured as the title track of the band's fourth and final album. It was their fourth single and was recorded at Applewood Studios in Golden, Colorado. Performing on the track, along with Jerry Corbetta, were session players Paul Humphries (drums), Max Bennett (bass), Ray Payne (guitar), and a group called the "Flying Saucers" (Jason Hickman, Mikkel Saks, and David Queen) on harmony vocals.The song peaked at number nine on the U. S. Billboard Hot 100 in the winter of 1974-1975 and number 12 on the Cash Box Top 100. The song is their second greatest hit. It spent 21 weeks on the chart, four weeks longer than their bigger hit, "Green-Eyed Lady".In Canada, "Don't Call Us, We'll Call You" was a bigger hit, where it reached number five for two weeks. "Green-Eyed Lady" had also charted better in Canada (number one versus number three in the U. S.).The song uses a guitar melody from the Beatles hit, "I Feel Fine" (which is also alluded to in the lyric, "sounds like John, Paul, and George") as well as a riff of Stevie Wonder's hit, "Superstition". An imitation of Wolfman Jack by disc jockey Ken Griffin also is featured briefly; the call sign of a radio station is stated ("Stereo 92" in the nationwide release). Numerous tracks of this line were cut to match local markets."Don't Call Us, We'll Call You" was performed on the TV series, The Midnight Special, with Wolfman Jack himself (the host and announcer of the program) making a cameo appearance on the "Stereo 92" line.This recording reflects the Wikipedia text as of 01:09 UTC on Sunday, 7 April 2024.For the full current version of the article, see Don't Call Us, We'll Call You on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Ayanda Neural.

Intro Song –  Larkin Poe, “Blood Harmony”, Blood Harmony 
 First Set -
 Mr. Sipp, “Let's Have A Good TIme”, Basie Swings The Blues Bobby Rush, “TV Mama”, All My Love For You Piper and The Hard Times, “Cheatin's Gotta End”, Self-Titled Joe Waters, “The Oranges Are Hard” 
Second Set – 
Blue Healers “Gotta Move On”, Astro Blues
 Eric E-Train Manning, “$19.95” The Drifter Kings, “Stones Throw”, Devil In The Kitchen Third Set – WIB
 Sunny Bleau and The Moons, “I Feel Fine”, Slow Burns 
LeFever, “Drought”, Little Fish 
Betty LaVette & The Count Basie Orchestra, “Stormy Monday”, Basie Sings The Blues

 Fourth Set - Zeno Jones, “Upton Blues”, Disillusion Blues
 Nathan Beretta, “Had Enough”, Love Tax Man
 Lone Star Mojo, “Good News Travels Fast”, A Shot of the Blues Omar Coleman, “Train I Ride”, Tribute Delmark's 65th Anniversary

Sintonía: "Dynamite" - The Harvey Averne Dozen "Never Learned To Dance", "I Feel Fine", "Central Park", "The Beat Goes On", "Lullaby From Rosemary´s Baby", "Goin´ Out Of My Head" y "Gotta Do My Number", extraídas de "The Harvey Averne Dozen (Fania 1971/Vampisoul CD 022, 2003) "Recuerdos", "Hey Boy (Hey Girl)", "Green Onions", "Mambo Jack", "Que vengo acabando", "Mantequilla", "Don´t Squeeze The Peaches" y "Jive Samba", extraídas del álbum "Latin Percussion With Soul" (Tico Records, 1968/Vampisoul CD 024) de Jack Constanzo y Gerry Woo Escuchar audio

On this episode of "So What Do You Really Do?" Deadair Dennis Maler welcomes renowned artist Ellie Erhart. Discover Ellie's evolution from a Texas-based queer kid to an acclaimed illustrator, and explore her freelance artistry, pandemic survival, and award-winning book, "Blue & Red," recognized at MICE. Dive deep into the art world's inner workings, from illustrating children's books to the highs and lows of being a freelance artist. Expect a vibrant, laughter-filled conversation delving into Ellie's imaginative universe, promising inspiration and colorful insights. Don't miss this lively, paint-splattered chat sure to reveal the secrets behind Ellie's creative chaos! Ready to dive into the colorful world of art and storytelling? Share your thoughts, stories, and favorite sketches in the comments!

Strap in for a fab journey with Joe Kane, the one-man beat group powerhouse behind The Poppermost. Together we explore the chiming guitars and swinging beat of The Beatles' classic I Feel Fine.Joe Kane on Bandcamp: https://thepoppermost.bandcamp.comJoe Kane on X (Twitter): https://twitter.com/ThePoppermostJoe Kane on Facebook: https://www.facebook.com/thepoppermost/Joe Kane on Instagram: https://www.instagram.com/thepoppermostband/

At the end of what was probably the busiest year they'd ever have, the Beatles needed a single for the Christmas market in 1964. They needed to churn it out while also wrapping up work on their 4th album. John picked up a riff from a Bobby Parker song and wrote what he thought was "a lousy song" around it, but nevertheless, brought it to the band. Thankfully, his fellow Beatles all had deep bags of tricks to pull from. Ringo added a latin groove straight out of "Tequila," George added a Chet Atkins-infused solo, Paul keeps it tidy with a grooving bass part and great harmonies. And a little bit of musical voodoo gets sprinkled on top when the band stumbled upon the magic of feedback, which they then tack on to the beginning of the track. All of the sudden, this "lousy song" is their 6th consecutive #1 that year, stayed in their live set for the next 2 years, and goes on to be the 56th best selling single of all time in the UK. Not bad for a little song called "I Feel Fine." The Beatles magic of turning a song into something stronger than the sum of its' parts is on display here, as there's not too much weight to the song, but boy is it a cool song. Speaking of cool, how cool is this? Joining us on the show this week is guitarist, composer, and former Wings member Laurence Juber! The London-born virtuoso joined us for a lovely chat back in June (which is why some of the upcoming things he mentions have already happened), in which we discuss his Teatime with LJ livestreams on Facebook, the upcoming Brady Bunch musical he's been working on, his journey with Wings, an absolutely lovely moment with George Harrison, and much, much more! Be sure to follow Laurence on Facebook at https://www.facebook.com/LaurenceJuberGuitar and you can check out all of his music and keep an eye on dates on his website at https://laurencejuber.com/. What do you think about "I Feel Fine" at #107? Too high? Too low? Or just right? Let us know in the comments on ⁠Facebook⁠, ⁠Instagram⁠, or ⁠Twitter⁠! Be sure to check out ⁠www.rankingthebeatles.com⁠ and grab a Rank Your Own Beatles poster, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠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

Jessica Rhaye joins East Coast DNA host Darcy Walsh for a chat about her career in music, her new album, her band, and upcoming tour. With the release of Sunshine Baby, Jessica Rhaye's second album with The Ramshackle Parade, the New Brunswick-based singer/songwriter expands her reach as a lyricist and vocalist with a set of alternately personal and observational songs that manage to be incredibly intimate and cinematic in scope simultaneously. While Rhaye illuminates the darker corners of her world on some tracks, the album's lead single and title track makes it clear she's ever lost sight of the possibility for redemption and hope. The result is a beautiful and powerful album – one that telegraphs the joy and depth of connection Jessica Rhaye and The Ramshackle Parade have found in working together in equal measure. 00:00 Introduction 00:50 Solo music career 06:10 Graphic Design 14:50 The Ramshackle Parade 16:30 Tour 19:00 The sound of Jessica Rhaye and The Ramshackle Parade 23:20 Influences 30:23 I Feel Fine by Jessica Rhaye and The Ramshackle Parade Find Jessica Rhaye and The Ramshackle Parade online: https://jessicarhaye.bandcamp.com/ (check out the vinyl!) https://www.jessicarhaye.com/  @JessicaRhayeMusic  Find Jessica Rhaye Design online: https://www.jessicarhayedesign.com/ Catch Jessica Rhaye and The Ramshackle Parade live: https://www.jessicarhaye.com/shows Thursday, Sept 28, 2023 - Charlottetown, PEI - Trailside Music Hall Saturday, Sept 30, 2023 - Saint John, NB - Imperial Theatre Thursday, October 19, 2023 - Halifax, NS - The Carleton Friday, October 20, 2023 - Shelburne, NS - The Osprey Arts Centre Saturday, October 21, 2023 - Fredericton, NB - Charlotte Street Arts Centre Monday, October 23, 2023 - Montreal, QC - Casa Del Popolo Tuesday, October 24, 2023 - Toronto, ON - The Dakota Tavern Presents: Four Play Wednesday, October 25, 2023 - London, ON - Aeolian Hall Thursday, October 26, 2023 - Hamilton, ON - Mills Hardware Friday, October 27, 2023 - Ottawa, ON - The Redbird Live Saturday, October 28, 2023 - Smiths Falls, ON - Station Theatre Subscribe to  @eastcoastdna  for more music and arts coverage from Eastern Canada --- Send in a voice message: https://podcasters.spotify.com/pod/show/east-coast-dna/message

Not sure how to feel about today’s economy? Perhaps putting it to music will help. Today we're dedicating the entire show to the economic anthems of this moment. We’ll play a round of Name That Tune with songs our dear listeners submitted. Plus, Kai and Kimberly will share their song picks! Here’s everything we talked about today: “Is the current job market music to the Fed’s ears?” from Marketplace Bleachers: “I Wanna Get Better” on YouTube R.E.M.: “It’s the End of the World as We Know It (and I Feel Fine)” on YouTube Donna Summer: “She Works Hard for the Money” on YouTube “The Real Woman Behind Donna Summer’s Hit ‘She Works Hard For the Money'” from LAist Grateful Dead: “Truckin'” on YouTube “What's your ‘economic anthem’?” from Marketplace Marketplace: “Your Economic Anthems” on Spotify Join us tomorrow for Economics on Tap. The YouTube livestream starts at 3:30 p.m. Pacific time, 6:30 p.m. Eastern. We'll have news, drinks, a game and more.

Not sure how to feel about today’s economy? Perhaps putting it to music will help. Today we're dedicating the entire show to the economic anthems of this moment. We’ll play a round of Name That Tune with songs our dear listeners submitted. Plus, Kai and Kimberly will share their song picks! Here’s everything we talked about today: “Is the current job market music to the Fed’s ears?” from Marketplace Bleachers: “I Wanna Get Better” on YouTube R.E.M.: “It’s the End of the World as We Know It (and I Feel Fine)” on YouTube Donna Summer: “She Works Hard for the Money” on YouTube “The Real Woman Behind Donna Summer’s Hit ‘She Works Hard For the Money'” from LAist Grateful Dead: “Truckin'” on YouTube “What's your ‘economic anthem’?” from Marketplace Marketplace: “Your Economic Anthems” on Spotify Join us tomorrow for Economics on Tap. The YouTube livestream starts at 3:30 p.m. Pacific time, 6:30 p.m. Eastern. We'll have news, drinks, a game and more.

We flip the I Feel Fine single over to its B-side this time out to cover the McCartney rocker She's A Woman. Does the song manage to maintain the quality of its A-side? How do the cover versions stack up this time? And just how many other words rhyme with "presents" anyway?   Rankings: Track-by-track Ranking eMail: beatlesstuffology@gmail.com Twitter: @beatles_ology Instagram: beatlesstuffology JG's Blog: Judgementally Reviews… Andrew's Blog: Stuffology   Produced By: JG McQuarrie

On to a single as we leave the world of albums temporarily behind and embrace I Feel Fine as this epsiode's Stuffology outing. Does the song manage to hold its own away from any kind of parent album? How much can someone say "I don't like this" while admitting to liking it and then changing their mind? And do the non-Lennon three-quarters of the band hold up their end of things?   Rankings: Track-by-track Ranking eMail: beatlesstuffology@gmail.com Twitter: @beatles_ology Instagram: beatlesstuffology JG's Blog: Judgementally Reviews… Andrew's Blog: Stuffology

Episode 393... Just a random show with bro solo and lots of new stuff for your listening pleasure! Listen to all the rad playlists on our YouTube Channel for F sake. Pay Punkbot138 a visit on Instagram (fart sound) while you're scrolling through all the useless crap over there. Enjoy!Download and stream here (iTunes and Google Podcasts as well):BROS GRIM 393!!!!!!! Airing Wednesdays 7pm PST on PUNK ROCK DEMONSTRATION & Fridays/Saturdays 7pm PST on RIPPER RADIO.Send us stuff to brothersgrimpunk@gmail.com.Radiation Punk...Belarus Boredom Tendencies 1:05 Radiation Mask The Age of Endless Frustration Melbourne Tequila Fetus 1:41 SCRÆPË SIN BIN Chicago Goodbye 1:25 Future Shock Future Shock In 3-D Space Spirit of Punk Rock 1:01 WxTxZx Welcome to Zombieland Queens Failed Earth (bkgrd) 2:39 EXPOLLUTANTS Failed Earth / Stolen Universe Fuck X-Factor 2:10 Bin Laden's Daughter The Futility of Music As An Expression of Moral and Cultural Outrage The Price Of War 1:33 Terminal Disgust Pigs Suck V/A_Clean Plate Recs Western Plague 1:19 Deadache demo 2020 Sharp Knives 2:00 Stepdad SS Strepdad SS demo 2013 Solo es punk si yo lo digo 1:28 Webelos Webelos New Car Smell 2:00 Guttermouth New Car Smell - EP Guilty (bkgrd) 3:02 Wellsville Records Pantzig - The Right To Remain Stupid Chile ESCLAVXS 0:49 Sakeo EP Houston Swisher Sweet 1:47 Mexican Coke Split with URN Bogota No parará 1:44 Senza futuro Senza Futuro - Demo Atlanta 1 Trillion Gallons of Gasoline 1:52 Burning Question DEMO Chicago Side By Side 1:47 The Lowborn New Year New Demo Pittsburgh Everyone Recs I Feel Fine 1:43 Everyone Records Addict Brain Demo My Dad Beat up a Bear (bkgrd) 2:13 The Raycocks 709 PunkXHardcore Nuke 1:29 Kronol Release The Pressure Van BC STRAWBERRY MAGNUM BOOTS 2:24 GUILE GUILE - EP Berlin Religion is Brainwash 4:07 Horrific Visions Sampah Masyarakat INGENIERIA SOCIAL 1:22 PARCE PARCE / CUTRE Dead Invoices Blisters On My Feet 2:23 Guff  Mongrel // Guff - Inner Self SPLIT Italy Red Wave (ft. Mauro/Raw Power) 0:56 Wah'77 High Hopes Is There Anybody There (bkgrd) 3:49 Flux Of Pink Indians Not So Indian Chile Short Bus Explosion 0:46 Genital Impetigo Tracks for a 3-Way Split RAT RACE 1:22 LÜGER DEMO 2020 Chain of Fools 1:36 Ashtray Good People to Do Business With Your To Blame 1:07 Nihilistics 1983 - Nihilistics (Lp)NYNY Left Hand Of Darkness 2:57 Flower Hardly A Dream promo tape Bottom Feeder 1:13 Rash Decision Seaside Resort To Violence / Headstrung Rave Is Your Grave 1:58 Fleas And Lice 1993 - Parasites (7'' Ep) Berlin When does it End? 1:25 Lagerkoller Uneasiness in 2022

"It's the End of the World As We Know It (and I Feel Fine)," The Time Between: Advent 2022, Matthew 24:29-44, the Very Rev. Dr. Dan Alger.

“Je rêve de rencontrer mon idole, je rêve de rencontrer Garou dont je suis le premier fan, c'est mon voeux le plus cher, ce serait la consécration d'un rêve et je peux même dire de ma vie” Sébastien C, Paris. Si je me permet de citer Sébastien, c'est pour le mettre en garde, non Sébastien, il ne faut pas rencontrer ses idoles, car généralement l'idée que l'on se fait d'elles, est bien éloignée de la réalité et l'on prend le risque de grandes déceptions. En témoignent les Beatles, qui un jour de 1965, ont croisé la route de leur idole, Elvis…Si Elvis et les Beatles ont joué ensemble ce soir-là, il ont notamment joué le titre « I Feel Fine » selon l'attaché de presse des Beatles Tony Barrow qui assistait à la scène. Toujours selon lui, Ringo, n'ayant pas de batterie, tapait sur un meuble avec ses doigts… Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

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

We're talking to Harry Steele from Unthnkble on this week's Sheer Isolation - a Somerset based production company which specialises in creating music videos. Harry tells us about a recent project he worked on at Mick Jagger's house, and how he's hoping to expand into even larger productions with bigger budgets in years to come. He also tells us how his passion for video making has got him to this point in just a few years, and offers advice to other budding videographers in the South West on how to establish yourself on the scene. Harry picks a song from The Voice finalist Cody Frost - he made the official video for this one. Meanwhile, Kieran chooses a tune from alt-indie band, I Feel Fine, who are in the West this month as part of their UK tour. We also talk about renovation work ongoing at The Pump venue in Trowbridge, and how Love Saves The Day festival in Bristol is going plastic and glitter free this year.

This heat has a beginning, a middle and an end, unlike one of the songs this week which just jumps in halfway through. We put The Night Before, For No One, I Feel Fine and Hold Me Tight up against each other, and one will emerge the winner. Comes with half a scoop and two battered cod. 

One episode two of our first season, Ian increases his all-time Beatles listening by roughly 200% and shares his feelings about it! Our heroes discuss the albums "With the Beatles" and "A Hard Day's Night" (Album AND movie!) as well as the unprecedented international hit "I Want To Hold Your Hand." Joel shares how the movie version of "A Hard Day's Night" made him feel particularly seen this week and gets really excited about listening to the band's next single, "I Feel Fine."

This week, we had a chat about Imran Khan, dynastic politics, Pakistan's domestic politics, and the impact recent developments in Pakistan could have on its foreign policy objectives.The Jam of the Week was I Feel Fine by The Beatles All of our Jams of the Week can also now be found on our Spotify playlist herePlease get in touch with us via Twitter, Instagram or Facebook. If you're old-school, the e-mail is politicsjamuk@gmail.com.The Music is How It Is by Jeris licensed under Creative Commons.The Politics JaM linktree can be found at: https://linktr.ee/PoliticsJaM

We explore the prophetic highway laid out in Revelation 20.  What does the end of the world in the Bible? Ken Taylor // March 6, 2022 // It's the End of the World as We Know it... and I Feel Fine:  Part 3

Riff Riff Riff!! What are the ingredients that make a great Beatles song? Billy and Jay make up their list of must haves and ‘I Feel Fine' definitely checks all of the boxes!While recording the Beatles For Sale album, John's guitar was left leaning on an amp. The result? The magical and mysterious opening to this track.Some many goodies unraveling the layers of this classic Beatles number one hit. Billy and Jay discuss how The Beatles recorded it, how amazingly high it charted, what piece of gear they'd take from Mal, they ponder if this is Ringo's best Beatles drum track and wait until until you hear what they've found on their deep diveSide note: Billy practiced the riff after and finally got it correct after this episode was recorded.Baby's good to me, ya know she's happy as can be ya know she said so. Enjoy Billy and Jay's Glass Onion treatment of I Feel Fine. billymcguigan.com/glassonionpodcast

Gran Bretaña y Europa se rinden a la Beatlemanía y es el momento de conquistar Estados Unidos. En medio de un éxito tan arrollador como agotador, la música de los Beatles sigue evolucionando. Con testimonios de Andrés Calamaro y Hugo Fattoruso.

Musician and songwriter Alun Piggins talks to host Paul Romanuk in Part 2 of our look at The Beatles 1994 album The Beatles Live At The BBC. Tracks discussed in this episode include I Feel Fine, Ticket To Ride and Love Me Do. Although his grunge days are behind him, Alun used to front The Morganfields, a grunge band that enjoyed a run of success in the early 90s in Canada. He's put out some decent solo albums since those days; you can find out all about those records at Alun's website: https://www.alunpiggins.com (alunpiggins.com) His https://alunpiggins.bandcamp.com (Bandcamp page) is here. There's loads of information out there about The Beatles BBC sessions. I think one of the best online stops is at https://www.beatlesbible.com (BeatlesBible.com) - here is their page on the https://www.beatlesbible.com/features/beatles-bbc-radio-recordings/ (BBC Sessions), with detail about what tracks were played on what shows.

This week Kat (@kat.defatta) invites Jen Kirkman (@jenkirkman) on the podcast to have a candid conversation about. . . anxiety. Jen is an internationally touring comedian known for her Netflix specials “I'm Gonna Die Alone (and I Feel Fine)” and “Just Keep Livin.” and New York Times Best Selling author who now also hosts a new podcast called, Anxiety Bites. Jen has had life-long Panic and Generalized Anxiety Disorder and brings her life-lessons, humor, and hope to the podcast in an attempt to reduce the stigma of one of the most prevalent mental health disorders in our society. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

It's that time again: Steve and Ian are taking questions from listeners. This week's episode of Indiecast kicks off with a recap of last weekend' Pitchfork Festival, before diving into a discussion of bands that started their career in the indie world before eventually growing to a point that their indie cred became nonexistent. Bands like The Black Keys and Kings Of Leon are shining examples of this phenomenon, while bands like LCD Soundsystem, Vampire Weekend, and Arcade Fire retain the coveted indie credentials.Other conversations include the ultimate Indiecast concert that would bridge the gap between Steve and Ian's musical tastes, the discographies of Red Hot Chili Peppers and Metallica, and more.In this week's Recommendation Corner, Steve is vibing with the new single from Orlando duo Tonstartssbandht, which previews their first album in four years. Ian is enjoying a new split release from European emo bands I Feel Fine and You Could Be a Cop.You can submit questions for Steve and Ian at indiecastmailbag@gmail.com, and make sure to follow us on Instagram and Twitter for all the latest news.

Today we're joined by Jack from I Feel Fine to discuss their love and admiration for Meet Me In St. Louis

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

#115-111Intro/Outro: Long Live Rock by The Who115. A Change is Gonna Come by Sam Cooke (2)114. I Feel Fine by The Beatles (25)113. Free Bird by Lynyrd Skynyrd112. Paradise by Coldplay (7)111. Fast Car by Tracy ChapmanBalderdash alertBonus excerpt: Watch Your Step by Bobby ParkerGenre update:Rock - 135 (34.6%)Alternative - 95 (24.3%)R&B - 31 (7.9%)Hip-Hop/Rap - 30 (7.6%)Folk - 26 (6.7%)Country - 16 (4.1%)Blues - 13 (3.3%)Pop - 11 (2.8%)Punk, Grunge - 6 (1.5%)New Wave - 4 (1.0)Disco, Jazz, Reggae - 3 (0.7%)Bluegrass, Electronic, Ska, World - 2 (0.5%)Gospel, Heavy Metal - 1 (0.2%)

La palabra newsletter, desconocida para muchos y jarta para otros, ha dejado de ser un término exclusivo de markenting y se está convirtiendo también en un lugar para encontrar lecturas sabrosas. En este episodio exploramos un poco esa transformación, que de hecho nos llevó a crear nuestro propio newsletter (o boletín de correo, como diría la RAE). Laura es ávida lectora de newsletters, Santi apenas está metiendo las patitas en el agua.  ✨ Nuestra encuesta:¡Queremos saber de ustedes! Si llenan esta encuesta (de 3 minutos) nosotros tomaremos mejores decisiones sobre Cosas de Internet: bit.ly/encuestaCDI  Este episodio fue hecho con el apoyo de:  ▸ Oyentes como tú en Patreon. Patreon es nuestra página para recibir donaciones, si quieres ayudar a la sostenibilidad de nuestro podcast y tener una relación más estrecha con nosotros, visita patreon.com/cosasdeinternet ▸ Compradores de la Tienda de Cosas de Internet. Tenemos camisetas y buzos que celebran la curiosidad, con estampados bonitos y 100% algodón. Sigue sin compromiso a la tiendacosasdeinternet.com Notas del episodio: «El renacer de las newsletters: escritores y artistas le dan un giro personal a una clásica herramienta de marketing». Acá los nombres de varios periodistas en Estados Unidos que han renunciado a medios tradicionales para escribir en newsletters: «We're at Peak Newsletter, and I Feel Fine». Esta entrevista de SXSW 2021 ayuda a conocer algunas de las razones que tienen los periodistas para pasarse al mundo de los newsletters. El reporte del London School of Economics se llama «Back the Future: Email Newsletters as a Digital Channel for Journalism» y fue publicado en el 2016.  En el 2014 el Washington Post y el News York Times ya tenían gente pensando en construir un hábito con sus newsletters.  Acá el artículo académico que habla del newsletter como el precursor de los periódicos: «The Manuscript Newsletter and the Rise of the Newspaper». Cómo usar apropiadamente un mimeógrafo en 1958. Wired hizo un artículo sobre escritores que hace 80 años se valieron del newsletter de papel —copiado en mimeógrafo— para conectarse directamente con su público. «Women's Advertising Club Newsletters: Building Communities of Practices and Instilling Club Philosophies» (Página 354). «Just a printer». En el episodio «¿Cuánto vale tu atención?» charlamos sobre los algoritmos de las redes y por qué a veces no nos muestran el contenido al que nos suscribimos.  Este es el libro que ayudó a Santiago a entender el rol de los newsletters en el mercadeo.  En nuestro newsletter narramos cómo exactamente un correo promocional llevó a Laura a cambiar de celular.  Ya que hemos dado tanta lora, compartimos el formulario para inscribirse al boletín de correo de Cosas de Internet: cosasdeinternet.fm/newsletter 

Help! It's been A Hard Day's Night and though I Feel Fine, I Want to Hold Your Hand as Dougal (the aspiring Paperback Writer) gives us a Ticket to Ride on the Long and Winding Road of his version of Yesterday. Since Jim gave us Fight Club: 2029 (signed by Jim "From Me to You"), Dougal has been working Eight Days a Week to Get Back to Something a little more honest and a little more Beatles. So lets Come Together and Let It Be.Album recommendation this week is:Resistance Radio: The Man in The High Castle Album - Various ArtistsScoosh Scoosh Bellush and remember that All You Need is Love.For all your usual podcast things:https://www.facebook.com/TunaBootInstagram: @realtuna_bootLinks to Podcast:Acast: https://shows.acast.com/tuna-bootApple Podcast: https://podcasts.apple.com/gb/podcast/tuna-boot/id1513836227Deezer: https://deezer.com/show/1251852Spotify Podcast: https://open.spotify.com/show/74FHF7CI5q4JzWcKyfdKM4...iHeart Radio:https://www.iheart.com/podcast/269-tuna-boot-63366728/ See acast.com/privacy for privacy and opt-out information.

The end is near! It’s eschatology and R.E.M. in part one of this two-part almost-the-end-of-the-season mega-episode. After discussing some of the greatest apocalyptic tunes in the history of rock and roll, your intrepid cohosts settle on a 1987 hit from R.E.M., “It’s the End of the World As We Know It (and I Feel Fine).” Along the way, Garrick tries to convince everyone that “The Final Countdown” by Europe is a song about the end of time, but of course it isn’t and Garrick probably already knows that. Timothy reminisces about the films that terrorized him in his fundamentalist childhood before defining “eschatology” and discussing different views of the end of time. What Garrick and Timothy discover as they take a look at the end of time is that, in the late modern era, eschatologies shifted from looking forward to looking inward. In many contexts, the result has been a failure to talk about the end of time at all. And yet, an avoidance of this topic is no less harmful than an over-emphasis on it. The episode ends with a cliffhanger as the dynamic duo begins to list four essential truths about the end of time but then stops after the first one. To discover the rest of these essential truths, be sure to listen to part two of this episode. This episode’s Toybox Hero Tournament is the most ridiculous encounter yet in a season that has been a veritable fountain of ridiculousness. Garrick puts on a bomber jacket and plays a song on his daughter’s ukulele, hoping to save himself from certain destruction by calming the wrath of an Amazonian superheroine. The superheroine is unimpressed and, now, there is one less ukulele in the world. Also, “Ukulele Wonder Women” would be the perfect name for an all-girl acoustic punk band. The new cover art for this season was created by Dani Wallace (daniwallace.myportfolio.com). In Today's Episode Timothy Paul Jones, Ph.D., is C. Edwin Gheens Professor of Christian Ministry at The Southern Baptist Theological Seminary. He teaches in the areas of family ministry and applied apologetics. He has authored or edited more than a dozen books, including Why Should I Trust the Bible?, The God Who Goes Before You, Perspectives on Family Ministry, and Christian History Made Easy. Follow Dr. Jones at @DrTimothyPJones. Garrick Bailey is a Ph.D. student in systematic theology at The Southern Baptist Theological Seminary, studying Herman Bavinck and Roman Catholicism under the supervision of Gregg Allison. Links to Click B and H Academic A Theology for the Church: book edited by Daniel Akin Rose Guide to End-Times Prophecy: book by Timothy Paul Jones The Burning Hell: film by Estus Pirkle All Along the Watchtower: song by Jimi Hendrix Bad Moon Rising: song by Creedence Clearwater Revival Fight Fire with Fire: song by Metallica Four Horsemen: song by Metallica 99 Red Balloons: song by Nena The Final Countdown: song by Europe It's the End of the World as We Know It (And I Feel Fine): song by R.E.M. America's Greatest Band: article by Eric Harvey R.E.M.'s First Ever Show: article by J. Niimi Oddfellows Local 151: song by R.E.M. We Didn't Start the Fire: song by Billy Joel Murmur: album by R.E.M. SBTS Preview Day Urban Ministry Podcast How to Make Three Chords and the Truth More Amazing than It Already Is Support the show and spread the word! Here are a few ways to do that: 1. Subscribe to Three Chords and the Truth: The Apologetics Podcast: Apple / Android / RSS. 2. Leave a rating and review on iTunes to encourage other people to listen to the show. 3. If you purchase any of the books mentioned in Three Chords and the Truth, consider using the Amazon links provided in the show notes. The show will receive a small percentage of each sale. 4. Visit our Patreon site where you can support the podcast, suggest future songs or topics, and order Three Chords and the Truth merchandise. 5. Make contact with us on Twitter: @DrTimothyPJones  @GarrickBailey  @ApologeticsPod The Closing Credits Three Chords and the Truth: The Apologetics Podcast thanks B&H Academic for their sponsorship. Music for the podcast has been licensed through Artlist.io and performed by Trent Thompson. Brief excerpts of music played in each program are included solely for the purposes of comment and critique as allowed under the fair-use provision of U.S. copyright law. “The fair use of a copyrighted work … for purposes such as criticism, comment, news reporting, teaching, … scholarship, or research, is not an infringement of copyright” (U.S. Code § 107, Limitations on exclusive rights: Fair use). Main image courtesy of Wikimedia Commons.

Yes the show is a year old and Tommy celebrated with the following playlist The Beatles - Birthday The Supremes "Baby Love" Elvis Presley "It's Now or Never" The Searchers "Needles and Pins" Billy J. Kramer & The Dakotas "Little Children" Engelbert Humperdinck "Release Me" Cilla Black "You're My World (Il Mio Mondo)" Roy Orbison "It's Over" Elvis Presley "Wooden Heart" The Dave Clark Five "Glad All Over" The Archies "Sugar, Sugar" † The Bachelors "Diane" Cilla Black "Anyone Who Had a Heart" The Beatles "She Loves You" Peter & Gordon "A World Without Love" The Searchers "Don't Throw Your Love Away" Pye The Four Pennies "Juliet" The Animals "The House of the Rising Sun" The Rolling Stones "It's All Over Now" The Beatles "A Hard Day's Night" Manfred Mann "Do Wah Diddy Diddy" The Honeycombs "Have I the Right?" Herman's Hermits "I'm Into Something Good" The Beatles "Hey Jude" Roy Orbison "Oh, Pretty Woman" Sandie Shaw "(There's) Always Something There to Remind Me" Frank Ifield - I remember you The Rolling Stones "Little Red Rooster" The Beatles "I Feel Fine" Ken Dodd "Tears" † Tom Jones "Green, Green Grass of Home" The Kinks "You Really Got Me" The Beatles - "Can't Buy Me Love" Mary Wells - My Guy 4 seasons - Rag Doll Shangri-las - Leader of the pack

Los Angeles-based band Tashaki Miyaki are releasing their latest album, Castaway, July 2nd on Metropolis Records.  The trio - Paige Stark (vocals/drums), Luke Paquin (guitar) and Sandi Denton (bass/backing vocals) - recently released their new single, "I Feel Fine". The record is produced by Stark, who guided the band to push themselves into new spaces. They tried to deconstruct their own sound and reboot from that place, while letting some beloved influences echo throughout.Paige talks about her own favorites and influences in pop culture, particularly music from the ‘70s, in a free-wheeling discussion.You can learn all about Tashaki Miyaki and check out their music at:  https://tashakimiyaki.bandcamp.com/Check out That Pop Culture Show here on this channel every week, with new episodes debuting on Fridays.  That Pop Culture Show is a weekly round table talk show with celebrity guests, collectors and experts talking about and celebrating pop culture.  Join hosts Kody Frederick and Jason DeBord with guests from the world of pop culture, including film, television, rock 'n' roll, sports, contemporary and street art, comic books, geek culture and more.Each episode features a profile of the guest, a discussion of current pop culture topics, and a close look at an artifact of collectable the guest has brought in to share.  This includes in-depth looks at prized pieces of memorabilia, works related to their careers, or any other interesting artifact that has meaning to them in their lives.Please like and subscribe to support our efforts to celebrate pop culture

#275-271Intro/Outro: Inside Out by Eve 6275. It's the End of the World as We Know It (and I Feel Fine) by R.E.M.274. Sucker M.C.'s (Krush-Groove 1) by Run-D.M.C.273. Do You Remember by Jack Johnson272. New by Paul McCartney271. River Deep - Mountain High by Ike & Tina TurnerBalderdash alert: I inserted one bogus fact into today's episode

A medley of sorts featuring three massive Beatles hits "Can't Buy Me Love", "Drive My Car", and "I Feel Fine" 

Vamos con el mejor grupo de todos los tiempos, The Beatles. Les compartiremos toda la historia de su visita a Japón y el audio completo de su primer concierto en el Budokan de Tokio del 30 de junio de 1966. Escucharemos Rock n' Roll Music, She’ a Woman, If I Needed Someone, Day Tripper, Baby’s in Black, I Feel Fine, Yesterday, I Wanna Be Your Man, Nowhere Man, Paperback Writer y I’m Down.

This exhibit is called The Vietnam War: The Music. Our mission here at the Music Museum is to support all Vietnam Veterans and those who serve the United States, then and now. We thank you for your service. Early-on, in Vietnam, soldiers turned to music as a lifeline to the home front they’d promised to defend. Rock & roll (R&R) really became rest & relaxation (R&R) for the troops. It was this music that got you through another day, another day closer to going home. Music was a big part of a soldier’s down time that centered within the hooches of Vietnam. The music that was popular during the Vietnam War was, and is still, therapy. There are songs you can remember, and then there are songs you REALLY remember. Many of these songs will have a special meaning for you. A place, a brother, a time gone by. This program is for you, the Vietnam Vets, who will never forget. Our goal with The Vietnam War: The Music is to honor the fallen and the survivors with the music that got them through “just one more day”. Our shows are broadcast around the world. They say thank you & “welcome home” to all Vietnam Vets. There is no opinion offered on the War. It’s all about the music. For your service and your sacrifice, this is The Vietnam War: The Music. This episode: The Times They Are A-Changin' Join the conversation on Facebook at----- https://www.facebook.com/profile.php?id=100008232395712 or by email at dannymemorylane@gmail.com You’ll hear: 1. The Times They Are A-Changin' by Bob Dylan 2. Welcome Home by Country Joe McDonald 3. Born on the Bayou by Creedence Clearwater Revival 4. Soldier Boy by The Shirelles 5. The Ballad of the Green Berets by Staff Sgt. Barry Sadler 6. Hello Vietnam by Johnnie Wright (w/ Kitty Wells, backing vocal) 7. I Fall To Pieces by Patsy Cline 8. (Sittin' On) The Dock Of The Bay by Otis Redding 9. Sitting in the Cab of My Truck by Chip Dockery [He served with the 13th Tactical Fighter Squadron at Udorn] 10. People Got To Be Free by The (Young) Rascals 11. These Boots Are Made For Walkin' by Nancy Sinatra 12. Oh, Pretty Woman by Roy Orbison 13. The Minute Men (Are Turning In Their Graves) by Stonewall Jackson 15. Respect by Aretha Franklin 16. Sugar Shack by Jimmy Gilmer & The Fireballs 17. I Can't Help Myself (Sugar Pie Honey Bunch) by The Four Tops 18. Good Vibrations by The Beach Boys 19. Gallant Men by Senator Everett McKinley Dirksen 20. Mr. Lonely by Bobby Vinton 21. We Gotta Get Out Of This Place by The Animals 22. The Locomotion by Little Eva 23. Dear Uncle Sam by Loretta Lynn 24. Good Luck Charm by Elvis Presley 25. Big Girls Don't Cry by The Four Seasons 26. What We're Fighting For by Dave Dudley 27. You by The Aquatones (w/ Lynne Nixon, lead) 28. Light My Fire by The Doors 29. The Battle Of New Orleans by Johnny Horton 30. Chu Yen (Siagon Girl) by Saul Broudy (lead), Robin Thomas & Tom Price 32. Honky Tonk Women by The Rolling Stones 33. Lyndon Johnson Told the Nation by Tom Paxton 34. Leaving On A Jet Plane by Peter, Paul And Mary 35. Together Again by Buck Owens 36. I Feel Fine by The Beatles 37. Sky Pilot by Eric Burdon & The Animals 38. Coney Island Baby by The Excellents 39. With God On Our Side by The Neville Brothers 40. God Bless America by Connie Francis

The morning of Oct 8, 1964, Paul came up with a song idea he was so excited about, he had the band work on it at their recording session that day. He saw it as a Little Richard-esque r&b rock tune, something they hadn't been able to write yet. The track, "She's A Woman," became the b-side for "I Feel Fine," but the band must've had a soft spot for it. It became a staple of their live show from the time of release until their final live tour date at Candlestick Park in 1966. It's certainly got some interesting elements to it, especially the intro and John's slashing guitar, but the rest of the song is maybe kind of lacking. John and Paul relished the chance to drop "turns me on," a drug reference, into a song for the first time, but how cool is it when it follows "My love don't buy me presents/I know that she's no peasant"? Returning to chat with us this week is our old pal and fellow Beatles uber nerd, Kyle Melancon, drummer for Disney's Imagination Movers, Louisiana Music Hall of Famers Dash Rip Rock, and Jonathan's bandmate in their 90s cover band supergroup, Big In The 90s. We touch on our relationship with Beatles b-sides and discovering the whole new world they contain, questionable live song choices, weird songs from Kyle's children's music band, and more! If you're into 90s music, check out Kyle and Jonathan's 90s cover band, Big In the 90s, and follow them on Facebook for livestream shows if you're not in the New Orleans area.  What do you think? Too high? To low? Just right? Be sure to follow along, leave your comments, and join in on the discussion on the rankings at Facebook (facebook.com/rankingthebeatles), on Twitter at @rankingbeatles, and on Instagram @rankingthebeatles. Enjoying the show and want to show your support? Check out https://anchor.fm/rankingthebeatles/support to drop a coin in the tip jar! --- Send in a voice message: https://anchor.fm/rankingthebeatles/message Support this podcast: https://anchor.fm/rankingthebeatles/support

Episode 21-It's The End of The World As We Know It and John and I Feel Fine!!! Recap of Recent US Events, Canadian Politicians, Lockdowns and Curfews, Wokism Sucks, Epstein Update and Future of Unbridled MindsNo time stamps due to shortness of episode (80 mins....lol)

Great Rock intros, it’s the game the whole family can play See omnystudio.com/listener for privacy information.

Great Rock intros, it's the game the whole family can play   See omnystudio.com/listener for privacy information.

For episode 2, we travel back for the Christmas number ones of the 1960s. It was the decade of the Beatles’ takeover of the festive charts, plus a couple of oddities and rock and roll favourites. It proved to be the decade that showed that the festive chart was something the biggest artists around battled out for, with big hits for Cliff Richard, Elvis Presley and Tom Jones. https://traffic.libsyn.com/secure/eamezey/Christmas_Number_One_Rewind_-_1960s.mp3 (Download the episode), stream in the player above, or subscribe for the latest episodes. Full Christmas number ones (look away if you don't want ‘spoilers'!): 1960: Cliff Richard & The Shadows – ‘I Love You’ 1961: Danny Williams – ‘Moon River’ 1962: Elvis Presley – ‘Return to Sender’ 1963: The Beatles – ‘I Want to Hold Your Hand’ 1964: The Beatles – ‘I Feel Fine’ 1965: The Beatles – ‘Day Tripper/We Can Work It Out’ 1966: Tom Jones – ‘The Green Green Grass of Home’ 1967: The Beatles – ‘Hello Goodbye’ 1968: The Scaffold – ‘Lily the Pink’ 1969: Rolf Harris – ‘Two Little Boys’ All Episodes: https://christmascharts.wordpress.com/2020/11/10/1950s/ (1950s) | https://christmascharts.wordpress.com/2020/11/13/1960s/ (1960s) | https://christmascharts.wordpress.com/2020/11/18/1970s/ (1970s) | https://christmascharts.wordpress.com/2020/11/23/1980s/ (1980s) | https://christmascharts.wordpress.com/2020/11/28/1990s/ (1990s) | https://christmascharts.wordpress.com/2020/12/04/2000s/ (2000s) | https://christmascharts.wordpress.com/2020/12/09/2010s/ (2010s)

This week is a little different. We start out with some news that's going on in the industry and then go into a quick game of Song Association. Dad finishes out the episode talking about Your Love by The Outfield. We mention I Feel Fine by The Beatles, and I Have Nothing by Whitney Houston. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/thegoodmusicexperience/support

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

Do you want to experience a hope that endures? Join us as we continue our series "I Feel Fine" as we learn how to overcome roadblocks that keep us from experiencing hope.

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 3 Songs: Julia, I Am the Walrus, I Feel Fine, I've Got a Feeling ,The Fool on the Hill, Plus RUTLES BONUS - Piggy in the Middle! Please let anyone know about this podcast who might be interested! You can contact me on Twitter @big_sort or @Garry_Abbott, 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/0FUiC5Qj1j4RJqfRMtlgOc 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

In music, there are two kinds of feedback - Good and Bad. Bad feedback is that high pitched squeal you hear when a microphone gets too close to a speaker. Good feedback is the kind where you control (think of the opening guitar note in the song "I Feel Fine" by the Beatles). A feedback loop is the part of a system in which some portion (or all) of the system's output is used as input for future operations. In marketing, we need to create feedback loops to help us find the right messages that resonate with our perfect audiences. There are four parts to a marketing feedback loop: Action - Write or Create Something Evidence - Engagement Relevance - Measure Response Consequence - Change or Update Something In this episode, we will discuss how you can use feedback loops to find the right messages that will resonate with your perfect audience. You can create a great feedback loop by asking the right questions, gathering the responses, dig deeper, and take action!

This week, we return to the biggest band of all time, The Beatles, during their initial rise to fame! If you liked this episode, please subscribe, leave a comment, and share with your friends! Check us out in Patreon to support our channel: https://www.patreon.com/goodmusicpodcast Also, click on this link to listen to this week’s songs! https://open.spotify.com/user/lucaschrisman/playlist/1bhH8fpP24BOrPiEC3BBL7?si=nq7CV5NKRju-IKo-m5w7qA This week’s songs are: A Hard Day’s Night, All My Loving, I Want to Hold Your Hand, She Loves You, I Feel Fine, And I Love Her, Eight Days a Week, Twist and Shout. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/lucas-chrisman5/support

It's the fourth and final part of our theme "It's the End of the World and I Feel Fine," and this week, Rose and Liz welcome filmmaker Tyler Jensen to discuss the 2018 post-apocalyptic, sci-fi/horror film A Quiet Place! Listen, let us know- do you hear what we're buzzing? Is this movie vibrating at a high frequency or is the sound of silence so over? Find Tyler: IG @tylerrayjensen; Twitter @thetylerjensen; typicalfilms.com Email Rose & Liz at comparingnotes.hello@gmail.com Artwork: IG @dontcallmelyss Show song: IG @mollygazay Find Liz: IG @lizzy_phillips

It's part three of our "It's the End of the World and I Feel Fine," and this week, Vanessa Ward, Los Angeles-based camera person and proud IATSE Local 600 member, joins Rose and Liz to discuss the 2019 miniseries, Good Omens! The end is nigh, and we're debating this apocalyptic story like there's no tomorrow!  Email Rose & Liz at comparingnotes.hello@gmail.com Artwork: IG @dontcallmelyss Show song: IG @mollygazay Find Liz: IG @lizzy_phillips

Welcome to part two of the "It's the End of the World and I Feel Fine" series! This week Rose and Liz welcome Roisín Geraghty, a film programmer and producer based in the Northwest of Ireland, to discuss the 2011 independent sci-fi film, Another Earth. Is this story out of this world or one that should have been left on the launchpad?  Find Roisin: IG and Twitter @roisingeraghty Email Rose & Liz at comparingnotes.hello@gmail.com Artwork: IG @dontcallmelyss Show song: IG @mollygazay Find Liz: IG @lizzy_phillips

Earthrise- The Rainforest Album : U2 - "i Still Haven't Found What I'm Looking For" Julian Lennon - Saltwater" Eurythmics - "Here Comes The Rain Again" Paul McCartney - "How Many People" Paul Simon - "Under African Skies" Elton John - "I'm Still Standing" REM - "Is The End Of The World As We Know It (and I Feel Fine)" Artist United For Nature - "Yes We Can" Pink Floyd - "Learning To Fly" Sting - "Fragile" Steve Winwood - "Wake Me Up On Judgement Day" Dire Straits - "Walk Of Life" Spirit Of The Forest - "Spirit Of The Forest" Escuchar audio

In December of 1981, I reported to Basic Enlisted Submarine School (BESS) in New London, CT. Winter in New England is amazing. That said, the next few months were filled with intense learning of information and practice. Including the Submarine Escape System, as it existed then. The idea here is that if your boat should sink and not be able to surface, there was a way to escape from the boat and to then be rescued. Through the years the system had been perfected, and at one point was it successfully demonstrated to work from as deep as 600 feet. We actually did a practice run (I did it twice) from a simulated 100-foot depth in the Submarine Escape Training Tower, which, like so much of my life, no longer exists. �Ho, ho, ho,� we would say to keep our lungs from exploding as we ascended from the depths wearing the famed �Steinke Hood.� Upon reaching the surface, a Navy diver would meet us and we had to say, �I FEEL FINE!� If we didn�t say exactly that, then all hell would break loose and medical treatments would be inflicted. I felt fine, and I had no problem saying so. In fact, the only problem I had in escape training was having to remove my glasses � which, in a real escape, I would not have done � so I couldn�t see much of anything, which is probably why I wasn�t scared. Why do I bring this up? Two reasons. Okay� three. (1) The man most responsible for the system, the training, and for the 600-foot test escape died last week at the age of 97. (2) The whole system was mostly useless. While a 600′ (182 meters) limit for a successful escape seems reasonable, the average depth of the Pacific Ocean is 4000 meters (2.3 miles). The reality of any disastrous sinking situation would almost certainly mean that no escape was realistically possible. So why spend a bunch of money on equipment and training? So that the Navy can tell our mothers that there is an escape route if there is a problem. (3) Pretty much everybody is now wearing cloth masks. For the sole reason of making a few people feel better. Ho, ho, ho. I feel fine. SHOW NOTES LCDR Matty Todd Obituary Submarine Escape Trainer Film

In December of 1981, I reported to Basic Enlisted Submarine School (BESS) in New London, CT. Winter in New England is amazing. That said, the next few months were filled with intense learning of information and practice. Including the Submarine Escape System, as it existed then. The idea here is that if your boat should sink and not be able to surface, there was a way to escape from the boat and to then be rescued. Through the years the system had been perfected, and at one point was it successfully demonstrated to work from as deep as 600 feet. We actually did a practice run (I did it twice) from a simulated 100-foot depth in the Submarine Escape Training Tower, which, like so much of my life, no longer exists. “Ho, ho, ho,” we would say to keep our lungs from exploding as we ascended from the depths wearing the famed “Steinke Hood.” Upon reaching the surface, a Navy diver would meet us and we had to say, “I FEEL FINE!” If we didn’t say exactly that, then all hell would break loose and medical treatments would be inflicted. I felt fine, and I had no problem saying so. In fact, the only problem I had in escape training was having to remove my glasses – which, in a real escape, I would not have done – so I couldn’t see much of anything, which is probably why I wasn’t scared. Why do I bring this up? Two reasons. Okay… three. (1) The man most responsible for the system, the training, and for the 600-foot test escape died last week at the age of 97. (2) The whole system was mostly useless. While a 600′ (182 meters) limit for a successful escape seems reasonable, the average depth of the Pacific Ocean is 4000 meters (2.3 miles). The reality of any disastrous sinking situation would almost certainly mean that no escape was realistically possible. So why spend a bunch of money on equipment and training? So that the Navy can tell our mothers that there is an escape route if there is a problem. (3) Pretty much everybody is now wearing cloth masks. For the sole reason of making a few people feel better. Ho, ho, ho. I feel fine.

Festival Nation Host Marla Davies takes you to day 2 of a Virtual Festival - ARockagedden 2020. She's come up with the ultimate setlist of bands whose songs reflect these crazy times. You'll hear live performances and song lore. Since we can't celebrate the magical world of music festivals in our usual fashion, this is the next best thing - a virtual festival.Here's today's ultimate setlist:Arockaliptic Stage:R.E.M.: 'It's The End of the World As We Know It and I Feel Fine' Live From Glastonbury June 25, 1999Michael Stipe Covid-19 PSA: Twitter and MichaelStipe.comThe Police: 'Don't Stand So Close To Me' - LiveSting on The Tonight Show with Jimmy Fallon and The Roots: 'Don't Stand So Close To Me' 4/9/2020Smroomsday Stage:The Cure: 'In Between Days' - 1985The Grateful Dead: 'One More Saturday Night' 3/24/90 Knickerbocker Arena - NYBlitzkrieg Bop Stage:The Ramones: 'Blitzkrieg Bop' - LiveThe Talking Heads: 'Life During Wartime' - 11/4/1980 - Capitol Theatre - Port Chester - NYAll songs on this 'Festival Nation' Podcast are owned by the artist and are used for educational and illustration purposes only. All songs can be found for purchase or streaming wherever you get your great music. Please pick up these amazing tracks and support the arts!Thanks for liking, sharing and following 'Festival Nation' - tune in next week for Day 3 of ARockagedden 2020! Stay in touch if you have a song you'd like to add to the ultimate setlist, share a favorite festival memory or just say hey now - festivalnationpodcast@gmail.com. Follow us on social at facebook and instagram @festivalnatiopocast and twitter @nationfestival. We are proudly on the Pantheon Podcast Network @pantheonpodsThanks to the following for being part of today's podcast @billboardcharts @rem #michaelstipe @ramones #thecure robertsmith @theofficialsting #gratefuldead #weareeverywhere #talkingheads #tonightshow #fallontonight #jimmyfallon #rocknroll #musicfestivals @marladavies @pantheonpods @festivalnation @festivalnationpodcast #socialdistancing2020 #quarantinelife #selfisolationVisit our sponsor Adam & Eve for 50% off almost any item AND receive FREE shipping. Just go to adamandeve.com and type FEST at checkout.Please stay well and sane! Until next time, Peace! Marla

Festival Nation Host Marla Davies takes you to day 2 of a Virtual Festival - ARockagedden 2020. She's come up with the ultimate setlist of bands whose songs reflect these crazy times. You'll hear live performances and song lore. Since we can't celebrate the magical world of music festivals in our usual fashion, this is the next best thing - a virtual festival.Here's today's ultimate setlist:Arockaliptic Stage:R.E.M.: 'It's The End of the World As We Know It and I Feel Fine' Live From Glastonbury June 25, 1999Michael Stipe Covid-19 PSA: Twitter and MichaelStipe.comThe Police: 'Don't Stand So Close To Me' - LiveSting on The Tonight Show with Jimmy Fallon and The Roots: 'Don't Stand So Close To Me' 4/9/2020Smroomsday Stage:The Cure: 'In Between Days' - 1985The Grateful Dead: 'One More Saturday Night' 3/24/90 Knickerbocker Arena - NYBlitzkrieg Bop Stage:The Ramones: 'Blitzkrieg Bop' - LiveThe Talking Heads: 'Life During Wartime' - 11/4/1980 - Capitol Theatre - Port Chester - NYAll songs on this 'Festival Nation' Podcast are owned by the artist and are used for educational and illustration purposes only. All songs can be found for purchase or streaming wherever you get your great music. Please pick up these amazing tracks and support the arts!Thanks for liking, sharing and following 'Festival Nation' - tune in next week for Day 3 of ARockagedden 2020! Stay in touch if you have a song you'd like to add to the ultimate setlist, share a favorite festival memory or just say hey now - festivalnationpodcast@gmail.com. Follow us on social at facebook and instagram @festivalnatiopocast and twitter @nationfestival. We are proudly on the Pantheon Podcast Network @pantheonpodsThanks to the following for being part of today's podcast @billboardcharts @rem #michaelstipe @ramones #thecure robertsmith @theofficialsting #gratefuldead #weareeverywhere #talkingheads #tonightshow #fallontonight #jimmyfallon #rocknroll #musicfestivals @marladavies @pantheonpods @festivalnation @festivalnationpodcast #socialdistancing2020 #quarantinelife #selfisolationVisit our sponsor Adam & Eve for 50% off almost any item AND receive FREE shipping. Just go to adamandeve.com and type FEST at checkout.Please stay well and sane! Until next time, Peace! Marla

I’m Danny Lane, the curator of The Music Museum. This exhibit is called The Vietnam War: The Music. Our mission here at the Music Museum is to support all Vietnam Veterans and those who serve the United States, then and now. We thank you for your service. Early-on, in Vietnam, soldiers turned to music as a lifeline to the home front they’d promised to defend. Rock & roll (R&R) really became rest & relaxation (R&R) for the troops. It was this music that got you through another day, another day closer to going home. Music was a big part of a soldier’s down time that centered within the hooches of Vietnam. The music that was popular during the Vietnam War was, and is still, therapy. There are songs you can remember, and then there are songs you REALLY remember. Many of these songs will have a special meaning for you. A place, a brother, a time gone by. This program is for you, the Vietnam Vets, who will never forget. Our goal with The Vietnam War: The Music is to honor the fallen and the survivors with the music that got them through “just one more day”. Our shows are broadcast around the world. They say thank you & “welcome home” to all Vietnam Vets. There is no opinion offered on the War. It’s all about the music. For your service and your sacrifice, this is The Vietnam War: The Music. This episode: Vietnam War: The Music - S. 1 / E. 1 - The Times They Are A-Changin' [2 hours] You’ll hear: 1. The Times They Are A-Changin' by Bob Dylan 2. Welcome Home by Country Joe McDonald 3. Born on the Bayou by Creedence Clearwater Revival 4. Soldier Boy by The Shirelles 5. The Ballad of the Green Berets by Staff Sgt. Barry Sadler 6. Hello Vietnam by Johnnie Wright (w/ Kitty Wells, backing vocal) 7. I Fall To Pieces by Patsy Cline 8. (Sittin' On) The Dock Of The Bay by Otis Redding 9. Sitting in the Cab of My Truck by Chip Dockery [He served with the 13th Tactical Fighter Squadron at Udorn] 10. People Got To Be Free by The (Young) Rascals 11. These Boots Are Made For Walkin' by Nancy Sinatra 12. Oh, Pretty Woman by Roy Orbison 13. The Minute Men (Are Turning In Their Graves) by Stonewall Jackson 14. Vietnam What Will You Do PSA featuring Gary Sinise 15. Respect by Aretha Franklin 16. Sugar Shack by Jimmy Gilmer & The Fireballs 17. I Can't Help Myself (Sugar Pie Honey Bunch) by The Four Tops 18. Good Vibrations by The Beach Boys 19. Gallant Men by Senator Everett McKinley Dirksen 20. Mr. Lonely by Bobby Vinton 21. We Gotta Get Out Of This Place by The Animals 22. The Locomotion by Little Eva 23. Dear Uncle Sam by Loretta Lynn 24. Good Luck Charm by Elvis Presley 25. Big Girls Don't Cry by The Four Seasons 26. What We're Fighting For by Dave Dudley 27. You by The Aquatones (w/ Lynne Nixon, lead) 28. Light My Fire by The Doors 29. The Battle Of New Orleans by Johnny Horton 30. Chu Yen (Siagon Girl) by Saul Broudy (lead), Robin Thomas & Tom Price 31. Vietnam What Will You Do PSA featuring Gary Sinise 32. Honky Tonk Women by The Rolling Stones 33. Lyndon Johnson Told the Nation by Tom Paxton 34. Leaving On A Jet Plane by Peter, Paul And Mary 35. Together Again by Buck Owens 36. I Feel Fine by The Beatles 37. Sky Pilot by Eric Burdon & The Animals 38. Coney Island Baby by The Excellents 39. With God On Our Side by The Neville Brothers 40. God Bless America by Connie Francis

CO Front Range News Hour - 2020-3-12 It's the End of the World, As We Know It... and I Feel Fine!

Back with another batch of great, new music here on I Found This Cool Band. This month we feature I Feel Fine, Fake It, The Positives, and an interview with Tom Jenkins. For more information visit: www.IFoundThisCoolBand.com, 'like' us on www.Facebook.com/IFoundthisCoolBand, or email IFoundThisCoolBand@Gmail.com

Like sands through the hourglass so are the subcultures of our lives. Robert Newsome is the editor and publisher of The Atomic Elbow. Nathan G. O’Brien is the editor and publisher of Soda Killers Magazine. Together they are Relatin’ Dudes To Jazz. On this episode: R.E.M. discovery, the lasting association of Athens and R.E.M., regional perception versus national perception, R.E.M. bringing fIREHOSE on tour, Mike Watt writing a song for Michael Stipe, Eddie Vedder intentionally/unintentionally overshadowing Mike Watt on tour, Butthole Surfers moving to Athens during R.E.M.’s rise in popularity, a disinterest in intentionally offensive bands, Bill Berry’s departure from R.E.M. overshadowing important world events, where R.E.M. fits in subculturally, and the another installment of the Skate Report – improving (or not), getting hurt, looking at the world through a skater’s lens, feeling kinship with fellow skaters, and more. Songs played on this episode are: R.E.M. – “It’s the End of the World as We Know It (and I Feel Fine)”, Pavement – “Unseen Power of the Picket Fence”, fIREHOSE – “Song for the Singer of R.E.M.”, Mike Watt – “Against the ‘70s”, R.E.M. – “King of Birds”.

This Week we have a Special Fathers Day episode. Join Us as we have Alex's Dad take us on a trip down memory lane with his "Top 5" songs! We hope this episode is as memorable to you as it was for us! We do not own the licenses for these songs, so we ask you to check out our playlist on Spotify (link below) or find the songs yourself. Our mission is to expand not only our music library but our listeners library as well. Our Playlist for the Week: 1. I Feel Fine by The Beatles 2. Carry On by Crosby, Stills, Nash, and Young 3. Heartbreaker/Living Loving Made by Led Zeppelin 4. Jungleland by Bruce Springsteen 5. Let There Be Rock by AC/DC Finally if you would give us a rating or review on where ever you listen to podcast we would greatly appreciate it. Also give us your idea for songs or playlist at our Twitter @WakingKraken Spotify Playlists: spoti.fi/2IyusOf

Triggered FM #005 - You no clean and bare mates‘Brexit all the way’(Also available on Apple Podcasts and Soundcloud)Welcome to the terror dome as we embark upon our biggest, most action-packed podcast to date.Upcoming shows:27/05/2019 - Manchester: The Peer Hat07/06/2019 - Leeds: Fox & Newt14/06/2019 - Bradford: Underground23/06/2019 - Middlesbrough: Heelapalooza28/06/2019 - Nottingham: JT SOAR20/07/2019 - Sheffield: TramlinesLinks of noteThis Is What Ignorance Does (Music Videos)Featured friends:St. Pierre Snake InvasionRabea MassadThe Marble ArchesBlazer BoccleMemory of ElephantsVogonsKovaxCheeky mentions:The Guts, Profiler, Lung Money, Failed Psychics, Veritas Promotions & Tech Noir, Bad Owl, Linsey & Dan Saxon, Eve Massad, Elevation, Will ‘Rad’ Cook, The Soap Girls, EGO, I Feel Fine, Grieving, What? Nah!, Rise Wrestling

Acesse nosso site: https://programaespacoalternativo.com Bloco 1 Creedence - Looking out my backdoor 2:35 Stealers Wheel - Stuck In The Middle With You 3:27 Doobie Brothers - Listen To The Music 3:47 O Terço - Pássaro 2:46 Bloco 2 Jethro Tull - Aqualung 6:36 Yes - Owner of a Lonely Heart 6:41 Deep Purple - Smoke On The Water 6:11 Casa das Máquinas - Casa de rock 3:09 Entrevista Marcio de Freitas & Revanche Imediata Marcio de Freitas & Revanche Imediata - Meu Pedaço do Bolo Marcio de Freitas & Revanche Imediata - Me Beija ou me Deixa Marcio de Freitas & Revanche Imediata - O Vento Sopra à Favor Marcio de Freitas & Revanche Imediata - Acorda Menina Marcio de Freitas & Revanche Imediata - Meu Amigo Pedro (Raul Seixas) Bloco 3 MC5 - Looking at You 2:57 The Stooges-"Down on the Street 3:42 Peter Green's Fleetwood Mac - The Green Manalishi 4:36 Joelho de Porco - Boing 723897 3:20 Bloco 4 Journey - Stone In Love 4:26 Kansas - Play The Game Tonight 3:23 Whitesnake - Fool For Your Loving 4:23 JOE - Na Selva das Cidades 3:45 Bloco 5 Elvis Presley, The Jordanaires - Viva Las Vegas 2:26 R.E.M - It's The End Of The World As We Know It (and I Feel Fine) 4:05 The Cure - Why Can't I Be You? 3:21 Supla - CHARADA BRASILEIRO 2:22 Powered by Agência Felix

In deze podcast van Radio 33 o.a.: 100% van Vinyl: Beastie Boys met Fight Fot Your Right, The Beatles met I Feel Fine en Boudewijn De Groot met Het Land Van Maas En Waal. 100% Digitaal: Deee Lite met Groove Is In The Heart, Bon Jovi met Bad Medicine en Led Zeppelin met Stairway To Heaven. Maakt 200% Music!!! En natuurlijk weer, zoals gebruikelijk, slechte grappen en slap geouwehoer, echt het luisteren waard. Veel luisterplezier!

In celebration of the incredible 50th-anniversary edition of The White Album, we are bringing back Cover to Cover for The Fab Four. Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ I Want To Hold Your Hand by Al Green on Love Ritual (Hi Records) 2′53″ Can't Buy Me Love by Scary Pockets on Kitsch Funk 4′26″ A Hard Day's Night by The Supremes on A Bit of Liverpool 6′54″ I Feel Fine by Chet Atkins on Picks On The Beatles 8′20″ Ticket to Ride by Vanilla Fudge on Vanilla Fudge 11′41″ Day Tripper by Otis Redding on Complete 15′14″ We Can Work It Out by Stevie Wonder on Signed, Sealed, and Delivered (Motown) 18′15″ Eleanor Rigby by The Four Tops on Four Tops Now (Motown) 21′08″ Come Together by The Meters on Kickback (Warner Bros) 24′32″ Strawberry Fields Forever by Richie Havens on 20th Century Masters 27′07″ Norwegian Wood by Waylon Jenning on Nashville Rebel (Sony) 30′40″ Fixing A Hole by The Wood Brothers on Up Above My Head (Indirecto) 33′19″ With A Little Help From My Friends by Steve Cropper on Dedicated 38′11″ Jealous Guy by Hurray For The Riff Raff on My Dearest Darkest Neighbor (This is American Music) 41′37″ Let Me Roll It by Lake Street Dive on Fun Machine 44′18″ All Things (Must) Pass by Billy Preston on Encouraging Words (Apple) 48′09″ Cold Turkey by The Soft Boys on A Can of Bees (Yep Roc) 51′54″ Instant Karma by Midnight Oil on King of the Mountain (Midnight Oil) 54′29″ Working Class Hero by Green Day on Instant Karma: The Amnesty International Campaign to Save Darfur (Warner Bros.) 60′02″ Happiness is a Warm Gun by The Breeders on Pod (Rough Trade) 64′19″ Mother Nature's Son by John Denver on Best Of 68′01″ Michelle by Ben Harper on This Bird Has Flown (Concord) 74′39″ Run For Your Life by Thee Headcoatees on The Kids Are All Square 77′16″ Help by The Damned on Damned Damned Damned (MCA Records) 80′04″ I'm Looking Through You by Mark Heard on Second Hand 84′43″ And Your Bird Can Sing by The Jam on Sound Affects (Polydor) 89′16″ She's Leaving Home by Billy Bragg on Reaching to the Converted (Cooking Vinyl) 94′40″ Got To Get You Into My Life by Daniel Johnston on 1990 99′14″ What Goes On by Sufjan Stevens on This Bird Has Flown (Concord) 103′44″ Sgt Pepper's Lonely Hearts Club Band by Jimi Hendrix on Atlanta Pop Festival (Sony) 107′12″ Taxman by Junior Parker on Funny How Time Slips Away (LRC Ltd.) 111′32″ In My Life by Johnny Cash on American VI: Ain't No Grave (American) 113′00″ Because by Elliott Smith on American Beauty (Geffen) 117′38″ Medley: Sun King / Mean Mister Mustard ... by Booker T. & The M.G.'s on McLemore Avenue (Stax)