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Episode 171 looks at "Hey Jude", the White Album, and the career of the Beatles from August 1967 through November 1968. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifty-seven-minute bonus episode available, on "I Love You" by People!. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata Not really an error, but at one point I refer to Ornette Coleman as a saxophonist. While he was, he plays trumpet on the track that is excerpted after that. 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. This time I also used Steve Turner's The Beatles: The Stories Behind the Songs 1967-1970. I referred to Philip Norman's biographies of John Lennon, George Harrison, and Paul McCartney, to Graeme Thomson's biography of George Harrison, Take a Sad Song by James Campion, Yoko Ono: An Artful Life by Donald Brackett, Those Were the Days 2.0 by Stephan Granados, and Sound Pictures by Kenneth Womack. Sadly the only way to get the single mix of “Hey Jude” is on this ludicrously-expensive out-of-print box set, but a remixed stereo mix is easily available on the new reissue of the 1967-70 compilation. The original mixes of the White Album are also, shockingly, out of print, but this 2018 remix is available for the moment. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, a quick note -- this episode deals, among other topics, with child abandonment, spousal neglect, suicide attempts, miscarriage, rape accusations, and heroin addiction. If any of those topics are likely to upset you, you might want to check the transcript rather than listening to this episode. It also, for once, contains a short excerpt of an expletive, but given that that expletive in that context has been regularly played on daytime radio without complaint for over fifty years, I suspect it can be excused. The use of mantra meditation is something that exists across religions, and which appears to have been independently invented multiple times, in multiple cultures. In the Western culture to which most of my listeners belong, it is now best known as an aspect of what is known as "mindfulness", a secularised version of Buddhism which aims to provide adherents with the benefits of the teachings of the Buddha but without the cosmology to which they are attached. But it turns up in almost every religious tradition I know of in one form or another. The idea of mantra meditation is a very simple one, and one that even has some basis in science. There is a mathematical principle in neurology and information science called the free energy principle which says our brains are wired to try to minimise how surprised we are --  our brain is constantly making predictions about the world, and then looking at the results from our senses to see if they match. If they do, that's great, and the brain will happily move on to its next prediction. If they don't, the brain has to update its model of the world to match the new information, make new predictions, and see if those new predictions are a better match. Every person has a different mental model of the world, and none of them match reality, but every brain tries to get as close as possible. This updating of the model to match the new information is called "thinking", and it uses up energy, and our bodies and brains have evolved to conserve energy as much as possible. This means that for many people, most of the time, thinking is unpleasant, and indeed much of the time that people have spent thinking, they've been thinking about how to stop themselves having to do it at all, and when they have managed to stop thinking, however briefly, they've experienced great bliss. Many more or less effective technologies have been created to bring about a more minimal-energy state, including alcohol, heroin, and barbituates, but many of these have unwanted side-effects, such as death, which people also tend to want to avoid, and so people have often turned to another technology. It turns out that for many people, they can avoid thinking by simply thinking about something that is utterly predictable. If they minimise the amount of sensory input, and concentrate on something that they can predict exactly, eventually they can turn off their mind, relax, and float downstream, without dying. One easy way to do this is to close your eyes, so you can't see anything, make your breath as regular as possible, and then concentrate on a sound that repeats over and over.  If you repeat a single phrase or word a few hundred times, that regular repetition eventually causes your mind to stop having to keep track of the world, and experience a peace that is, by all accounts, unlike any other experience. What word or phrase that is can depend very much on the tradition. In Transcendental Meditation, each person has their own individual phrase. In the Catholicism in which George Harrison and Paul McCartney were raised, popular phrases for this are "Lord Jesus Christ, Son of God, have mercy on me, a sinner" or "Hail, Mary, full of grace, the Lord is with you; blessed are you among women, and blessed is the fruit of your womb, Jesus. Holy Mary, Mother of God, pray for us sinners now and at the hour of our death. Amen." In some branches of Buddhism, a popular mantra is "_NAMU MYŌHŌ RENGE KYŌ_". In the Hinduism to which George Harrison later converted, you can use "Hare Krishna Hare Krishna, Krishna Krishna Hare Hare, Hare Rama Hare Rama, Rama Rama Hare Hare", "Om Namo Bhagavate Vāsudevāya" or "Om Gam Ganapataye Namaha". Those last two start with the syllable "Om", and indeed some people prefer to just use that syllable, repeating a single syllable over and over again until they reach a state of transcendence. [Excerpt: The Beatles, "Hey Jude" ("na na na na na na na")] We don't know much about how the Beatles first discovered Maharishi Mahesh Yogi, except that it was thanks to Pattie Boyd, George Harrison's then-wife. Unfortunately, her memory of how she first became involved in the Maharishi's Spiritual Regeneration Movement, as described in her autobiography, doesn't fully line up with other known facts. She talks about reading about the Maharishi in the paper with her friend Marie-Lise while George was away on tour, but she also places the date that this happened in February 1967, several months after the Beatles had stopped touring forever. We'll be seeing a lot more of these timing discrepancies as this story progresses, and people's memories increasingly don't match the events that happened to them. Either way, it's clear that Pattie became involved in the Spiritual Regeneration Movement a good length of time before her husband did. She got him to go along with her to one of the Maharishi's lectures, after she had already been converted to the practice of Transcendental Meditation, and they brought along John, Paul, and their partners (Ringo's wife Maureen had just given birth, so they didn't come). As we heard back in episode one hundred and fifty, that lecture was impressive enough that the group, plus their wives and girlfriends (with the exception of Maureen Starkey) and Mick Jagger and Marianne Faithfull, all went on a meditation retreat with the Maharishi at a holiday camp in Bangor, and it was there that they learned that Brian Epstein had been found dead. The death of the man who had guided the group's career could not have come at a worse time for the band's stability.  The group had only recorded one song in the preceding two months -- Paul's "Your Mother Should Know" -- and had basically been running on fumes since completing recording of Sgt Pepper many months earlier. John's drug intake had increased to the point that he was barely functional -- although with the enthusiasm of the newly converted he had decided to swear off LSD at the Maharishi's urging -- and his marriage was falling apart. Similarly, Paul McCartney's relationship with Jane Asher was in a bad state, though both men were trying to repair their damaged relationships, while both George and Ringo were having doubts about the band that had made them famous. In George's case, he was feeling marginalised by John and Paul, his songs ignored or paid cursory attention, and there was less for him to do on the records as the group moved away from making guitar-based rock and roll music into the stranger areas of psychedelia. And Ringo, whose main memory of the recording of Sgt Pepper was of learning to play chess while the others went through the extensive overdubs that characterised that album, was starting to feel like his playing was deteriorating, and that as the only non-writer in the band he was on the outside to an extent. On top of that, the group were in the middle of a major plan to restructure their business. As part of their contract renegotiations with EMI at the beginning of 1967, it had been agreed that they would receive two million pounds -- roughly fifteen million pounds in today's money -- in unpaid royalties as a lump sum. If that had been paid to them as individuals, or through the company they owned, the Beatles Ltd, they would have had to pay the full top rate of tax on it, which as George had complained the previous year was over ninety-five percent. (In fact, he'd been slightly exaggerating the generosity of the UK tax system to the rich, as at that point the top rate of income tax was somewhere around ninety-seven and a half percent). But happily for them, a couple of years earlier the UK had restructured its tax laws and introduced a corporation tax, which meant that the profits of corporations were no longer taxed at the same high rate as income. So a new company had been set up, The Beatles & Co, and all the group's non-songwriting income was paid into the company. Each Beatle owned five percent of the company, and the other eighty percent was owned by a new partnership, a corporation that was soon renamed Apple Corps -- a name inspired by a painting that McCartney had liked by the artist Rene Magritte. In the early stages of Apple, it was very entangled with Nems, the company that was owned by Brian and Clive Epstein, and which was in the process of being sold to Robert Stigwood, though that sale fell through after Brian's death. The first part of Apple, Apple Publishing, had been set up in the summer of 1967, and was run by Terry Doran, a friend of Epstein's who ran a motor dealership -- most of the Apple divisions would be run by friends of the group rather than by people with experience in the industries in question. As Apple was set up during the point that Stigwood was getting involved with NEMS, Apple Publishing's initial offices were in the same building with, and shared staff with, two publishing companies that Stigwood owned, Dratleaf Music, who published Cream's songs, and Abigail Music, the Bee Gees' publishers. And indeed the first two songs published by Apple were copyrights that were gifted to the company by Stigwood -- "Listen to the Sky", a B-side by an obscure band called Sands: [Excerpt: Sands, "Listen to the Sky"] And "Outside Woman Blues", an arrangement by Eric Clapton of an old blues song by Blind Joe Reynolds, which Cream had copyrighted separately and released on Disraeli Gears: [Excerpt: Cream, "Outside Woman Blues"] But Apple soon started signing outside songwriters -- once Mike Berry, a member of Apple Publishing's staff, had sat McCartney down and explained to him what music publishing actually was, something he had never actually understood even though he'd been a songwriter for five years. Those songwriters, given that this was 1967, were often also performers, and as Apple Records had not yet been set up, Apple would try to arrange recording contracts for them with other labels. They started with a group called Focal Point, who got signed by badgering Paul McCartney to listen to their songs until he gave them Doran's phone number to shut them up: [Excerpt: Focal Point, "Sycamore Sid"] But the big early hope for Apple Publishing was a songwriter called George Alexander. Alexander's birth name had been Alexander Young, and he was the brother of George Young, who was a member of the Australian beat group The Easybeats, who'd had a hit with "Friday on My Mind": [Excerpt: The Easybeats, "Friday on My Mind"] His younger brothers Malcolm and Angus would go on to have a few hits themselves, but AC/DC wouldn't be formed for another five years. Terry Doran thought that Alexander should be a member of a band, because bands were more popular than solo artists at the time, and so he was placed with three former members of Tony Rivers and the Castaways, a Beach Boys soundalike group that had had some minor success. John Lennon suggested that the group be named Grapefruit, after a book he was reading by a conceptual artist of his acquaintance named Yoko Ono, and as Doran was making arrangements with Terry Melcher for a reciprocal publishing deal by which Melcher's American company would publish Apple songs in the US while Apple published songs from Melcher's company in the UK, it made sense for Melcher to also produce Grapefruit's first single, "Dear Delilah": [Excerpt: Grapefruit, "Dear Delilah"] That made number twenty-one in the UK when it came out in early 1968, on the back of publicity about Grapefruit's connection with the Beatles, but future singles by the band were much less successful, and like several other acts involved with Apple, they found that they were more hampered by the Beatles connection than helped. A few other people were signed to Apple Publishing early on, of whom the most notable was Jackie Lomax. Lomax had been a member of a minor Merseybeat group, the Undertakers, and after they had split up, he'd been signed by Brian Epstein with a new group, the Lomax Alliance, who had released one single, "Try as You May": [Excerpt: The Lomax Alliance, "Try As You May"] After Epstein's death, Lomax had plans to join another band, being formed by another Merseybeat musician, Chris Curtis, the former drummer of the Searchers. But after going to the Beatles to talk with them about them helping the new group financially, Lomax was persuaded by John Lennon to go solo instead. He may later have regretted that decision, as by early 1968 the people that Curtis had recruited for his new band had ditched him and were making a name for themselves as Deep Purple. Lomax recorded one solo single with funding from Stigwood, a cover version of a song by an obscure singer-songwriter, Jake Holmes, "Genuine Imitation Life": [Excerpt: Jackie Lomax, "Genuine Imitation Life"] But he was also signed to Apple Publishing as a songwriter. The Beatles had only just started laying out plans for Apple when Epstein died, and other than the publishing company one of the few things they'd agreed on was that they were going to have a film company, which was to be run by Denis O'Dell, who had been an associate producer on A Hard Day's Night and on How I Won The War, the Richard Lester film Lennon had recently starred in. A few days after Epstein's death, they had a meeting, in which they agreed that the band needed to move forward quickly if they were going to recover from Epstein's death. They had originally been planning on going to India with the Maharishi to study meditation, but they decided to put that off until the new year, and to press forward with a film project Paul had been talking about, to be titled Magical Mystery Tour. And so, on the fifth of September 1967, they went back into the recording studio and started work on a song of John's that was earmarked for the film, "I am the Walrus": [Excerpt: The Beatles, "I am the Walrus"] Magical Mystery Tour, the film, has a mixed reputation which we will talk about shortly, but one defence that Paul McCartney has always made of it is that it's the only place where you can see the Beatles performing "I am the Walrus". While the song was eventually relegated to a B-side, it's possibly the finest B-side of the Beatles' career, and one of the best tracks the group ever made. As with many of Lennon's songs from this period, the song was a collage of many different elements pulled from his environment and surroundings, and turned into something that was rather more than the sum of its parts. For its musical inspiration, Lennon pulled from, of all things, a police siren going past his house. (For those who are unfamiliar with what old British police sirens sounded like, as opposed to the ones in use for most of my lifetime or in other countries, here's a recording of one): [Excerpt: British police siren ca 1968] That inspired Lennon to write a snatch of lyric to go with the sound of the siren, starting "Mister city policeman sitting pretty". He had two other song fragments, one about sitting in the garden, and one about sitting on a cornflake, and he told Hunter Davies, who was doing interviews for his authorised biography of the group, “I don't know how it will all end up. Perhaps they'll turn out to be different parts of the same song.” But the final element that made these three disparate sections into a song was a letter that came from Stephen Bayley, a pupil at Lennon's old school Quarry Bank, who told him that the teachers at the school -- who Lennon always thought of as having suppressed his creativity -- were now analysing Beatles lyrics in their lessons. Lennon decided to come up with some nonsense that they couldn't analyse -- though as nonsensical as the finished song is, there's an underlying anger to a lot of it that possibly comes from Lennon thinking of his school experiences. And so Lennon asked his old schoolfriend Pete Shotton to remind him of a disgusting playground chant that kids used to sing in schools in the North West of England (and which they still sang with very minor variations at my own school decades later -- childhood folklore has a remarkably long life). That rhyme went: Yellow matter custard, green snot pie All mixed up with a dead dog's eye Slap it on a butty, nice and thick, And drink it down with a cup of cold sick Lennon combined some parts of this with half-remembered fragments of Lewis Carrol's The Walrus and the Carpenter, and with some punning references to things that were going on in his own life and those of his friends -- though it's difficult to know exactly which of the stories attached to some of the more incomprehensible bits of the lyrics are accurate. The story that the line "I am the eggman" is about a sexual proclivity of Eric Burdon of the Animals seems plausible, while the contention by some that the phrase "semolina pilchard" is a reference to Sgt Pilcher, the corrupt policeman who had arrested three of the Rolling Stones, and would later arrest Lennon, on drugs charges, seems less likely. The track is a masterpiece of production, but the release of the basic take on Anthology 2 in 1996 showed that the underlying performance, before George Martin worked his magic with the overdubs, is still a remarkable piece of work: [Excerpt: The Beatles, "I am the Walrus (Anthology 2 version)"] But Martin's arrangement and production turned the track from a merely very good track into a masterpiece. The string arrangement, very much in the same mould as that for "Strawberry Fields Forever" but giving a very different effect with its harsh cello glissandi, is the kind of thing one expects from Martin, but there's also the chanting of the Mike Sammes Singers, who were more normally booked for sessions like Englebert Humperdinck's "The Last Waltz": [Excerpt: Engelbert Humperdinck, "The Last Waltz"] But here were instead asked to imitate the sound of the strings, make grunting noises, and generally go very far out of their normal comfort zone: [Excerpt: The Beatles, "I am the Walrus"] But the most fascinating piece of production in the entire track is an idea that seems to have been inspired by people like John Cage -- a live feed of a radio being tuned was played into the mono mix from about the halfway point, and whatever was on the radio at the time was captured: [Excerpt: The Beatles, "I am the Walrus"] This is also why for many decades it was impossible to have a true stereo mix of the track -- the radio part was mixed directly into the mono mix, and it wasn't until the 1990s that someone thought to track down a copy of the original radio broadcasts and recreate the process. In one of those bits of synchronicity that happen more often than you would think when you're creating aleatory art, and which are why that kind of process can be so appealing, one bit of dialogue from the broadcast of King Lear that was on the radio as the mixing was happening was *perfectly* timed: [Excerpt: The Beatles, "I am the Walrus"] After completing work on the basic track for "I am the Walrus", the group worked on two more songs for the film, George's "Blue Jay Way" and a group-composed twelve-bar blues instrumental called "Flying", before starting production. Magical Mystery Tour, as an idea, was inspired in equal parts by Ken Kesey's Merry Pranksters, the collective of people we talked about in the episode on the Grateful Dead who travelled across the US extolling the virtues of psychedelic drugs, and by mystery tours, a British working-class tradition that has rather fallen out of fashion in the intervening decades. A mystery tour would generally be put on by a coach-hire company, and would be a day trip to an unannounced location -- though the location would in fact be very predictable, and would be a seaside town within a couple of hours' drive of its starting point. In the case of the ones the Beatles remembered from their own childhoods, this would be to a coastal town in Lancashire or Wales, like Blackpool, Rhyl, or Prestatyn. A coachload of people would pay to be driven to this random location, get very drunk and have a singsong on the bus, and spend a day wherever they were taken. McCartney's plan was simple -- they would gather a group of passengers and replicate this experience over the course of several days, and film whatever went on, but intersperse that with more planned out sketches and musical numbers. For this reason, along with the Beatles and their associates, the cast included some actors found through Spotlight and some of the group's favourite performers, like the comedian Nat Jackley (whose comedy sequence directed by John was cut from the final film) and the surrealist poet/singer/comedian Ivor Cutler: [Excerpt: Ivor Cutler, "I'm Going in a Field"] The film also featured an appearance by a new band who would go on to have great success over the next year, the Bonzo Dog Doo-Dah Band. They had recorded their first single in Abbey Road at the same time as the Beatles were recording Revolver, but rather than being progressive psychedelic rock, it had been a remake of a 1920s novelty song: [Excerpt: The Bonzo Dog Doo-Dah Band, "My Brother Makes the Noises For the Talkies"] Their performance in Magical Mystery Tour was very different though -- they played a fifties rock pastiche written by band leaders Vivian Stanshall and Neil Innes while a stripper took off her clothes. While several other musical sequences were recorded for the film, including one by the band Traffic and one by Cutler, other than the Beatles tracks only the Bonzos' song made it into the finished film: [Excerpt: The Bonzo Dog Doo-Dah Band, "Death Cab for Cutie"] That song, thirty years later, would give its name to a prominent American alternative rock band. Incidentally the same night that Magical Mystery Tour was first broadcast was also the night that the Bonzo Dog Doo-Dah Band first appeared on a TV show, Do Not Adjust Your Set, which featured three future members of the Monty Python troupe -- Eric Idle, Michael Palin, and Terry Jones. Over the years the careers of the Bonzos, the Pythons, and the Beatles would become increasingly intertwined, with George Harrison in particular striking up strong friendships and working relationships with Bonzos Neil Innes and "Legs" Larry Smith. The filming of Magical Mystery Tour went about as well as one might expect from a film made by four directors, none of whom had any previous filmmaking experience, and none of whom had any business knowledge. The Beatles were used to just turning up and having things magically done for them by other people, and had no real idea of the infrastructure challenges that making a film, even a low-budget one, actually presents, and ended up causing a great deal of stress to almost everyone involved. The completed film was shown on TV on Boxing Day 1967 to general confusion and bemusement. It didn't help that it was originally broadcast in black and white, and so for example the scene showing shifting landscapes (outtake footage from Stanley Kubrick's Dr. Strangelove, tinted various psychedelic colours) over the "Flying" music, just looked like grey fuzz. But also, it just wasn't what people were expecting from a Beatles film. This was a ramshackle, plotless, thing more inspired by Andy Warhol's underground films than by the kind of thing the group had previously appeared in, and it was being presented as Christmas entertainment for all the family. And to be honest, it's not even a particularly good example of underground filmmaking -- though it looks like a masterpiece when placed next to something like the Bee Gees' similar effort, Cucumber Castle. But there are enough interesting sequences in there for the project not to be a complete failure -- and the deleted scenes on the DVD release, including the performances by Cutler and Traffic, and the fact that the film was edited down from ten hours to fifty-two minutes, makes one wonder if there's a better film that could be constructed from the original footage. Either way, the reaction to the film was so bad that McCartney actually appeared on David Frost's TV show the next day to defend it and, essentially, apologise. While they were editing the film, the group were also continuing to work in the studio, including on two new McCartney songs, "The Fool on the Hill", which was included in Magical Mystery Tour, and "Hello Goodbye", which wasn't included on the film's soundtrack but was released as the next single, with "I Am the Walrus" as the B-side: [Excerpt: The Beatles, "Hello Goodbye"] Incidentally, in the UK the soundtrack to Magical Mystery Tour was released as a double-EP rather than as an album (in the US, the group's recent singles and B-sides were added to turn it into a full-length album, which is how it's now generally available). "I Am the Walrus" was on the double-EP as well as being on the single's B-side, and the double-EP got to number two on the singles charts, meaning "I am the Walrus" was on the records at number one and number two at the same time. Before it became obvious that the film, if not the soundtrack, was a disaster, the group held a launch party on the twenty-first of December, 1967. The band members went along in fancy dress, as did many of the cast and crew -- the Bonzo Dog Doo-Dah Band performed at the party. Mike Love and Bruce Johnston of the Beach Boys also turned up at the party, and apparently at one point jammed with the Bonzos, and according to some, but not all, reports, a couple of the Beatles joined in as well. Love and Johnston had both just met the Maharishi for the first time a couple of days earlier, and Love had been as impressed as the Beatles were, and it may have been at this party that the group mentioned to Love that they would soon be going on a retreat in India with the guru -- a retreat that was normally meant for training TM instructors, but this time seemed to be more about getting celebrities involved. Love would also end up going with them. That party was also the first time that Cynthia Lennon had an inkling that John might not be as faithful to her as she previously supposed. John had always "joked" about being attracted to George Harrison's wife, Patti, but this time he got a little more blatant about his attraction than he ever had previously, to the point that he made Cynthia cry, and Cynthia's friend, the pop star Lulu, decided to give Lennon a very public dressing-down for his cruelty to his wife, a dressing-down that must have been a sight to behold, as Lennon was dressed as a Teddy boy while Lulu was in a Shirley Temple costume. It's a sign of how bad the Lennons' marriage was at this point that this was the second time in a two-month period where Cynthia had ended up crying because of John at a film launch party and been comforted by a female pop star. In October, Cilla Black had held a party to celebrate the belated release of John's film How I Won the War, and during the party Georgie Fame had come up to Black and said, confused, "Cynthia Lennon is hiding in your wardrobe". Black went and had a look, and Cynthia explained to her “I'm waiting to see how long it is before John misses me and comes looking for me.” Black's response had been “You'd better face it, kid—he's never gonna come.” Also at the Magical Mystery Tour party was Lennon's father, now known as Freddie Lennon, and his new nineteen-year-old fiancee. While Hunter Davis had been researching the Beatles' biography, he'd come across some evidence that the version of Freddie's attitude towards John that his mother's side of the family had always told him -- that Freddie had been a cruel and uncaring husband who had not actually wanted to be around his son -- might not be the whole of the truth, and that the mother who he had thought of as saintly might also have had some part to play in their marriage breaking down and Freddie not seeing his son for twenty years. The two had made some tentative attempts at reconciliation, and indeed Freddie would even come and live with John for a while, though within a couple of years the younger Lennon's heart would fully harden against his father again. Of course, the things that John always resented his father for were pretty much exactly the kind of things that Lennon himself was about to do. It was around this time as well that Derek Taylor gave the Beatles copies of the debut album by a young singer/songwriter named Harry Nilsson. Nilsson will be getting his own episode down the line, but not for a couple of years at my current rates, so it's worth bringing that up here, because that album became a favourite of all the Beatles, and would have a huge influence on their songwriting for the next couple of years, and because one song on the album, "1941", must have resonated particularly deeply with Lennon right at this moment -- an autobiographical song by Nilsson about how his father had left him and his mother when he was a small boy, and about his own fear that, as his first marriage broke down, he was repeating the pattern with his stepson Scott: [Excerpt: Nilsson, "1941"] The other major event of December 1967, rather overshadowed by the Magical Mystery Tour disaster the next day, was that on Christmas Day Paul McCartney and Jane Asher announced their engagement. A few days later, George Harrison flew to India. After John and Paul had had their outside film projects -- John starring in How I Won The War and Paul doing the soundtrack for The Family Way -- the other two Beatles more or less simultaneously did their own side project films, and again one acted while the other did a soundtrack. Both of these projects were in the rather odd subgenre of psychedelic shambolic comedy film that sprang up in the mid sixties, a subgenre that produced a lot of fascinating films, though rather fewer good ones. Indeed, both of them were in the subsubgenre of shambolic psychedelic *sex* comedies. In Ringo's case, he had a small role in the film Candy, which was based on the novel we mentioned in the last episode, co-written by Terry Southern, which was in itself a loose modern rewriting of Voltaire's Candide. Unfortunately, like such other classics of this subgenre as Anthony Newley's Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness?, Candy has dated *extremely* badly, and unless you find repeated scenes of sexual assault and rape, ethnic stereotypes, and jokes about deformity and disfigurement to be an absolute laugh riot, it's not a film that's worth seeking out, and Starr's part in it is not a major one. Harrison's film was of the same basic genre -- a film called Wonderwall about a mad scientist who discovers a way to see through the walls of his apartment, and gets to see a photographer taking sexy photographs of a young woman named Penny Lane, played by Jane Birkin: [Excerpt: Some Wonderwall film dialogue ripped from the Blu-Ray] Wonderwall would, of course, later inspire the title of a song by Oasis, and that's what the film is now best known for, but it's a less-unwatchable film than Candy, and while still problematic it's less so. Which is something. Harrison had been the Beatle with least involvement in Magical Mystery Tour -- McCartney had been the de facto director, Starr had been the lead character and the only one with much in the way of any acting to do, and Lennon had written the film's standout scene and its best song, and had done a little voiceover narration. Harrison, by contrast, barely has anything to do in the film apart from the one song he contributed, "Blue Jay Way", and he said of the project “I had no idea what was happening and maybe I didn't pay enough attention because my problem, basically, was that I was in another world, I didn't really belong; I was just an appendage.” He'd expressed his discomfort to his friend Joe Massot, who was about to make his first feature film. Massot had got to know Harrison during the making of his previous film, Reflections on Love, a mostly-silent short which had starred Harrison's sister-in-law Jenny Boyd, and which had been photographed by Robert Freeman, who had been the photographer for the Beatles' album covers from With the Beatles through Rubber Soul, and who had taken most of the photos that Klaus Voorman incorporated into the cover of Revolver (and whose professional association with the Beatles seemed to come to an end around the same time he discovered that Lennon had been having an affair with his wife). Massot asked Harrison to write the music for the film, and told Harrison he would have complete free rein to make whatever music he wanted, so long as it fit the timing of the film, and so Harrison decided to create a mixture of Western rock music and the Indian music he loved. Harrison started recording the music at the tail end of 1967, with sessions with several London-based Indian musicians and John Barham, an orchestrator who had worked with Ravi Shankar on Shankar's collaborations with Western musicians, including the Alice in Wonderland soundtrack we talked about in the "All You Need is Love" episode. For the Western music, he used the Remo Four, a Merseybeat group who had been on the scene even before the Beatles, and which contained a couple of classmates of Paul McCartney, but who had mostly acted as backing musicians for other artists. They'd backed Johnny Sandon, the former singer with the Searchers, on a couple of singles, before becoming the backing band for Tommy Quickly, a NEMS artist who was unsuccessful despite starting his career with a Lennon/McCartney song, "Tip of My Tongue": [Excerpt: Tommy Quickly, "Tip of My Tongue"] The Remo Four would later, after a lineup change, become Ashton, Gardner and Dyke, who would become one-hit wonders in the seventies, and during the Wonderwall sessions they recorded a song that went unreleased at the time, and which would later go on to be rerecorded by Ashton, Gardner, and Dyke. "In the First Place" also features Harrison on backing vocals and possibly guitar, and was not submitted for the film because Harrison didn't believe that Massot wanted any vocal tracks, but the recording was later discovered and used in a revised director's cut of the film in the nineties: [Excerpt: The Remo Four, "In the First Place"] But for the most part the Remo Four were performing instrumentals written by Harrison. They weren't the only Western musicians performing on the sessions though -- Peter Tork of the Monkees dropped by these sessions and recorded several short banjo solos, which were used in the film soundtrack but not in the soundtrack album (presumably because Tork was contracted to another label): [Excerpt: Peter Tork, "Wonderwall banjo solo"] Another musician who was under contract to another label was Eric Clapton, who at the time was playing with The Cream, and who vaguely knew Harrison and so joined in for the track "Ski-ing", playing lead guitar under the cunning, impenetrable, pseudonym "Eddie Clayton", with Harrison on sitar, Starr on drums, and session guitarist Big Jim Sullivan on bass: [Excerpt: George Harrison, "Ski-ing"] But the bulk of the album was recorded in EMI's studios in the city that is now known as Mumbai but at the time was called Bombay. The studio facilities in India had up to that point only had a mono tape recorder, and Bhaskar Menon, one of the top executives at EMI's Indian division and later the head of EMI music worldwide, personally brought the first stereo tape recorder to the studio to aid in Harrison's recording. The music was all composed by Harrison and performed by the Indian musicians, and while Harrison was composing in an Indian mode, the musicians were apparently fascinated by how Western it sounded to them: [Excerpt: George Harrison, "Microbes"] While he was there, Harrison also got the instrumentalists to record another instrumental track, which wasn't to be used for the film: [Excerpt: George Harrison, "The Inner Light (instrumental)"] That track would, instead, become part of what was to be Harrison's first composition to make a side of a Beatles single. After John and George had appeared on the David Frost show talking about the Maharishi, in September 1967, George had met a lecturer in Sanskrit named Juan Mascaró, who wrote to Harrison enclosing a book he'd compiled of translations of religious texts, telling him he'd admired "Within You Without You" and thought it would be interesting if Harrison set something from the Tao Te Ching to music. He suggested a text that, in his translation, read: "Without going out of my door I can know all things on Earth Without looking out of my window I can know the ways of heaven For the farther one travels, the less one knows The sage, therefore Arrives without travelling Sees all without looking Does all without doing" Harrison took that text almost verbatim, though he created a second verse by repeating the first few lines with "you" replacing "I" -- concerned that listeners might think he was just talking about himself, and wouldn't realise it was a more general statement -- and he removed the "the sage, therefore" and turned the last few lines into imperative commands rather than declarative statements: [Excerpt: The Beatles, "The Inner Light"] The song has come in for some criticism over the years as being a little Orientalist, because in critics' eyes it combines Chinese philosophy with Indian music, as if all these things are equally "Eastern" and so all the same really. On the other hand there's a good argument that an English songwriter taking a piece of writing written in Chinese and translated into English by a Spanish man and setting it to music inspired by Indian musical modes is a wonderful example of cultural cross-pollination. As someone who's neither Chinese nor Indian I wouldn't want to take a stance on it, but clearly the other Beatles were impressed by it -- they put it out as the B-side to their next single, even though the only Beatles on it are Harrison and McCartney, with the latter adding a small amount of harmony vocal: [Excerpt: The Beatles, "The Inner Light"] And it wasn't because the group were out of material. They were planning on going to Rishikesh to study with the Maharishi, and wanted to get a single out for release while they were away, and so in one week they completed the vocal overdubs on "The Inner Light" and recorded three other songs, two by John and one by Paul. All three of the group's songwriters brought in songs that were among their best. John's first contribution was a song whose lyrics he later described as possibly the best he ever wrote, "Across the Universe". He said the lyrics were “purely inspirational and were given to me as boom! I don't own it, you know; it came through like that … Such an extraordinary meter and I can never repeat it! It's not a matter of craftsmanship, it wrote itself. It drove me out of bed. I didn't want to write it … It's like being possessed, like a psychic or a medium.” But while Lennon liked the song, he was never happy with the recording of it. They tried all sorts of things to get the sound he heard in his head, including bringing in some fans who were hanging around outside to sing backing vocals. He said of the track "I was singing out of tune and instead of getting a decent choir, we got fans from outside, Apple Scruffs or whatever you call them. They came in and were singing all off-key. Nobody was interested in doing the tune originally.” [Excerpt: The Beatles, "Across the Universe"] The "jai guru deva" chorus there is the first reference to the teachings of the Maharishi in one of the Beatles' records -- Guru Dev was the Maharishi's teacher, and the phrase "Jai guru dev" is a Sanskrit one which I've seen variously translated as "victory to the great teacher", and "hail to the greatness within you". Lennon would say shortly before his death “The Beatles didn't make a good record out of it. I think subconsciously sometimes we – I say ‘we' though I think Paul did it more than the rest of us – Paul would sort of subconsciously try and destroy a great song … Usually we'd spend hours doing little detailed cleaning-ups of Paul's songs, when it came to mine, especially if it was a great song like ‘Strawberry Fields' or ‘Across The Universe', somehow this atmosphere of looseness and casualness and experimentation would creep in … It was a _lousy_ track of a great song and I was so disappointed by it …The guitars are out of tune and I'm singing out of tune because I'm psychologically destroyed and nobody's supporting me or helping me with it, and the song was never done properly.” Of course, this is only Lennon's perception, and it's one that the other participants would disagree with. George Martin, in particular, was always rather hurt by the implication that Lennon's songs had less attention paid to them, and he would always say that the problem was that Lennon in the studio would always say "yes, that's great", and only later complain that it hadn't been what he wanted. No doubt McCartney did put in more effort on his own songs than on Lennon's -- everyone has a bias towards their own work, and McCartney's only human -- but personally I suspect that a lot of the problem comes down to the two men having very different personalities. McCartney had very strong ideas about his own work and would drive the others insane with his nitpicky attention to detail. Lennon had similarly strong ideas, but didn't have the attention span to put the time and effort in to force his vision on others, and didn't have the technical knowledge to express his ideas in words they'd understand. He expected Martin and the other Beatles to work miracles, and they did -- but not the miracles he would have worked. That track was, rather than being chosen for the next single, given to Spike Milligan, who happened to be visiting the studio and was putting together an album for the environmental charity the World Wildlife Fund. The album was titled "No One's Gonna Change Our World": [Excerpt: The Beatles, "Across the Universe"] That track is historic in another way -- it would be the last time that George Harrison would play sitar on a Beatles record, and it effectively marks the end of the period of psychedelia and Indian influence that had started with "Norwegian Wood" three years earlier, and which many fans consider their most creative period. Indeed, shortly after the recording, Harrison would give up the sitar altogether and stop playing it. He loved sitar music as much as he ever had, and he still thought that Indian classical music spoke to him in ways he couldn't express, and he continued to be friends with Ravi Shankar for the rest of his life, and would only become more interested in Indian religious thought. But as he spent time with Shankar he realised he would never be as good on the sitar as he hoped. He said later "I thought, 'Well, maybe I'm better off being a pop singer-guitar-player-songwriter – whatever-I'm-supposed-to-be' because I've seen a thousand sitar-players in India who are twice as better as I'll ever be. And only one of them Ravi thought was going to be a good player." We don't have a precise date for when it happened -- I suspect it was in June 1968, so a few months after the "Across the Universe" recording -- but Shankar told Harrison that rather than try to become a master of a music that he hadn't encountered until his twenties, perhaps he should be making the music that was his own background. And as Harrison put it "I realised that was riding my bike down a street in Liverpool and hearing 'Heartbreak Hotel' coming out of someone's house.": [Excerpt: Elvis Presley, "Heartbreak Hotel"] In early 1968 a lot of people seemed to be thinking along the same lines, as if Christmas 1967 had been the flick of a switch and instead of whimsy and ornamentation, the thing to do was to make music that was influenced by early rock and roll. In the US the Band and Bob Dylan were making music that was consciously shorn of all studio experimentation, while in the UK there was a revival of fifties rock and roll. In April 1968 both "Peggy Sue" and "Rock Around the Clock" reentered the top forty in the UK, and the Who were regularly including "Summertime Blues" in their sets. Fifties nostalgia, which would make occasional comebacks for at least the next forty years, was in its first height, and so it's not surprising that Paul McCartney's song, "Lady Madonna", which became the A-side of the next single, has more than a little of the fifties about it. Of course, the track isn't *completely* fifties in its origins -- one of the inspirations for the track seems to have been the Rolling Stones' then-recent hit "Let's Spend The Night Together": [Excerpt: The Rolling Stones, "Let's Spend the Night Together"] But the main source for the song's music -- and for the sound of the finished record -- seems to have been Johnny Parker's piano part on Humphrey Lyttleton's "Bad Penny Blues", a hit single engineered by Joe Meek in the fifties: [Excerpt: Humphrey Lyttleton, "Bad Penny Blues"] That song seems to have been on the group's mind for a while, as a working title for "With a Little Help From My Friends" had at one point been "Bad Finger Blues" -- a title that would later give the name to a band on Apple. McCartney took Parker's piano part as his inspiration, and as he later put it “‘Lady Madonna' was me sitting down at the piano trying to write a bluesy boogie-woogie thing. I got my left hand doing an arpeggio thing with the chord, an ascending boogie-woogie left hand, then a descending right hand. I always liked that, the  juxtaposition of a line going down meeting a line going up." [Excerpt: The Beatles, "Lady Madonna"] That idea, incidentally, is an interesting reversal of what McCartney had done on "Hello, Goodbye", where the bass line goes down while the guitar moves up -- the two lines moving away from each other: [Excerpt: The Beatles, "Hello Goodbye"] Though that isn't to say there's no descending bass in "Lady Madonna" -- the bridge has a wonderful sequence where the bass just *keeps* *descending*: [Excerpt: The Beatles, "Lady Madonna"] Lyrically, McCartney was inspired by a photo in National Geographic of a woman in Malaysia, captioned “Mountain Madonna: with one child at her breast and another laughing into her face, sees her quality of life threatened.” But as he put it “The people I was brought up amongst were often Catholic; there are lots of Catholics in Liverpool because of the Irish connection and they are often religious. When they have a baby I think they see a big connection between themselves and the Virgin Mary with her baby. So the original concept was the Virgin Mary but it quickly became symbolic of every woman; the Madonna image but as applied to ordinary working class woman. It's really a tribute to the mother figure, it's a tribute to women.” Musically though, the song was more a tribute to the fifties -- while the inspiration had been a skiffle hit by Humphrey Lyttleton, as soon as McCartney started playing it he'd thought of Fats Domino, and the lyric reflects that to an extent -- just as Domino's "Blue Monday" details the days of the week for a weary working man who only gets to enjoy himself on Saturday night, "Lady Madonna"'s lyrics similarly look at the work a mother has to do every day -- though as McCartney later noted  "I was writing the words out to learn it for an American TV show and I realised I missed out Saturday ... So I figured it must have been a real night out." The vocal was very much McCartney doing a Domino impression -- something that wasn't lost on Fats, who cut his own version of the track later that year: [Excerpt: Fats Domino, "Lady Madonna"] The group were so productive at this point, right before the journey to India, that they actually cut another song *while they were making a video for "Lady Madonna"*. They were booked into Abbey Road to film themselves performing the song so it could be played on Top of the Pops while they were away, but instead they decided to use the time to cut a new song -- John had a partially-written song, "Hey Bullfrog", which was roughly the same tempo as "Lady Madonna", so they could finish that up and then re-edit the footage to match the record. The song was quickly finished and became "Hey Bulldog": [Excerpt: The Beatles, "Hey Bulldog"] One of Lennon's best songs from this period, "Hey Bulldog" was oddly chosen only to go on the soundtrack of Yellow Submarine. Either the band didn't think much of it because it had come so easily, or it was just assigned to the film because they were planning on being away for several months and didn't have any other projects they were working on. The extent of the group's contribution to the film was minimal – they were not very hands-on, and the film, which was mostly done as an attempt to provide a third feature film for their United Artists contract without them having to do any work, was made by the team that had done the Beatles cartoon on American TV. There's some evidence that they had a small amount of input in the early story stages, but in general they saw the cartoon as an irrelevance to them -- the only things they contributed were the four songs "All Together Now", "It's All Too Much", "Hey Bulldog" and "Only a Northern Song", and a brief filmed appearance for the very end of the film, recorded in January: [Excerpt: Yellow Submarine film end] McCartney also took part in yet another session in early February 1968, one produced by Peter Asher, his fiancee's brother, and former singer with Peter and Gordon. Asher had given up on being a pop star and was trying to get into the business side of music, and he was starting out as a producer, producing a single by Paul Jones, the former lead singer of Manfred Mann. The A-side of the single, "And the Sun Will Shine", was written by the Bee Gees, the band that Robert Stigwood was managing: [Excerpt: Paul Jones, "And the Sun Will Shine"] While the B-side was an original by Jones, "The Dog Presides": [Excerpt: Paul Jones, "The Dog Presides"] Those tracks featured two former members of the Yardbirds, Jeff Beck and Paul Samwell-Smith, on guitar and bass, and Nicky Hopkins on piano. Asher asked McCartney to play drums on both sides of the single, saying later "I always thought he was a great, underrated drummer." McCartney was impressed by Asher's production, and asked him to get involved with the new Apple Records label that would be set up when the group returned from India. Asher eventually became head of A&R for the label. And even before "Lady Madonna" was mixed, the Beatles were off to India. Mal Evans, their roadie, went ahead with all their luggage on the fourteenth of February, so he could sort out transport for them on the other end, and then John and George followed on the fifteenth, with their wives Pattie and Cynthia and Pattie's sister Jenny (John and Cynthia's son Julian had been left with his grandmother while they went -- normally Cynthia wouldn't abandon Julian for an extended period of time, but she saw the trip as a way to repair their strained marriage). Paul and Ringo followed four days later, with Ringo's wife Maureen and Paul's fiancee Jane Asher. The retreat in Rishikesh was to become something of a celebrity affair. Along with the Beatles came their friend the singer-songwriter Donovan, and Donovan's friend and songwriting partner, whose name I'm not going to say here because it's a slur for Romani people, but will be known to any Donovan fans. Donovan at this point was also going through changes. Like the Beatles, he was largely turning away from drug use and towards meditation, and had recently written his hit single "There is a Mountain" based around a saying from Zen Buddhism: [Excerpt: Donovan, "There is a Mountain"] That was from his double-album A Gift From a Flower to a Garden, which had come out in December 1967. But also like John and Paul he was in the middle of the breakdown of a long-term relationship, and while he would remain with his then-partner until 1970, and even have another child with her, he was secretly in love with another woman. In fact he was secretly in love with two other women. One of them, Brian Jones' ex-girlfriend Linda, had moved to LA, become the partner of the singer Gram Parsons, and had appeared in the documentary You Are What You Eat with the Band and Tiny Tim. She had fallen out of touch with Donovan, though she would later become his wife. Incidentally, she had a son to Brian Jones who had been abandoned by his rock-star father -- the son's name is Julian. The other woman with whom Donovan was in love was Jenny Boyd, the sister of George Harrison's wife Pattie.  Jenny at the time was in a relationship with Alexis Mardas, a TV repairman and huckster who presented himself as an electronics genius to the Beatles, who nicknamed him Magic Alex, and so she was unavailable, but Donovan had written a song about her, released as a single just before they all went to Rishikesh: [Excerpt: Donovan, "Jennifer Juniper"] Donovan considered himself and George Harrison to be on similar spiritual paths and called Harrison his "spirit-brother", though Donovan was more interested in Buddhism, which Harrison considered a corruption of the more ancient Hinduism, and Harrison encouraged Donovan to read Autobiography of a Yogi. It's perhaps worth noting that Donovan's father had a different take on the subject though, saying "You're not going to study meditation in India, son, you're following that wee lassie Jenny" Donovan and his friend weren't the only other celebrities to come to Rishikesh. The actor Mia Farrow, who had just been through a painful divorce from Frank Sinatra, and had just made Rosemary's Baby, a horror film directed by Roman Polanski with exteriors shot at the Dakota building in New York, arrived with her sister Prudence. Also on the trip was Paul Horn, a jazz saxophonist who had played with many of the greats of jazz, not least of them Duke Ellington, whose Sweet Thursday Horn had played alto sax on: [Excerpt: Duke Ellington, "Zweet Zursday"] Horn was another musician who had been inspired to investigate Indian spirituality and music simultaneously, and the previous year he had recorded an album, "In India," of adaptations of ragas, with Ravi Shankar and Alauddin Khan: [Excerpt: Paul Horn, "Raga Vibhas"] Horn would go on to become one of the pioneers of what would later be termed "New Age" music, combining jazz with music from various non-Western traditions. Horn had also worked as a session musician, and one of the tracks he'd played on was "I Know There's an Answer" from the Beach Boys' Pet Sounds album: [Excerpt: The Beach Boys, "I Know There's an Answer"] Mike Love, who co-wrote that track and is one of the lead singers on it, was also in Rishikesh. While as we'll see not all of the celebrities on the trip would remain practitioners of Transcendental Meditation, Love would be profoundly affected by the trip, and remains a vocal proponent of TM to this day. Indeed, his whole band at the time were heavily into TM. While Love was in India, the other Beach Boys were working on the Friends album without him -- Love only appears on four tracks on that album -- and one of the tracks they recorded in his absence was titled "Transcendental Meditation": [Excerpt: The Beach Boys, "Transcendental Meditation"] But the trip would affect Love's songwriting, as it would affect all of the musicians there. One of the few songs on the Friends album on which Love appears is "Anna Lee, the Healer", a song which is lyrically inspired by the trip in the most literal sense, as it's about a masseuse Love met in Rishikesh: [Excerpt: The Beach Boys, "Anna Lee, the Healer"] The musicians in the group all influenced and inspired each other as is likely to happen in such circumstances. Sometimes, it would be a matter of trivial joking, as when the Beatles decided to perform an off-the-cuff song about Guru Dev, and did it in the Beach Boys style: [Excerpt: The Beatles, "Spiritual Regeneration"] And that turned partway through into a celebration of Love for his birthday: [Excerpt: The Beatles, "Spiritual Regeneration"] Decades later, Love would return the favour, writing a song about Harrison and their time together in Rishikesh. Like Donovan, Love seems to have considered Harrison his "spiritual brother", and he titled the song "Pisces Brothers": [Excerpt: Mike Love, "Pisces Brothers"] The musicians on the trip were also often making suggestions to each other about songs that would become famous for them. The musicians had all brought acoustic guitars, apart obviously from Ringo, who got a set of tabla drums when George ordered some Indian instruments to be delivered. George got a sitar, as at this point he hadn't quite given up on the instrument, and he gave Donovan a tamboura. Donovan started playing a melody on the tamboura, which is normally a drone instrument, inspired by the Scottish folk music he had grown up with, and that became his "Hurdy-Gurdy Man": [Excerpt: Donovan, "Hurdy Gurdy Man"] Harrison actually helped him with the song, writing a final verse inspired by the Maharishi's teachings, but in the studio Donovan's producer Mickie Most told him to cut the verse because the song was overlong, which apparently annoyed Harrison. Donovan includes that verse in his live performances of the song though -- usually while doing a fairly terrible impersonation of Harrison: [Excerpt: Donovan, "Hurdy Gurdy Man (live)"] And similarly, while McCartney was working on a song pastiching Chuck Berry and the Beach Boys, but singing about the USSR rather than the USA, Love suggested to him that for a middle-eight he might want to sing about the girls in the various Soviet regions: [Excerpt: The Beatles, "Back in the USSR"] As all the guitarists on the retreat only had acoustic instruments, they were very keen to improve their acoustic playing, and they turned to Donovan, who unlike the rest of them was primarily an acoustic player, and one from a folk background. Donovan taught them the rudiments of Travis picking, the guitar style we talked about way back in the episodes on the Everly Brothers, as well as some of the tunings that had been introduced to British folk music by Davey Graham, giving them a basic grounding in the principles of English folk-baroque guitar, a style that had developed over the previous few years. Donovan has said in his autobiography that Lennon picked the technique up quickly (and that Harrison had already learned Travis picking from Chet Atkins records) but that McCartney didn't have the application to learn the style, though he picked up bits. That seems very unlike anything else I've read anywhere about Lennon and McCartney -- no-one has ever accused Lennon of having a surfeit of application -- and reading Donovan's book he seems to dislike McCartney and like Lennon and Harrison, so possibly that enters into it. But also, it may just be that Lennon was more receptive to Donovan's style at the time. According to McCartney, even before going to Rishikesh Lennon had been in a vaguely folk-music and country mode, and the small number of tapes he'd brought with him to Rishikesh included Buddy Holly, Dylan, and the progressive folk band The Incredible String Band, whose music would be a big influence on both Lennon and McCartney for the next year: [Excerpt: The Incredible String Band, "First Girl I Loved"] According to McCartney Lennon also brought "a tape the singer Jake Thackray had done for him... He was one of the people we bumped into at Abbey Road. John liked his stuff, which he'd heard on television. Lots of wordplay and very suggestive, so very much up John's alley. I was fascinated by his unusual guitar style. John did ‘Happiness Is A Warm Gun' as a Jake Thackray thing at one point, as I recall.” Thackray was a British chansonnier, who sang sweetly poignant but also often filthy songs about Yorkshire life, and his humour in particular will have appealed to Lennon. There's a story of Lennon meeting Thackray in Abbey Road and singing the whole of Thackray's song "The Statues", about two drunk men fighting a male statue to defend the honour of a female statue, to him: [Excerpt: Jake Thackray, "The Statues"] Given this was the music that Lennon was listening to, it's unsurprising that he was more receptive to Donovan's lessons, and the new guitar style he learned allowed him to expand his songwriting, at precisely the same time he was largely clean of drugs for the first time in several years, and he started writing some of the best songs he would ever write, often using these new styles: [Excerpt: The Beatles, "Julia"] That song is about Lennon's dead mother -- the first time he ever addressed her directly in a song, though  it would be far from the last -- but it's also about someone else. That phrase "Ocean child" is a direct translation of the Japanese name "Yoko". We've talked about Yoko Ono a bit in recent episodes, and even briefly in a previous Beatles episode, but it's here that she really enters the story of the Beatles. Unfortunately, exactly *how* her relationship with John Lennon, which was to become one of the great legendary love stories in rock and roll history, actually started is the subject of some debate. Both of them were married when they first got together, and there have also been suggestions that Ono was more interested in McCartney than in Lennon at first -- suggestions which everyone involved has denied, and those denials have the ring of truth about them, but if that was the case it would also explain some of Lennon's more perplexing behaviour over the next year. By all accounts there was a certain amount of finessing of the story th

Get out from nowhere and on with The Fantastival Podcast #144 as we have John, Brandon and Ted from The Height, as control is lost in this one as the youngsters go crazy and rip the rules to shreds… From One To Another the boys talk about their influences, how they all got into playing music, their fantastic tunes to date and latest single ‘I Know There's More', the recently released physical EP, their gigs so far (headlined Salford Lads Club) and upcoming gig supporting Skylights (with the awesome Shed Project), plans for the future and they collate the most mental Fantasy Festival seen so far as chaos reigns in the wonderful world of The Fantastival. To order the Height EP: https://vinylrevivalmcr.com/shop-item/the-height-one-to-another/ And be sure to give The Height a follow on the below: Spotify: https://open.spotify.com/artist/6DXn8dMPho4EuAiXgXzdDl?si=S3fsGWzdSCm14TGYK7yaTQ Twitter: https://x.com/theheightband?s=21&t=eqrCq7Vm65YWWbA4Nfrj7A Instagram: https://instagram.com/theheight_band?igshid=YTQwZjQ0NmI0OA== If you've enjoyed the Fantastival Podcast please give us a follow on Twitter @FantastivalP, subscribe on whatever platform you are listening to and give us a star rating on iTunes or rate the show and comment on the episode on Spotify and remember to check for our new episodes which are released every Sunday at 9am. Spread the word... and the word is Fantastival! --- Send in a voice message: https://podcasters.spotify.com/pod/show/the-fantastival-podcast/message

King Combs - Can't Stop Won't Stop Ft. Kodak Black Remix (Jamie xx I Know There's Gonna Be (Good Times)

Date: March 15, 2023Name of podcast: Backstage Pass RadioEpisode title and number:  S4: E8: Russ Ballard (Argent) - Masterful Lyricist From WareArtist Bio -Originally coming to prominence as the lead singer and guitarist for the band Argent, Ballard became a songwriter and producer by the late 1970s. His compositions "New York Groove", "You Can Do Magic", "Since You Been Gone", "I Surrender", "Liar", "Winning", "I Know There's Something Going On", "Can't Shake Loose", "So You Win Again" and "God Gave Rock and Roll to You" were hits for other artists during the 1970s and 1980s. He also scored several minor hits under his own name in the early and mid-1980s.Sponsor Link:WWW.ECOTRIC.COMBackstage Pass Radio Social Media Handles:Facebook - @backstagepassradiopodcast @randyhulseymusicInstagram - @Backstagepassradio @randyhulseymusicTwitter - @backstagepassPC @rhulseymusicWebsite - backstagepassradio.com and randyhulsey.comArtist Media Handles:Website - www.russballardmusic.comInstagram  - https://www.instagram.com/russballardmusicofficial/Facebook - https://www.facebook.com/russballard.music/Call to actionWe ask our listeners to like, share, and subscribe to the show and the artist's social media pages. This enables us to continue pushing great content to the consumer. Thank you for being a part of Backstage Pass RadioYour Host,Randy Hulsey 

#80-76Intro/Outro: Thrift Shop by Macklemore & Ryan Lewis80. Wrecking Ball by Miley Cyrus79. MALAMENTE (Cap.1: Augurio) by Rosalia78. Avant Gardener by Courtney Barnett77. Party Rock Anthem by LMFAO76. I Know There's Gonna Be (Good Times) by Jamie xxVote on your favorite song from today's episodeVote on your favorite song from Week 4 of the 00s

I dette afsnit af 'Rockhistorier' dedikerer Henrik Queitsch og Klaus Lynggaard intet mindre end to timer og tyve minutter til 'The Beach Boys'. Vi skal derfor igennem en playliste med hele 30 numre, der blandt andet indeholder ”Surfin' USA”, ”Kiss me baby” og julenummeret ”Little Saint Nick”.Playliste: 1. "Surfin'" (1961) 2. "Surfin' Safari" (1962)3. "Surfin' USA" (1963)4. "Lonely Sea" (1963)5. "Misirlou" (1963)6. "Surfer Girl" (1963)7. "Little Deuce Coupe" (1963)8. "In My Room" (1963)9. "A Young Man Is Gone" (1963)10. "Little Saint Nick" - Single Version (1963)11. "Fun, Fun, Fun" (1964)12. "Don't Worry Baby" (1964)13. "The Warmth of the Sun" (1964)14. "I Get Around" (1964)15. "Girls on the Beach" (1964)16. "All Summer Long" (1964)17. "When I Grow Up (To Be a Man)" (1964)18. "She Knows Me Too Well" (1965)19. "Please Let Me Wonder" (1965)20. "Kiss Me, Baby" (1965)21. "Help Me, Rhonda" (1965)22. "Let Him Run Wild" (1965)23. "California Girls" (1965)24. "Girl Don't Tell Me"  (1965)25. The Little Girl I Once Knew" (1965)26. "Wouldn't It Be Nice" (1966)27. "I Just Wasn't Made for These Times" (1966)28. "God Only Knows" (1966)29. "I Know There's an Answer" (1966)30. "Caroline, No" (1966)

To cap a year's worth of Caropop episodes, we've got an original Beach Boy, Al Jardine. He provided perfect harmonies to this band of brothers and a cousin; he sang lead on “Help Me, Rhonda,” “I Know There's an Answer,” “Vegetables” and “Cotton Fields”; and he brought in “Sloop John B” and wrote "California Saga/California." At 80 and still sounding great, Jardine tours with his own Endless Summer Band and Brian Wilson and has a solo album, A Postcard from California. How did his mom give the Beach Boys its start? What did he think of the band's use of studio musicians? When did he realize Brian suffered from mental illness? Why was there no 60th anniversary reunion tour this year? Jardine knows there's an answer…

This week, it's another round of Question Time, this week with actual (OK, former) British person Charles C.W. Cooke sitting in for Peter Robinson, We cover Florida, guns, newspapers, — an entire smorgasbord of topics (what's British for smorgasbord?). Music from this week's episode: I Know There's An Answer by The Beach Boys... Source

This week, it’s another round of Question Time, this week with actual (OK, former) British person Charles C.W. Cooke sitting in for Peter Robinson, We cover Florida, guns, newspapers, — an entire smorgasbord of topics (what’s British for smorgasbord?). Music from this week’s episode: I Know There’s An Answer by The Beach Boys

The annual Dark Nation Radio UNDER COVER show can now be streamed and downloaded—three hours of goth/industrial (and adjacent) bands and artists covering their favorites. I hope you'll give this one a spin because it's a fun show! Included in the mix are Bauhaus, Front Line Assembly, The Cult, The Sisters of Mercy, Ego Likeness, PIG, Echo & the Bunnymen, Faith & the Muse, KMFDM, and many more—the playlist is provided below for your reference. Thank you for your support! DJ cypher's Dark Nation Radio Playlist UNDER COVER 2022 3 July 2022 Faith & the Muse, “Running Up that Hill (Kate Bush)” Anna Calvi, “Red Right Hand (Nick Cave & the Bad Seeds)” Malia J., “Smells Like Teen Spirit (Nirvana)” The Foreign Resort, “Stand Back (Stevie Nicks)” Echo & the Bunnymen, “People are Strange (The Doors)” Ego Likeness, “Down By the Water (P.J. Harvey)” KMFDM, “These Boots Were Made for Walking (Nancy Sinatra)” Alex Reed, “Hooked (Seabound)” The Sisters of Mercy, “Gimme Shelter (The Rolling Stones)” Orbital, “The Saint (TV show theme by Edwin Astley)” Tenderlash, “Zombie (The Cranberries)” Torul, “Mad World (Tears for Fears)” Front Line Assembly, “Rock Me Amadeus ft. Jimmie Urine (Falco)” Tre Lux, “I Know There's Something Going On (Frida)” Tiga & Znytherius, “Sunglasses at Night (Corey Hart)” Adoration Destroyed, “Voices Carry (Til Tuesday)” Black Rose Burning, “Red Skies at Night (The Fixx)” The Quakes, “Killing Moon (Echo & the Bunnymen)” The Hillbilly Moon Explosion, “Enola Gay (OMD)” Batavia, “Unbelievable (EMF)” Xorcist, “1999 (Prince)” The Cult, “Born to be Wild (Steppenwolf)” Love Like Blood, “Angie (The Rolling Stones)” The Blue Hour, “Cornflake Girl (Tori Amos)” Klack, “Move Any Mountain (The Shamen)” Bauhaus, “Ziggy Stardust (David Bowie)” Sshadows, “Love Like Blood (Killing Joke)” Cyanbaal, “The Soul Inside (Soft Cell)” Lost Tapes, “To Look at You (INXS)” Bigod20, “Like a Prayer (Madonna)” Clan of Xymox, “A Forest (The Cure)” Freezepop, “Photographic (Depeche Mode)” Black Needle Noise, “Walking in My Shoes (Depeche Mode)” PIG, “Head Like a Hole (NIN)” La Muerte, “Headhunter (Front 242)” NØIR, “The Chauffeur (Duran Duran)” Rosegarden Funeral Party, “Mercy Street (Peter Gabriel)” DJ CYPHER'S DARK NATION RADIO—22 years strong! **Live Broadcasts Sundays @ 9 PM Eastern US on Spirit of Resistance Radio sorradio.org **Recorded broadcasts @ http://www.mixcloud.com/cypheractive **Downloadable broadcasts @ http://www.hearthis.at/cypheractive **Questions and material for airplay consideration to darknationradio@gmail.com **Facebook @ http://www.facebook.com/groups/darknationradio

Dans ce 73ème épisode de 80's Lost Songs , je vous présente la chanson "I Know There's Something Going On" interprétée par Frida ‎en 1982. Bonne écoute! Twitter : https://twitter.com/80sLostSongs Apple Podcast : https://podcasts.apple.com/fr/podcast/80s-lost-songs/id1496553272 Deezer : https://www.deezer.com/en/show/820802 Spotify : https://open.spotify.com/show/2rhMEp67IHibVmXtzBj3qG Amazon Music : https://music.amazon.com/podcasts/f0f3daa1-7efd-4b64-b6cb-f96de8f072b8 Podcloud : https://podcloud.fr/podcast/80s-lost-songs Podcastics : https://www.podcastics.com/podcast/80s-lost-songs/ TuneIn : https://tunein.com/podcasts/Music-Podcasts/80s-Lost-Songs-p1297857/ Pocket Casts : https://pca.st/z0q3v2no CastBox : https://castbox.fm/channel/id2644201 PlayerFM : https://fr.player.fm/series/2624915 Stitcher : https://www.stitcher.com/podcast/eurodance-story/80s-lost-songs Instagram : https://www.instagram.com/80slostsongs/ Flux rss : https://feeds.podcastics.com/podcastics/podcasts/rss/378_64ba9ec9cda8bf0e3822ad578fbab146.rss Sondage 80's Lost Songs: https://forms.gle/BFzzYR1bVm3X24Sm8 Me contacter sur Twitter : @MaadHakim

New Brunswick (Mix 2). Uplifting vocal house beats inspired by the haunt in New Jersey.. Listen on my new free app for iOS & Android. Stream/download free at www.clubkerrynyc.com.   "Podcasts Worth A Listen" (PlayerFM, March 2022) popular electronic music.   The official podcast of Madonna Remixers United: https://www.clubkerrynyc.com/p/madonna-remixers-united/ "The undiscovered brilliance... DJ Kerry is magic!" (App Review). Ranked in the top 1% most popular podcasts globally by Listen Notes. "Awesomesauce" featured Tunr app. Chartable.com "Global Reach" top 20 music podcast. "Stylistically superior. The best vocal house podcast on the net" (iTunes Review). "Top Electronic Podcast" category on Player FM. Celebrating 13 years: 2009-2022.   Track List: (60:58): 1. Crazy (Extended) - Jean Luc, Nick Jay. ***Seal Retro Alert!*** 2. Good Feeling (ft. Sam Grey, Extended Mix) - Duvall, Sam Gray 3. By Your Side (Sidepiece Remix) - Calvin Harris, Tom Grennan. ***DJ Favorite!*** 4. What Goes Up (Original Mix) - Orang Utan 5. Love Will Die (Extended Mix) - Kodyn & Peter John Kiss. *** DJ Favorite*** 6. Call on Me (Extended Mix) - DJ S.K.T. 7. Always Here - Nash & Pepper Ft. Udo 8. Lullaby (Extended) - Le Youth & Anakim ft. Linney. ***DJ Favorite!*** 9. Every Breath You Take (Extended) - Luca Debonaire. ***Sting/Police Retro Alert!*** 10. Myself (Extended Mix) - Shadow Clouds & Mismatch (UK) 11. You Got The Love (D.O.D. Remix) - Never Sleeps, Afrojack, Chico Rose & D.O.D. 12. Hold Me Close (Vintage Culture Remix) - Kasablanca 13. Don't Be Afraid - Deplo & Damian Lazarus ft. Jungle 14. I Know There's Something Going On (Lifelong Corporation Synth Mix) - Frida (Retro Alert!) 15. Queen of Ice (Nora En Pure Remix) - Claptone ft. Dizzy. ***DJ Favorite!*** 16. In The Dark (Oliver Heldens Remix) - Purple Disco Machine & Sophie and the Giants Listen on your fave app for your device: www.clubkerrynyc.com iTunes/iOS http://bit.ly/iTunesKerry Gaana (Android, iOS) http://bit.ly/GaanaClubKerry Google Podcasts (Android, iOS) https://bit.ly/GoogleClubKerry Amazon Music Podcasts (Android, iOS) https://bit.ly/AmazonMusicClubKerryNYC Deezer https://bit.ly/DeezerClubKerry Tunr (Visualize your music! iOS) by Soundspectrum Podcast Republic (Android) https://bit.ly/PodcastRepublicClubKerry CastBox (Android, Alexa, iOS) https://bit.ly/CastBoxClubKerryNYC Podcast Addict (Android) https://bit.ly/PodcastAddictClubKerry Stitcher (iOS, Android) http://bit.ly/stitcherkerry iHeartRadio (iOS, Android) https://bit.ly/iHeartRadioClubKerry Overcast (iOS) https://bit.ly/OvercastClubKerry TuneIn (Alexa, Roku, Google Assistant, Cortana, iOS, Android) http://bit.ly/TuneInClubKerry PocketCasts (iOS/GooglePlay) https://bit.ly/PocketCastsClubKerry PlayerFM (iOS, Android/Google Play) http://bit.ly/PlayerFMkerry Podbean: https://bit.ly/PodbeanClubKerry Podchaser (Database): https://www.podchaser.com/CLUBKERRYNYC Mixcloud: http://bit.ly/MixcloudClubKerry Listen Notes (Club Kerry NYC top 1% most popular shows globally) RSSFeed: http://clubkerrynyc.libsyn.com/rss Track Lists, subscribe, & Download: www.clubkerrynyc.com 

Thanks!  Appreciation!!  Gratitude!!! And as ALWAYS, I wish for you KINDNESS!  Morning shows all next week except when they're not!  I'll let you know.  Most shows 7-10AM ET, 4-7AM PT.  I'll post when different.  Enjoy your weekend. The Music Authority LIVE STREAM Show & Podcast...listen, like, comment, download, share, repeat…heard daily on Podchaser, Deezer, Amazon Music, Audible, Listen Notes, Google Podcast Manager, Mixcloud, Player FM, Stitcher, Tune In, Podcast Addict, Cast Box, Radio Public, and Pocket Cast, and APPLE iTunes!  Follow the show on TWITTER JimPrell@TMusicAuthority!  Are you sharing the show? Are you listening? How does and can one listen in? Let me list the ways...*Listen LIVE here - https://fastcast4u.com/player/jamprell/ *Podcast - https://themusicauthority.transistor.fm/   The Music Authority LIVE STREAM Show & Podcast!  Special Recorded Network Shows, too!  Different than my daily show! *Radio Candy Radio Monday Wednesday, & Friday 7PM ET, 4PM PT*Rockin' The KOR Tuesday, Wednesday, and Thursday at 7PM UK time, 2PM ET, 11AM PT  www.koradio.rocks*Pop Radio UK Friday, Saturday, & Sunday 6PM UK, 1PM ET, 10AM PT! February 25, 2022, Friday, three for three…@Myracle Brah - 08 – She's Gonna Fly [Myracle Brah] (Andy Bopp)Model Rockets - 06 - Rock & Roll: The Movie [Tell The Kids The Cops Are Here]@The Roaring Juniors - 09 See You (All The Time) [Bomb Pop!]David Brookings - A04 Dead Battery [King Without A Throne] (You Are the Cosmos)Daren Sweet - Great Big World@Robert Ellis Oral - 02 Baby Go [Fixation]Black Moon Book - Never Like It Always Was [Black Moon Book]Travel Lanes – RoutineGuided By Voices - 21 Questions of the Test [Zeppelin Over China]The Anderson Council - 02 - Our Worlds Collide [Worlds Collide] (Jem Records)Official Emitt Rhodes - Mary Will You Take My Hand [The Emitt Rhodes Recordings (1969-1973)]Marveline - Made Of Stars [Savoury-Toothed Tiger]@Scott Bennett - 07 - I Know There's an Answer [The Dotted Line]Mink DeVille- Savoir Faire [The Mink DeVille Collection]Richard Turgeon - 02 - Still Not Ready To Die [Sea Change] (koolkatmusik.com)Stop Calling Me Frank - 01 South Of Somewhere [Haberdashed] (Rum Bar Records)The Beatersband Vintage PunkRock'n'Roll - 21 - Hang On Sloopy [Ice Creams & Daydreams] (Ice Cream Man Power Pop and More)Bruce Tunkel Music - 07 This Town [Us]Little Georgie and the Shuffling Hungarians – Goodnight Irene

Episode one hundred and forty-two of A History of Rock Music in Five Hundred Songs looks at “God Only Knows" by the Beach Boys, and the creation of the Pet Sounds album. 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 "Sunny" by Bobby Hebb. 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 There is no Mixcloud this week, because there were too many Beach Boys songs in the episode. I used many resources for this episode, most of which will be used in future Beach Boys episodes too. It's difficult to enumerate everything here, because I have been an active member of the Beach Boys fan community for twenty-four years, and have at times just used my accumulated knowledge for this. But the resources I list here are ones I've checked for specific things. Stephen McParland has published many, many books on the California surf and hot-rod music scenes, including several on both the Beach Boys and Gary Usher.  His books can be found at https://payhip.com/CMusicBooks Andrew Doe's Bellagio 10452 site is an invaluable resource. Jon Stebbins' The Beach Boys FAQ is a good balance between accuracy and readability. And Philip Lambert's Inside the Music of Brian Wilson is an excellent, though sadly out of print, musicological analysis of Wilson's music from 1962 through 67. I have also referred to Brian Wilson's autobiography, I Am Brian Wilson, and to Mike Love's, Good Vibrations: My Life as a Beach Boy. For material specific to Pet Sounds I have used Kingsley Abbot's The Beach Boys' Pet Sounds: The Greatest Album of the Twentieth Century and Charles L Granata's I Just Wasn't Made For These Times: Brian Wilson and the Making of Pet Sounds.  I also used the 126-page book The Making of Pet Sounds by David Leaf, which came as part of the The Pet Sounds Sessions box set, which also included the many alternate versions of songs from the album used here. Sadly both that box set and the 2016 updated reissue of it appear currently to be out of print, but either is well worth obtaining for anyone who is interested in how great records are made. Of the versions of Pet Sounds that are still in print, this double-CD version is the one I'd recommend. It has the original mono mix of the album, the more recent stereo remix, the instrumental backing tracks, and live versions of several songs. As a good starting point for the Beach Boys' music in general, I would recommend this budget-priced three-CD set, which has a surprisingly good selection of their material on it. The YouTube drum tutorial I excerpted a few seconds of to show a shuffle beat is here. Transcript We're still in the run of episodes that deal with the LA pop music scene -- though next week we're going to move away from LA, while still dealing with a lot of the people who would play a part in that scene. But today we're hitting something that requires a bit of explanation. Most artists covered in this podcast get one or at the most two episodes. Some get slightly more -- the major artists who are present for many revolutions in music, or who have particularly important careers, like Fats Domino or the Supremes. And then there are a few very major artists who get a lot more. The Beatles, for example, are going to get eight in total, plus there will be episodes on some of their solo careers. Elvis has had six, and will get one more wrap-up episode. This is the third Beach Boys episode, and there are going to be three more after this, because the Beach Boys were one of the most important acts of the decade. But normally, I limit major acts to one episode per calendar year of their career. This means that they will average at most one episode every ten episodes, so while for example the episodes on "Mystery Train" and "Heartbreak Hotel" came close together, there was then a reasonable gap before another Elvis episode. This is not possible for the Beach Boys, because this episode and the next two Beach Boys ones all take place over an incredibly compressed timeline. In May 1966, they released an album that has consistently been voted the best album ever in polls of critics, and which is certainly one of the most influential even if one does not believe there is such a thing as a "best album ever". In October 1966 they released one of the most important singles ever -- a record that is again often considered the single best pop single of all time, and which again was massively influential. And then in July 1967 they released the single that was intended to be the lead-off single from their album Smile, an album that didn't get released until decades later, and which became a legend of rock music that was arguably more influential by *not* being released than most records that are released manage to be. And these are all very different stories, stories that need to be told separately. This means that episode one hundred and forty-two, episode one hundred and forty-six, and episode one hundred and fifty-three are all going to be about the Beach Boys. There will be one final later episode about them, too, but the next few months are going to be very dominated by them, so I apologise in advance for that if that's not something you're interested in. Though it also means that with luck some of these episodes will be closer to the shorter length of podcast I prefer rather than the ninety-minute mammoths we've had recently. Though I'm afraid this is another long one. When we left the Beach Boys, we'd just heard that Glen Campbell had temporarily replaced Brian Wilson on the road, after Wilson's mental health had finally been unable to take the strain of touring while also being the group's record producer, principal songwriter, and leader. To thank Campbell, who at this point was not at all well known in his own right, though he was a respected session guitarist and had released a few singles, Brian had co-written and produced "Guess I'm Dumb" for him, a track which prefigured the musical style that Wilson was going to use for the next year or so: [Excerpt: Glen Campbell, "Guess I'm Dumb"] It's worth looking at "Guess I'm Dumb" in a little detail, as it points the way forward to a lot of Wilson's songwriting over the next year. Firstly, of course, there are the lyrical themes of insecurity and of what might even be descriptions of mental illness in the first verse -- "the way I act don't seem like me, I'm not on top like I used to be". The lyrics are by Russ Titelman, but it's reasonable to assume that as with many of his collaborations, Brian brought in the initial idea. There's also a noticeable change in the melodic style compared to Wilson's earlier melodies. Up to this point, Wilson has mostly been writing what get called "horizontal" melody lines -- ones with very little movement, and small movements, often centred on a single note or two. There are exceptions of course, and plenty of them, but a typical Brian Wilson melody up to this point is the kind of thing where even I can hit the notes more or less OK -- [sings] "Well, she got her daddy's car and she cruised through the hamburger stand now". It's not quite a monotone, but it's within a tight range, and you don't have to move far from one note to another. But "Guess I'm Dumb" is incorporating the influence of Roy Orbison, and more obviously of Burt Bacharach, and it's *ludicrously* vertical, with gigantic leaps all over the place, in places that are not obvious. It requires the kind of precision that only a singer like Campbell can attain, to make it sound at all natural: [Excerpt: Glen Campbell, "Guess I'm Dumb"] Bacharach's influence is also noticeable in the way that the chord changes are very different from those that Wilson was using before. Up to this point, when Wilson wrote unusual chord changes, it was mostly patterns like "The Warmth of the Sun", which is wildly inventive, but mostly uses very simple triads and sevenths. Now he was starting to do things like the line "I guess I'm dumb but I don't care", which is sort of a tumbling set of inversions of the same chord that goes from a triad with the fifth in the bass, to a major sixth, to a minor eleventh, to a minor seventh. Part of the reason that Brian could start using these more complex voicings was that he was also moving away from using just the standard guitar/bass/drums lineup, sometimes with keyboards and saxophone, which had been used on almost every Beach Boys track to this point. Instead, as well as the influence of Bacharach, Wilson was also being influenced by Jack Nitzsche's arrangements for Phil Spector's records, and in particular by the way Nitzsche would double instruments, and have, say, a harpsichord and a piano play the same line, to create a timbre that was different from either individual instrument. But where Nitzsche and Spector used the technique along with a lot of reverb and overdubbing to create a wall of sound which was oppressive and overwhelming, and which obliterated the sounds of the individual instruments, Wilson used the same instrumentalists, the Wrecking Crew, to create something far more delicate: [Excerpt: Glen Campbell, "Guess I'm Dumb (instrumental and backing vocals)"] Campbell does such a good job on "Guess I'm Dumb" that one has to wonder what would  have happened if he'd remained with the Beach Boys. But Campbell had of course not been able to join the group permanently -- he had his own career to attend to, and that would soon take off in a big way, though he would keep playing on the Beach Boys' records for a while yet as a member of the Wrecking Crew. But Brian Wilson was still not well enough to tour. In fact, as he explained to the rest of the group, he never intended to tour again -- and he wouldn't be a regular live performer for another twelve years. At first the group were terrified -- they thought he was talking about quitting the group, or the group splitting up altogether. But Brian had a different plan. From that point on, there were two subtly different lineups of the group. In the studio, Brian would sing his parts as always, but the group would get a permanent replacement for him on tour -- someone who could replace him on stage. While the group was on tour, Brian would use the time to write songs and to record backing tracks. He'd already started using the Wrecking Crew to add a bit of additional musical colour to some of the group's records, but from this point on, he'd use them to record the whole track, maybe getting Carl to add a bit of guitar as well if he happened to be around, but otherwise just using the group to provide vocals. It's important to note that this *was* a big change. A lot of general music history sources will say things like "the Beach Boys never played on their own records", and this is taken as fact by people who haven't investigated further. In fact, the basic tracks for all their early hits were performed by the group themselves -- "Surfin'", "Surfin' Safari", "409", "Surfer Girl", "Little Deuce Coupe", "Don't Worry Baby" and many more were entirely performed by the Beach Boys, while others like "I Get Around" featured the group with a couple of additional musicians augmenting them. The idea that the group never played on their records comes entirely from their recordings from 1965 and 66, and even there often Carl would overdub a guitar part. And at this point, the Beach Boys were still playing on the majority of their recordings, even on sophisticated-sounding records like "She Knows Me Too Well", which is entirely a group performance other than Brian's friend, Russ Titelman, the co-writer of "Guess I'm Dumb", adding some percussion by hitting a microphone stand with a screwdriver: [Excerpt: The Beach Boys, "She Knows Me Too Well"] So the plan to replace the group's instrumental performances in the studio was actually a bigger change than it might seem. But an even bigger change was the live performances, which of course required the group bringing in a permanent live replacement for Brian. They'd already tried this once before, when he'd quit the road for a while and they'd brought Al Jardine back in, but David Marks quitting had forced him back on stage. Now they needed someone to take his place for good. They phoned up their friend Bruce Johnston to see if he knew anyone, and after suggesting a couple of names that didn't work out, he volunteered his own services, and as of this recording he's spent more than fifty years in the band (he quit for a few years in the mid-seventies, but came back). We've seen Johnston turn up several times already, most notably in the episode on "LSD-25", where he was one of the musicians on the track we looked at, but for those of you who don't remember those episodes, he was pretty much *everywhere* in California music in the late fifties and early sixties. He had been in a band at school with Phil Spector and Sandy Nelson, and another band with Jan and Dean, and he'd played on Nelson's "Teen Beat", produced by Art Laboe: [Excerpt: Sandy Nelson, "Teen Beat"] He'd been in the house band at those shows Laboe put on at El Monte stadium we talked about a couple of episodes back, he'd been a witness to John Dolphin's murder, he'd been a record producer for Bob Keane, where he'd written and produced songs for Ron Holden, the man who had introduced "Louie Louie" to Seattle: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] He'd written "The Tender Touch" for Richard Berry's backing group The Pharaos, with Berry singing backing vocals on this one: [Excerpt: The Pharaos, "The Tender Touch"] He'd helped Bob Keane compile Ritchie Valens' first posthumous album, he'd played on "LSD-25" and "Moon Dawg" by the Gamblers: [Excerpt: The Gamblers, "Moon Dawg"] He'd arranged and produced the top ten hit “Those Oldies but Goodies (Remind Me of You)” for Little Caesar and the Romans: [Excerpt Little Caesar and the Romans, "Those Oldies but Goodies (Remind Me of You)"] Basically, wherever you looked in the LA music scene in the early sixties, there was Bruce Johnston somewhere in the background. But in particular, he was suitable for the Beach Boys because he had a lot of experience in making music that sounded more than a little like theirs. He'd made cheap surf records as the Bruce Johnston Surfing Band: [Excerpt: Bruce Johnston, "The Hamptons"] And with his long-time friend and creative partner Terry Melcher he had, as well as working on several Paul Revere and the Raiders records, also recorded hit Beach Boys soundalikes both as their own duo, Bruce and Terry: [Excerpt: Bruce and Terry, "Summer Means Fun"] and under the name of a real group that Melcher had signed, but who don't seem to have sung much on their own big hit, the Rip Chords: [Excerpt: The Rip Chords, "Hey Little Cobra"] Johnston fit in well with the band, though he wasn't a bass player before joining, and had to be taught the parts by Carl and Al. But he's probably the technically strongest musician in the band, and while he would later switch to playing keyboards on stage, he was quickly able to get up to speed on the bass well enough to play the parts that were needed. He also wasn't quite as strong a falsetto singer as Brian Wilson, as can be heard by listening to this live recording of the group singing "I Get Around" in 1966: [Excerpt: The Beach Boys, "I Get Around (live 1966)"] Johnston is actually an excellent singer -- and can still hit the high notes today. He sings the extremely high falsetto part on "Fun Fun Fun" at the end of every Beach Boys show. But his falsetto was thinner than Wilson's, and he also has a distinctive voice which can be picked out from the blend in a way that none of the other Beach Boys' voices could -- the Wilson brothers and Mike Love all have a strong family resemblance, and Al Jardine always sounded spookily close to them. This meant that increasingly, the band would rearrange the vocal parts on stage, with Carl or Al taking the part that Brian had taken in the studio. Which meant that if, say, Al sang Brian's high part, Carl would have to move up to sing the part that Al had been singing, and then Bruce would slot in singing the part Carl had sung in the studio. This is a bigger difference than it sounds, and it meant that there was now a need for someone to work out live arrangements that were different from the arrangements on the records -- someone had to reassign the vocal parts, and also work out how to play songs that had been performed by maybe eighteen session musicians playing French horns and accordions and vibraphones with a standard rock-band lineup without it sounding too different from the record. Carl Wilson, still only eighteen when Brian retired from the road, stepped into that role, and would become the de facto musical director of the Beach Boys on stage for most of the next thirty years, to the point that many of the group's contracts for live performances at this point specified that the promoter was getting "Carl Wilson and four other musicians". This was a major change to the group's dynamics. Up to this point, they had been a group with a leader -- Brian -- and a frontman -- Mike, and three other members. Now they were a more democratic group on stage, and more of a dictatorship in the studio. This was, as you can imagine, not a stable situation, and was one that would not last long. But at first, this plan seemed to go very, very well. The first album to come out of this new hybrid way of working, The Beach Boys Today!, was started before Brian retired from touring, and some of the songs on it were still mostly or solely performed by the group, but as we heard with "She Knows Me Too Well" earlier, the music was still more sophisticated than on previous records, and this can be heard on songs like "When I Grow Up to Be a Man", where the only session musician is the harmonica player, with everything else played by the group: [Excerpt: The Beach Boys, "When I Grow Up to Be a Man"] But the newer sophistication really shows up on songs like "Kiss Me Baby", where most of the instrumentation is provided by the Wrecking Crew -- though Carl and Brian both play on the track -- and so there are saxophones, vibraphones, French horn, cor anglais, and multiple layers of twelve-string guitar: [Excerpt: The Beach Boys, "Kiss Me Baby"] Today had several hit singles on it -- "Dance, Dance, Dance", "When I Grow Up to be a Man", and their cover version of Bobby Freeman's "Do You Wanna Dance?" all charted -- but the big hit song on the album actually didn't become a hit in that version. "Help Me Ronda" was a piece of album filler with a harmonica part played by Billy Lee Riley, and was one of Al Jardine's first lead vocals on a Beach Boys record -- he'd only previously sung lead on the song "Christmas Day" on their Christmas album: [Excerpt: The Beach Boys, "Help Me Ronda"] While the song was only intended as album filler, other people saw the commercial potential in the song. Bruce Johnston was at this time still signed to Columbia records as an artist, and wasn't yet singing on Beach Boys records, and he recorded a version of the song with Terry Melcher as a potential single: [Excerpt: Bruce and Terry, "Help Me Rhonda"] But on seeing the reaction to the song, Brian decided to rerecord it as a single. Unfortunately, Murry Wilson turned up to the session. Murry had been fired as the group's manager by his sons the previous year, though he still owned the publishing company that published their songs. In the meantime, he'd decided to show his family who the real talent behind the group was by taking on another group of teenagers and managing and producing them. The Sunrays had a couple of minor hits, like "I Live for the Sun": [Excerpt: The Sunrays, "I Live for the Sun"] But nothing made the US top forty, and by this point it was clear, though not in the way that Murry hoped, who the real talent behind the group *actually* was. But he turned up to the recording session, with his wife in tow, and started trying to produce it: [Excerpt: Beach Boys and Murry Wilson "Help Me Rhonda" sessions] It ended up with Brian physically trying to move his drunk father away from the control panel in the studio, and having a heartbreaking conversation with him, where the twenty-two-year-old who is recovering from a nervous breakdown only a few months earlier sounds calmer, healthier, and more mature than his forty-seven-year-old father: [Excerpt: Beach Boys and Murry Wilson, "Help Me Rhonda" sessions] Knowing that this was the family dynamic helps make the comedy filler track on the next album, "I'm Bugged at My Old Man", seem rather less of a joke than it otherwise would: [Excerpt: The Beach Boys, "I'm Bugged at My Old Man"] But with Murry out of the way, the group did eventually complete recording "Help Me Rhonda" (and for those of you reading this as a blog post rather than listening to the podcast, yes they did spell it two different ways for the two different versions), and it became the group's second number one hit: [Excerpt: The Beach Boys, "Help Me, Rhonda"] As well as Murry Wilson, though, another figure was in the control room then -- Loren Daro (who at the time went by his birth surname, but I'm going to refer to him throughout by the name he chose).  You can hear, on the recording, Brian Wilson asking Daro if he could "turn him on" -- slang that was at that point not widespread enough for Wilson's parents to understand the meaning. Daro was an agent working for the William Morris Agency, and he was part of a circle of young, hip, people who were taking drugs, investigating mysticism, and exploring new spiritual ideas. His circle included the Byrds -- Daro, like Roger McGuinn, later became a follower of Subud and changed his name as a result -- as well as people like the songwriter and keyboard player Van Dyke Parks, who will become a big part of this story in subsequent episodes, and Stephen Stills, who will also be turning up again. Daro had introduced Brian to cannabis, in 1964, and in early 1965 he gave Brian acid for the first time -- one hundred and twenty-five micrograms of pure Owsley LSD-25. Now, we're going to be looking at acid culture quite a lot in the next few months, as we get through 1966 and 1967, and I'll have a lot more to say about it, but what I will say is that even the biggest proponents of psychedelic drug use tend not to suggest that it is a good idea to give large doses of LSD in an uncontrolled setting to young men recovering from a nervous breakdown. Daro later described Wilson's experience as "ego death" -- a topic we will come to in a future episode, and not considered entirely negative -- and "a beautiful thing". But he has also talked about how Wilson was so terrified by his hallucinations that he ran into the bedroom, locked the door, and hid his head under a pillow for two hours, which doesn't sound so beautiful to me. Apparently after those two hours, he came out of the bedroom, said "Well, that's enough of that", and was back to normal. After that first trip, Wilson wrote a piece of music inspired by his psychedelic experience. A piece which starts like this, with an orchestral introduction very different from anything else the group had released as a single: [Excerpt: The Beach Boys, "California Girls"] Of course, when Mike Love added the lyrics to the song, it became about far more earthly and sensual concerns: [Excerpt: The Beach Boys, "California Girls"] But leaving the lyrics aside for a second, it's interesting to look at "California Girls" musically to see what Wilson's idea of psychedelic music -- by which I mean specifically music inspired by the use of psychedelic drugs, since at this point there was no codified genre known as psychedelic music or psychedelia -- actually was. So, first, Wilson has said repeatedly that the song was specifically inspired by "Jesu, Joy of Man's Desiring" by Bach: [Excerpt: Bach, "Jesu, Joy of Man's Desiring"] And it's odd, because I see no real structural or musical resemblance between the two pieces that I can put my finger on, but at the same time I can totally see what he means. Normally at this point I'd say "this change here in this song relates to this change there in that song", but there's not much of that kind of thing here -- but I still. as soon as I read Wilson saying that for the first time, more than twenty years ago, thought "OK, that makes sense". There are a few similarities, though. Bach's piece is based around triplets, and they made Wilson think of a shuffle beat. If you remember *way* back in the second episode of the podcast, I talked about how one of the standard shuffle beats is to play triplets in four-four time. I'm going to excerpt a bit of recording from a YouTube drum tutorial (which I'll link in the liner notes) showing that kind of shuffle: [Excerpt: "3 Sweet Triplet Fills For Halftime Shuffles & Swung Grooves- Drum Lesson" , from https://www.youtube.com/watch?v=2CwlSaQZLkY ] Now, while Bach's piece is in waltz time, I hope you can hear how the DA-da-da DA-da-da in Bach's piece may have made Wilson think of that kind of shuffle rhythm. Bach's piece also has a lot of emphasis of the first, fifth, and sixth notes of the scale -- which is fairly common, and not something particularly distinctive about the piece -- and those are the notes that make up the bass riff that Wilson introduces early in the song: [Excerpt: The Beach Boys, "California Girls (track)"] That bass riff, of course, is a famous one. Those of you who were listening to the very earliest episodes of the podcast might remember it from the intros to many, many, Ink Spots records: [Excerpt: The Ink Spots, "We Three (My Echo, My Shadow, and Me)"] But the association of that bassline to most people's ears would be Western music, particularly the kind of music that was in Western films in the thirties and forties. You hear something similar in "The Trail of the Lonesome Pine", as performed by Laurel and Hardy in their 1937 film Way Out West: [Excerpt: Laurel and Hardy, "The Trail of the Lonesome Pine"] But it's most associated with the song "Tumbling Tumbleweeds", first recorded in 1934 by the Western group Sons of the Pioneers, but more famous in their 1946 rerecording, made after the Ink Spots' success, where the part becomes more prominent: [Excerpt: The Sons of the Pioneers, "Tumbling Tumbleweeds"] That song was a standard of the Western genre, and by 1965 had been covered by everyone from Gene Autry to the Supremes, Bob Wills to Johnnie Ray, and it would also end up covered by several musicians in the LA pop music scene over the next few years, including Michael Nesmith and Curt Boettcher, both people part of the same general scene as the Beach Boys. The other notable thing about "California Girls" is that it's one of the first times that Wilson was able to use multi-tracking to its full effect. The vocal parts were recorded on an eight-track machine, meaning that Wilson could triple-track both Mike Love's lead vocal and the group's backing vocals. With Johnston now in the group -- "California Girls" was his first recording session with them -- that meant that on the record there were eighteen voices singing, leading to some truly staggering harmonies: [Excerpt: The Beach Boys, "California Girls (Stack-O-Vocals)"] So, that's what the psychedelic experience meant to Brian Wilson, at least -- Bach, orchestral influences, using the recording studio to create thicker vocal harmony parts, and the old West. Keep that in the back of your mind for the present, but it'll be something to remember in eleven episodes' time. "California Girls" was, of course, another massive hit, reaching number three on the charts. And while some Beach Boys fans see the album it was included on, Summer Days... And Summer Nights!, as something of a step backward from the sophistication of Today!, this is a relative thing. It's very much of a part with the music on the earlier album, and has many wonderful moments, with songs like "Let Him Run Wild" among the group's very best. But it was their next studio album that would cement the group's artistic reputation, and which would regularly be acclaimed by polls of critics as the greatest album of all time -- a somewhat meaningless claim; even more than there is no "first" anything in music, there's no "best" anything. The impulse to make what became Pet Sounds came, as Wilson has always told the story, from hearing the Beatles album Rubber Soul. Now, we've not yet covered Rubber Soul -- we're going to look at that, and at the album that came after it, in three episodes' time -- but it is often regarded as a major artistic leap forward for the Beatles. The record Wilson heard, though, wasn't the same record that most people nowadays think of when they think of Rubber Soul. Since the mid-eighties, the CD versions of the Beatles albums have (with one exception, Magical Mystery Tour) followed the tracklistings of the original British albums, as the Beatles and George Martin intended. But in the sixties, Capitol Records were eager to make as much money out of the Beatles as they could. The Beatles' albums generally had fourteen songs on, and often didn't include their singles. Capitol thought that ten or twelve songs per album was plenty, and didn't have any aversion to putting singles on albums. They took the three British albums Help!, Rubber Soul, and Revolver, plus the non-album "Day Tripper"/"We Can Work It Out" single and Ken Thorne's orchestral score for the Help! film, and turned that into four American albums -- Help!, Rubber Soul, Yesterday and Today, and Revolver. In the case of Rubber Soul, that meant that they removed four tracks from the British album -- "Drive My Car", "Nowhere Man", "What Goes On" and "If I Needed Someone" -- and added two songs from the British version of Help!, "I've Just Seen a Face" and "It's Only Love". Now, I've seen some people claim that this made the American Rubber Soul more of a folk-rock album -- I may even have said that myself in the past -- but that's not really true. Indeed, "Nowhere Man" and "If I Needed Someone" are two of the Beatles' most overtly folk-rock tracks, and both clearly show the influence of the Byrds. But what it did do was remove several of the more electric songs from the album, and replace them with acoustic ones: [Excerpt: The Beatles, "I've Just Seen a Face"] This, completely inadvertently, gave the American Rubber Soul lineup a greater sense of cohesion than the British one. Wilson later said "I listened to Rubber Soul, and I said, 'How could they possibly make an album where the songs all sound like they come from the same place?'" At other times he's described his shock at hearing "a whole album of only good songs" and similar phrases. Because up to this point, Wilson had always included filler tracks on albums, as pretty much everyone did in the early sixties. In the American pop music market, up to the mid sixties, albums were compilations of singles plus whatever random tracks happened to be lying around. And so for example in late 1963 the Beach Boys had released two albums less than a month apart -- Surfer Girl and Little Deuce Coupe. Given that Brian Wilson wrote or co-wrote all the group's original material, it wasn't all that surprising that Little Deuce Coupe had to include four songs that had been released on previous albums, including two that were on Surfer Girl from the previous month. It was the only way the group could keep up with the demand for new product from a company that had no concept of popular music as art. Other Beach Boys albums had included padding such as generic surf instrumentals, comedy sketches like "Cassius" Love vs. "Sonny" Wilson, and in the case of The Beach Boys Today!, a track titled "Bull Session With the Big Daddy", consisting of two minutes of random chatter with the photographer Earl Leaf while they all ate burgers: [Excerpt: The Beach Boys and Earl Leaf, "Bull Session With the Big Daddy"] This is not to attack the Beach Boys. This was a simple response to the commercial pressures of the marketplace. Between October 1962 and November 1965, they released eleven albums. That's about an album every three months, as well as a few non-album singles. And on top of that Brian had also been writing songs during that time for Jan & Dean, the Honeys, the Survivors and others, and had collaborated with Gary Usher and Roger Christian on songs for Muscle Beach Party, one of American International Pictures' series of Beach Party films. It's unsurprising that not everything produced on this industrial scale was a masterpiece. Indeed, the album the Beach Boys released directly before Pet Sounds could be argued to be an entire filler album. Many biographies say that Beach Boys Party! was recorded to buy Brian time to make Pet Sounds, but the timelines don't really match up on closer investigation. Beach Boys Party! was released in November 1965, before Brian ever heard Rubber Soul, which came out later, and before he started writing the material that became Pet Sounds. Beach Boys Party! was a solution to a simple problem -- the group were meant to deliver three albums that year, and they didn't have three albums worth of material. Some shows had been recorded for a possible live album, but they'd released a live album in 1964 and hadn't really changed their setlist very much in the interim. So instead, they made a live-in-the-studio album, with the conceit that it was recorded at a party the group were holding. Rather than the lush Wrecking Crew instrumentation they'd been using in recent months, everything was played on acoustic guitars, plus some bongos provided by Wrecking Crew drummer Hal Blaine and some harmonica from Billy Hinsche of the boy band Dino, Desi, and Billy, whose sister Carl Wilson was shortly to marry. The album included jokes and false starts, and was overlaid with crowd noise, to give the impression that you were listening to an actual party where a few people were sitting round with guitars and having fun. The album consisted of songs that the group liked and could play without rehearsal -- novelty hits from a few years earlier like "Alley Oop" and "Hully Gully", a few Beatles songs, and old favourites like the Everly Brothers hit "Devoted to You" -- in a rather lovely version with two-part harmony by Mike and Brian, which sounds much better in a remixed version released later without the party-noise overdubs: [Excerpt: The Beach Boys, "Devoted to You (remix)"] But the song that defined the album, which became a massive hit, and which became an albatross around the band's neck about which some of them would complain for a long time to come, didn't even have one of the Beach Boys singing lead. As we discussed back in the episode on "Surf City", by this point Jan and Dean were recording their album "Folk 'n' Roll", their attempt at jumping on the folk-rock bandwagon, which included the truly awful "The Universal Coward", a right-wing answer song  to "The Universal Soldier" released as a Jan Berry solo single: [Excerpt: Jan Berry, "The Universal Coward"] Dean Torrence was by this point getting sick of working with Berry, and was also deeply unimpressed with the album they were making, so he popped out of the studio for a while to go and visit his friends in the Beach Boys, who were recording nearby. He came in during the Party sessions, and everyone was suggesting songs to perform, and asked Dean to suggest something. He remembered an old doo-wop song that Jan and Dean had recorded a cover version of, and suggested that. The group had Dean sing lead, and ran through a sloppy version of it, where none of them could remember the words properly: [Excerpt: The Beach Boys, "Barbara Ann"] And rather incredibly, that became one of the biggest hits the group ever had, making number two on the Billboard chart (and number one on other industry charts like Cashbox), number three in the UK, and becoming a song that the group had to perform at almost every live show they ever did, together or separately, for at least the next fifty-seven years. But meanwhile, Brian had been working on other material. He had not yet had his idea for an album made up entirely of good songs, but he had been experimenting in the studio. He'd worked on a handful of tracks which had pointed in new directions. One was a single, "The Little Girl I Once Knew": [Excerpt: The Beach Boys, "The Little Girl I Once Knew"] John Lennon gave that record a very favourable review, saying "This is the greatest! Turn it up, turn it right up. It's GOT to be a hit. It's the greatest record I've heard for weeks. It's fantastic." But the record only made number twenty -- a perfectly respectable chart placing, but nowhere near as good as the group's recent run of hits -- in part because its stop-start nature meant that the record had "dead air" -- moments of silence -- which made DJs avoid playing it, because they believed that dead air, even only a second of it here and there, would make people tune to another station. Another track that Brian had been working on was an old folk song suggested by Alan Jardine. Jardine had always been something of a folkie, of the Kingston Trio variety, and he had suggested that the group might record the old song "The Wreck of the John B", which the Kingston Trio had recorded. The Trio's version in turn had been inspired by the Weavers' version of the song from 1950: [Excerpt: The Weavers, "The Wreck of the John B"] Brian had at first not been impressed, but Jardine had fiddled with the chord sequence slightly, adding in a minor chord to make the song slightly more interesting, and Brian had agreed to record the track, though he left the instrumental without vocals for several months: [Excerpt: The Beach Boys, "Sloop John B (instrumental)"] The track was eventually finished and released as a single, and unlike "The Little Girl I Once Knew" it was a big enough hit that it was included on the next album, though several people have said it doesn't fit. Lyrically, it definitely doesn't, but musically, it's very much of a piece with the other songs on what became Pet Sounds: [Excerpt: The Beach Boys, "Sloop John B"] But while Wilson was able to create music by himself, he wasn't confident about his ability as a lyricist. Now, he's not a bad lyricist by any means -- he's written several extremely good lyrics by himself -- but Brian Wilson is not a particularly articulate or verbal person, and he wanted someone who could write lyrics as crafted as his music, but which would express the ideas he was trying to convey. He didn't think he could do it himself, and for whatever reason he didn't want to work with Mike Love, who had co-written the majority of his recent songs, or with any of his other collaborators. He did write one song with Terry Sachen, the Beach Boys' road manager at the time, which dealt obliquely with those acid-induced concepts of "ego death": [Excerpt: The Beach Boys, "Hang on to Your Ego"] But while the group recorded that song, Mike Love objected vociferously to the lyrics. While Love did try cannabis a few times in the late sixties and early seventies, he's always been generally opposed to the use of illegal drugs, and certainly didn't want the group to be making records that promoted their use -- though I would personally argue that "Hang on to Your Ego" is at best deeply ambiguous about the prospect of ego death.  Love rewrote some of the lyrics, changing the title to "I Know There's an Answer", though as with all such bowdlerisation efforts he inadvertently left in some of the drug references: [Excerpt: The Beach Boys, "I Know There's an Answer"] But Wilson wasn't going to rely on Sachen for all the lyrics. Instead he turned to Tony Asher. Asher was an advertising executive, who Wilson probably met through Loren Daro -- there is some confusion over the timeline of their meeting, with some sources saying they'd first met in 1963 and that Asher had introduced Wilson to Daro, but others saying that the introductions went the other way, and that Daro introduced Asher to Wilson in 1965. But Asher and Daro had been friends for a long time, and so Wilson and Asher were definitely orbiting in the same circles. The most common version of the story seems to be that Asher was working in Western Studios, where he was recording a jingle - the advertising agency had him writing jingles because he was an amateur songwriter, and as he later put it nobody else at the agency knew the difference between E flat and A flat. Wilson was also working in the studio complex, and Wilson dragged Asher in to listen to some of the demos he was recording -- at that time Wilson was in the habit of inviting anyone who was around to listen to his works in progress. Asher chatted with him for a while, and thought nothing of it, until he got a phone call at work a few weeks later from Brian Wilson, suggesting the two write together. Wilson was impressed with Asher, who he thought of as very verbal and very intelligent, but Asher was less impressed with Wilson. He has softened his statements in recent decades, but in the early seventies he would describe Wilson as "a genius musician but an amateur human being", and sharply criticise his taste in films and literature, and his relationship with his wife. This attitude seems at least in part to have been shared by a lot of the people that Wilson was meeting and becoming influenced by. One of the things that is very noticeable about Wilson is that he has no filters at all, and that makes his music some of the most honest music ever recorded. But that same honesty also meant that he could never be cool or hip. He was -- and remains -- enthusiastic about the things he likes, and he likes things that speak to the person he is, not things that fit some idea of what the in crowd like. And the person Brian Wilson is is a man born in 1942, brought up in a middle-class suburban white family in California, and his tastes are the tastes one would expect from that background. And those tastes were not the tastes of the hipsters and scenesters who were starting to become part of his circle at the time. And so there's a thinly-veiled contempt in the way a lot of those people talked about Wilson, particularly in the late sixties and early seventies. Wilson, meanwhile, was desperate for their approval, and trying hard to fit in, but not quite managing it. Again, Asher has softened his statements more recently, and I don't want to sound too harsh about Asher -- both men were in their twenties, and still  trying to find their place in the world, and I wouldn't want to hold anyone's opinions from their twenties against them decades later. But that was the dynamic that existed between them. Asher saw himself as something of a sophisticate, and Wilson as something of a hick in contrast, but a hick who unlike him had created a string of massive hit records. And Asher did, always, respect Wilson's musical abilities. And Wilson in turn looked up to Asher, even while remaining the dominant partner, because he respected Asher's verbal facility. Asher took a two-week sabbatical from his job at the advertising agency, and during those two weeks, he and Wilson collaborated on eight songs that would make up the backbone of the album that would become Pet Sounds. The first song the two worked on was a track that had originally been titled "In My Childhood". Wilson had already recorded the backing track for this, including the sounds of bicycle horns and bells to evoke the feel of being a child: [Excerpt: The Beach Boys, "You Still Believe in Me (instrumental track)"] The two men wrote a new lyric for the song, based around a theme that appears in many of Wilson's songs -- the inadequate man who is loved by a woman who is infinitely superior to him, who doesn't understand why he's loved, but is astonished by it. The song became "You Still Believe in Me": [Excerpt: The Beach Boys, "You Still Believe in Me"] That song also featured an instrumental contribution of sorts by Asher. Even though the main backing track had been recorded before the two started working together, Wilson came up with an idea for an intro for the song, which would require a particular piano sound. To get that sound, Wilson held down the keys on a piano, while Asher leaned into the piano and plucked the strings manually. The result, with Wilson singing over the top, sounds utterly lovely: [Excerpt: The Beach Boys, "You Still Believe in Me"] Note that I said that Wilson and Asher came up with new lyrics together. There has been some slight dispute about the way songwriting credits were apportioned to the songs. Generally the credits said that Wilson wrote all the music, while Asher and Wilson wrote the lyrics together, so Asher got twenty-five percent of the songwriting royalties and Wilson seventy-five percent. Asher, though, has said that there are some songs for which he wrote the whole lyric by himself, and that he also made some contributions to the music on some songs -- though he has always said that the majority of the musical contribution was Wilson's, and that most of the time the general theme of the lyric, at least, was suggested by Wilson. For the most part, Asher hasn't had a problem with that credit split, but he has often seemed aggrieved -- and to my mind justifiably -- about the song "Wouldn't it Be Nice". Asher wrote the whole lyric for the song, though inspired by conversations with Wilson, but accepted his customary fifty percent of the lyrical credit. The result became one of the big hits from the album: [Excerpt: The Beach Boys, "Wouldn't It Be Nice?"] But -- at least according to Mike Love, in the studio he added a single line to the song: [Excerpt: The Beach Boys, "Wouldn't it Be Nice?"] When Love sued Brian Wilson in 1994, over the credits to thirty-five songs, he included "Wouldn't it Be Nice" in the list because of that contribution. Love now gets a third of the songwriting royalties, taken proportionally from the other two writers. Which means that he gets a third of Wilson's share and a third of Asher's share. So Brian Wilson gets half the money, for writing all the music, Mike Love gets a third of the money, for writing "Good night baby, sleep tight baby", and Tony Asher gets a sixth of the money -- half as much as Love -- for writing all the rest of the lyric. Again, this is not any one individual doing anything wrong – most of the songs in the lawsuit were ones where Love wrote the entire lyric, or a substantial chunk of it, and because the lawsuit covered a lot of songs the same formula was applied to borderline cases like “Wouldn't it Be Nice” as it was to clearcut ones like “California Girls”, where nobody disputes Love's authorship of the whole lyric. It's just the result of a series of reasonable decisions, each one of which makes sense in isolation, but which has left Asher earning significantly less from one of the most successful songs he ever wrote in his career than he should have earned. The songs that Asher co-wrote with Wilson were all very much of a piece, both musically and lyrically. Pet Sounds really works as a whole album better than it does individual tracks, and while some of the claims made about it -- that it's a concept album, for example -- are clearly false, it does have a unity to it, with ideas coming back in different forms. For example, musically, almost every new song on the album contains a key change down a minor third at some point -- not the kind of thing where the listener consciously notices that an idea has been repeated, but definitely the kind of thing that makes a whole album hold together. It also differs from earlier Beach Boys albums in that the majority of the lead vocals are by Brian Wilson. Previously, Mike Love had been the dominant voice on Beach Boys records, with Brian as second lead and the other members taking few or none. Now Love only took two main lead vocals, and was the secondary lead on three more. Brian, on the other hand, took six primary lead vocals and two partial leads. The later claims by some people that this was a Brian Wilson solo album in all but name are exaggerations -- the group members did perform on almost all of the tracks -- but it is definitely much more of a personal, individual statement than the earlier albums had been. The epitome of this was "I Just Wasn't Made For These Times", which Asher wrote the lyrics for but which was definitely Brian's idea, rather than Asher's. [Excerpt: The Beach Boys, "I Just Wasn't Made For These Times"] That track also featured the first use on a Beach Boys record of the electro-theremin, an electronic instrument invented by session musician Paul Tanner, a former trombone player with the Glenn Miller band, who had created it to approximate the sound of a Theremin while being easier to play: [Excerpt: The Beach Boys, "I Just Wasn't Made For These Times"] That sound would turn up on future Beach Boys records... But the song that became the most lasting result of the Wilson/Asher collaboration was actually one that is nowhere near as personal as many of the other songs on the record, that didn't contain a lot of the musical hallmarks that unify the album, and that didn't have Brian Wilson singing lead. Of all the songs on the album, "God Only Knows" is the one that has the most of Tony Asher's fingerprints on it. Asher has spoken in the past about how when he and Wilson were writing, Asher's touchstones were old standards like "Stella By Starlight" and "How Deep is the Ocean?", and "God Only Knows" easily fits into that category. It's a crafted song rather than a deep personal expression, but the kind of craft that one would find in writers like the Gershwins, every note and syllable perfectly chosen: [Excerpt: The Beach Boys, "God Only Knows"] One of the things that is often wrongly said about the song is that it's the first pop song to have the word "God" in the title. It isn't, and indeed it isn't even the first pop song to be called "God Only Knows", as there was a song of that name recorded by the doo-wop group the Capris in 1954: [Excerpt: The Capris, "God Only Knows"] But what's definitely true is that Wilson, even though he was interested in creating spiritual music, and was holding prayer sessions with his brother Carl before vocal takes, was reluctant to include the word in the song at first, fearing it would harm radio play. He was probably justified in his fears -- a couple of years earlier he'd produced a record called "Pray for Surf" by the Honeys, a girl-group featuring his wife: [Excerpt: The Honeys, "Pray For Surf"] That record hadn't been played on the radio, in part because it was considered to be trivialising religion. But Asher eventually persuaded Wilson that it would be OK, saying "What do you think we should do instead? Say 'heck only knows'?" Asher's lyric was far more ambiguous than it may seem -- while it's on one level a straightforward love song, Asher has always pointed out that the protagonist never says that he loves the object of the song, just that he'll make her *believe* that he loves her. Coupled with the second verse, which could easily be read as a threat of suicide if the object leaves the singer, it would be very, very, easy to make the song into something that sounds like it was from the point of view of a narcissistic, manipulative, abuser. That ambiguity is also there in the music, which never settles in a strong sense of key. The song starts out with an A chord, which you'd expect to lead to the song being in A, but when the horn comes in, you get a D# note, which isn't in that key, and then when the verse starts, it starts on an inversion of a D chord, before giving you enough clues that by the end of the verse you're fairly sure you're in the key of E, but it never really confirms that: [Excerpt: The Beach Boys, "God Only Knows (instrumental)"] So this is an unsettling, ambiguous, song in many ways. But that's not how it sounds, nor how Brian at least intended it to sound. So why doesn't it sound that way? In large part it's down to the choice of lead vocalist. If Mike Love had sung this song, it might have sounded almost aggressive. Brian *did* sing it in early attempts at the track, and he doesn't sound quite right either -- his vocal attitude is just... not right: [Excerpt: The Beach Boys, "God Only Knows (Brian Wilson vocal)"] But eventually Brian hit on getting his younger brother Carl to sing lead. At this point Carl had sung very few leads on record -- there has been some dispute about who sang what, exactly,  because of the family resemblance which meant all the core band members could sound a little like each other, but it's generally considered that he had sung full leads on two album tracks -- "Pom Pom Play Girl" and "Girl Don't Tell Me" -- and partial leads on two other tracks, covers of "Louie Louie" and "Summertime Blues". At this point he wasn't really thought of as anything other than a backing vocalist, but his soft, gentle, performance on "God Only Knows" is one of the great performances: [Excerpt: The Beach Boys, "God Only Knows (vocals)"] The track was actually one of those that required a great deal of work in the studio to create the form which now seems inevitable. Early attempts at the recording included a quite awful saxophone solo: [Excerpt: The Beach Boys "God Only Knows (early version)"] And there were a lot of problems with the middle until session keyboard player Don Randi suggested the staccato break that would eventually be used: [Excerpt: The Beach Boys, "God Only Knows"] And similarly, the tag of the record was originally intended as a mass of harmony including all the Beach Boys, the Honeys, and Terry Melcher: [Excerpt: The Beach Boys, "God Only Knows (alternate version with a capella tag)"] Before Brian decided to strip it right back, and to have only three voices on the tag -- himself on the top and the bottom, and Bruce Johnston singing in the middle: [Excerpt: The Beach Boys, "God Only Knows"] When Pet Sounds came out, it was less successful in the US than hoped -- it became the first of the group's albums not to go gold on its release, and it only made number ten on the album charts. By any objective standards, this is still a success, but it was less successful than the record label had hoped, and was taken as a worrying sign. In the UK, though, it was a different matter. Up to this point, the Beach Boys had not had much commercial success in the UK, but recently Andrew Loog Oldham had become a fan, and had become the UK publisher of their original songs, and was interested in giving them the same kind of promotion that he'd given Phil Spector's records. Keith Moon of the Who was also a massive fan, and the Beach Boys had recently taken on Derek Taylor, with his strong British connections, as their publicist. Not only that, but Bruce Johnston's old friend Kim Fowley was now based in London and making waves there. So in May, in advance of a planned UK tour set for November that year, Bruce Johnston and Derek Taylor flew over to the UK to press the flesh and schmooze. Of all the group members, Johnston was the perfect choice to do this -- he's by far the most polished of them in terms of social interaction, and he was also the one who, other than Brian, had the least ambiguous feelings about the group's new direction, being wholeheartedly in favour of it. Johnston and Taylor met up with Keith Moon, Lennon and McCartney, and other pop luminaries, and played them the record. McCartney in particular was so impressed by Pet Sounds and especially "God Only Knows", that he wrote this, inspired by the song, and recorded it even before Pet Sounds' UK release at the end of June: [Excerpt: The Beatles, "Here, There, and Everywhere"] As a result of Johnston and Taylor's efforts, and the promotional work by Oldham and others, Pet Sounds reached number two on the UK album charts, and "God Only Knows" made number two on the singles charts. (In the US, it was the B-side to "Wouldn't it Be Nice", although it made the top forty on its own merits too). The Beach Boys displaced the Beatles in the readers' choice polls for best band in the NME in 1966, largely as a result of the album, and Melody Maker voted it joint best album of the year along with the Beatles' Revolver. The Beach Boys' commercial fortunes were slightly on the wane in the US, but they were becoming bigger than ever in the UK. But a big part of this was creating expectations around Brian Wilson in particular. Derek Taylor had picked up on a phrase that had been bandied around -- enough that Murry Wilson had used it to mock Brian in the awful "Help Me, Rhonda" sessions -- and was promoting it widely as a truism. Everyone was now agreed that Brian Wilson was a genius. And we'll see how that expectation plays out over the next few weeks.. [Excerpt: The Beach Boys, "Caroline, No"]

Andy and Ian take time during our beach vacation to sit on a balcony and talk about the Beach boys, at the beach.....get it?! It's an au natural recording with all the atmosphere of sitting there with us. Playlists: Spotify Amazon Other Links: Pet Sounds Wiki Brian Wilson Wiki The Wrecking Crew Wiki The Wrecking Crew Documentary Carol Kaye Wiki My Evaline - Weezer Stuff about Pet Sounds Article Like the original title was "I Know There's An Answer" 15 facts about Pet Sounds People of Walmart you probably don't want to look at this, but if you do, you have been warned --- Support this podcast: https://anchor.fm/thegreatestmusicpodcast/support

Questlove talks Drums, Dilla, and D'Angelo | Red Bull Music Academy Tribal Tech - Uh...Yeah Ok 9 Lazy 9 - Black Jesus Pete Rock - We Good (Instrumental) Lanu - It's Time (feat. Kero One) Boogie Down Productions - Jah Rules T-Love - Q.M.S. (Queen Mood Swing) 4hero - The Action (Visioneers remix) Kid n Play - Last Night Snoop Dogg - Cadillac Moodymann - Slow Down Cris Prolific ft Ta'Raach aka Lacks - People Leena Conquest - Boundaries Moodymann - Do Wrong Steve Arrington on the West Coast G-Funk sound and drumming | Red Bull Music Academy Steve Arrington & Dam Funk - I Be Trippin' Tall Black Guys Feat. 80s Babies - Don't Box Me In Justin Timberlake - Suit & Tie (ft. JAY Z) Anderson .Paak - JEWELZ MED, Blu & Madlib feat. MF DOOM - Knock Knock Kendrick Lamar - Bitch, Don't Kill My Vibe (Remix) (Ft. JAY-Z) Jamie xx - I Know There's Gonna Be (Good Times) ft. Young Thug & Popcaan Domo Genesis - Faded in the Moment (ft. Cam O'bi)

Heute reden wir über einen grandiosen Songwriter: ein innovativer Vordenker in Sachen Pop-Musik, aber leider auch einen Mann mit vielen Problemen, die ihm und seiner Kreativität immer wieder im Weg standen: Es geht um Brian Wilson. Die Beach Boys wären ohne ihn nicht vorstellbar gewesen - weder Surf-Songs wie "I Get Around" oder "Surfin' USA" und erst recht nicht das legendäre Album „Pet Sounds“. An einem Projekt hat er sich allerdings die Zähne ausgebissen und musste zum Schluss resignieren: Das legendäre, unvollendete Beach Boys-Album „Smile“. +++SONG-EMPFEHLUNGEN ZUR FOLGE: Beach Boys mit... "I Get Around", "God Only Knows", "Wouldn't It Be Nice", "I Know There's An Answer", "Good Vibrations", "Heroes And Villains" - und gerne auch mal reinhören in "The Smile Sessions", v.a. die Songs "Surf's Up", "Mrs. O'Learys Cow", "Our Prayer" und "Wind Chimes".

THE HORRORS – Point Of No Reply MILEY CYRUS with JOAN JETT – Bad Karma WILD NOTHING – Only Heather MARSHEAUX – The Sun and the Rainfall (Depeche Mode cover) ANNIE – Chewing Gum (Mylo mix) JORGEEL BRECHT with MOLINA – Cryptic Moon SIMPLE MINDS – Blood Diamonds MATISSE – 5 Seconds of Love SHIPS HAVE SAILED – You Should Know BLACK SUGAR TRANSMISSION – I Know There’s Something Going On (Frida cover) WE THE KINGS – From Here to Mars LITTLE BOOTS – Mathematics ELECTRIC SIX – Young Americans (David Bowie cover) BLOSSOMS – I Just Imagined You ACTORS – It Goes Away TEENAGE WRIST – New Emotion HOT DAD – Can You Talk to People Around the World on the Internet

We are so excited about this nu Gruve Blue . . . we can't speak . . . so we'll let DJZZ do that for us . . . ENJOY ! !  --- WAGRadio Management 1.  (1:10)  Opening G.B. 21-02 2.  (4:55)  "The Night The Lights Went Out" vs. "What U Need" [DJZigZag MashEdiT] - SGT SLICK, JONK & SPOOK [Vicious Recordings] / [SJS Records] 3.  (  :44)  WAGRadio Ain't No GreatKooKaBooGa Id 4.  (2:54)  "I Had A Dream" - RAY CHARLES [Atlantic 45rpm No. 45-1180] 1958 5.  (4:31)  "I Feel Good" vs. "First Pay" [DJZigZag MashEdit] - James Brown, Sam Redmore, Alexny [soundcloud] / [Furious Mandrill Records] 6.  (  :08)  WAGRadio Short Music segue 7.  (3:05)  "Spiritual Vibes 2021" - ROYAL MUSIC PARIS [Royal Music Paris] 8.  (2:44)  "Early In The Morning" - RAY CHARLES And His Orchestra [Atlantic 45rpm No. 45-2094] 1961 9.  (5:13)  "Grey Area" - CINDY BRADLEY [Trippin' 'N' Rhythm Cd No. BO7PVV6ZCG "The Little Things"] 10.(2:49)  "Heaven" - PINK SWEATS [Atlantic] 11.(  :13)  DJZigZag Cold FX 12.(5:52)  "Sugar Jam" - C. Da AFRO [Hive] 13.(5:20)  "Flower Girl (DJZigZag MashEdiT)" - RUBEN YOUNG, RED AXES [Create Music Group] / [K7] 14.(4:04)  "Bitter Sweet" - SKINNY HIGHTOWER [Trippin' 'N' Rhythm Cd No. BO82VRL4T2 "Blue Moon"] 15.(4:27)  "My Heart Beat A Little Bit Faster" - DARLENE LOVE [Philles Records No. 111] Prod. Phil Spector Arr. Jack Nitzsche 16.(  :32)  WAGRadio Gentlemen Id 17.(3:37)  "Rainy Days" vs. "Treasure Mind" (DJZigZag ZAM! MashEdiT) - MARSHALL, YAZID LE VOYAGEUR, GROOVENERD [Black Riot] / [Zero Eleven] 18.(1:39)  "Nino And Sonny (Big Trouble)" - DARLENE LOVE [Philles Records No. 117] Prod./Arr. Phil Spector * This "B" side instrumental is performed by the L.A. Studio group The Wrecking Crew ft. Nino Tempo and Sonny Bono 19.(5:07)  "Back To You" vs. "Back To You" [DJZigZag Self Glidin' EdiT] - CHRIS BROWN, O.T. GENASIS, CHARLIE WILSON, LOUIS TOMLINSON ft. BEBE REXHA & DIGITAL FARM ANIMALS [Atlantic] / [Sony] 20.(2:43)  "Soul Grooving" - MERL SAUNDERS QUINTET [Galaxy 45rpm No. 755]  1969 Arr. Ray Shanklin 21.(4:38)  "Faux Francais" vs. "I Know There's Gonna Be (Good Times)" - CLASSMATIC, JAMIEXX, POPCAAN, YOUNG THUG [Solid Grooves Raw] / [Young Turks] 22.(  :08)  WAGRadio Smell 'Dat DJZZ! Id 23.(3:53)  "Got Ya Money (DJZigZag When It All Go Down EdiT)" - MARSHALL, KID SHIBUYA [Black Riot] 24.(2:54)  "Somebody Told You" - ANNA KING [Smash 45rpm No. 1858] 1964 Prod. James Brown 25.(5:56)  "No More Sorrow (DJZigZag James Brown Organ EdiT of the Sevader Remix)" - YOLANDA BE COOL [Sweat It Out] 26.(1:29)  "Weed Brain (Segment)" - SKILLIBENG [Renegade Wreck Chords] 79:33

FRIDA – I Know There’s Something Going On (Matt mix) FAITH NO MORE – Epic (Parralox mix) SHARAM – Patt (Party All the Time) ROBBIE RIVERA with JESUS JONES – Right Here VANDALISM – Never Say Never PARRALOX – Always On My Mind/In My House HI_TACK – Say Say Say (Waiting 4 U) YES – Owner of a Lonely Heart (Max Graham mix) TWEAKA TURNER – Mad World (Dirty Disco Mainroom mix) UNITING NATION – Out of Touch (Paul Roberts Mix) LMC vs. U2 – Take Me to the Clouds Above

Featuring Jpop by way of italo disco, and I could not be more excited about it. Track listing (and where to buy these tracks):  0:00 John Rocca, “I Want It to Be Real” — Apple Music • Spotify • Amazon 8:48 Pineapples, “Come On Closer” — Apple Music • Spotify 14:18 Evelyn Barry, “Take It as a Game” — Apple Music • Spotify • Amazon 20:11 Paul Paul, “Good Times” — Apple Music • Spotify 25:07 Katy Gray, “Hold Me Tight” 30:22 Maurice McGee, “Do I Do” — Spotify 37:52 Claudja Barry, “Born to Love” — Apple Music • Spotify 41:53 Janelle, “Don’t Be Shy” — Apple Music 46:17 Jeanie Tracy, “Time Bomb” — Apple Music • Spotify 51:01 Company B, “Fascinated” — Apple Music • Spotify • Amazon 55:40 Frida, “I Know There’s Something Going On” — Apple Music • Spotify • Amazon 62:40 Anri, “Dancing With the Sunshine” — Apple Music • Spotify 66:05 Red Monster, “Hold Me Tight” 71:05 Jullan, “Electric Day” 75:49 Yoko Oginome, “Dancing Hero” — Apple Music • Spotify 79:29 Yu Hayami, “Heart wa Modoranai (Get Out of My Life)” — Apple Music • Spotify 86:30 Toronto, “Your Daddy Don’t Know” — Apple Music • Spotify • Amazon This whole thing is put together by me, Drew Mackie. Follow me on Twitter. I'm on Instagram too. Also listen to the Spotify playlist that inspired this podcast. If you have a recommendation for a song you think should be played on the show, hit me up on Twitter or leave me a voicemail by calling ‪(970) 823-4726 — or 970 82 DISCO. I may play your recommendation on a future show. Have a look at the official website for fancy people. The original art for this podcast was designed by Sarah Wickham, who rocks. Check out her art and also buy her stuff. Subscribe: Mixcloud • iTunes • Stitcher • Libsyn • Google Podcasts  Listen to the Spotify playlist that spawned this podcast.

a-ha - Lesson One (Take On Me first demo) (1982) Before their one. big, groundbreaking mega-hit (mostly for the video) this song underwent a couple revisions. They knew somehow that they had gold, but they struggled to find a winning chorus. They would.  Anna Frid Lyngstad - Guld Och Gröna Ängar (10CC's "The Wall Street Shuffle" in Swedish) (1975) The red-headed female in Abba released solo stuff with some success in her homeland throughout their heyday. But she didn't hit in the USA solo until teaming with Phil Collins for "I Know There's Something Going On" in 1982.   Anna Frid Lyngstad - Liv På Mars? (David Bowie's "Life On Mars?" in Swedish) (1975) Anna Frid Lyngstad - Skulle De' Va' Skönt (The Beach Boys' "Wouldn't It Be Nice" in Swedish) (1975) Baker Gurvitz Army - Hearts On Fire (1976) A pretty stupid song written by Ginger Baker. I never really liked him. I never liked Cream, to be honest. I like Jack Bruce singing with Carla Bley on "Escalator Over The Hill".  Bridges - Miss Eerie ("The Juicyfruit Song", the earliest recording of "Take On Me") (1981) In 1981, a-ha’s Paul Waaktaar-Savoy and Magne Furuholmen recorded this song for their band Bridges. In 1984, having formed a-ha with vocalist Morten Harket, they’d take yet another stab at the track.  Jack Bruce - I'm Gettin' Tired (Of Drinkin' and Gamblin') (1965)  Ginger Baker's Air Force - Sweet Wine (1970) Same musical structure, in a way, as Mothers of Invention, without the scatology.  Ginger Baker - Ariwo (1972) Hawkwind - Levitation (1980) With Ginger Baker on drums. Another band that never really pinged my interest. Throw them on the pile!  Michael Lloyd and Mike Curb - It's Magic (1969)  From...Hot Wheels Cartoon Soundtrack. Liner notes: This exciting album contains all of the original sound track music from HOT WHEELS- the high adventure show on ABC-TV's Super Saturday Club. This thrilling weekly cartoon series features a group of young drivers who have formed a "hot wheels" auto club. Their activities cover all aspects of this fast road sport...cross country, track and dunes, and the music reflects their love of high speed action. HOT WHEELS is an up-to-the minute show and the music from the sound track is as turned on and tuned-in as today's high performance cars. Mike Curb. who wrote the music for the show, puts it all into high gear on this fast moving album! Ian Dury and the Blockheads -  Reasons To Be Cheerful, Pt. 3 (1979) These guys could play. I went through their stuff. Very exciting and versatile. The late '70s in UK must have been an exciting time for music fans.  Ian Dury and the Blockheads - Hit Me With Your Rhythm Stick (1978) Listen to that bass guitar. Norman Watt-Roy. What fun it must have been to produce these records. That seems to be when the best records were made. When all concerned were united in making a good sound, but not taking themselves too seriously.  Jack Bruce - Never Tell Your Mother She's Out of Tune (1969)  Jack Bruce - Pieces Of Mind (1974) Jack Bruce - Victoria Sage (1971) Even though having Ginger Baker in my band would have been a special circle of hell for me, and I think Jack Bruce might have been a tad busy for my taste, I find both of their records invariably more interesting than anything Eric Clapton did. And aside from Jack Bruce's first solo album, Songs For A Tailor, neither artist charted in the US with anything. And I know this might be sacrilege to say, but is Duane Allman's slide solo on "Layla" THAT good? I find it pretty...meandering. Out of tune, even. Go ahead and kill me.  Madness - Blue Skinned Beast (1983) Same album as their US hit "Our House". Dan put this on a mix tape for me once. I never forgot.  Madness - Embarrassment (1980) Madness are an English ska band from Camden Town, North London, who formed in 1976. One of the most prominent bands of the late 1970s and early 1980s two-tone ska revival, Madness's most successful period was from 1980 to 1986, when the band's songs spent a total of 214 weeks on the UK Singles Chart.  Madness have had 15 singles reach the UK top ten, which include "One Step Beyond", "Baggy Trousers" and "It Must Be Love", one UK number one single "House of Fun" and two number ones in Ireland, "House of Fun" and "Wings of a Dove". "Our House" was their biggest US hit. In 2000 the band received the Ivor Novello Award from the British Academy of Songwriters, Composers and Authors for Outstanding Song Collection.  Madness - On The Town (Feat. Rhoda Dakar)/Bingo (2009) Read the Wiki about this album. Most artists, after how many years, regress or become a trivia act. Madness reached for the stars. It's a worthy listen for sure.  Marianne Faithfull - I'm a Loser (1965) You had to be there, I guess.  Mike Curb & Lawrence Brown -Bay City Boys (1967) From the original motion picture soundtrack to the film "Mary Jane". A car driven by a driver intoxicated by marijuana plunges off a cliff, killing the driver and injuring a female passenger. It turns out marijuana use is rife at a small town high school, led by the clique of Jordan Bates. Art teacher Phil Blake tries to persuade student Jerry Blackburn not to smoke. Jerry borrows Phil's car and Jordan leaves some marijuana in it. Phil gets arrested for possession of marijuana. This movie starred Fabian, who was a heartthrob in the early '60s. Maybe this was his attempt to be a serious actor.  The movie was co-written by Dick Gautier (POACA will recall his ubiquitous presence on every game show ever done, as "Hymie" the Robot on Get Smart, and in 1973, when Burt Ward and Yvonne Craig reprised their Batman roles (as Robin and Batgirl respectively) for a TV public service announcement about equal pay for women, Adam West, who was trying to distance himself from the Batman role at the time, declined to participate. Gautier filled in for West as Batman. The other co-writer was Peter Marshall, who hosted The Hollywood Squares for 15 years.  For the fetishist, here is that PSA, with Dick Gautier as Batman.  https://youtu.be/3LviAKGZxPs Mike Curb Congregation - Come Together/Hey Jude (1970)  The Mike Curb Congregation - Burning Bridges (1970) From the movie "Kelly's Heroes".  Hank Williams Jr. & The Mike Curb Congregation - Walkin' To New Orleans (1971)  The New Life - The Sidehackers Soundtrack (1969) Do you remember the MST3K episode? Well, there's a soundtrack that features Mike Curb's involvement. Besides the Sidehackers soundtrack, The New Life also scored songs for a film called Black Water Gold.  

Changing it up a little this week, as we welcome to the pod Elmo Kirkwood of the Meat Puppets! We discuss the appeal of diversifying musical tastes, recording with iPhones, and pursuing the things in life that make us happy. While this is the least Gizz-centric episode to date, it is one of the most entertaining. Check out Elmo's newly released single, a cover of Frida's '80s hit "I Know There's Something Going On": https://elmokirkwood.bandcamp.com/track/i-know-theres-something-going-on

***TRACKLISTING***   1. I Know There's Something Going On...Frida 2. Eyes of a Stranger...The Payola$ 3. Harold and Joe...The Cure 4. A Girl In Trouble (Is A Temporary Thing)...Romeo Void 5. To Live and Die in LA...Wang Chung 6. Electric Blue...ICEHOUSE 7. New Frontier...Donald Fagen 8. Underpass...John Foxx 9. Peek-A-Boo...Siouxsie & The Banshees 10. All She Wants Is...Duran Duran 11. This Is The Day..The The 12. If You Were Here...Thompson Twins 13. Don't You (Forget About Me) LIVE...Simple Minds   ...hidden track?   Czech ME out: IG: @heyyyyy_jesse FB: Jesse Karassik   TACOS & TURNTABLES (pop culture podcast) IG: @tacos_turntables FB: @tacosturntables

250 Radio - College Tunes Your favorite podcasters host the best songs of college appreciation pod on their last day of college (2014-2020), this sh*t is a BOP. Songs like DEVASTATED, God’s Plan, Work, Body, and so much more. There is a list below.   Songs List: (2:13) Migos - Too Much Jewelry (3:55) Joey Bada$$ - DEVASTATED (7:05) Drake - God’s Plan (10:37) Kanye West & Lil Pump ft. Adele Givens - “I Love it” (13:39) Rihanna - Work ft. Drake (16:44) Playboi Carti - Magnolia (18:47) Kendrick Lamar - HUMBLE (21:37) Loud Luxury ft. brando - Body (24:07) Jamie xx - I Know There’s Gonna Be (Good Times) ft. Young Thug, Popcaan (26:05) 070 Shake - Guilty Conscience (29:14) J. Cole - G.O.M.D. (32:04) The Weeknd - Blinding Lights (35:06) DRAM - Broccoli ft. Yachty (37:47) Bruno Mars - Finesse (Remix) (ft. Cardi B) (40:01) Chris Brown - No Guidance (Audio) ft. Drake (45:58) French Montana - Unforgettable ft. Swae Lee (52:53) Lil Nas X - Old Town Road (feat. Billy Ray Cyrus) [Remix] (55:31) Kenny P - No Rank (57:23) Post Malone - White Iverson (59:23) 6ix9ine - KIKA (feat. Tory Lanez) (60:02) Koffee - Toast   Recorded May 15th

The story of the sacrifice of Isaac, found in Genesis 22, has been appropriated by theologians, philosophers, atheists, agnostics, and now even by Joseph and Crystal. Hear a bit of our take on the story, starting with a bare bones sketch and why it's such a surprising story (not for the reasons people usually act surprised by it). We then go on to add more flesh to the story, as well as more context, to see that it's actually an incredibly dense story packed with details that should encourage us to keep wrestling with it. We hope to return to this story again, which is why it's a part 1. We reference the author Gene Wolfe, and Neil Gaimain's guide to reading Gene Wolfe (it'll make more sense in the context of the podcast, for those of you who like to read the description before listening): https://www.sfsite.com/fsf/2007/gwng0704.htmWe also reference a few other of our prior podcasts, namely "There's Something About Eve // Episode  30" and "I Know There is More to This Story // Episode 16". These episodes can be found on our podcast, as episodes 30 and 16, respectively. And at the end, we reference one of our yet-to-be-recorded-podcasts, which may either be episode 57 or episode [later], where we go even deeper into this story.And feel free to subscribe to this podcast as well as share it with others. Our goal is to produce faithful, formative, and conversation-starting content for Catholic disciples of Jesus who are wrestling to be missionary-minded in their normal, everyday lives-- so if that applies to you or a friend of yours, we're hoping to serve you as best as we're able! 

[School of Everything Else 2019] In a bid to search for the best in everything I recruited James Batchelor to journey back to the three films with which I started my movie podcast career in earnest. Back in 2010 that took the form of a raw torrent of frustration and derision, but I'm trying to save that for the deserving. Instead, this time round, my enthusiastic colleague and I have found the best pieces of scoring within those three films, to showcase for all of you. Join us for a journey from trade disputes to genocide, as we traverse the story of Anakin Skywalker's fall to the dark side retold through the scores of the legendary John Williams. 1. Star Wars theme/The Federation Battleship  2. Fighting the Destroyer Droids 3. Arrival on Tatooine/The flag parade/Anakin is Free 4. Anakin’s Theme 5. The Duel/The Droid Battle 6. The Parade (Augie’s Great Municipal Band) 7. The Younglings/Meeting With Fett 8. Across the Stars 9. Confrontation with Count Dooku and Finale 10. Battle Over Coruscant (Intro) 11. Padme’s Ruminations  12. The Great Jedi Purge 13. Anakin’s Dark Deeds/I’m So Sorry 14. Anakin vs. Obi Wan 15. The Immolation Scene 16. I Know There’s Good in Him 17. A New Hope/End Credits

واترلو هرچقدر برای ناپلئون بدبیاری داشت، برای اونها خوش یمن بود و پدیده­ای به نام «آبا» رو به جهان معرفی کرد. این قطعه نه تنها جایزه­ی یوروویژن 1974 رو ازآنشون کرد بلکه در سال 2005 و پنجاهمین سالگرد یوروویژن به عنوان بهترین قطعه­ی تاریخ این مسابقه انتخاب شد. در این واترلو از جنگ و خون­ریزی خبری نیست و خواننده از تسلیم شدنش در برابر عشق می­خونه که بنظر خیلی هم ازون بابت ناراحت نیست چون می­گه وقتی می­بازم احساس می­کنم بردم. اما فقط متن ساده­ی ترانه و ریتم تلفیقیِ راک و جَز اون نبود که باعث شد واترلو عرصه­ی تخت­و­تاز آبا بشه، بلکه اجرای اون هم فوق­العاده بود: تماشاچیا شاهد چیزی بودن که تا اون روز ندیده بودن: لباس­های پر زرق­وبرق و چکمه­های تختِ نقره­ای و قطعه­ای جذاب، با تمپوی بالا همراه با رقص خواننده­ها. سنت­شکنی دیگه­ی واترلو هم اجرای قطعه به زبان انگلیسی بود... تا اون مو قع همه­ی گروه­ها باید به زبان مادری خودشون می­خوندند و آبا با این اجرا تابو رو شکست و راه رو برای سایر گروه­ها هموار کرد. (خانم­ها، آقایان... در این شماره از رادیو ری­وی­یو با هم همراه میشیم تا یک ساعتی رو با این سوئدی­های پرشور­و­شر که هر نسلی ازشون خاطره داره بگذرونیم و کارهاشونو باهم ری وی یو کنیم)   در این شماره از رادیو ری‌وی‌یو شما شنونده‌ی قطعه‌های زیر هستید: 1- Waterloo, live at Eurovision Song Contest/1974 2- SOS, ABBA/1975 3- Hasta Mañana, Waterloo/1974 4- Isn’t It Easy to Say?, The Hep Stars, The Hep Stars/1966 5- People Need Love, Ring Ring/1973 6- Money, Money, Money/ Royal Philharmonic Orchestra, A Tribute To ABBA/2003 7- Chiquitita, Voulez-Vous/1979 8- Dancing Queen/Arrival/ 1976 9- Dancing Queen/ Frida and The Real Group/ live at the Royal Opera House in Stockholm/1993 10- I Let the Music Speak/ The Visitors/1981 11- Mamma Mia/ featuring Meryl Streep on vocals/from the musical movie Mamma Mia!/2008 12- The Day Before You Came/ The Visitors/1981 13- The Day Before You Came/ Steven Wilson/ Cover Version II/2004 14- I Know There’s Something Going On/ Frida/ Something’s Going On/1982? 15- The Winner Takes It All/ At Vance/ Dragonchaser/2001 16- Fernando/ Arrival/ 1976 17- Never Again/ Agnetha Fältskog (with Tomas Ledin)/ Wrap Your Arms Around Me/1982 18- Voulez-Vous/ Voulez-Vous/1979 19- Knowing Me, Knowing You/ Arrival/ 1976 20- Thank You For The Music/ ABBA: The Album/ 1977

In Episode 081 we sat down with Chef Bryan Lee Weaver (@BryanLeeWeaver) of the Butcher & Bee and the RedHeaded Stranger for a wide-ranging discussion about cooking, music, and his journey as a chef. Hanging on the back porch of his newest restaurant, the RedHeaded Stranger in East Nashville, we weaved in and out of topics and a fluid conversation that matched his own cooking styles. In addition, we touched on Weaver’s short stint as a Phish fan that ended in the mid-90’s. Songs discussed in this episode are: Black Sabbath: “Paranoid,” Harold Faltermeyer & Steve Stevens: “Top Gun Anthem,” Jimi Hendrix: “Hey Joe,” Metallica: “Solo In The Unforgiven,” Brian Jonestown: “Whoever You Are,” Eels: “Fresh Blood,” Flying Lotus: “Zodiac Shit,” Burial: “Archangel,” Gonjasufi: “She Gone.,” Thundercat: “Fleer Ultra,” Kamasi Washington: “Fists Of Fury,” Kendrick Lamar: “Hi Power,” Jamie xx: “I Know There’s Gonna Be Good Times,” Tupac Shakur: “I Get Around,” Phish: “Mike’s Song” (Live Phish 12–8/13/96), Kid Koala: “Bar Hopper 1,” Anticon: “Deep Puddle Dymanics,” Sole: “Bottle Of Humans,” Does One: “Spitfire,” Why?: “You Know Where Your Plane Is Pt. 2,” Subtle: “For Hero For Fool?,” Mountains Like Wax: “Control,” Rachel Kate: “Lost,” The Secret Machines: “The Road Leads Where It’s Led,” Townes Van Zandt: “To Live Is To Fly,” Archie Bell & The Drells: “Tighten Up Tighter”— — —We want to tell you about a new show from Osiris, After Midnight. It tells the story of Phish’s groundbreaking festival on the eve of the new millennium, Big Cypress. Phish built a city for 80,000 fans in the Everglades, and capped off the festival by playing for 7 hours, ending the concert during sunrise on January 1, 2000. This five-episode series includes interviews with band members Trey Anastasio and Jon Fishman, fans and crew, and looks back on one of the most unique performances in music history. We’re going to play the trailer for you now. Please listen, and go to osirispod.com/aftermidnight to subscribe.— — —Check us out on Spotify: Beyond The Pond Podcast SongsYou can find us on Twitter: @_beyondthepondMedium: https://medium.com/beyond-the-pondPlease check out the Osiris Podcast Network at: OsirisPod.com and JamBase.comPlease leave us a review on iTunes! See acast.com/privacy for privacy and opt-out information.

The new show karate chops you with so many incredible tunes you'll feel like crane-kicking the day in the face! I play some songs from some amazing musicians celebrating birthdays today, highlight the soulful new Song of the Week "Long Way Home" from Indiana's Durand Jones & The Indications, celebrate the music of Ireland with some of my favorite songs from Irish bands/musicians, and last but not least play you a few incredible selections from our weekly #Hottakes post. Playlist: Hotwax - Beck Shapes - The Long Winters Kung Fu - Ash Astro - The White Stripes -air break U.N.I. - Mating Ritual Feel Them Getting Closer - Ida Mae No Wow - The Kills Sports - Viagra Boys Akira Kurosawa - Ben Miller Band Lo/Hi - The Black Keys -air break Short Haired Woman - Lightnin' Hopkins Lightnin' Hopkins - R.E.M. I Know There's An Answer - Beach Boys Dance To The Music - Sly and The Family Stone Definitive Gaze - Magazine -air break Long Way Home - Durand Jones & The Indications Bad Bad News - Leon Bridges You Worry Me - Nathaniel Rateliff & The Night Sweats Slow Sipper - The Dip For A While - Alice Russell -air break Rumours In The Stockroom - The Clockworks Wheels on Fire - Glen Hansard A Trick of The Light - Villagers Lost - Sorcha Richardson Puppets - Pillow Queens -air break Apologize - Grandson Sunflower - Vampire Weekend Big Bear Mountain - Jr Jr Let Love Run The Game - Daniel Norgren Missed Connection - The Head and the Heart

Today's Bombshell (Bombshell Radio)Bombshell Radio ADDICTIONS AND OTHER VICESAddictions and Other Vices Podcast8pm-11pm ESTThis week on Bombshell Radio we Time Warp into 1983 Part 3 three hours of selected tracks, This is Addictions and Other Vices 473 - Time Warp 1983 Part ThreeI hope you enjoy!bombshellradio.com#Rock #Classics #AddictionsPodcast #Timewarp #Pop #80s #Radio #ClassicRock #BombshellRadioRepeats Saturday 8am-11am ESTAnd Sunday 1pm-4pm EST1983 Part 31. Stray Cat Strut / Stray Cats2. 1999 / Prince3. We've Got Tonight / Kenny Rogers and Sheena Easton4. One On One / Hall and Oates5. Separate Ways (Worlds Apart) / Journey6. You Can't Hurry Love / Phil Collins7. Mickey / Toni Basil8. Safety Dance / Men Without Hats9. Time (Clock Of The Heart) / Culture Club10. (Keep Feeling) Fascination / Human League11. Sexual Healing / Marvin Gaye12. Puttin' on the Ritz / Taco13. Der Kommissar / After The Fire14. You Are / Lionel Richie15. Mr Roboto / Styx16. Up Where We Belong / Joe Cocker and Jennifer Warnes17. Back On The Chain Gang / The Pretenders18. Little Red Corvette / Prince19. Africa / Toto20. She Blinded Me With Science / Thomas Dolby21. Electric Avenue / Eddy Grant22. Jeopardy / Greg Kihn Band23. I Know There's Something Going / Frida24. Twilight Zone / Golden Earring25. Let's Dance / David Bowie26. Hungry Like The Wolf / Duran Duran27. Never Gonna Let You Go / Sergio Mendes28. She Works Hard For The Money / Donna Summer29. Shame On The Moon / Bob Seger30. Come On Eileen / Dexy's Midnight Runners31. You And I / Eddie Rabbitt and Crystal Gayle32. Do You Really Want To Hurt Me / Culture Club33. Sweet Dreams (Are Made Of This) / Eurythmics34. Maniac / Michael Sembello35. Baby Come To Me / Patti Austin and James Ingram36. Maneater / Hall and Oates37. Total Eclipse Of The Heart / Bonnie Tyler38. Beat It / Michael Jackson39. Down Under / Men At Work40. Flashdance (What A Feeling) / Irene Cara41. Billie Jean / Michael Jackson42. Every Breath You Take / The Police

ON THIS WEEK'S EPISODE: - JOSH GRADUATES - SUPER TEAMS IN SPORTS AND MUSIC - SUMMER SONGS - SOME OTHER SHIT I FORGOT Claud's songs 1. Breakbot - Arrested 2. Jamie xx - I Know There's Gonna Be (Good Times) Feat. Young Thug & Popcaan 3. Snoop Dogg - I Knew That Josh's songs 1. SahBabii - Marsupial Superstars Feat. T3 2. De La Soul - A Roller Skating Jam Named "Saturdays" 3. Playboi Carti - Other Shit Episode 3 playlist: https://soundcloud.com/villageresting/sets/episode-3-tracks

Con motivo del lanzamiento de I See You, el tercer álbum de estudio de The xx el pasado viernes 13. Recuperamos los programas monográficos para hablar de la trayectoria de la banda inglesa de intimo, melancólico y minimalista pop alternativo. Destacamos la evolución que ha sufrido su sonido y también ya que estamos hacemos lo propio con su productor: Jamie xx del que también comentamos su carrera en solitario. Suenan: LCD Soundsystem: 45:33 (Pt. 2) The xx: Intro The xx: Crystalized Gil Scott-Heron & Jamie xx: I'll Take Care of U The xx: Chained The xx: Swept Away Jamie xx: All Under One Roof Raving Jamie xx: I Know There's Gonna Be (Good Times) [feat. Young Thug & Popcaan] The xx: Dangerous The xx: Replica The xx: On Hold

La Bóveda Universal te trae:"I Know There's Something Going On", canción grabada en 1982 por la cantante Anni-Frid Lyngstad (Frida), ex integrante del grupo pop sueco ABBA.

今日は何曜日？月曜日 Today is Monday August 15 2016, This is host Hinohara Chiaki . This is not the Metal Moment Podcast or the Japanese MetalHead Show. its just another Bonus on The post Bonus – I Know There’s Something Going On, on the Dog Days of Podcasting Day 12 appeared first on Metal Moment.

今日は何曜日？月曜日 Today is Monday August 15 2016, This is host Hinohara Chiaki . This is not the Metal Moment Podcast or the Japanese MetalHead Show. its just another Bonus on The post Bonus – I Know There’s Something Going On, on the Dog Days of Podcasting Day 12 appeared first on Metal Moment.

—Tracklist— 01. I Know There’s Gonna Be (Good Times) - Jamie xx ft. Young Thug & Popcaan 02. Freak Of The Week - Krept & Konan ft. Jeremih 03. Don’t Tell Em - Jeremih 04. Post To Be - Omarion 05. I’m Up - Omarion Ft. Kid Ink & French Montana 06. Again - Fetty Wap 07. 679 (Remy Boyz) - Fetty Wap ft. Montana Buckz 08. Classic Man Remix - Jidenna ft. Kendrick Lamar 09. Lean On - Major Lazer & DJ Snake ft MO 10. You Know You Like It - DJ Snake & AlunaGeorge 11. Bitch Better Have My Money - Rihanna 12. Hey Mama - David Guetta ft. Nicki Minaj 13. Bring The Trumpets - Lady Bee, Ludacris, Akon, Lil Jon 14. Too Original - Major Lazer ft. Elliphant & Jovi Rockwell 15. In The Air - DJ Babey Drew & BSSMNT ft. Bunji 16. I Just Can’t (TJR Remix) - Crookers ft. Jeremih 17. Satisfied - Showtek ft. Vassy 18. Waiting For Love - Avicii 19. Runaway - Galantis 20. Bunny Dance - Oliver Heldens 21. Intoxicated - Martin Solveig & GTA 22. Selecta - La Fuente 23. Look At Wrist - Father ft. iLoveMakonnen & Key 24. Flicka Da Wrist - Chedda Da Connect 25. One Time - Migos 26. My Way - Fetty Wap ft. Drake 27. Cha Cha - D.R.A.M. 28. U Mad - Vic Mensa ft. Kanye West 29. Nasty Freestyle - T-Wayne 30. Watch Me - Silento 31. Trap Queen - Fetty Wap 32. Where Are Ü Now - Jack Ü ft. Justin Beiber

Tracklist: 1. DJ Khaled Intro 2. Jamie xx - I Know There's Gonna Be (Good Times) feat. Young Thug & Popcaan 3. Mura Masa - Lovesick Fuck 4. NoTvNoRadio – Tokyo 5. Big Sean - Play No Games feat. Chris Brown & Ty Dolla $ign 6. Rich Homie Quan - Flex (Ooh, Ooh, Ooh) 7. G Jones & Bleep Bloop - Plastic Flower People 8. Future - I Serve the Base 9. Drake - Back To Back 10. Big Sean - I Don't Fuck With You 11. Sef - Ze Zeggen 12. Wizkid – Ojuelegba 13. Mwuana – Toppen 14. MNEK - A Thousand Miles 15. Hi-Tom - Me & U 16. Lethal Bizzle - Fester Skank 17. Nicki Minaj - Truffle Butter feat. Drake & Lil Wayne 18. SIROJ - Hey Baby feat. The Million Plan 19. The Weeknd - Can't Feel My Face 20. GoldLink – Spectrum 21. Julio Bashmore - Holding On feat. Sam Dew 22. Klaves – People 23. Kornél Kovács – Pantalón 24. Steve Lawler - House Record 25. Simon Weiss - Tele – Vision 26. Logic - The Warning (Richy Ahmed Remix) 27. Justin Martin - Function Feat. PartyPatty 28. Disclosure - Bang That 29. Tazer & Tink - Wet Dollars (Redlight Remix) 30. A1 Bassline - Odd Soulz 31. KiNK – Diversion 32. Kry Wolf - No Trouble 33. KDA - Rumble (Shadow Child Re-Edit) 34. Kanye West - All Day (Bynon & Reid Stefan Remix) 35. Valentino Khan - Deep Down Low 36. Moksi - Brace Yourself 37. Lil Kleine & Ronnie Flex - drank en drugs – (noizboiz remix) ft safa liron 38. Craig David - When the Bassline Drops 39. Sam Gellaitry – Monochrome 40. Redlight - Lion Jungle feat. Prodigy 41. Nativ – Brukout 42. Dotorado Pro - African Scream (Marimbas) 43. Rihanna - Bitch Better Have My Money ( AfroTura X Nicky Bizzle AfroDub) 44. dJJ - just a lil (Suda Remix) 45. Julio Bashmore - She Ain't 46. Tame Impala - Let It Happen 47. Carnage - WDYW (Tiga Remix) 48. Kendrick Lamar – Alright 49. The Game - 100 feat. Drake 50. Tory Lanez - Say It 51. Jeremih – Oui 52. Shakka - THEY DUNNO NUTTN 53. Drake - Know Yourself 54. Post Malone - White Iverson 55. Travi$ Scott – Antidote 56. Fetty Wap - My Way 57. Cho - Misschien Wel Hè? 58. Dio - We Zijn Hier 59. Sevn Alias - Ma3lish 60. Drake & Future – Jumpman 61. Stormzy - Shut Up (Ferdows Club Tool Edit) 62. Skepta – Shutdown 63. Mura Massa- Lotus Eater (Jarreau Vandal EDIT) 64. Fetty Wap - Trap Queen 65. Drake - Hotline Bling 66. D.R.A.M. - Cha Cha 67. De Jeugd van Tegenwoordig – Manon 68. Jack U - Where Are U Now (FS Green EDIT) 69. Jack U - Where Are U Now feat. Justin Bieber

w/ Rainbow Jackson's Chad Carlisle & Sam Daggett 10 - 6 10: Jamie xx - I Know There's Gonna Be Good Times 09: Sufjan Stevens - The Only Thing 08: Titus Andronicus - Dimed Out 07: American Wrestlers - There's No One Crying Over Me Either 06: White Reaper - Pills Plus! Rainbow Jackson - Mars Travolta & Live performance by Rainbow Jackson of Rock N Roll Part 3 1/2