Podcasts about I Saw Her Standing There

We start the week in New Hampshire with a Beatles jam band called While My Guitar Gently Sleeps and Neil Santos. Songs include Birthday, Sgt. Pepper's Lonely Hearts Club Band, With A Little Help From My Friends, I Saw Her Standing There and While My Guitar Gently Weeps

Please Please Me, the debut studio album by The Beatles, burst onto the scene in 1963, marking the beginning of Beatlemania and showcasing the group's electrifying energy and raw talent. Recorded in a single day at Abbey Road Studios, the album captures the essence of their early sound—a mix of rock and roll, skiffle, and R&B influences. With Lennon and McCartney's catchy, tight harmonies on songs like "I Saw Her Standing There" and "Love Me Do," and the passionate title track "Please Please Me," the album solidified The Beatles' chemistry and potential. It also includes their renditions of popular hits, like their soulful cover of "Twist and Shout," which became iconic. This album, brimming with youthful energy and charm, laid the foundation for their revolutionary impact on music and culture in the 1960s.Listen to the album on SpotifyListen to the album on Apple MusicWhat did you think of this album? Send us a text! Support the showPatreonWebsitePolyphonic Press SubredditFollow us on InstagramContact: polyphonicpressmusic@gmail.comDISCLAIMER: Due to copyright restrictions, we are unable to play pieces of the songs we cover in these episodes. Playing clips of songs are unfortunately prohibitively expensive to obtain the proper licensing. We strongly encourage you to listen to the album along with us on your preferred format to enhance the listening experience.

You got a problem with me, guy? What about The Beatles, you don't got a problem with them, right? Because some of their songs, depending who you ask, are pretty darn problematic. Where's Jerry Falwell when you need him? Oh, yeah, dead! He Gone!!!

Stevie Wonder est monté sur la scène de la convention nationale du parti démocrate mercredi (21 août) pour prononcer un discours et donner un concert de soutien à la vice-présidente Kamala Harris et à son colistier, le gouverneur du Minnesota Tim Walz. Les albums Kid A et Amnesiac de Radiohead serviront de bande-son aux prochaines projections du film d'horreur muet de 1922, Nosferatu. Lors de la convention nationale démocrate de ce mercredi 21 août, le candidat à la vice-présidence Tim Walz est monté sur scène au son de la chanson "Rockin' in the Free World" de Neil Young. U2 va sortir un nouveau film tourné pendant sa résidence dans la Sphere à Las Vegas, intitulé V-U2. Paul McCartney s'est invité au concert donné par le producteur Andrew Watt et le batteur des Red Hot Chili Peppers, Chad Smith. The Offspring a accueilli Yungblud sur scène pendant un concert en Suisse. Mots-clés : élections présidentielles, Etats-Unis, candidat, Higher Ground, danseur, titre, Silents Synced, initiative, cinéma, américain, Blue Starlite, avant-première, Los Angeles, projet, sortie, album, R.E.M. , Buster Keaton, Sherlock, Jr., comédie, CNN, demande, permission, utilisation chanson, approbation, musicien, Donald Trump, campagne présidentielle, menaces, justice, procès, violation, droits d'auteur, réalisateur, The Edge, guitariste, Morleigh Steinberg, communiqué de presse, film-concert, immersion, expérience, scène, Stephen Talkhouse, salle, Hamptons, New York, reprise, Beatles, I Saw Her Standing There, Suisse, prestation, festival, Openair Gampel, rock star, britannique, show, Self Esteem, Dexter Holland, foule, guitariste, Noodles, moshpit --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, chaque jour à 7h30 et 18h30. Merci pour votre écoute Pour écouter Classic 21 à tout moment : www.rtbf.be/classic21 Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

 The McCartney Experience, a tribute band led by Jed Duvall, will play its first Richmond-area show at The Tin Pan in Henrico April 21. The band features music from the early years of the Beatles' career all the way through McCartney's days with Wings and his solo albums. The setlist includes classics such as "Can't Buy Me Love," "I Saw Her Standing There," and "And I Love Her," from the Beatles' Wings album, as well as solo numbers from Paul McCartney, including "Dance Tonight." "We'll be bringing along a wide variety of songs including many that McCartney himself hasn't...Article LinkSupport the show

Rafa Panadero y "el amigo secreto" continúan su repaso de la discografía de The Beatles. Pese a tener originalmente un nombre diferente, "I Saw Her Standing There", uno de los temas parte de su álbum debut, es un clásico de la banda inglesa. Repasamos hoy los secretos de su historia y composición, obra de McCartney en un viaje en coche. 

Neuman adelanta, en este podcast, su canción más confesional, "No voy a llorar", una sacudida que te hace viajar por la rabia, el dolor, la ternura, el cariño, la desesperación pero también las fuerzas para seguir adelante. La voz de Paco Román suena como nunca entre pianos y guitarras que llegan a un estribillo, que es un grito de socorro y que te tambalea. Escuchamos a los madrileños Canteo con la frescura de "La de Cupido", a Nothing But Thieves con "Oh-No :: He Said What?", una de las canciones incluidas en la edición deluxe de su disco "Dead Club City", a la neoyorkina Yaya Bei y a Guille Wheel and The Waves con la beatleiana "Sophisticated Money Machine"KACEY MUSGRAVES - Three Little BirdsTORRES - Wake to FlowersMARY TIMONY – SummerSILVESTRE Y LA NARANJA – Nunca Te CalmesCANTEO – La de CupidoVEINTIUNO – Mañana Lo DejoNOTHING BUT THIEVES - Oh-No :: He Said What?DUA LIPA – HoudiniJUSTICE, TAME IMPALA - One Night_All NightYAYA BEY - Chasing the BusNEUMAN - No Voy A LlorarELBOW - Lovers' LeapGUILLE WHEEL & THE WAVES - Sophisticated Money MachineTHE BEATLES – I Saw Her Standing ThereSIDONIE – Cedélevitants – AdelanteEscuchar audio

Nous allons ouvrir un gros dossier :  "Crossroad blues ». Cet épisode va nous permettre de parler du morceau mythique et fondateur « Crossroad» ou crossroad blues et l'histoire des début discographique du blues, De Cream le premier supergroupe de l'histoire du rock, et pour finir  du mythe de Robert Johnson et du ramassis de conneries qui l'accompagnent. Cet épisode sera donc en 3 parties…. PLAYLIST The Bonzo Dog Band, "Can Blue Men Sing the Whites ?" "One O' Them Things" The Victor Military Band, "Memphis Blues" Ciro's Club Coon Orchestra, "St. Louis Blues" Bert Williams, "I'm Sorry I Ain't Got It You Could Have It If I Had It Blues", Mamie Smith, "Crazy Blues" Ma Rainey, "See See Rider Blues" Bessie Smith, "Give Me a Pigfoot and a Bottle of Beer" Reese DuPree, "Norfolk Blues" Papa Charlie Jackson, "Airy Man Blues" Blind Blake, "Southern Rag" Blind Lemon Jefferson, "Got the Blues" Big Bill Broonzy, "The Glory of Love" Son House, Mississippi County Farm Blues" Skip James, "Twenty-Two Twenty Blues" Skip James, "Hard Time Killing Floor Blues" Charlie Patton, "Poor Me" The Mississippi Sheiks, "Sitting on Top of the World" Tommy Johnson, "Big Road Blues" The Staple Singers, "Will The Circle Be Unbroken" Robert Johnson, "Crossroads" Willie Brown, "M&O Blues" Howlin' Wolf, "Smokestack Lightnin' Charlie Patton, "34 Blues" John Mayall and the Bluesbreakers, "It Ain't Right" Alexis Korner et Davey Graham, "3/4 AD" John Mayall and the Bluesbreakers, "Crawling up a Hill (45 version)" Blues Incorporated, "Hoochie Coochie Man (BBC session)" " At the Jazz Band Ball" The Don Rendell Quintet, "Manumission" Duffy Power, "I Saw Her Standing There" The Graham Bond Quartet, "Ho Ho Country Kicking Blues (Live at Klooks Kleek)" The Graham Bond Organisation, "Long Tall Shorty" Duffy Power, "Parchman Farm" Bande Annonce : Gonks Go Beat !

Intro song: I Saw Her Standing There by The BeatlesWelcome to the final episode of this installment of Guess the Year with Jonathan! In this episode we share some listener scoring stats, reveal Episode 12 listener scores, and crown a champion of the whole series! But first, Jonathan challenges Andrew to identify the name and year of 50 Beatles song (while only letting him hear the first 2 seconds of the song). We want to thank everyone that has participated in this series!2-Second Beatles QuizIce Cold!On Fire!Perfect 10sAverage point total per episodeLowest scoring songsHighest scoring songsEpisode 12 scoresFinal listener scoresGuess the Year is returning in February 2024!!Listeners who did not finish (episodes completed in parenthesis):Tim 24 points (1)Amy 27 (2)Jim 36 (2)George 44 (2)Kevin 237 (6)Listeners who completed all 12 episodes (in alphabetical order):AaronAdamAndrewBarrettBobbyBrianDaveDustinElizaGageGregHaoJeffJonMarianQuinRogSarahSteveWilliam

# ♪ Along Again - Gilbert O'sullivan # 뉴스 Good & Bad feat. 정새배, 박혜진 기자 (1) 내년 1분기 3만원대 5G 요금제 출시...5G 단말기서 LTE 요금제도 (2) 정부 권장 살충제 효과 없다"…외래종 빈대도 국내 발견 # (1) - 김경진 평론가 # The Beatles / Now And Then (Red & Blue Album) # ♪1. Love Me Do (2:22) (1962) ♪2. I Saw Her Standing There (2:52) (1963) ♪3. Here, There And Everywhere (2:25) (1966) ♪4. Within You Without You (5:05) (1967) ♪5. Now And Then (4:08) (2023)

Welcome to the Instant Trivia podcast episode 1005, where we ask the best trivia on the Internet. Round 1. Category: Brazilian Geography 1: 2 of this Brazilian city's most popular beaches are Flamengo and Ipanema. Rio de Janeiro. 2: The selva is this vast, ecologically important area where it sounds like you'll need your umbrella. the rainforest. 3: Brazil's tourism industry depends in part on these spectacular falls on the border with Argentina. Iguazu Falls. 4: Add two letters to the name of a river to get this state, so big it borders three countries. Amazonas. 5: This planned city in Brazil's vast interior has grown from being a construction project in 1956 to 2.6 million people today. Brasilia. Round 2. Category: They Still Make That? 1: KTS Productions still makes these tapes perfect for your custom van--What? No Frampton?. an 8-track. 2: Put your hands together for this gizmo seen on TV since 1985--but don't turn me off while you're at it. The Clapper. 3: American Safety Razor /Still makes this stuff, dear /Give us your response /It goes here. Burma-Shave. 4: You can still get these CO2 candies introduced in 1975 (don't worry, that kid from the Life ad didn't really O.D. on 'em). Pop Rocks. 5: This "exclusive" fashion brand for which Anthony Geary did ads relaunched in 2008. Members Only. Round 3. Category: Geo, Dude 1: We're gonna par-tay at this beach, 60 miles northeast of Orlando, and watch 500 miles of left turns at its intl. speedway!. Daytona. 2: Yo Broseph! We'll show respect in this capital as we visit the Peace Tower's Memorial Chamber honoring Canada's war dead. Ottawa. 3: Your period drama won Grand Prix at the film festival in this resort city in Alpes-Maritimes Département?! Way to go, bruh!. Cannes. 4: Lafitte's blacksmith shop...isn't one? It says it is "the oldest structure used as a bar in the U.S.", on this N.O. St.? We're so there!. Bourbon Street. 5: Come for some bro time and catch walleye on this Great Lake; my buddy in Sandusky, Ohio says we can crash at his place. Lake Erie. Round 4. Category: Give Us Z Answer!!!. With Z in quotation marks 1: Castor and Pollux are the twin sons of this god. Zeus. 2: This Hungarian enjoyed a single day of wedded bliss with Felipe de Alba in 1982. Zsa Zsa Gabor. 3: Leader of the musical Mothers of Invention. Frank Zappa. 4: A compound of this element, atomic number 30, is used in lotions as a sunscreen. zinc. 5: It's home to the Croatian Academy of Arts and Sciences. Zagreb. Round 5. Category: Beatles Songs 1: "Father McKenzie, writing the words/Of a sermon that no one will hear". "Eleanor Rigby". 2: "Well she was just seventeen/You know what I mean". "I Saw Her Standing There". 3: For Paul McCartney, this Beatles song title will become true on June 18, 2006. "When I'm Sixty-Four". 4: "Let me hear your balalaikas ringing out, come and keep your comrade warm" here, the title of a '68 song. "Back in the U.S.S.R.". 5: He's "as blind as he can be, just sees what he wants to see". "Nowhere Man". Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

In this episode we discuss Winger, who were one of the last of the 'hair' bands, and who were made fun of constantly by Beavis and Butthead. We focus primarily on their song "Seventeen," with its controversial lyric, "Daddy says she's too young, but she's old enough for me." We also learn about a derogatory term that the Winger lads had for drumming that they considered too basic. Be sure to listen for that hilarious tidbit. Our movie this time is "Gremlins," a very fun (and occasionally gruesome) family-friendly "creature feature" from 1984. Fun fact: this movie would have been rated PG-13 if that had existed at the time. That designation would be created a short tie later in 1984, the first movie being "Red Dawn." Find all our episodes, links, Spotify playlists, and more at our new web site at http://tapeheadspod.com. RELATED LINKS: Winger, "Seventeen" official video, on YouTube Winger, on Spotify Winger, Making of IV, on YouTube The Beatles, "I Saw Her Standing There", on YouTube Nothing But A Good Time book, at Amazono COVER YOUR EARS versions: Hungry 17's, on YouTube These Guys Live Vincent Bernardo, on YouTube WHAT MOVIE ARE WE TALKING ABOUT TONIGHT? Gremlins, at IMDB

Episode 166 of A History of Rock Music in Five Hundred Songs looks at “Crossroads", Cream, the myth of Robert Johnson, and whether white men can sing the blues. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-eight-minute bonus episode available, on “Tip-Toe Thru' the Tulips" by Tiny Tim. 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 I talk about an interview with Clapton from 1967, I meant 1968. I mention a Graham Bond live recording from 1953, and of course meant 1963. I say Paul Jones was on vocals in the Powerhouse sessions. Steve Winwood was on vocals, and Jones was on harmonica. Resources As I say at the end, the main resource you need to get if you enjoyed this episode is Brother Robert by Annye Anderson, Robert Johnson's stepsister. There are three Mixcloud mixes this time. As there are so many songs by Cream, Robert Johnson, John Mayall, and Graham Bond excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here -- one, two, three. This article on Mack McCormick gives a fuller explanation of the problems with his research and behaviour. The other books I used for the Robert Johnson sections were McCormick's Biography of a Phantom; Up Jumped the Devil: The Real Life of Robert Johnson, by Bruce Conforth and Gayle Dean Wardlow; Searching for Robert Johnson by Peter Guralnick; and Escaping the Delta by Elijah Wald. I can recommend all of these subject to the caveats at the end of the episode. The information on the history and prehistory of the Delta blues mostly comes from Before Elvis by Larry Birnbaum, with some coming from Charley Patton by John Fahey. The information on Cream comes mostly from Cream: How Eric Clapton Took the World by Storm by Dave Thompson. I also used Ginger Baker: Hellraiser by Ginger Baker and Ginette Baker, Mr Showbiz by Stephen Dando-Collins, Motherless Child by Paul Scott, and  Alexis Korner: The Biography by Harry Shapiro. The best collection of Cream's work is the four-CD set Those Were the Days, which contains every track the group ever released while they were together (though only the stereo mixes of the albums, and a couple of tracks are in slightly different edits from the originals). You can get Johnson's music on many budget compilation records, as it's in the public domain in the EU, but the double CD collection produced by Steve LaVere for Sony in 2011 is, despite the problems that come from it being associated with LaVere, far and away the best option -- the remasters have a clarity that's worlds ahead of even the 1990s CD version it replaced. And for a good single-CD introduction to the Delta blues musicians and songsters who were Johnson's peers and inspirations, Back to the Crossroads: The Roots of Robert Johnson, compiled by Elijah Wald as a companion to his book on Johnson, can't be beaten, and contains many of the tracks excerpted in this episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a quick note that this episode contains discussion of racism, drug addiction, and early death. There's also a brief mention of death in childbirth and infant mortality. It's been a while since we looked at the British blues movement, and at the blues in general, so some of you may find some of what follows familiar, as we're going to look at some things we've talked about previously, but from a different angle. In 1968, the Bonzo Dog Band, a comedy musical band that have been described as the missing link between the Beatles and the Monty Python team, released a track called "Can Blue Men Sing the Whites?": [Excerpt: The Bonzo Dog Band, "Can Blue Men Sing the Whites?"] That track was mocking a discussion that was very prominent in Britain's music magazines around that time. 1968 saw the rise of a *lot* of British bands who started out as blues bands, though many of them went on to different styles of music -- Fleetwood Mac, Ten Years After, Jethro Tull, Chicken Shack and others were all becoming popular among the kind of people who read the music magazines, and so the question was being asked -- can white men sing the blues? Of course, the answer to that question was obvious. After all, white men *invented* the blues. Before we get any further at all, I have to make clear that I do *not* mean that white people created blues music. But "the blues" as a category, and particularly the idea of it as a music made largely by solo male performers playing guitar... that was created and shaped by the actions of white male record executives. There is no consensus as to when or how the blues as a genre started -- as we often say in this podcast "there is no first anything", but like every genre it seems to have come from multiple sources. In the case of the blues, there's probably some influence from African music by way of field chants sung by enslaved people, possibly some influence from Arabic music as well, definitely some influence from the Irish and British folk songs that by the late nineteenth century were developing into what we now call country music, a lot from ragtime, and a lot of influence from vaudeville and minstrel songs -- which in turn themselves were all very influenced by all those other things. Probably the first published composition to show any real influence of the blues is from 1904, a ragtime piano piece by James Chapman and Leroy Smith, "One O' Them Things": [Excerpt: "One O' Them Things"] That's not very recognisable as a blues piece yet, but it is more-or-less a twelve-bar blues. But the blues developed, and it developed as a result of a series of commercial waves. The first of these came in 1914, with the success of W.C. Handy's "Memphis Blues", which when it was recorded by the Victor Military Band for a phonograph cylinder became what is generally considered the first blues record proper: [Excerpt: The Victor Military Band, "Memphis Blues"] The famous dancers Vernon and Irene Castle came up with a dance, the foxtrot -- which Vernon Castle later admitted was largely inspired by Black dancers -- to be danced to the "Memphis Blues", and the foxtrot soon overtook the tango, which the Castles had introduced to the US the previous year, to become the most popular dance in America for the best part of three decades. And with that came an explosion in blues in the Handy style, cranked out by every music publisher. While the blues was a style largely created by Black performers and writers, the segregated nature of the American music industry at the time meant that most vocal performances of these early blues that were captured on record were by white performers, Black vocalists at this time only rarely getting the chance to record. The first blues record with a Black vocalist is also technically the first British blues record. A group of Black musicians, apparently mostly American but led by a Jamaican pianist, played at Ciro's Club in London, and recorded many tracks in Britain, under a name which I'm not going to say in full -- it started with Ciro's Club, and continued alliteratively with another word starting with C, a slur for Black people. In 1917 they recorded a vocal version of "St. Louis Blues", another W.C. Handy composition: [Excerpt: Ciro's Club C**n Orchestra, "St. Louis Blues"] The first American Black blues vocal didn't come until two years later, when Bert Williams, a Black minstrel-show performer who like many Black performers of his era performed in blackface even though he was Black, recorded “I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,” [Excerpt: Bert Williams, "I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,”] But it wasn't until 1920 that the second, bigger, wave of popularity started for the blues, and this time it started with the first record of a Black *woman* singing the blues -- Mamie Smith's "Crazy Blues": [Excerpt: Mamie Smith, "Crazy Blues"] You can hear the difference between that and anything we've heard up to that point -- that's the first record that anyone from our perspective, a hundred and three years later, would listen to and say that it bore any resemblance to what we think of as the blues -- so much so that many places still credit it as the first ever blues record. And there's a reason for that. "Crazy Blues" was one of those records that separates the music industry into before and after, like "Rock Around the Clock", "I Want to Hold Your Hand", Sgt Pepper, or "Rapper's Delight". It sold seventy-five thousand copies in its first month -- a massive number by the standards of 1920 -- and purportedly went on to sell over a million copies. Sales figures and market analysis weren't really a thing in the same way in 1920, but even so it became very obvious that "Crazy Blues" was a big hit, and that unlike pretty much any other previous records, it was a big hit among Black listeners, which meant that there was a market for music aimed at Black people that was going untapped. Soon all the major record labels were setting up subsidiaries devoted to what they called "race music", music made by and for Black people. And this sees the birth of what is now known as "classic blues", but at the time (and for decades after) was just what people thought of when they thought of "the blues" as a genre. This was music primarily sung by female vaudeville artists backed by jazz bands, people like Ma Rainey (whose earliest recordings featured Louis Armstrong in her backing band): [Excerpt: Ma Rainey, "See See Rider Blues"] And Bessie Smith, the "Empress of the Blues", who had a massive career in the 1920s before the Great Depression caused many of these "race record" labels to fold, but who carried on performing well into the 1930s -- her last recording was in 1933, produced by John Hammond, with a backing band including Benny Goodman and Jack Teagarden: [Excerpt: Bessie Smith, "Give Me a Pigfoot and a Bottle of Beer"] It wouldn't be until several years after the boom started by Mamie Smith that any record companies turned to recording Black men singing the blues accompanied by guitar or banjo. The first record of this type is probably "Norfolk Blues" by Reese DuPree from 1924: [Excerpt: Reese DuPree, "Norfolk Blues"] And there were occasional other records of this type, like "Airy Man Blues" by Papa Charlie Jackson, who was advertised as the “only man living who sings, self-accompanied, for Blues records.” [Excerpt: Papa Charlie Jackson, "Airy Man Blues"] But contrary to the way these are seen today, at the time they weren't seen as being in some way "authentic", or "folk music". Indeed, there are many quotes from folk-music collectors of the time (sadly all of them using so many slurs that it's impossible for me to accurately quote them) saying that when people sang the blues, that wasn't authentic Black folk music at all but an adulteration from commercial music -- they'd clearly, according to these folk-music scholars, learned the blues style from records and sheet music rather than as part of an oral tradition. Most of these performers were people who recorded blues as part of a wider range of material, like Blind Blake, who recorded some blues music but whose best work was his ragtime guitar instrumentals: [Excerpt: Blind Blake, "Southern Rag"] But it was when Blind Lemon Jefferson started recording for Paramount records in 1926 that the image of the blues as we now think of it took shape. His first record, "Got the Blues", was a massive success: [Excerpt: Blind Lemon Jefferson, "Got the Blues"] And this resulted in many labels, especially Paramount, signing up pretty much every Black man with a guitar they could find in the hopes of finding another Blind Lemon Jefferson. But the thing is, this generation of people making blues records, and the generation that followed them, didn't think of themselves as "blues singers" or "bluesmen". They were songsters. Songsters were entertainers, and their job was to sing and play whatever the audiences would want to hear. That included the blues, of course, but it also included... well, every song anyone would want to hear.  They'd perform old folk songs, vaudeville songs, songs that they'd heard on the radio or the jukebox -- whatever the audience wanted. Robert Johnson, for example, was known to particularly love playing polka music, and also adored the records of Jimmie Rodgers, the first country music superstar. In 1941, when Alan Lomax first recorded Muddy Waters, he asked Waters what kind of songs he normally played in performances, and he was given a list that included "Home on the Range", Gene Autry's "I've Got Spurs That Jingle Jangle Jingle", and Glenn Miller's "Chattanooga Choo-Choo". We have few recordings of these people performing this kind of song though. One of the few we have is Big Bill Broonzy, who was just about the only artist of this type not to get pigeonholed as just a blues singer, even though blues is what made him famous, and who later in his career managed to record songs like the Tin Pan Alley standard "The Glory of Love": [Excerpt: Big Bill Broonzy, "The Glory of Love"] But for the most part, the image we have of the blues comes down to one man, Arthur Laibley, a sales manager for the Wisconsin Chair Company. The Wisconsin Chair Company was, as the name would suggest, a company that started out making wooden chairs, but it had branched out into other forms of wooden furniture -- including, for a brief time, large wooden phonographs. And, like several other manufacturers, like the Radio Corporation of America -- RCA -- and the Gramophone Company, which became EMI, they realised that if they were going to sell the hardware it made sense to sell the software as well, and had started up Paramount Records, which bought up a small label, Black Swan, and soon became the biggest manufacturer of records for the Black market, putting out roughly a quarter of all "race records" released between 1922 and 1932. At first, most of these were produced by a Black talent scout, J. Mayo Williams, who had been the first person to record Ma Rainey, Papa Charlie Jackson, and Blind Lemon Jefferson, but in 1927 Williams left Paramount, and the job of supervising sessions went to Arthur Laibley, though according to some sources a lot of the actual production work was done by Aletha Dickerson, Williams' former assistant, who was almost certainly the first Black woman to be what we would now think of as a record producer. Williams had been interested in recording all kinds of music by Black performers, but when Laibley got a solo Black man into the studio, what he wanted more than anything was for him to record the blues, ideally in a style as close as possible to that of Blind Lemon Jefferson. Laibley didn't have a very hands-on approach to recording -- indeed Paramount had very little concern about the quality of their product anyway, and Paramount's records are notorious for having been put out on poor-quality shellac and recorded badly -- and he only occasionally made actual suggestions as to what kind of songs his performers should write -- for example he asked Son House to write something that sounded like Blind Lemon Jefferson, which led to House writing and recording "Mississippi County Farm Blues", which steals the tune of Jefferson's "See That My Grave is Kept Clean": [Excerpt: Son House, "Mississippi County Farm Blues"] When Skip James wanted to record a cover of James Wiggins' "Forty-Four Blues", Laibley suggested that instead he should do a song about a different gun, and so James recorded "Twenty-Two Twenty Blues": [Excerpt: Skip James, "Twenty-Two Twenty Blues"] And Laibley also suggested that James write a song about the Depression, which led to one of the greatest blues records ever, "Hard Time Killing Floor Blues": [Excerpt: Skip James, "Hard Time Killing Floor Blues"] These musicians knew that they were getting paid only for issued sides, and that Laibley wanted only blues from them, and so that's what they gave him. Even when it was a performer like Charlie Patton. (Incidentally, for those reading this as a transcript rather than listening to it, Patton's name is more usually spelled ending in ey, but as far as I can tell ie was his preferred spelling and that's what I'm using). Charlie Patton was best known as an entertainer, first and foremost -- someone who would do song-and-dance routines, joke around, play guitar behind his head. He was a clown on stage, so much so that when Son House finally heard some of Patton's records, in the mid-sixties, decades after the fact, he was astonished that Patton could actually play well. Even though House had been in the room when some of the records were made, his memory of Patton was of someone who acted the fool on stage. That's definitely not the impression you get from the Charlie Patton on record: [Excerpt: Charlie Patton, "Poor Me"] Patton is, as far as can be discerned, the person who was most influential in creating the music that became called the "Delta blues". Not a lot is known about Patton's life, but he was almost certainly the half-brother of the Chatmon brothers, who made hundreds of records, most notably as members of the Mississippi Sheiks: [Excerpt: The Mississippi Sheiks, "Sitting on Top of the World"] In the 1890s, Patton's family moved to Sunflower County, Mississippi, and he lived in and around that county until his death in 1934. Patton learned to play guitar from a musician called Henry Sloan, and then Patton became a mentor figure to a *lot* of other musicians in and around the plantation on which his family lived. Some of the musicians who grew up in the immediate area around Patton included Tommy Johnson: [Excerpt: Tommy Johnson, "Big Road Blues"] Pops Staples: [Excerpt: The Staple Singers, "Will The Circle Be Unbroken"] Robert Johnson: [Excerpt: Robert Johnson, "Crossroads"] Willie Brown, a musician who didn't record much, but who played a lot with Patton, Son House, and Robert Johnson and who we just heard Johnson sing about: [Excerpt: Willie Brown, "M&O Blues"] And Chester Burnett, who went on to become known as Howlin' Wolf, and whose vocal style was equally inspired by Patton and by the country star Jimmie Rodgers: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] Once Patton started his own recording career for Paramount, he also started working as a talent scout for them, and it was him who brought Son House to Paramount. Soon after the Depression hit, Paramount stopped recording, and so from 1930 through 1934 Patton didn't make any records. He was tracked down by an A&R man in January 1934 and recorded one final session: [Excerpt, Charlie Patton, "34 Blues"] But he died of heart failure two months later. But his influence spread through his proteges, and they themselves influenced other musicians from the area who came along a little after, like Robert Lockwood and Muddy Waters. This music -- or that portion of it that was considered worth recording by white record producers, only a tiny, unrepresentative, portion of their vast performing repertoires -- became known as the Delta Blues, and when some of these musicians moved to Chicago and started performing with electric instruments, it became Chicago Blues. And as far as people like John Mayall in Britain were concerned, Delta and Chicago Blues *were* the blues: [Excerpt: John Mayall and the Bluesbreakers, "It Ain't Right"] John Mayall was one of the first of the British blues obsessives, and for a long time thought of himself as the only one. While we've looked before at the growth of the London blues scene, Mayall wasn't from London -- he was born in Macclesfield and grew up in Cheadle Hulme, both relatively well-off suburbs of Manchester, and after being conscripted and doing two years in the Army, he had become an art student at Manchester College of Art, what is now Manchester Metropolitan University. Mayall had been a blues fan from the late 1940s, writing off to the US to order records that hadn't been released in the UK, and by most accounts by the late fifties he'd put together the biggest blues collection in Britain by quite some way. Not only that, but he had one of the earliest home tape recorders, and every night he would record radio stations from Continental Europe which were broadcasting for American service personnel, so he'd amassed mountains of recordings, often unlabelled, of obscure blues records that nobody else in the UK knew about. He was also an accomplished pianist and guitar player, and in 1956 he and his drummer friend Peter Ward had put together a band called the Powerhouse Four (the other two members rotated on a regular basis) mostly to play lunchtime jazz sessions at the art college. Mayall also started putting on jam sessions at a youth club in Wythenshawe, where he met another drummer named Hughie Flint. Over the late fifties and into the early sixties, Mayall more or less by himself built up a small blues scene in Manchester. The Manchester blues scene was so enthusiastic, in fact, that when the American Folk Blues Festival, an annual European tour which initially featured Willie Dixon, Memhis Slim, T-Bone Walker, Sonny Terry & Brownie McGhee, and John Lee Hooker, first toured Europe, the only UK date it played was at the Manchester Free Trade Hall, and people like Mick Jagger, Keith Richards, Brian Jones and Jimmy Page had to travel up from London to see it. But still, the number of blues fans in Manchester, while proportionally large, was objectively small enough that Mayall was captivated by an article in Melody Maker which talked about Alexis Korner and Cyril Davies' new band Blues Incorporated and how it was playing electric blues, the same music he was making in Manchester. He later talked about how the article had made him think that maybe now people would know what he was talking about. He started travelling down to London to play gigs for the London blues scene, and inviting Korner up to Manchester to play shows there. Soon Mayall had moved down to London. Korner introduced Mayall to Davey Graham, the great folk guitarist, with whom Korner had recently recorded as a duo: [Excerpt: Alexis Korner and Davey Graham, "3/4 AD"] Mayall and Graham performed together as a duo for a while, but Graham was a natural solo artist if ever there was one. Slowly Mayall put a band together in London. On drums was his old friend Peter Ward, who'd moved down from Manchester with him. On bass was John McVie, who at the time knew nothing about blues -- he'd been playing in a Shadows-style instrumental group -- but Mayall gave him a stack of blues records to listen to to get the feeling. And on guitar was Bernie Watson, who had previously played with Screaming Lord Sutch and the Savages. In late 1963, Mike Vernon, a blues fan who had previously published a Yardbirds fanzine, got a job working for Decca records, and immediately started signing his favourite acts from the London blues circuit. The first act he signed was John Mayall and the Bluesbreakers, and they recorded a single, "Crawling up a Hill": [Excerpt: John Mayall and the Bluesbreakers, "Crawling up a Hill (45 version)"] Mayall later called that a "clumsy, half-witted attempt at autobiographical comment", and it sold only five hundred copies. It would be the only record the Bluesbreakers would make with Watson, who soon left the band to be replaced by Roger Dean (not the same Roger Dean who later went on to design prog rock album covers). The second group to be signed by Mike Vernon to Decca was the Graham Bond Organisation. We've talked about the Graham Bond Organisation in passing several times, but not for a while and not in any great detail, so it's worth pulling everything we've said about them so far together and going through it in a little more detail. The Graham Bond Organisation, like the Rolling Stones, grew out of Alexis Korner's Blues Incorporated. As we heard in the episode on "I Wanna Be Your Man" a couple of years ago, Blues Incorporated had been started by Alexis Korner and Cyril Davies, and at the time we're joining them in 1962 featured a drummer called Charlie Watts, a pianist called Dave Stevens, and saxophone player Dick Heckstall-Smith, as well as frequent guest performers like a singer who called himself Mike Jagger, and another one, Roderick Stewart. That group finally found themselves the perfect bass player when Dick Heckstall-Smith put together a one-off group of jazz players to play an event at Cambridge University. At the gig, a little Scottish man came up to the group and told them he played bass and asked if he could sit in. They told him to bring along his instrument to their second set, that night, and he did actually bring along a double bass. Their bluff having been called, they decided to play the most complicated, difficult, piece they knew in order to throw the kid off -- the drummer, a trad jazz player named Ginger Baker, didn't like performing with random sit-in guests -- but astonishingly he turned out to be really good. Heckstall-Smith took down the bass player's name and phone number and invited him to a jam session with Blues Incorporated. After that jam session, Jack Bruce quickly became the group's full-time bass player. Bruce had started out as a classical cellist, but had switched to the double bass inspired by Bach, who he referred to as "the guv'nor of all bass players". His playing up to this point had mostly been in trad jazz bands, and he knew nothing of the blues, but he quickly got the hang of the genre. Bruce's first show with Blues Incorporated was a BBC recording: [Excerpt: Blues Incorporated, "Hoochie Coochie Man (BBC session)"] According to at least one source it was not being asked to take part in that session that made young Mike Jagger decide there was no future for him with Blues Incorporated and to spend more time with his other group, the Rollin' Stones. Soon after, Charlie Watts would join him, for almost the opposite reason -- Watts didn't want to be in a band that was getting as big as Blues Incorporated were. They were starting to do more BBC sessions and get more gigs, and having to join the Musicians' Union. That seemed like a lot of work. Far better to join a band like the Rollin' Stones that wasn't going anywhere. Because of Watts' decision to give up on potential stardom to become a Rollin' Stone, they needed a new drummer, and luckily the best drummer on the scene was available. But then the best drummer on the scene was *always* available. Ginger Baker had first played with Dick Heckstall-Smith several years earlier, in a trad group called the Storyville Jazzmen. There Baker had become obsessed with the New Orleans jazz drummer Baby Dodds, who had played with Louis Armstrong in the 1920s. Sadly because of 1920s recording technology, he hadn't been able to play a full kit on the recordings with Armstrong, being limited to percussion on just a woodblock, but you can hear his drumming style much better in this version of "At the Jazz Band Ball" from 1947, with Mugsy Spanier, Jack Teagarden, Cyrus St. Clair and Hank Duncan: [Excerpt: "At the Jazz Band Ball"] Baker had taken Dobbs' style and run with it, and had quickly become known as the single best player, bar none, on the London jazz scene -- he'd become an accomplished player in multiple styles, and was also fluent in reading music and arranging. He'd also, though, become known as the single person on the entire scene who was most difficult to get along with. He resigned from his first band onstage, shouting "You can stick your band up your arse", after the band's leader had had enough of him incorporating bebop influences into their trad style. Another time, when touring with Diz Disley's band, he was dumped in Germany with no money and no way to get home, because the band were so sick of him. Sometimes this was because of his temper and his unwillingness to suffer fools -- and he saw everyone else he ever met as a fool -- and sometimes it was because of his own rigorous musical ideas. He wanted to play music *his* way, and wouldn't listen to anyone who told him different. Both of these things got worse after he fell under the influence of a man named Phil Seaman, one of the only drummers that Baker respected at all. Seaman introduced Baker to African drumming, and Baker started incorporating complex polyrhythms into his playing as a result. Seaman also though introduced Baker to heroin, and while being a heroin addict in the UK in the 1960s was not as difficult as it later became -- both heroin and cocaine were available on prescription to registered addicts, and Baker got both, which meant that many of the problems that come from criminalisation of these drugs didn't affect addicts in the same way -- but it still did not, by all accounts, make him an easier person to get along with. But he *was* a fantastic drummer. As Dick Heckstall-Smith said "With the advent of Ginger, the classic Blues Incorporated line-up, one which I think could not be bettered, was set" But Alexis Korner decided that the group could be bettered, and he had some backers within the band. One of the other bands on the scene was the Don Rendell Quintet, a group that played soul jazz -- that style of jazz that bridged modern jazz and R&B, the kind of music that Ray Charles and Herbie Hancock played: [Excerpt: The Don Rendell Quintet, "Manumission"] The Don Rendell Quintet included a fantastic multi-instrumentalist, Graham Bond, who doubled on keyboards and saxophone, and Bond had been playing occasional experimental gigs with the Johnny Burch Octet -- a group led by another member of the Rendell Quartet featuring Heckstall-Smith, Bruce, Baker, and a few other musicians, doing wholly-improvised music. Heckstall-Smith, Bruce, and Baker all enjoyed playing with Bond, and when Korner decided to bring him into the band, they were all very keen. But Cyril Davies, the co-leader of the band with Korner, was furious at the idea. Davies wanted to play strict Chicago and Delta blues, and had no truck with other forms of music like R&B and jazz. To his mind it was bad enough that they had a sax player. But the idea that they would bring in Bond, who played sax and... *Hammond* organ? Well, that was practically blasphemy. Davies quit the group at the mere suggestion. Bond was soon in the band, and he, Bruce, and Baker were playing together a *lot*. As well as performing with Blues Incorporated, they continued playing in the Johnny Burch Octet, and they also started performing as the Graham Bond Trio. Sometimes the Graham Bond Trio would be Blues Incorporated's opening act, and on more than one occasion the Graham Bond Trio, Blues Incorporated, and the Johnny Burch Octet all had gigs in different parts of London on the same night and they'd have to frantically get from one to the other. The Graham Bond Trio also had fans in Manchester, thanks to the local blues scene there and their connection with Blues Incorporated, and one night in February 1963 the trio played a gig there. They realised afterwards that by playing as a trio they'd made £70, when they were lucky to make £20 from a gig with Blues Incorporated or the Octet, because there were so many members in those bands. Bond wanted to make real money, and at the next rehearsal of Blues Incorporated he announced to Korner that he, Bruce, and Baker were quitting the band -- which was news to Bruce and Baker, who he hadn't bothered consulting. Baker, indeed, was in the toilet when the announcement was made and came out to find it a done deal. He was going to kick up a fuss and say he hadn't been consulted, but Korner's reaction sealed the deal. As Baker later said "‘he said “it's really good you're doing this thing with Graham, and I wish you the best of luck” and all that. And it was a bit difficult to turn round and say, “Well, I don't really want to leave the band, you know.”'" The Graham Bond Trio struggled at first to get the gigs they were expecting, but that started to change when in April 1963 they became the Graham Bond Quartet, with the addition of virtuoso guitarist John McLaughlin. The Quartet soon became one of the hottest bands on the London R&B scene, and when Duffy Power, a Larry Parnes teen idol who wanted to move into R&B, asked his record label to get him a good R&B band to back him on a Beatles cover, it was the Graham Bond Quartet who obliged: [Excerpt: Duffy Power, "I Saw Her Standing There"] The Quartet also backed Power on a package tour with other Parnes acts, but they were also still performing their own blend of hard jazz and blues, as can be heard in this recording of the group live in June 1953: [Excerpt: The Graham Bond Quartet, "Ho Ho Country Kicking Blues (Live at Klooks Kleek)"] But that lineup of the group didn't last very long. According to the way Baker told the story, he fired McLaughlin from the group, after being irritated by McLaughlin complaining about something on a day when Baker was out of cocaine and in no mood to hear anyone else's complaints. As Baker said "We lost a great guitar player and I lost a good friend." But the Trio soon became a Quartet again, as Dick Heckstall-Smith, who Baker had wanted in the band from the start, joined on saxophone to replace McLaughlin's guitar. But they were no longer called the Graham Bond Quartet. Partly because Heckstall-Smith joining allowed Bond to concentrate just on his keyboard playing, but one suspects partly to protect against any future lineup changes, the group were now The Graham Bond ORGANisation -- emphasis on the organ. The new lineup of the group got signed to Decca by Vernon, and were soon recording their first single, "Long Tall Shorty": [Excerpt: The Graham Bond Organisation, "Long Tall Shorty"] They recorded a few other songs which made their way onto an EP and an R&B compilation, and toured intensively in early 1964, as well as backing up Power on his follow-up to "I Saw Her Standing There", his version of "Parchman Farm": [Excerpt: Duffy Power, "Parchman Farm"] They also appeared in a film, just like the Beatles, though it was possibly not quite as artistically successful as "A Hard Day's Night": [Excerpt: Gonks Go Beat trailer] Gonks Go Beat is one of the most bizarre films of the sixties. It's a far-future remake of Romeo and Juliet. where the two star-crossed lovers are from opposing countries -- Beatland and Ballad Isle -- who only communicate once a year in an annual song contest which acts as their version of a war, and is overseen by "Mr. A&R", played by Frank Thornton, who would later star in Are You Being Served? Carry On star Kenneth Connor is sent by aliens to try to bring peace to the two warring countries, on pain of exile to Planet Gonk, a planet inhabited solely by Gonks (a kind of novelty toy for which there was a short-lived craze then). Along the way Connor encounters such luminaries of British light entertainment as Terry Scott and Arthur Mullard, as well as musical performances by Lulu, the Nashville Teens, and of course the Graham Bond Organisation, whose performance gets them a telling-off from a teacher: [Excerpt: Gonks Go Beat!] The group as a group only performed one song in this cinematic masterpiece, but Baker also made an appearance in a "drum battle" sequence where eight drummers played together: [Excerpt: Gonks Go Beat drum battle] The other drummers in that scene included, as well as some lesser-known players, Andy White who had played on the single version of "Love Me Do", Bobby Graham, who played on hits by the Kinks and the Dave Clark Five, and Ronnie Verrell, who did the drumming for Animal in the Muppet Show. Also in summer 1964, the group performed at the Fourth National Jazz & Blues Festival in Richmond -- the festival co-founded by Chris Barber that would evolve into the Reading Festival. The Yardbirds were on the bill, and at the end of their set they invited Bond, Baker, Bruce, Georgie Fame, and Mike Vernon onto the stage with them, making that the first time that Eric Clapton, Ginger Baker, and Jack Bruce were all on stage together. Soon after that, the Graham Bond Organisation got a new manager, Robert Stigwood. Things hadn't been working out for them at Decca, and Stigwood soon got the group signed to EMI, and became their producer as well. Their first single under Stigwood's management was a cover version of the theme tune to the Debbie Reynolds film "Tammy". While that film had given Tamla records its name, the song was hardly an R&B classic: [Excerpt: The Graham Bond Organisation, "Tammy"] That record didn't chart, but Stigwood put the group out on the road as part of the disastrous Chuck Berry tour we heard about in the episode on "All You Need is Love", which led to the bankruptcy of  Robert Stigwood Associates. The Organisation moved over to Stigwood's new company, the Robert Stigwood Organisation, and Stigwood continued to be the credited producer of their records, though after the "Tammy" disaster they decided they were going to take charge themselves of the actual music. Their first album, The Sound of 65, was recorded in a single three-hour session, and they mostly ran through their standard set -- a mixture of the same songs everyone else on the circuit was playing, like "Hoochie Coochie Man", "Got My Mojo Working", and "Wade in the Water", and originals like Bruce's "Train Time": [Excerpt: The Graham Bond Organisation, "Train Time"] Through 1965 they kept working. They released a non-album single, "Lease on Love", which is generally considered to be the first pop record to feature a Mellotron: [Excerpt: The Graham Bond Organisation, "Lease on Love"] and Bond and Baker also backed another Stigwood act, Winston G, on his debut single: [Excerpt: Winston G, "Please Don't Say"] But the group were developing severe tensions. Bruce and Baker had started out friendly, but by this time they hated each other. Bruce said he couldn't hear his own playing over Baker's loud drumming, Baker thought that Bruce was far too fussy a player and should try to play simpler lines. They'd both try to throw each other during performances, altering arrangements on the fly and playing things that would trip the other player up. And *neither* of them were particularly keen on Bond's new love of the Mellotron, which was all over their second album, giving it a distinctly proto-prog feel at times: [Excerpt: The Graham Bond Organisation, "Baby Can it Be True?"] Eventually at a gig in Golders Green, Baker started throwing drumsticks at Bruce's head while Bruce was trying to play a bass solo. Bruce retaliated by throwing his bass at Baker, and then jumping on him and starting a fistfight which had to be broken up by the venue security. Baker fired Bruce from the band, but Bruce kept turning up to gigs anyway, arguing that Baker had no right to sack him as it was a democracy. Baker always claimed that in fact Bond had wanted to sack Bruce but hadn't wanted to get his hands dirty, and insisted that Baker do it, but neither Bond nor Heckstall-Smith objected when Bruce turned up for the next couple of gigs. So Baker took matters into his own hands, He pulled out a knife and told Bruce "If you show up at one more gig, this is going in you." Within days, Bruce was playing with John Mayall, whose Bluesbreakers had gone through some lineup changes by this point. Roger Dean had only played with the Bluesbreakers for a short time before Mayall had replaced him. Mayall had not been impressed with Eric Clapton's playing with the Yardbirds at first -- even though graffiti saying "Clapton is God" was already starting to appear around London -- but he had been *very* impressed with Clapton's playing on "Got to Hurry", the B-side to "For Your Love": [Excerpt: The Yardbirds, "Got to Hurry"] When he discovered that Clapton had quit the band, he sprang into action and quickly recruited him to replace Dean. Clapton knew he had made the right choice when a month after he'd joined, the group got the word that Bob Dylan had been so impressed with Mayall's single "Crawling up a Hill" -- the one that nobody liked, not even Mayall himself -- that he wanted to jam with Mayall and his band in the studio. Clapton of course went along: [Excerpt: Bob Dylan and the Bluesbreakers, "If You Gotta Go, Go Now"] That was, of course, the session we've talked about in the Velvet Underground episode and elsewhere of which little other than that survives, and which Nico attended. At this point, Mayall didn't have a record contract, his experience recording with Mike Vernon having been no more successful than the Bond group's had been. But soon he got a one-off deal -- as a solo artist, not with the Bluesbreakers -- with Immediate Records. Clapton was the only member of the group to play on the single, which was produced by Immediate's house producer Jimmy Page: [Excerpt: John Mayall, "I'm Your Witchdoctor"] Page was impressed enough with Clapton's playing that he invited him round to Page's house to jam together. But what Clapton didn't know was that Page was taping their jam sessions, and that he handed those tapes over to Immediate Records -- whether he was forced to by his contract with the label or whether that had been his plan all along depends on whose story you believe, but Clapton never truly forgave him. Page and Clapton's guitar-only jams had overdubs by Bill Wyman, Ian Stewart, and drummer Chris Winter, and have been endlessly repackaged on blues compilations ever since: [Excerpt: Jimmy Page and Eric Clapton, "Draggin' My Tail"] But Mayall was having problems with John McVie, who had started to drink too much, and as soon as he found out that Jack Bruce was sacked by the Graham Bond Organisation, Mayall got in touch with Bruce and got him to join the band in McVie's place. Everyone was agreed that this lineup of the band -- Mayall, Clapton, Bruce, and Hughie Flint -- was going places: [Excerpt: John Mayall's Bluesbreakers with Jack Bruce, "Hoochie Coochie Man"] Unfortunately, it wasn't going to last long. Clapton, while he thought that Bruce was the greatest bass player he'd ever worked with, had other plans. He was going to leave the country and travel the world as a peripatetic busker. He was off on his travels, never to return. Luckily, Mayall had someone even better waiting in the wings. A young man had, according to Mayall, "kept coming down to all the gigs and saying, “Hey, what are you doing with him?” – referring to whichever guitarist was onstage that night – “I'm much better than he is. Why don't you let me play guitar for you?” He got really quite nasty about it, so finally, I let him sit in. And he was brilliant." Peter Green was probably the best blues guitarist in London at that time, but this lineup of the Bluesbreakers only lasted a handful of gigs -- Clapton discovered that busking in Greece wasn't as much fun as being called God in London, and came back very soon after he'd left. Mayall had told him that he could have his old job back when he got back, and so Green was out and Clapton was back in. And soon the Bluesbreakers' revolving door revolved again. Manfred Mann had just had a big hit with "If You Gotta Go, Go Now", the same song we heard Dylan playing earlier: [Excerpt: Manfred Mann, "If You Gotta Go, Go Now"] But their guitarist, Mike Vickers, had quit. Tom McGuinness, their bass player, had taken the opportunity to switch back to guitar -- the instrument he'd played in his first band with his friend Eric Clapton -- but that left them short a bass player. Manfred Mann were essentially the same kind of band as the Graham Bond Organisation -- a Hammond-led group of virtuoso multi-instrumentalists who played everything from hardcore Delta blues to complex modern jazz -- but unlike the Bond group they also had a string of massive pop hits, and so made a lot more money. The combination was irresistible to Bruce, and he joined the band just before they recorded an EP of jazz instrumental versions of recent hits: [Excerpt: Manfred Mann, "(I Can't Get No) Satisfaction"] Bruce had also been encouraged by Robert Stigwood to do a solo project, and so at the same time as he joined Manfred Mann, he also put out a solo single, "Drinkin' and Gamblin'" [Excerpt: Jack Bruce, "Drinkin' and Gamblin'"] But of course, the reason Bruce had joined Manfred Mann was that they were having pop hits as well as playing jazz, and soon they did just that, with Bruce playing on their number one hit "Pretty Flamingo": [Excerpt: Manfred Mann, "Pretty Flamingo"] So John McVie was back in the Bluesbreakers, promising to keep his drinking under control. Mike Vernon still thought that Mayall had potential, but the people at Decca didn't agree, so Vernon got Mayall and Clapton -- but not the other band members -- to record a single for a small indie label he ran as a side project: [Excerpt: John Mayall and Eric Clapton, "Bernard Jenkins"] That label normally only released records in print runs of ninety-nine copies, because once you hit a hundred copies you had to pay tax on them, but there was so much demand for that single that they ended up pressing up five hundred copies, making it the label's biggest seller ever. Vernon eventually convinced the heads at Decca that the Bluesbreakers could be truly big, and so he got the OK to record the album that would generally be considered the greatest British blues album of all time -- Blues Breakers, also known as the Beano album because of Clapton reading a copy of the British kids' comic The Beano in the group photo on the front. [Excerpt: John Mayall with Eric Clapton, "Ramblin' On My Mind"] The album was a mixture of originals by Mayall and the standard repertoire of every blues or R&B band on the circuit -- songs like "Parchman Farm" and "What'd I Say" -- but what made the album unique was Clapton's guitar tone. Much to the chagrin of Vernon, and of engineer Gus Dudgeon, Clapton insisted on playing at the same volume that he would on stage. Vernon later said of Dudgeon "I can remember seeing his face the very first time Clapton plugged into the Marshall stack and turned it up and started playing at the sort of volume he was going to play. You could almost see Gus's eyes meet over the middle of his nose, and it was almost like he was just going to fall over from the sheer power of it all. But after an enormous amount of fiddling around and moving amps around, we got a sound that worked." [Excerpt: John Mayall with Eric Clapton, "Hideaway"] But by the time the album cane out. Clapton was no longer with the Bluesbreakers. The Graham Bond Organisation had struggled on for a while after Bruce's departure. They brought in a trumpet player, Mike Falana, and even had a hit record -- or at least, the B-side of a hit record. The Who had just put out a hit single, "Substitute", on Robert Stigwood's record label, Reaction: [Excerpt: The Who, "Substitute"] But, as you'll hear in episode 183, they had moved to Reaction Records after a falling out with their previous label, and with Shel Talmy their previous producer. The problem was, when "Substitute" was released, it had as its B-side a song called "Circles" (also known as "Instant Party -- it's been released under both names). They'd recorded an earlier version of the song for Talmy, and just as "Substitute" was starting to chart, Talmy got an injunction against the record and it had to be pulled. Reaction couldn't afford to lose the big hit record they'd spent money promoting, so they needed to put it out with a new B-side. But the Who hadn't got any unreleased recordings. But the Graham Bond Organisation had, and indeed they had an unreleased *instrumental*. So "Waltz For a Pig" became the B-side to a top-five single, credited to The Who Orchestra: [Excerpt: The Who Orchestra, "Waltz For a Pig"] That record provided the catalyst for the formation of Cream, because Ginger Baker had written the song, and got £1,350 for it, which he used to buy a new car. Baker had, for some time, been wanting to get out of the Graham Bond Organisation. He was trying to get off heroin -- though he would make many efforts to get clean over the decades, with little success -- while Bond was starting to use it far more heavily, and was also using acid and getting heavily into mysticism, which Baker despised. Baker may have had the idea for what he did next from an article in one of the music papers. John Entwistle of the Who would often tell a story about an article in Melody Maker -- though I've not been able to track down the article itself to get the full details -- in which musicians were asked to name which of their peers they'd put into a "super-group". He didn't remember the full details, but he did remember that the consensus choice had had Eric Clapton on lead guitar, himself on bass, and Ginger Baker on drums. As he said later "I don't remember who else was voted in, but a few months later, the Cream came along, and I did wonder if somebody was maybe believing too much of their own press". Incidentally, like The Buffalo Springfield and The Pink Floyd, Cream, the band we are about to meet, had releases both with and without the definite article, and Eric Clapton at least seems always to talk about them as "the Cream" even decades later, but they're primarily known as just Cream these days. Baker, having had enough of the Bond group, decided to drive up to Oxford to see Clapton playing with the Bluesbreakers. Clapton invited him to sit in for a couple of songs, and by all accounts the band sounded far better than they had previously. Clapton and Baker could obviously play well together, and Baker offered Clapton a lift back to London in his new car, and on the drive back asked Clapton if he wanted to form a new band. Clapton was as impressed by Baker's financial skills as he was by his musicianship. He said later "Musicians didn't have cars. You all got in a van." Clearly a musician who was *actually driving a new car he owned* was going places. He agreed to Baker's plan. But of course they needed a bass player, and Clapton thought he had the perfect solution -- "What about Jack?" Clapton knew that Bruce had been a member of the Graham Bond Organisation, but didn't know why he'd left the band -- he wasn't particularly clued in to what the wider music scene was doing, and all he knew was that Bruce had played with both him and Baker, and that he was the best bass player he'd ever played with. And Bruce *was* arguably the best bass player in London at that point, and he was starting to pick up session work as well as his work with Manfred Mann. For example it's him playing on the theme tune to "After The Fox" with Peter Sellers, the Hollies, and the song's composer Burt Bacharach: [Excerpt: The Hollies with Peter Sellers, "After the Fox"] Clapton was insistent. Baker's idea was that the band should be the best musicians around. That meant they needed the *best* musicians around, not the second best. If Jack Bruce wasn't joining, Eric Clapton wasn't joining either. Baker very reluctantly agreed, and went round to see Bruce the next day -- according to Baker it was in a spirit of generosity and giving Bruce one more chance, while according to Bruce he came round to eat humble pie and beg for forgiveness. Either way, Bruce agreed to join the band. The three met up for a rehearsal at Baker's home, and immediately Bruce and Baker started fighting, but also immediately they realised that they were great at playing together -- so great that they named themselves the Cream, as they were the cream of musicians on the scene. They knew they had something, but they didn't know what. At first they considered making their performances into Dada projects, inspired by the early-twentieth-century art movement. They liked a band that had just started to make waves, the Bonzo Dog Doo-Dah Band -- who had originally been called the Bonzo Dog Dada Band -- and they bought some props with the vague idea of using them on stage in the same way the Bonzos did. But as they played together they realised that they needed to do something different from that. At first, they thought they needed a fourth member -- a keyboard player. Graham Bond's name was brought up, but Clapton vetoed him. Clapton wanted Steve Winwood, the keyboard player and vocalist with the Spencer Davis Group. Indeed, Winwood was present at what was originally intended to be the first recording session the trio would play. Joe Boyd had asked Eric Clapton to round up a bunch of players to record some filler tracks for an Elektra blues compilation, and Clapton had asked Bruce and Baker to join him, Paul Jones on vocals, Winwood on Hammond and Clapton's friend Ben Palmer on piano for the session. Indeed, given that none of the original trio were keen on singing, that Paul Jones was just about to leave Manfred Mann, and that we know Clapton wanted Winwood in the band, one has to wonder if Clapton at least half-intended for this to be the eventual lineup of the band. If he did, that plan was foiled by Baker's refusal to take part in the session. Instead, this one-off band, named The Powerhouse, featured Pete York, the drummer from the Spencer Davis Group, on the session, which produced the first recording of Clapton playing on the Robert Johnson song originally titled "Cross Road Blues" but now generally better known just as "Crossroads": [Excerpt: The Powerhouse, "Crossroads"] We talked about Robert Johnson a little back in episode ninety-seven, but other than Bob Dylan, who was inspired by his lyrics, we had seen very little influence from Johnson up to this point, but he's going to be a major influence on rock guitar for the next few years, so we should talk about him a little here. It's often said that nobody knew anything about Robert Johnson, that he was almost a phantom other than his records which existed outside of any context as artefacts of their own. That's... not really the case. Johnson had died a little less than thirty years earlier, at only twenty-seven years old. Most of his half-siblings and step-siblings were alive, as were his son, his stepson, and dozens of musicians he'd played with over the years, women he'd had affairs with, and other assorted friends and relatives. What people mean is that information about Johnson's life was not yet known by people they consider important -- which is to say white blues scholars and musicians. Indeed, almost everything people like that -- people like *me* -- know of the facts of Johnson's life has only become known to us in the last four years. If, as some people had expected, I'd started this series with an episode on Johnson, I'd have had to redo the whole thing because of the information that's made its way to the public since then. But here's what was known -- or thought -- by white blues scholars in 1966. Johnson was, according to them, a field hand from somewhere in Mississippi, who played the guitar in between working on the cotton fields. He had done two recording sessions, in 1936 and 1937. One song from his first session, "Terraplane Blues", had been a very minor hit by blues standards: [Excerpt: Robert Johnson, "Terraplane Blues"] That had sold well -- nobody knows how well, but maybe as many as ten thousand copies, and it was certainly a record people knew in 1937 if they liked the Delta blues, but ten thousand copies total is nowhere near the sales of really successful records, and none of the follow-ups had sold anything like that much -- many of them had sold in the hundreds rather than the thousands. As Elijah Wald, one of Johnson's biographers put it "knowing about Johnson and Muddy Waters but not about Leroy Carr or Dinah Washington was like knowing about, say, the Sir Douglas Quintet but not knowing about the Beatles" -- though *I* would add that the Sir Douglas Quintet were much bigger during the sixties than Johnson was during his lifetime. One of the few white people who had noticed Johnson's existence at all was John Hammond, and he'd written a brief review of Johnson's first two singles under a pseudonym in a Communist newspaper. I'm going to quote it here, but the word he used to talk about Black people was considered correct then but isn't now, so I'll substitute Black for that word: "Before closing we cannot help but call your attention to the greatest [Black] blues singer who has cropped up in recent years, Robert Johnson. Recording them in deepest Mississippi, Vocalion has certainly done right by us and by the tunes "Last Fair Deal Gone Down" and "Terraplane Blues", to name only two of the four sides already released, sung to his own guitar accompaniment. Johnson makes Leadbelly sound like an accomplished poseur" Hammond had tried to get Johnson to perform at the Spirituals to Swing concerts we talked about in the very first episodes of the podcast, but he'd discovered that he'd died shortly before. He got Big Bill Broonzy instead, and played a couple of Johnson's records from a record player on the stage. Hammond introduced those recordings with a speech: "It is tragic that an American audience could not have been found seven or eight years ago for a concert of this kind. Bessie Smith was still at the height of her career and Joe Smith, probably the greatest trumpet player America ever knew, would still have been around to play obbligatos for her...dozens of other artists could have been there in the flesh. But that audience as well as this one would not have been able to hear Robert Johnson sing and play the blues on his guitar, for at that time Johnson was just an unknown hand on a Robinsonville, Mississippi plantation. Robert Johnson was going to be the big surprise of the evening for this audience at Carnegie Hall. I know him only from his Vocalion blues records and from the tall, exciting tales the recording engineers and supervisors used to bring about him from the improvised studios in Dallas and San Antonio. I don't believe Johnson had ever worked as a professional musician anywhere, and it still knocks me over when I think of how lucky it is that a talent like his ever found its way onto phonograph records. We will have to be content with playing two of his records, the old "Walkin' Blues" and the new, unreleased, "Preachin' Blues", because Robert Johnson died last week at the precise moment when Vocalion scouts finally reached him and told him that he was booked to appear at Carnegie Hall on December 23. He was in his middle twenties and nobody seems to know what caused his death." And that was, for the most part, the end of Robert Johnson's impact on the culture for a generation. The Lomaxes went down to Clarksdale, Mississippi a couple of years later -- reports vary as to whether this was to see if they could find Johnson, who they were unaware was dead, or to find information out about him, and they did end up recording a young singer named Muddy Waters for the Library of Congress, including Waters' rendition of "32-20 Blues", Johnson's reworking of Skip James' "Twenty-Two Twenty Blues": [Excerpt: Muddy Waters, "32-20 Blues"] But Johnson's records remained unavailable after their initial release until 1959, when the blues scholar Samuel Charters published the book The Country Blues, which was the first book-length treatment ever of Delta blues. Sixteen years later Charters said "I shouldn't have written The Country Blues when I did; since I really didn't know enough, but I felt I couldn't afford to wait. So The Country Blues was two things. It was a romanticization of certain aspects of black life in an effort to force the white society to reconsider some of its racial attitudes, and on the other hand it was a cry for help. I wanted hundreds of people to go out and interview the surviving blues artists. I wanted people to record them and document their lives, their environment, and their music, not only so that their story would be preserved but also so they'd get a little money and a little recognition in their last years." Charters talked about Johnson in the book, as one of the performers who played "minor roles in the story of the blues", and said that almost nothing was known about his life. He talked about how he had been poisoned by his common-law wife, about how his records were recorded in a pool hall, and said "The finest of Robert Johnson's blues have a brooding sense of torment and despair. The blues has become a personified figure of despondency." Along with Charters' book came a compilation album of the same name, and that included the first ever reissue of one of Johnson's tracks, "Preaching Blues": [Excerpt: Robert Johnson, "Preaching Blues"] Two years later, John Hammond, who had remained an ardent fan of Johnson, had Columbia put out the King of the Delta Blues Singers album. At the time no white blues scholars knew what Johnson looked like and they had no photos of him, so a generic painting of a poor-looking Black man with a guitar was used for the cover. The liner note to King of the Delta Blues Singers talked about how Johnson was seventeen or eighteen when he made his recordings, how he was "dead before he reached his twenty-first birthday, poisoned by a jealous girlfriend", how he had "seldom, if ever, been away from the plantation in Robinsville, Mississippi, where he was born and raised", and how he had had such stage fright that when he was asked to play in front of other musicians, he'd turned to face a wall so he couldn't see them. And that would be all that any of the members of the Powerhouse would know about Johnson. Maybe they'd also heard the rumours that were starting to spread that Johnson had got his guitar-playing skills by selling his soul to the devil at a crossroads at midnight, but that would have been all they knew when they recorded their filler track for Elektra: [Excerpt: The Powerhouse, "Crossroads"] Either way, the Powerhouse lineup only lasted for that one session -- the group eventually decided that a simple trio would be best for the music they wanted to play. Clapton had seen Buddy Guy touring with just a bass player and drummer a year earlier, and had liked the idea of the freedom that gave him as a guitarist. The group soon took on Robert Stigwood as a manager, which caused more arguments between Bruce and Baker. Bruce was convinced that if they were doing an all-for-one one-for-all thing they should also manage themselves, but Baker pointed out that that was a daft idea when they could get one of the biggest managers in the country to look after them. A bigger argument, which almost killed the group before it started, happened when Baker told journalist Chris Welch of the Melody Maker about their plans. In an echo of the way that he and Bruce had been resigned from Blues Incorporated without being consulted, now with no discussion Manfred Mann and John Mayall were reading in the papers that their band members were quitting before those members had bothered to mention it. Mayall was furious, especially since the album Clapton had played on hadn't yet come out. Clapton was supposed to work a month's notice while Mayall found another guitarist, but Mayall spent two weeks begging Peter Green to rejoin the band. Green was less than eager -- after all, he'd been fired pretty much straight away earlier -- but Mayall eventually persuaded him. The second he did, Mayall turned round to Clapton and told him he didn't have to work the rest of his notice -- he'd found another guitar player and Clapton was fired: [Excerpt: John Mayall's Bluesbreakers, "Dust My Blues"] Manfred Mann meanwhile took on the Beatles' friend Klaus Voorman to replace Bruce. Voorman would remain with the band until the end, and like Green was for Mayall, Voorman was in some ways a better fit for Manfred Mann than Bruce was. In particular he could double on flute, as he did for example on their hit version of Bob Dylan's "The Mighty Quinn": [Excerpt: Manfred Mann "The Mighty Quinn"] The new group, The Cream, were of course signed in the UK to Stigwood's Reaction label. Other than the Who, who only stuck around for one album, Reaction was not a very successful label. Its biggest signing was a former keyboard player for Screaming Lord Sutch, who recorded for them under the names Paul Dean and Oscar, but who later became known as Paul Nicholas and had a successful career in musical theatre and sitcom. Nicholas never had any hits for Reaction, but he did release one interesting record, in 1967: [Excerpt: Oscar, "Over the Wall We Go"] That was one of the earliest songwriting attempts by a young man who had recently named himself David Bowie. Now the group were public, they started inviting journalists to their rehearsals, which were mostly spent trying to combine their disparate musical influences --

Brad Mehldau - Your Mother Should Know: Brad Mehldau Plays The Beatles Nonesuch Records | Febrero 10, 2023 1. I Am The Walrus 4:14 2. Your Mother Should Know 2:18 3. I Saw Her Standing There 3:54 4. For No One 2:28 5. Baby's In Black 7:19 6. She Said, She Said 2:42 7. Here, There And Everywhere 3:58 8. If I Needed Someone 2:25 9. Maxwell's Silver Hammer 6:42 10. Golden Slumbers 8:17 11. Life On Mars? 4:09 El álbum en directo incluye las interpretaciones del pianista y compositor de nueve canciones de John Lennon y Paul McCartney y una de George Harrison. Aunque otras canciones de los Beatles son habituales en los conciertos en solitario y en trío de Mehldau, éste no había grabado antes ninguna de las canciones de Your Mother Should Know. El álbum termina con un clásico de David Bowie que establece una conexión entre los Beatles y los compositores pop que les siguieron. Your Mother Should Know se grabó en septiembre de 2020 en la Philharmonie de París. //////////////////////////////////////////////////

# 삶의 목표가 있다면 이를 이룰 ‘체력'을 먼저 길러야 ♪ Mickey- Toni Basil # 뉴스 Good & Bad feat. 박혜진 기자 심한 가뭄에 물부족 직격탄 맞은 여수 산단 국가가 은둔형 외톨이 청소년 지원한다 # 시간을 달리는 음악 (1) - 김경진 음악평론가 # The Beatles - Please Please Me (1963) # 비틀즈의 첫 번째 스튜디오 앨범이자 기념비적인 데뷔 음반. 1963년 3월 22일 발매 - Love Me Do (2:19) - I Saw Her Standing There (2:52) - Please Please Me (2:00) - P.S. I Love You (2:02) - Baby It's You (2:35) - Twist And Shout (2:33)

Join me as I put the first two Beatles albums PleasePlease Me and With the Beatles up against each other.I'll be comparing them song by song, I Saw Her Standing There vs It Won't Be Long will be first and the final head to head will be Twist and Shout vs Money (That's What I Want). Going to be hard.

"I Saw Her Standing There" de la nueva grabación en solitario de Brad Mehldau: Your Mother Should Know: Brad Mehldau Plays The Beatles (Nonesuch, 2023) suena en JazzX5. JazzX5 es un podcast de Pachi Tapiz.

SUMMARY Welcome to STRANGE BEDFELLOWS, an AKOM series about Yoko Ono and Paul McCartney after John Lennon's death. Episode 1 delves deep into the 1980s! Discussed in this episode: Paul's grief and Yoko's peculiar comments in the aftermath of John's death, Yoko's kindness towards Paul and his efforts to reciprocate, Paul's failed attempt to recover the Lennon/McCartney catalog, the McCartney/Ono origin story, the burgeoning Lennon Industry, a lawsuit, an award, a tribute concert and more. It all culminates in a pivotal transition in Paul's public tone about John moving into the 90s. SOURCES Paul McCartney The Life, Philip Norman (2016) Yoko Ono, interview w/ Philip Norman for Sunday Times: Life after John. (May 25, 1981) Yoko Ono, Rolling Stone: Yoko: An intimate conversation. (October 1, 1981) Joe Hagan, Sticky Fingers: The Life and Times of Jann Wenner & Rolling Stone Magazine. (2017) Hunter Davies, THE BEATLES (originally published 1968; afterword printed 1985) Paul McCartney, interview w/ Ray Bonici for Music Express. (May, 1982) McCartney Today, The Sunday Express Magazine (October 21, 1984) Paul McCartney Interview: Playboy magazine (December, 1984) Paul McCartney Interview for The Magazine (January 20, 1985) Paul McCartney Interview 1984 (sound clip) Paul McCartney, interview w/ Chris Salewicz for Musician: Tug of war – Paul McCartney wants to lay his demons to rest. (October, 1986) Paul McCartney, interview w/ Anthony DeCurtis for Rolling Stone: The Paul McCartney interview. (November 5, 1987) Imagine, film by Andrew Solt (1988) Andrew Solt (filmmaker), Chicago Sun-Times: Director focuses on man & music, not the myth. (October 9, 1988) Paul McCartney interview with DJ Mike Reed (1989) Paul McCartney w/ Kurt Loder “Famous Last Words” MTV (October 19, 1990) Interview w/ Yoko Ono, BBC Radio #6 (1990) John Lennon Tribute Concert (1990): https://youtu.be/f3MSBKg74F4 PLAYLIST Every Man Has a Woman Who Loves Him YOKO ONO (1980) Tug of War PAUL McCARTNEY (1982) Just Like Starting Over JOHN LENNON (1980) No More Lonely Nights PAUL McCARTNEY (1984) The Honorary Consul PAUL McCARTNEY (1984) Say Say Say PAUL McCARTNEY & MICHAEL JACKSON (1983) Simple as That PAUL McCARTNEY (1983) Move Over Busker PAUL McCARTNEY (1986) However Absurd PAUL McCARTNEY (1986) I'm Moving On YOKO ONO (1980) Imagine JOHN LENNON (1971) I Saw Her Standing There (live) THE ANGLO-AMERICAN ROCK FRATERNITY (1988) Imagine ELTON JOHN (1990) This One PAUL McCARTNEY (1989)

From humble and modest beginnings to redefining 60s and classic rock, Rich Chambers' musical story is not unlike that of countless other musicians, or anyone in any career for that matter. Discovering a passion for the guitar at age 10, and an even greater passion for songwriting at 14, he embarked on a life-long commitment to music and songwriting. Like any successful individual, he is all about commitment, dedication, hard work, maintaining perspective, and believing in himself.  Chambers' journey has not been without its bumps though. After completing high school, he was so sure he would be the next big thing, until countless nights playing in many cheesy dives, for at best a round or two of cheap draught beer, taught him otherwise. It was then he made an important, life-changing decision—he went back to school, which eventually led to a bachelor's degree in English and later a master's degree in Humanities. As Chambers so enthusiastically always says, “education rocks!”  Along the way, Chambers' rock n' roll journey always kept moving. As a solo artist, and previously with his band Half-Hour Late, he released numerous albums and singles. His most successful song to date, has been his cover of "Snow Miser vs. Heat Miser" from his first album, ‘Santa's Rockin' Band,' which was released soon after his first university graduation in the days before Spotify and on-line music sales and streaming. Once iTunes hit, and later Spotify, “Snow Miser vs. Heat Miser” began to really resonate with people and rise in popularity. It has since been downloaded over 18,000 times in the last ten years and streamed approximately 900,000 times in the past three. The song became the cornerstone of his 2020 ‘Santa's Rockin' Band' album reboot, which also included a newly penned original, “It's Christmas Time (All Over the World),” which went on to attain over 250,000 streams on Spotify alone in the last two months of 2020.  Following on the heels of his successful 2020 Christmas album, Chambers has been consistently and methodically releasing new original music throughout 2021 and into 2022. His socially conscious rocker, “I'm So Tired,” came out in January, accompanied by a hard-hitting video brimming with thought provoking social commentary (the video continues to receive accolades from film festivals around the globe). This was followed in the spring with his mid-tempo, love gone wrong, “Sorry Isn't Good Enough.” His summertime release was “Summer Looks So Good On You,” a Beach Boys meets Katrina and the Waves fun and sing-alongable offering, which was followed by his fall release, “High School Can't Last Forever,” a rocker that merges the sounds of Buddy Holly and Green Day to explore the notion of what really constitutes youth and innocence, and he completed the year with his release, “I Wonder,” an infectious, almost bubble gum pop/rock song that Chambers likes to simply call a “musical guilty pleasure.” His first release of 2022 was his cover of the Beatles' “I Saw Her Standing There, ” which he has now followed up with  “You're a Nice Guy But…,” a song that has fun with every cheezie break-up line delivered to us by a boyfriend or girlfriend trying to let us down easy. aka dump us!  With bombastic guitars and a vocal style that oozes rock n' roll. Rich Chambers is giving us something that rock n' roll has not seen in quite some time—energy and fun. It's Rock n' Roll Reimagined. richchambers.com   ***Head on over to Creatrix Compass and explore our many offerings from free inspiration to get your creative juices flowing to creativity classes to creativity coaching and life coaching for creatives.  It can all be found at: https://www.creatrixcompass.com Your donation helps us continue to spread creativity throughout the land.  Thank you! https://www.paypal.com/donate?hosted_button_id=2PM3V82XDS7GA  Music: Good Friends Inc by Jonathan Boyle 

You go for weeks without many real Beatles classics coming along, and then three turn up at once! It's getting tougher towards the end, as this week I Want To Hold Your Hand, Ticket to Ride and I Saw Her Standing There are put forward. Two must fall, so that one may live. Pray for us. 

Rich Chambers - Songwriter/Producer/Musician/Singer Does anyone still use the term "rock n' roll" anymore? Rich Chambers certainly does. In fact, he specializes in it, bringing us all the fun, excitement, and energy from the early days of rock n' roll in a uniquely fresh way built specifically for the 2020s.  Starting with the 2019 release of his Christmas album, “Santa's Rockin' Band,” Rich has been on a roll. His Christmas album produced one single, “the Snow Miser vs. Heat Miser,” which has been streamed more than one million times on Spotify to date. Following this has been six single releases beginning in January 2021, including his film festival award-winning video for his rock original, "I'm So Tired,” which has received accolades in over 50 film festivals across the globe for its hard-hitting social commentary. His most recent release is his guitar-driven version of the Beatles, “I Saw Her Standing There,” which debuted in March 2022 to high critical acclaim.  Rich's music videos have received a combined total of well over 500,000 views, and his Spotify streaming is clocking in at approximately 25,000 listeners a month and growing. With more single and album releases planned for 2022, Chambers is making his mark as a rock n' roll artist to watch for. As one music journalist recently said in the FLEX music blog about Chambers, who hails from Langley, British Columbia: "One of Canada's best-kept secrets, Rich Chambers could easily become a household name in a matter of months!" With bombastic guitars and a vocal style that oozes rock n' roll. Rich Chambers is giving us something that rock n' roll has not seen in quite some time—energy and fun. It's Rock n' Roll Reimagined. https://richchambers.com/ https://www.facebook.com/richchambersrocknroll https://www.instagram.com/richchambersrocknroll/ https://www.youtube.com/c/RichChambers (https://www.youtube.com/c/RichChambers) www.marlanasemenza.com Audio : Ariza Music Productions Transcription : Vision In Word Marlana   Does anyone still use the term rock and roll anymore, or chamber certainly does. In fact, he specializes in it bringing us all the fun excitement and energy from the early days of rock and roll in a uniquely fresh way built specifically for today, which is a songwriter, producer, musician and singer, whose music videos have received well over half a million views and his Spotify at approximately 25,000 listeners a month and growing with more single and album releases planned for 2022 chambers is making his mark as a rock and roll artist to watch for. Welcome Rich!  Rich Hey! Thanks for that. That's a cool introduction. I like that. Thank you. Marlana   What makes your story a bit unique is that you're actually circling back around to a passion that you couldn't let go of. So, talk to us a little bit about that. Rich Correct. I mean, I'm a middle-aged rocker. And it's like most musicians, I've been doing this since I was a little kid, I picked up the guitar at 10 and started writing songs of fourteen. And that's where I got absolutely hooked, songwriting was what did it for me. If it weren't for songwriting, I would just be a hobbyist guitar player and singer, but you put songwriting in the mix, and I went nuts with it. And that's been one of my huge passions is but like many, you know, life journeys, things happen. And when I got out of high school, I was going to be the next rock star. A few cheesy days later, and about a year into that I realize, oh, this is going nowhere. I didn't want the smartest things I could have ever done when I went back to school. And then I pursued went further on as a kid very barely passed high school, I finished a bachelor's degree, a master's degree in it for a while was actually toying with PhD work. And it's pretty good considering I barely...

This week Tim Rogner of Allister makes his second PCH appearance and this time we discuss the bands 2002 sophomore record Last Stop Suburbia for it's 20th anniversary. We discuss:- Recording at a studio on the beach- Why Last Stop Suburbia feels like the bands proper debut to Tim- Playing Four Chord Music Fest in September- The possibilities of Allister ever writing another record- Not overthinking catchy three chord punk- Promo shots that look photoshopped but are actually just wild skies at a Warped Tour in Florida- Which Allister record is Tim's favorite- 2012's Life Behind Machines turning ten this year- Touring so much you don't have time to write a follow up- How Last Stop Suburbia stands against other Drive-Thru Records releases of the time & much more!Follow Tim/Allisterhttps://www.facebook.com/AllisterBandhttps://www.instagram.com/timallisterhttps://twitter.com/humbugrogCheck out the Power Chord Hour radio show every Friday night at 10 to midnight est on 107.9 WRFA in Jamestown, NY. Stream the station online at wrfalp.com/streaming/ or listen on the WRFA app.powerchordhour@gmail.comInstagram - www.instagram.com/powerchordhourTwitter - www.twitter.com/powerchordhourFacebook - www.facebook.com/powerchordhourYoutube - www.youtube.com/channel/UC6jTfzjB3-mzmWM-51c8LggSpotify Episode Playlists - https://open.spotify.com/user/kzavhk5ghelpnthfby9o41gnr?si=4WvOdgAmSsKoswf_HTh_MgDonate to help show costs - https://www.paypal.com/paypalme/pchanthony

80 års fødselsdagen lurer lige om hjørnet for Paul McCartney.   Det føles uvirkeligt at konstatere at han runder det hjørne, men naturligvis tager "Elsker The Beatles" flagene og lysene frem til at fejre den store dag den 18. juni.   I tre episoder kommer det til at handle om "Macca", for anledningen er god, med den store, runde fødselsdag.   Og vi tager udgangspunkt i det vigtigste, nemlig musikken. I denne episode tager Per Wium os med til sit musikforedrag om Paul McCartney's musikalske rolle t The Beatles.   En rejse fra "I Saw Her Standing There" til "Golden Slumbers". En historie om innovation, udvikling, grænse-skubning, dobbelte bastoner, skønne harmonier, komponist konkurrence, og en hyper- musikalsk mand, der gennem tiden i The Beatles konstant søgte fremad.   Podcasten er et ekstrakt af Pers musikforedrag, og rummer masser af gode lydeksempler fra Beatles-kataloget.   Per Wium er blandt fakkelbærerne i Beatles-Danmark.  Han er musiker og lige aktiv som forfatter, foredragsholder, medlem af bandet "Something", og lige nu også aktuel i samarbejdet med Bel Canto koret. Du kan finde Per på Facebook: https://www.facebook.com/Beatlesforalle   https://www.facebook.com/search/top?q=per%20wium%20-%20musikforedrag    

And here are your finalists for The Greatest Song of the 60's!!1. I Saw Her Standing There by The Beatles2. Wouldn't It Be Nice by The Beach Boys3. Hey Jude by The Beatles4. Fortunate Son by Creedence Clearwater RevivalVote on your favorite of "The Greatest Songs of the 60's" finalists

On this day in 1963, The Beatles debut album, Please Please Me, hit number 1 on the UK album chart! Containing iconic songs like "Love Me Do", "I Saw Her Standing There" and "Twist and Shout", the album still holds the record for the longest time spent at number 1 by a group. With me to talk all about this is Brad Page from the "I'm In Love With That Song" podcast.Check out "I'm In Love With That Song" on the Pantheon Podcast network and is available to listen to and download on all good podcast platforms.

On this day in 1963, The Beatles debut album, Please Please Me, hit number 1 on the UK album chart! Containing iconic songs like "Love Me Do", "I Saw Her Standing There" and "Twist and Shout", the album still holds the record for the longest time spent at number 1 by a group. With me to talk all about this is Brad Page from the "I'm In Love With That Song" podcast. Check out "I'm In Love With That Song" on the Pantheon Podcast network and is available to listen to and download on all good podcast platforms. Learn more about your ad choices. Visit megaphone.fm/adchoices

With the appearance of the Kirin Dry Gigs from 1988 appearing on YouTube earlier this year, a long-lost footnote in Billy Joel history has finally resurfaced.    This one-off gig in Japan finds Billy performing with just one member of his longtime touring band. They're joined by players who performed on other tours in the 80s, musicians who would go on to tour with Billy in support of Storm Front, and a few guests who would only share the stage this one time.    That combination of musicians makes BIlly's only major concert appearance from this year a unique and intriguing listen. The arrangements stay close to the Bridge tour and Russia shows, but streamline in places and stray in others.    And, the discerning ear may even notice a mistake or two from the temporary ensemble.    Join us, as we dig deep into BIlly's show at the Tokyo Domein Japan on July 24, 1988.   Date: July 14, 1988 City/Country: Tokyo, Japan Venue: Tokyo Dome Event/Festival: Kirin Dry Gigs '88   The band: Billy Joel - Vocals, Piano, Keyboards, Guitar Liberty DeVitto - Drums David Lebolt - Keyboards Schuyler Deale - Bass Peter Hewlett - Rhythm Guitar, Vocals John McCurry - Lead Guitar Eric Bazilian - Saxophone   The Setlist:  A Matter of Trust Pressure Miami 2017 (Seen The Lights Go Out On Broadway) Honesty The Stranger An Innocent Man Big Man On Mulberry Street Only The Good Die Young It's Still Rock And Roll To Me You May Be Right Big Shot My Life Keeping The Fatih Back In The U.S.S.R. I Saw Her Standing There   ------     Email us: glasshousespodcast@gmail.com     Glass Houses - A Billy Joel Podcast on the web / social media: Website: http://www.glasshousespod.com Facebook: https://www.facebook.com/glasshousespodcast/ Instagram: https://www.instagram.com/glasshousespod/ Twitter: https://twitter.com/glasshousespod      Support the podcast: Paypal: https://paypal.me/glasshousespod Venmo: @MGrosvenor  

#100-96Intro/Outro: Runaway by Del Shannon100. I Saw Her Standing There by The Beatles *99. I Can't Explain by The Who98. Wild Thing by The Troggs97. Suzanne by Leonard Cohen96. You Can't Always Get What You Want by The Rolling Stones *Vote on your favorite song from today's episodeVote on your favorite song from Week 4 of the 50'sThe twelve lists used: Pitchfork, NME, U Discover Music, Fourth Estate Audio, Paste, Bacoben's, Digital Dream Door, Rolling Stone Magazine, Amazon, Acclaimed Music, Cleveland Hall of Fame, Soul Tracks* - Previously played on the podcast

This week, hosts Jim DeRogatis and Greg Kot celebrate the age-old tradition of the music review. First, they give their thoughts on records from Curtis Harding, Maren Morris and Superchunk. Then, they revisit their conversation with music journalist Jaan Uhelszki about the legendary CREEM magazine. They also hear from Snail Mail about the origin of her song "Forever (Sailing.)" Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lURecord a Voice Memo: https://bit.ly/2RyD5Ah Featured Songs:Maren Morris, "Circles Around This Town," Humble Quest, Columbia Nashville, 2022Curtis Harding, "Hopeful," If Words Were Flowers, Anti-, 2021Curtis Harding, "Can't Hide It," If Words Were Flowers, Anti-, 2021Curtis Harding, "Where's the Love," If Words Were Flowers, Anti-, 2021Superchunk, "City of the Dead," Wild Loneliness, Merge, 2022Superchunk, "Endless Summer," Wild Loneliness, Merge, 2022Superchunk, "If You're Not Dark," Wild Loneliness, Merge, 2022Superchunk, "This Night," Wild Loneliness, Merge, 2022Maren Morris, "Nervous," Humble Quest, Columbia Nashville, 2022Maren Morris, "I Can't Love You Anymore," Humble Quest, Columbia Nashville, 2022Maren Morris, "Humble Quest," Humble Quest, Columbia Nashville, 2022MC5, "Kick Out the Jams," Kick Out the Jams, Elektra, 1969Kiss, "Rock and Roll All Nite," Dressed to Kill, Casablanca, 1975Slade, "Cum on Feel the Noize," Sladest, Polydor, 1973The Stooges, "I Wanna Be Your Dog," The Stooges, Elektra, 1969Led Zeppelin, "Dazed and Confused," Led Zeppelin, Atlantic, 1969The Beatles, "I Saw Her Standing There," Please Please Me, Parlophone, 1963Snail Mail, "Valentine," Valentine, Matador, 2021Madleen Kane, "You and I," Cheri, JVCKenwood Victor Entertainment, 1979Snail Mail, "Forever (Sailing)," Valentine, Matador, 2021Pure Prairie League, "Amie," Bustin' Out, RCA Victor, 1972

Billy Joe Shaver "If I Give My Soul"Big Mama Thornton "Wade In The Water"Drag the River "Here's to the Losers"Craig Finn "Ninety Bucks"Jenny Lewis With The Watson Twins "Rise Up with Fists!!"Bettye LaVette "I Hold No Grudge"Jack Logan "Metropolis"Slim Dunlap "From the Git Go"The Jesters "Jim Dandy And Sweet Sixteen"Nikki Lane "Right Time"Johnny Cash "The Walls of a Prison"Johnny Cash "Going to Memphis"Sugar Pie Desanto "I Want To Know"Tom Petty & The Heartbreakers "Walls (Circus)"Patti Smith, Thurston Moore and Lenny Kaye "The Last Hotel"Kevn Kinney "Kerouac"Michael Stipe "My Gang"R.E.M. "Near Wild Heaven"Better Oblivion Community Center "My City"Vic Chesnutt "Sleeping Man"Langhorne Slim & The Law "The Way We Move"Jay Farrar, Will Johnson, Yim Yames "Chorine My Sheba Queen"Ron Miles "Custodian Of The New"Dr. John "Little Liza Jane"The Como Mamas "Out of the Wilderness"Brittany Howard "He Loves Me"John Hammond, Jr. "Can't Beat the Kid"Allen Toussaint "Southern Nights"Bob Dylan "Going, Going, Gone"Bonnie Raitt "What Is Success"Steve Earle "Guitar Town"The Bottle Rockets "Indianapolis"Gillian Welch "White Freightliner Blues"Guy Clark "Old Friends"Jerry Garcia "I Saw Her Standing There"The Hold Steady "The Weekenders"Curtis Harding "Cruel World"Saun & Starr "Your Face Before My Eyes"Cedric Burnside "Get Down"Naomi Shelton "Humble Me"Valerie June "If And"Townes Van Zandt "Come Tomorrow"Have Gun, Will Travel "True Believers"

Vamos con la historia del que fue el primer y ansiado número uno de John Lennon como solista. Whatever Gets You Thru The Night de 1974. Ricardo Portmán nos cuenta todo lo que hay detrás de sus sonidos. Escucharemos Whatever Gets You Thru The Night, Whatever Gets You Thru The Night (outtake de julio de 1974 en los Sunset Sound, L.A.), Whatever Gets You Thru The Night, Lucy In The Sky With Diamonds, I Saw Her Standing There (las tres en vivo con Elton John en el Madison Square Garden en noviembre de 1974) y Beef Jerky. Recuerden que nuestros programas los pueden escuchar también en nuestra web https://ecosdelvinilo.com y en la emisora https://distanciaradio.com (Córdoba) los miércoles a las 18:00 y domingos a las 23:00.

Hello hello hello and welcome to the Better Each Day podcast where recording artists' share their backstories and their music and any embarrassing moments they care to share. I'm Bruce Hilliard and thank you for being here. The '60s — an era when television was still a modern marvel, and viewers only had a few channels to choose from — TV variety shows were one of the most important influences of pop culture. Thus, Beatles fans were especially eager to show their support for their favorite boys by watching them on the small screen whenever they scored a televised gig. The band's February 9, 1964 performance on The Ed Sullivan Show was a particularly historic moment. According to the show's official website, it was their first live American television appearance.  The boys played five of their most popular songs at the time: "All My Loving," "Till There Was You," "She Loves You," "I Saw Her Standing There," and "I Want to Hold Your Hand." The performance drew 73 million people to their TV screens. I love the song list because it starts out with an up tempo, new to American ears “All My Loving” and immediately segues into “Till There Was You”, a ballad from a popular broadway hit and movie…a song that would prevent the parents from switching the TV to Disney.  It worked like nothing our generation could have ordered from a genie. Annoying enough parents (check), introducing new music (check) and making it look so f'ing fun and easy everyone watching wanted to be part of it. When I say “annoying the parents” I mean that in a way that points out that the Beatles never harshed anyone and didn't intend Armageddon by wearing their hair a hair longer than the normal Brylcreem buzz of the day and the radical suits and ties. Punkers in a tux. In honor of the iconic broadcast's 58th anniversary in 2022, the Better Each Day Podcast collected snips from the anals (I shouldn't go for that one any more) of time for a scrapbook of memorabilia. We had just witnessed a seismic cultural shift."  Fans started their own unofficial clubs, as well. Many of them amassed private collections of Beatles memorabilia. One Oregon club possessed a whopping "30 Beatle books, 9 Beatle records, over 2,000 Beatle bubblegum cards (some are duplicates) and 3,000 Beatles pictures." Beatles fans who wanted to show off their affinity for the band with merch had a vast array of products to choose from. According to Consequence of Sound, in 1964, the Wall Street Journal declared that Beatlemaniacs across America were buying "Beatle wigs, Beatle dolls, Beatle egg cups and Beatle T-shirts, sweatshirts and narrow-legged pants." Beatle wigs? That's right. Plenty of the band's biggest admirers saw them as the perfect accessory to sport at concerts. The pop-on mop-tops were so popular that Lowell Toy Company, their officially licensed manufacturer, once told a reporter, "We're turning out about 15,000 a day, but we've got a backlog of 500,000 orders."  The wigs were only the tip of the iceberg. According to American Profile, young Beatles lovers in the '60s could also purchase officially licensed Beatles Halloween costumes, complete with flame-retardant masks. Beatles-themed board games, stockings printed with the boys' faces, Beatles-branded hairspray, and "Big Beat Beatles Bongos" were available, as well. My personal goal is to become famous, say something the journalist can spin, make everyone like me and have a Pez dispenser mass produced in my likeness. Accents and trends: Start with kids. Someone didn't come here from England in the 1700s and suddenly proclaim (with a thick southern accent) “Hey there whisker biscuit, what say we pop a few poppers and Q up some ribs!” No. It's the next generation of Americans, those little snots, that lead our societies off on their new journeys to the latest ways. In this case, there had been a world war just over a decade prior, our president had been...

En Este Episodio de la nueva modalidad del podcast hablaré de John Lennon Antes de ser un Beatle y de la cancion del Album Please Please me I Saw Her Standing There.

We'll Be Back Next Week! In The Meantime, Here's Our Return To The U.S. From Cuba.Jerry, Jene and Megan went to Cuba last week — in this podcast, they recap the highlights of the trip, which include: -Jerry not being recognized by many Cubans because his show isn't on there. So Casey became the star. -Where was Megan for 28 hours? And why did they almost keep her in Cuba at the very end? -Jene was the most invisible member of the delegation who said very little. (Remember, team, what is said in Cuba STAYS in Cuba!) -Jerry said to a ranking government official at dinner, “You want some?” -Jerry singing “I Saw Her Standing There” on the Malecon Wall with a crowd gathering to hear but no one knowing he's a US celebrity. He earned their love with talent. -The “ranking govt. official “ who told us at dinner about being jailed, tortured and exiled by Batista for 11 days before returning when the revolution was won and Fidel, Che, Raul and others paraded into Havana victorious, and going sleepless for 8 days among a jubilant celebration. -Realizing that music is the universal language. See acast.com/privacy for privacy and opt-out information.

26 tháng 12 là ngày gì? Hôm nay là ngày Boxing Day SỰ KIỆN 1963 – Các nhạc phẩm "I Want to Hold Your Hand" và "I Saw Her Standing There" của The Beatles được phát hành tại Hoa Kỳ, khởi đầu hiện tượng Beatlemania ở cấp độ quốc tế. 1898 – Phát hiện của Marie Curie và Pierre Curie về radi được công bố cho viện Hàn lâm Khoa học Pháp. 1982 – Trong số các nhân vật của năm của Tạp chí Time, lần đầu tiên xuất hiện một ảnh bìa tạp chí không phải con người, đó là máy tính cá nhân. 1975 - Tu-144 , máy bay siêu thanh thương mại đầu tiên trên thế giới , vượt qua tốc độ Mach 2 , đi vào hoạt động. 1860 – Trận đấu bóng đá đầu tiên giữa các câu lạc bộ diễn ra giữa Hallam F.C. và Sheffield F.C. tại Sheffield, Anh Quốc. Ngày lễ và kỷ niệm Boxing Day: là ngày sau ngày Giáng sinh, thời điểm mà những người được yêu thương sẽ nhận quà, với tên gọi ""Hộp quà Giáng sinh"" từ người yêu của mình Sinh 1867 – Phan Bội Châu, nhà hoạt động chính trị người Việt Nam (m. 1940) 1990 – Aaron Ramsey, cầu thủ bóng đá người xứ Wales. Anh hiện đang chơi cho câu lạc bộ Juventus và tuyển quốc gia xứ Wales. Tại Arsenal, Ramsey thường được sử dụng dưới vai trò tiền vệ con thoi 1979 – Hoắc Kiến Hoa, diễn viên, ca sĩ người Đài Loan 1863 - Charles Pathé , nhà sản xuất thu âm người Pháp, đồng sáng lập hãng thu âm Pathé (mất năm 1957) 1989 - Yohan Blake , vận động viên chạy nước rút người Jamaica. Anh đã giành huy chương vàng ở cự ly 100 m tại Giải vô địch điền kinh thế giới 2011 với tư cách là nhà vô địch thế giới 100 m trẻ nhất từ ​​trước đến nay Mất 2006 – Gerald Ford, tổng thống Mỹ thứ 38 (s. 1913) Chương trình "Hôm nay ngày gì" hiện đã có mặt trên Youtube, Facebook và Spotify: Facebook: https://www.facebook.com/aweektv - Youtube: https://www.youtube.com/c/AWeekTV - Spotify: https://open.spotify.com/show/6rC4CgZNV6tJpX2RIcbK0J - Apple Podcast: https://podcasts.apple.com/.../h%C3%B4m-nay.../id1586073418 #aweektv #26thang12 #GiangSinh #IWanttoHoldYourHand #Tu-144 #BoxingDay #CharlesPathé #YohanBlake Các video đều thuộc quyền sở hữu của Adwell jsc (adwell.vn), mọi hành động sử dụng lại nội dung của chúng tôi đều không được phép. --- Send in a voice message: https://anchor.fm/aweek-tv/message

On part 2 of this special edition Beatles radio, Clint plays his top ten Beatles songs of all time talking through the albums, recording sessions and stories behind the songs. Clint also answers questions from patrons and discusses the psychedelic era of the Beatles, their influence on pop culture in the 60's including Hendrix, Zappa and The Beach Boys, Plastic Ono Band, The Beatles quitting touring, stretching in the studio, Bob Dylan's "Like A Rolling Stone", Paul McCartney's acoustic guitar playing, Beatles copyright issues, Paul and John's relationship with George, Beatle harmonies, Rufus Wainwright, easy Beatles songs to play on guitar, biggest takeaways from Peter Jackson's Get Back and more Beatles shenanigans! This episode ends with Clint's cover of Harrison classic, "While My Guitar Gently Weeps."Songs covered in this episode:(I Saw Her Standing There)10. I Am the Walrus(Mother - John Lennon)(I Found Out - John Lennon)(God - John Lennon)(Tomorrow Never Knows)(Like A Rolling Stone - Bob Dylan)09. I Will(In My Life - James Hetfield)08. Dear Prudence07. I Want To Tell You(Taxman)(You've Got To Hide Your Love Away)(Norwegian Wood)(If I Fell)06. For No One05. Because(Because - Love)04. Something03. Across The Universe(Across The Universe - Rufus Wainwright)02. Here Comes The Sun01. Strawberry Fields Forever(While my Guitar Gently Weeps - Clint Wells)If you think Metal Up Your Podcast has value, please consider taking a brief moment to leave a positive review and subscribe on iTunes  here:https://podcasts.apple.com/us/podcast/metal-up-your-podcast-all-things-metallica/id1187775077You can further support the show by becoming a patron. All patrons of Metal Up Your Podcast at the $5 level receive volumes 1-4 of our Cover Our World Blackened EP's for free. Additionally, patrons are invited to come on the show to talk about any past Metallica show they've been to and are given access to ask our guests like Ray Burton, Halestorm, Michael Wagener, Jay Weinberg of Slipknot and members of Metallica's crew their very own questions. Be a part of what makes Metal Up Your Podcast special by becoming a PATRON here:http://www.patreon.com/metalupyourpodcastJoin the MUYP Discord Server:https://discord.gg/nBUSwR8tPre-Order Ethan's new album  HERE!Purchase/Stream Lunar Satan:https://distrokid.com/hyperfollow/lunarsatan/lunar-satanPurchase/Stream Clint's album VAMPIRE:https://distrokid.com/hyperfollow/clintwells/vampirePurchase/Stream Ethan's album Let It Burn:https://ethanluck.bandcamp.com/album/let-it-burn-2Official Website:http://metalupyourpodcast.comPurchase/Stream our Cover Our World Blackened Volumes and Quarantine Covers:https://metalupyourpodcast.bandcamp.comFollow us on all social media platforms.Write in at:metalupyourpodcastshow@gmail.com

La nueva serie documental “The Beatles: Get Back” muestra el final de The Beatles de una manera diferente a la que conocimos en Let It Be. Pero para llegar hasta ese momento, en este episodio recorreremos su historia desde sus comienzos en Liverpool hasta el lanzamiento de su primer álbum.

We reach the first track of the first album on today's episode as we discuss "I Saw Her Standing There". Does it make for a good album opener? Is it a good representation of the band? And just how well (or otherwise) does the 70's Lennon cover with Elton John stand up? (hint: not great!)   eMail: beatlesstuffology@gmail.com Twitter: @beatles_ology JG's Writing: Judgementally Comments...

#15-11Intro/Outro: Proud Mary by Creedence Clearwater Revival15. Dogs by Pink Floyd (7)14. I Saw Her Standing There by The Beatles (30)13. Viva La Vida by Coldplay (9)12. Gimme Shelter by The Rolling Stones (6)11. Stairway to Heaven by Led Zeppelin (5)Balderdash alertBonus excerpt: Taurus by SpiritBonus excerpt: Backwards clip of Stairway to HeavenSecond-Most-Played Decade update:90's - 8760's - 8600's - 85

Welcome to the Big Beatles Sort Out Each episode we explore and score 5 songs drawn at random from the Beatles full recording catalogue. If you are enjoying this podcast please let us know at @Big_Sort on Twitter and Instagram, and please leave us a review! If you would like to support Garry's music, please consider ordering his new EP 'Chapter And Multiverse' and/or listening to the single 'Right On' here on Spotify. Please listen out for Paul's other Podcasts, 'The Head Ballet' - all about novelty music, and 'Hark! 87th Precinct Podcast' - all about Ed McBain's seminal police procedural novel series. You can listen along to the songs featured in this episode on this handy Spotify playlist: Episode Playlist Keep up with the scoring charts, or start your own using the blank-master, with this handy google sheet: Big Sort Ranking Table This Week's Songs: I'm Happy Just To Dance With You, Rocky Racoon, I Saw Her Standing There, For You Blue, Penny Lane + Rutles Bonus! Double Back Alley .

Stroll Down Penny LaneEpisode 5 Yesterday – and the song that got awaySongsYesterday, Lennon and McCartney; performed by Joe Anastasi and Mike Sugar.What's My Line Opening Theme Song - 1968, performed by Mike SugarRabbit Hole Interstitial Music – Live and Let Die Melody, Paul McCartney; arranged and performed by Mike SugarTwilight Zone Opening Theme, Marius Constant; 1962; performed by Mike SugarFandanguillo, Federico Moreno Torroba; performed by Mike SugarChances Are, Robert Allen and Al Stillman; performed by Joe Anastasi and Mike SugarRabbit Hole Interstitial Music – Eleanor Rigby Melody, Lennon and McCartney; arranged and performed by Mike SugarThe Girl from Ipanema, Antônio Carlos Jobim; Portuguese lyrics by Vinícius de Moraes; English lyrics by Norman Gimbel.Help! Lennon and McCartney; performed by performed by Joe Anastasi and Mike SugarFields of Gold, Gordon Sumner and Dusan Bogdanovic; performed by Joe Anastasi and Mike SugarThe End, Lennon and McCartney; performed by Stroll Down Penny Lane (Joe Anastasi, Mike Sugar, Winter, Mark Abbott, Matt Twain)SourcesPlayboy interview; Paul McCartney; 1984Recording the Beatles; Kevin Ryan and Brian Kehew; Curvebender; 2006.Beatlesongs; William J. Dowling; Simon & Shuster, New York, 1989.Here, There and Everywhere, Geoff Emerick and Howard Massey; Gotham Books; New York; 2006Paul McCartney, Many Years from Now; Barry Miles; Secker &Warburg; 1997McCartney, Christopher Sandford; Carroll and Graf Publishers; 2006Paul McCartney, the Life, Philip Norman; Little Brown and Company; 2016Songwriting Secrets of the Beatles, Dominic Pedler; Omnibus Press; 2003The Beatles; Hunter Davis; McGraw-Hill; 1968The Complete Beatles Recording Sessions; Mark Lewisohn; Hamlyn (a division of the Octopus Publishing Group); 1988All You Need Is Ears, George Martin, with Jeremy Hornsby; St. Martin's Griffin; 1979This is Your Brain on Music, The Science of a Human Obsession; Daniel J. Levitin; Plume; 2007“MOJO COLLECTIONS;” interview of Paul McCartneyevacassidy.orgThe Beatles Anthology; Chronicle Books, 2000Everything You Ever Wanted To Know About The Rosetta Stone; The British MuseumMcCartney: Yesterday and Today, Ray Coleman; Boxtree, 1996.The Beatles as Musicians. The Quarry Men Through Rubber Soul, Walter Everett; Oxford University Press; 2001.A Hard Day's Write - The Stories Behind Every Beatles' Song, Steve Turner; Carbon, 1994.In Search of the Sources of ‘I Saw Her Standing There' and ‘Yesterday,' Ian Hammond; Journal on Media Culture; Old Sweet Songs; http://www.icce.rug.nl/~soundscapes/VOLUME05/Oldsweetsongs.shtmlPaul McCartney in Casual Conversation with Jarvis Cocker at LIPA; August 15, 2018

Stroll Down Penny Lane Episode 5 Yesterday – and the song that got away Songs Yesterday, Lennon and McCartney; performed by Joe Anastasi and Mike Sugar. What’s My Line Opening Theme Song - 1968, performed by Mike Sugar Rabbit Hole Interstitial Music – Live and Let Die Melody, Paul McCartney; arranged and performed by Mike Sugar Twilight Zone Opening Theme, Marius Constant; 1962; performed by Mike Sugar Fandanguillo, Federico Moreno Torroba; performed by Mike Sugar Chances Are, Robert Allen and Al Stillman; performed by Joe Anastasi and Mike Sugar Rabbit Hole Interstitial Music – Eleanor Rigby Melody, Lennon and McCartney; arranged and performed by Mike Sugar The Girl from Ipanema, Antônio Carlos Jobim; Portuguese lyrics by Vinícius de Moraes; English lyrics by Norman Gimbel. Help! Lennon and McCartney; performed by performed by Joe Anastasi and Mike Sugar Fields of Gold, Gordon Sumner and Dusan Bogdanovic; performed by Joe Anastasi and Mike Sugar The End, Lennon and McCartney; performed by Stroll Down Penny Lane (Joe Anastasi, Mike Sugar, Winter, Mark Abbott, Matt Twain) Sources Playboy interview; Paul McCartney; 1984 Recording the Beatles; Kevin Ryan and Brian Kehew; Curvebender; 2006. Beatlesongs; William J. Dowling; Simon & Shuster, New York, 1989. Here, There and Everywhere, Geoff Emerick and Howard Massey; Gotham Books; New York; 2006 Paul McCartney, Many Years from Now; Barry Miles; Secker &Warburg; 1997 McCartney, Christopher Sandford; Carroll and Graf Publishers; 2006 Paul McCartney, the Life, Philip Norman; Little Brown and Company; 2016 Songwriting Secrets of the Beatles, Dominic Pedler; Omnibus Press; 2003 The Beatles; Hunter Davis; McGraw-Hill; 1968 The Complete Beatles Recording Sessions; Mark Lewisohn; Hamlyn (a division of the Octopus Publishing Group); 1988 All You Need Is Ears, George Martin, with Jeremy Hornsby; St. Martin's Griffin; 1979 This is Your Brain on Music, The Science of a Human Obsession; Daniel J. Levitin; Plume; 2007 “MOJO COLLECTIONS;” interview of Paul McCartney evacassidy.org The Beatles Anthology; Chronicle Books, 2000 Everything You Ever Wanted To Know About The Rosetta Stone; The British Museum McCartney: Yesterday and Today, Ray Coleman; Boxtree, 1996. The Beatles as Musicians. The Quarry Men Through Rubber Soul, Walter Everett; Oxford University Press; 2001. A Hard Day's Write - The Stories Behind Every Beatles' Song, Steve Turner; Carbon, 1994. In Search of the Sources of ‘I Saw Her Standing There’ and ‘Yesterday,’ Ian Hammond; Journal on Media Culture; Old Sweet Songs; http://www.icce.rug.nl/~soundscapes/VOLUME05/Oldsweetsongs.shtml Paul McCartney in Casual Conversation with Jarvis Cocker at LIPA; August 15, 2018

Well well well! Mike and Dave have only a little bit to say about "I Saw Her Standing There." It's a good, fun, uptempo tune, once again owing a lot to Chuck Berry. Mike likes the 7 chords and the yelling/singing. Maybe Mike is more of a Paul guy than a John guy, we'll see. Dave thinks it's better than "Love Me Do," so there's that. Both love the handclaps. Get ready for some hammering and dogs barking in the background. A good quick episode for you this time.

本期節目，我將繼續帶你重返1960年代的香港，聽聽在國語時代曲和歐西流行曲夾縫中成長的廣東歌，以及The Beatles抵港演唱後，在香港青年中掀起的夾band狂潮。 [00:01:22]【詹小屏《Down the Trail of the Aching Heart》】 1960年夏天，《星島晚報》創辦了“全港業余歌唱比賽”，是香港早年最有規模的大型歌唱比賽，連續舉辦了十屆，這10屆得獎者或參加者中，有不少後來演藝界的明星和名人。比賽在首屆只設“歐西歌曲組”和“國語時代曲組”兩個組別，後來陸續新增了一些新組別，但從未有“粵語流行曲組”，可見當時的粵語流行曲是多麼不入流。 現在聽到的這首歌，就是1960年首屆「歐西歌曲組」冠軍歌，詹小屏翻唱的美國歌曲《Down the Trail of the Aching Heart》。 [00:03:08]【許艷秋《良宵真可愛》】 據香港樂評人黃誌華考證，香港首家出版“粵語時代曲”唱片的和聲唱片公司，在1959年至1963年期間，轉型制作33轉轉的“粵語時代曲”唱片，共出版了18張。最後一張唱片《雙雙對對》中收錄有一首由新丁作曲、盧迅填詞、許艷秋演唱的《良宵真可愛》。後來，這首歌曾三次出現在王家衛的電影中，包括《阿飛正傳》、《墮落天使》和《一代宗師》。 [00:06:05] 1964年6月8日， Beatles在香港樂宮戲院登臺表演，一晚兩場，票價最便宜20元，最貴75元，比很多工人的月薪還多。 [00:07:08]【鄧寄塵《噯姑乖》】 Beatles訪港之後，鉆石唱片公司成立，成了香港本地樂隊的橋頭堡，Teddy Robin and the Playboys、許冠傑所在樂隊The Lotus等十幾支樂隊都在旗下發表英文歌曲唱片。有意思的是，鉆石唱片也為粵語“諧劇大王“鄧寄塵、”粵語時代曲“女星呂紅出版粵語流行曲唱片。其中1965年出版專輯的《鄧寄塵之歌》，選用當時熱門的歐西流行歌填上風趣抵死的市井歌詞，下面這首《噯姑乖》，就是來自這張專輯的歌曲。 [00:08:37] Beatles引發的香港第一次樂隊潮，在1965年起短短兩三年間，就有多達數十支樂隊出版唱片，雖然他們全部都是唱英文歌，銷量不多，但在日後的粵語流行曲興起時代，很多音樂人都出身於這次樂隊潮，包括歌手許冠傑、羅文、泰迪羅賓，填詞人林振強以及一批重要樂手和唱片公司高層。而樂隊大本營鉆石唱片公司，於1971年被寶麗多唱片，即後來的寶麗金和現時的環球唱片收購，成為香港最重要的唱片公司之一。 [00:09:20]【Teddy Robin and the Playboys《I Dreamed of You Last Night》】 下面這首歌《I Dreamed of You Last Night》，就是當年最火的首支全華人搖滾樂隊Teddy Robin and the Playboys在1967年發表的作品。樂隊吉他手Norman Cheng鄭東漢，是歌手鄭中基的父親，後來成了寶麗金及環球唱片總裁。 [00:11:13]【上官流雲《行快的啦》&《一心想玉人》】 相比世界其他地區，“披頭士狂熱”在香港算是比較溫和，在普羅大眾之中引起的最大反響，是新加坡歌手上官流雲1965年翻唱的兩首歌，一首是將“Can't Buy Me Love”改編而成的《行快啲啦》，另一首是將“I Saw Her Standing There”改編而成的《一心想玉人》，這兩首歌在香港非常流行，翻唱者不絕，而“阿珍已經嫁咗人”也成了平民百姓的口頭禪，1966年甚至上映了一部粵語電影就叫做《阿珍要嫁人》。 [00:13:57]【藍星混音合唱團《孤星淚（意難忘電影插曲）》】 1965年，臺灣電影《意難忘》在香港上映，頗為賣座，自此臺灣國語時代曲登陸香港，引來了臺灣歌星來港表演熱潮，臺灣最紅歌星姚蘇蓉、歐陽菲菲、青山、鄧麗君等人紛紛登臺，大受港人歡迎。 [00:14:57]【鄭錦昌《願化惜花蜂》】 唯一可與臺灣歌星在酬金上或號召力上較一日長短的，只有一個唱粵曲的鄭錦昌。來自馬來西亞的“粵曲王子”鄭錦昌。在1960年代末開始灌錄粵語流行曲唱片，迅速在東南亞走紅，1969年，他的一首改自1940年代上海歌星吳鶯音名曲《岷江夜曲》的《願化惜花蜂》，開始在香港流行。 [00:17:33] 下期節目，我將帶你回到1970年初，粵語流行曲崛起前夜的香港，聽聽李小龍、許冠傑、鄭少秋初登舞臺時帶來的粵語新聲。 【主播】 Kent李啟健，資深粵語電臺DJ，在媒體與內容制作公司服務超過十五年，包括廣東電臺、廣州電臺等，主持過不同風格例如流行、搖滾等類型的音樂節目。 【制作團隊】 Bitcheese Brew 比特老釀

Episode 5 Yesterday – and the song that got awaySongsYesterday, Lennon and McCartney; performed by Joe Anastasi and Mike Sugar.What's My Line Opening Theme Song - 1968, performed by Mike SugarRabbit Hole Interstitial Music – Live and Let Die Melody, Paul McCartney; arranged and performed by Mike SugarTwilight Zone Opening Theme, Marius Constant; 1962; performed by Mike SugarFandanguillo, Federico Moreno Torroba; performed by Mike SugarChances Are, Robert Allen and Al Stillman; performed by Joe Anastasi and Mike SugarRabbit Hole Interstitial Music – Eleanor Rigby Melody, Lennon and McCartney; arranged and performed by Mike SugarThe Girl from Ipanema, Antônio Carlos Jobim; Portuguese lyrics by Vinícius de Moraes; English lyrics by Norman Gimbel.Help! Lennon and McCartney; performed by performed by Joe Anastasi and Mike SugarFields of Gold, Gordon Sumner and Dusan Bogdanovic; performed by Joe Anastasi and Mike SugarThe End, Lennon and McCartney; performed by Stroll Down Penny Lane (Joe Anastasi, Mike Sugar, Winter, Mark Abbott, Matt Twain)SourcesPlayboy interview; Paul McCartney; 1984Recording the Beatles; Kevin Ryan and Brian Kehew; Curvebender; 2006.Beatlesongs; William J. Dowling; Simon & Shuster, New York, 1989.Here, There and Everywhere, Geoff Emerick and Howard Massey; Gotham Books; New York; 2006Paul McCartney, Many Years from Now; Barry Miles; Secker &Warburg; 1997McCartney, Christopher Sandford; Carroll and Graf Publishers; 2006Paul McCartney, the Life, Philip Norman; Little Brown and Company; 2016Songwriting Secrets of the Beatles, Dominic Pedler; Omnibus Press; 2003The Beatles; Hunter Davis; McGraw-Hill; 1968The Complete Beatles Recording Sessions; Mark Lewisohn; Hamlyn (a division of the Octopus Publishing Group); 1988All You Need Is Ears, George Martin, with Jeremy Hornsby; St. Martin's Griffin; 1979This is Your Brain on Music, The Science of a Human Obsession; Daniel J. Levitin; Plume; 2007“MOJO COLLECTIONS;” interview of Paul McCartneyevacassidy.orgThe Beatles Anthology; Chronicle Books, 2000Everything You Ever Wanted To Know About The Rosetta Stone; The British MuseumMcCartney: Yesterday and Today, Ray Coleman; Boxtree, 1996.The Beatles as Musicians. The Quarry Men Through Rubber Soul, Walter Everett; Oxford University Press; 2001.A Hard Day's Write - The Stories Behind Every Beatles' Song, Steve Turner; Carbon, 1994.In Search of the Sources of ‘I Saw Her Standing There' and ‘Yesterday,' Ian Hammond; Journal on Media Culture; Old Sweet Songs; http://www.icce.rug.nl/~soundscapes/VOLUME05/Oldsweetsongs.shtmlPaul McCartney in Casual Conversation with Jarvis Cocker at LIPA; August 15, 2018

Stroll Down Penny Lane Episode 5 Yesterday – and the song that got away Songs Yesterday, Lennon and McCartney; performed by Joe Anastasi and Mike Sugar. What’s My Line Opening Theme Song - 1968, performed by Mike Sugar Rabbit Hole Interstitial Music – Live and Let Die Melody, Paul McCartney; arranged and performed by Mike Sugar Twilight Zone Opening Theme, Marius Constant; 1962; performed by Mike Sugar Fandanguillo, Federico Moreno Torroba; performed by Mike Sugar Chances Are, Robert Allen and Al Stillman; performed by Joe Anastasi and Mike Sugar Rabbit Hole Interstitial Music – Eleanor Rigby Melody, Lennon and McCartney; arranged and performed by Mike Sugar The Girl from Ipanema, Antônio Carlos Jobim; Portuguese lyrics by Vinícius de Moraes; English lyrics by Norman Gimbel. Help! Lennon and McCartney; performed by performed by Joe Anastasi and Mike Sugar Fields of Gold, Gordon Sumner and Dusan Bogdanovic; performed by Joe Anastasi and Mike Sugar The End, Lennon and McCartney; performed by Stroll Down Penny Lane (Joe Anastasi, Mike Sugar, Winter, Mark Abbott, Matt Twain) Sources Playboy interview; Paul McCartney; 1984 Recording the Beatles; Kevin Ryan and Brian Kehew; Curvebender; 2006. Beatlesongs; William J. Dowling; Simon & Shuster, New York, 1989. Here, There and Everywhere, Geoff Emerick and Howard Massey; Gotham Books; New York; 2006 Paul McCartney, Many Years from Now; Barry Miles; Secker &Warburg; 1997 McCartney, Christopher Sandford; Carroll and Graf Publishers; 2006 Paul McCartney, the Life, Philip Norman; Little Brown and Company; 2016 Songwriting Secrets of the Beatles, Dominic Pedler; Omnibus Press; 2003 The Beatles; Hunter Davis; McGraw-Hill; 1968 The Complete Beatles Recording Sessions; Mark Lewisohn; Hamlyn (a division of the Octopus Publishing Group); 1988 All You Need Is Ears, George Martin, with Jeremy Hornsby; St. Martin's Griffin; 1979 This is Your Brain on Music, The Science of a Human Obsession; Daniel J. Levitin; Plume; 2007 “MOJO COLLECTIONS;” interview of Paul McCartney evacassidy.org The Beatles Anthology; Chronicle Books, 2000 Everything You Ever Wanted To Know About The Rosetta Stone; The British Museum McCartney: Yesterday and Today, Ray Coleman; Boxtree, 1996. The Beatles as Musicians. The Quarry Men Through Rubber Soul, Walter Everett; Oxford University Press; 2001. A Hard Day's Write - The Stories Behind Every Beatles' Song, Steve Turner; Carbon, 1994. In Search of the Sources of ‘I Saw Her Standing There’ and ‘Yesterday,’ Ian Hammond; Journal on Media Culture; Old Sweet Songs; http://www.icce.rug.nl/~soundscapes/VOLUME05/Oldsweetsongs.shtml Paul McCartney in Casual Conversation with Jarvis Cocker at LIPA; August 15, 2018

#013  - Learn how to narrate a "Love At First Sight" moment in your lyrics while still keeping your listeners engaged.Do you want to learn how to narrate a "Love At First Sight" moment in your lyrics?But you struggle with not knowing how to keep your listeners engaged in your narration, especially if you want to include your audience in your first-person narration.And maybe you've already been searching for song examples that show you how to pull it off?Well, look no further. This episode is what you were looking for.Because it gives you an example of how The Beatles pulled it off!AND we use one of their famous songs "I Saw Her Standing There" ...To find out how to use a love story moment and wrap it into a narration ...... that addresses your listeners while still engaging them in what you have to say.Then tune into this episode.Here's what we cover:What you'll learn in this episode"I Saw Her Standing There" by The BeatlesStep 1: Summary - What is the song about?Step 2: Observer - Who is the main character of the song?Step 3: Narration - Analyzing the storytelling craft.Analyzing the scene told in the song.The ChangeWriting TechniquesStep 4: Gist - What is the message of the song?Song Exercise - The Lovers MeetI Saw Her Standing There lyrics © Sony/ATV Music Publishing LLCSupport the show (https://ko-fi.com/storiesinsongs)

On February 15th, 1964 The Beatles scored their first US number one album with 'Meet The Beatles!' The album stayed at number one for eleven weeks and sold over four million copies in the US by December 31st, 1964. In this episode hear the stories behind the 12 tracks that make up the album which signaled the start of Beatlemania in America - 'Meet The Beatles!'. TRACKLISTING:SIDE ONE:1. "I Want to Hold Your Hand"2. "I Saw Her Standing There"3. "This Boy"4. "It Won't Be Long"5. "All I've Got to Do"6. "All My Loving"SIDE TWO:1. "Don't Bother Me" 2. "Little Child"3. "Till There Was You"4. "Hold Me Tight"5. "I Wanna Be Your Man"6. "Not a Second Time"DISCovery on Facebook: www.facebook.com/TheDISCoverypodcasthome DISCovery on Twitter: https://twitter.com/DISCoverySenichThe DISCovery theme song "Woo Hoo" by Reebosound (https://reebosound.bandcamp.com)Please give the show a five-star rating and review wherever you listen to DISCovery!

Første del starter i 1957 og slutter i 1965 med udgivelsen af Rubber Soul. Du kan høre om turene til Hamburg, fan hysteriet, deres første film, gennembruddet i USA, sidst med ikke mindst musikken. Det hele er krydret med numre som: Please Please Me, Nowhere Man, In My Life, I Saw Her Standing There og … Læs videre "The Beatles 1957-1965"

The first of what will be an ongoing segment where Weldon and Erik listen to garage rock covers of Beatles songs and break down why these versions are, in fact BETTER than the Beatles. In this first instalment, they discuss Thai singer, Sodsay Chaengkli's, Lady Madonna, and Iranian group, The Rebels', insane version of I Saw Her Standing There 

Allyship, Z-Hawk, and No Moore Watchmen - Episode 77 Allyship with Dr. Sarah Webb and Dr. Jandel Crutchfield https://colorismhealing.com/how-to-be-an-ally/ Stories From The Pitch https://www.elevation5280sports.com The Legend of Z-Hawk and Zaadii and the comic by Gail Simone https://drive.google.com/file/d/1fT-hdFbkTPxMEtgKdg1UIo_2EFffHj7p/view Epics of Enkidu Update https://www.indiegogo.com/projects/the-epics-of-enkidu#/ Alan Moore Wants Watchmen stories to stop and calls Rorschach desperate https://comicbook.com/dc/news/watchmen-creator-alan-moore-wont-return-to-comics/ Kevin Maguire's take on 2020 https://comicbook.com/irl/news/justice-league-international-artist-kevin-maguire-captures-2020s/ I Saw Her Standing There https://www.amazon.com/Beatles-Stories-Behind-Steve-Turner/dp/1847327133 To Contact Seth Singleton On Social Media Instagram: https://www.instagram.com/seththewriter/ Twitter: https://twitter.com/1MoreSingleton Facebook: https://www.facebook.com/SethSingletonStoryteller/ Website: https://sethsingletonstoryteller.com #colorismhealing #GailSimone #LegendOfZHawk #StoriesFromThePitch #Elevation5380Sports #EpicsOfEnkidu #AlanMoore #Watchmen #TomKing #Rorschach #podcast #podcasting #podcasts #spotify #podcastlife #podcaster #radio #music #youtube #itunes #comedy #podcasters #love #entrepreneur #applepodcasts #soundcloud #podcastshow #interview #motivation #repost #spotify #art #radioshow #newpodcast # #StorytellingWithSeth #story #Storytelling #Comics #ComicBooks #podernfamily #entertainment #business #inspiration #newepisode #spotifypodcast #life #podcastlove #live #follow #podcastinglife #podcastaddict #marketing #stitcher #episode #listen #instagood --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/seth-the-storyteller/message Support this podcast: https://anchor.fm/seth-the-storyteller/support

It's November 1974 and George Harrison's Dark Horse Tour is rolling on through the heart of North America. While George's ragged voice continued its decline on these tour stops, the fun and energy of the musicianship on stage was evident to the thousands of excited fans packing concert venues to see the former Beatle perform some of his iconic hits for the first time in years (in some cases, ever). Classics such as In My Life and While My Guitar Gently Weeps may have been crowd-pleasers, but it was the brand-new soundcheck-written, boogie-woogie jams that truly exemplified the fun that George's band was having every and every night. But Harrison wasn't the only former Beatle taking the stage in November of '74, John Lennon had himself a bet to settle with pal and Whatever Gets You Through The Night collaborator Elton John. As Elton and his band reached New York City's famed Madison Square Garden on Thanksgiving night, fans in attendance bore witness to Lennon's triumphant return to concert performance (though no one could know at the time that it would be his last in such a context). It had been over two years since John was last seen at MSG, and he and Elton's band tore through an electric three-song set including Lucy In The Sky With Diamonds, the aforementioned #1 hit single Whatever Gets You Through The Night and the McCartney-sung Beatles classic I Saw Her Standing There. One of those lucky fans in the audience that night? John's estranged wife Yoko Ono... See acast.com/privacy for privacy and opt-out information.

¡¡¡Hola y adiós!!! El 10 de abril de 1970, el Daily Mirror publicó en primera página: “Paul quits the Beatles”, Paul deja los Beatles. Un mes después el grupo más grande de la historia de rock se había separado. Un feo final. ¡Hello, Goodbye! Nunca se hizo una rueda de prensa para anunciarlo, solo mensajes entre líneas, manipulaciones periodísticas y el ventilador de viejos rencores repartiendo inquina por todo y para todo el mundo. Lennon se enfadó muchísimo y dijo: “Está adjudicándose el mérito de romper el grupo cuando yo lo dije en septiembre”. ¡Menudo mérito! Pero era cierto, porque en esas fechas ya había manifestado su deseo de dejar el grupo y si no lo hizo fue porque estaba en marcha su último proyecto como banda: Let it be. Fuera como fuese, el grupo se disolvió y nunca más volvieron a tocar todos juntos. Pero durante los diez años que lo hicieron, dejaron perlas que la historia de la música guardará para siempre. Hoy vamos a recorrer todos los LPs de estudio que grabaron en ese periodo. I Saw Her Standing There aparece en el primero de ellos: Please, please me. Fue escrita principalmente por Paul McCartney. Según el biógrafo de los Beatles Mark Lewisohn, McCartney trabajó los acordes y los cambios para la canción. La completó un mes más tarde trabajando conjuntamente con Lennon. Una curiosidad, en los títulos de crédito de la composición aparece "McCartney-Lennon", algo diferente al más familiar "Lennon-McCartney" que aparece en los lanzamientos posteriores. I saw her stanting there Don't bother me (no me molestes) no es una gran canción, pero viene a colación porque fue la primera canción escrita por George Harrison estando en The Beatles. Realmente la escribió cuando estaba molesto por tener un resfriado, pero le cambió la letra para que tuviera un sentido amoroso y fue incluida en el álbum "With The Beatles" «If I Fell» se publicó en 1964 en el álbum A Hard Day's Night. Se publicó, asimismo, como lado B del sencillo «And I Love Her» y formó parte de la banda sonora de su primera película “Que noche la de aquel día”. La canción fue escrita principalmente por John Lennon, pero se acreditó, siguiendo la costumbre, como Lennon/McCartney. «If I Fell» fue parte del repertorio en vivo de la banda durante su gira por Estados Unidos y Canadá en 1964. En general, el grupo interpretó la canción más rápido que la versión de estudio, y Lennon y McCartney casi siempre la cantaban con una risa apenas contenida. Ahora bien, no se por qué. If I fell. Beatles for Sale es el cuarto álbum de estudio de la banda y se publicó el 4 de diciembre de 1964. Este álbum marcó un momento decisivo en la evolución de Lennon y McCartney como letristas, particularmente en Lennon, que estaba cada vez más interesado en componer canciones de naturaleza autobiográfica. La cara dos del disco se abría con «Eight Days a Week», un tema que para muchos es uno de los primeros ejemplos de experimentación en el estudio que la banda repetiría en el futuro. En dos sesiones de grabación del 6 de octubre de ese año 1964, que totalizaron cerca de siete horas, y que estaba dedicado exclusivamente a este tema, Lennon y McCartney intentaron una técnica de grabación tras otra antes de que pudiesen fijar el arreglo definitivo. Tras numerosas probatinas, por fin, la introducción de la guitarra al principio de la canción sería grabada en una sesión diferente e incorporada al resto de las grabaciones más tarde. «Eight Days a Week» fue inicialmente compuesta por Lennon , aunque la idea era de Paul, a quien le llamó la atención una frase de su chófer —«trabajando siempre, trabajando ocho días a la semana»— cuando lo llevaba a casa de John. Con ese punto de apoyo, compuso la canción inmediatamente Eight Days a Week (Beatles for Sale) «I Need You» (Te necesito) está incluida en el álbum Help! de 1965. Esta es la segunda canción escrita por George Harrison que es grababa, después de un largo paréntesis de dos álbumes. La canción forma parte de la banda sonora de la película ¡Help!. La canción, con una letra simple y melancólica, se refiere al enamoramiento, quizás no correspondido, de una persona hacia otra, así como al deseo de que sea parte de su vida. En esta canción, Harrison graba por primera vez con un pedal de efectos (más específicamente, el pedal de volumen de un órgano eléctrico, menudo derroche). La letra es personal y está relacionada con Pattie Boyd, actriz que Harrison conoció durante el rodaje de A Hard Day's Night, y con quien se casó en enero de 1966. Como sabéis, más adelante se haría muy amiga de Eric Clapton. «In My Life» está incluida en el sexto álbum de estudio, Rubber Soul, que fue lanzado el 3 de diciembre de 1965. Fue escrita principalmente por John Lennon y, como siempre, acreditada a Lennon/McCartney. También, como casi siempre, el álbum fue producido por George Martin, que también toca el teclado en el solo de «In My Life». Según Lennon, escribió la canción en forma de un largo poema evocando su infancia. Al no estar conforme con esta primera versión, volvió a trabajar la letra, reemplazando los recuerdos específicos con una meditación generalizada sobre su pasado. La música la terminó con Paul McCartney. Lennon dijo que la contribución de McCartney fue la armonía de los ocho compases centrales o sección del puente musical de la canción (aunque esa es la parte en la que el productor George Martin toca el solo de teclado). Paul McCartney aclaró en una entrevista que él puso música a la letra de Lennon de principio a fin. Hay que ver… ya empezamos. La canción fue grabada el 18 de octubre de 1965, y finalmente fue George Martin el que compuso e interpretó, con un sonido “barroco”, el solo de piano. En un primer momento, Martin vio que su solo, tal y como lo había compuesto, no se podía reproducir en el tempo de la canción, así que, volvió a grabar el solo una octava por debajo del anterior y la velocidad de la cinta fue doblada para su grabación, resolviendo el problema del rendimiento y dándole al solo de piano un timbre único, parecido al de un clavecín. Un gran profesional este George Martin. «She Said She Said», que forma parte del álbum Revolver, apareció en 1966, fue escrita por John Lennon inspirándose en los comentarios del actor Peter Fonda durante un "viaje" de LSD en 1965, acompañado por todos los miembros del grupo. Los Beatles, que se encontraban de gira por Estados Unidos en 1965, estaban en una casa alquilada en California con el actor Peter Fonda tomando LSD. Cuando George le dijo al actor que se moría, el actor le dijo que cuando tenía 10 años se había disparado accidentalmente en el estómago a sí mismo, y que su corazón se paró tres veces: “sé cómo es estar muerto”, a lo que John respondió: “me estás haciendo sentir como si no hubiera nacido nunca. ¿Quién te ha metido toda esa mierda en la cabeza?”. Bueno pues, fruto de la psicodelia y de este trajín que se llevaban, salió She Said She Said. Otra curiosidad, esta es una de las pocas canciones en las que Paul no participa, porque se negó a tocar después de una discusión. El bajo lo toca Harrison. «A Day in the Life», «Un día en la vida», es el último tema del álbum Sgt. Pepper's Lonely Hearts Club Band, de 1967 y también una de las últimas veces en que realizaron una canción juntos como en sus primeros años. Mientras la letra de Lennon estaba inspirada en artículos periodísticos de aquella época, McCartney se inspiró en su juventud. Inicialmente la BBC prohibió la difusión de la canción porque uno de sus versos, “Me encantaría excitarte” se suponía que hacía referencia a las drogas. Las dos secciones de la canción fueron divididas por un puente de 24 compases. Al principio, no estaban seguros sobre cómo unir estas transiciones. Así, que al terminar la grabación de las pistas base, la canción solamente consistía en una simple repetición de cuerdas de piano y la voz del asistente Mal Evans contando los compases. La voz de Evans iba aumentando gradualmente en eco. Esta canción está considerada por muchos como una de las obras maestras de la banda de Liverpool y como una de las mejores canciones de la historia. De hecho, ocupa el puesto 28 de las 500 más grandes canciones de todos los tiempos, según la revista Rolling Stone. The fool on the hill es una canción compuesta e interpretada por Paul McCartney, y está incluida en el álbum de 1967 Magical Mystery Tour y , por supuesto, en la película del mismo título de ese mismo año. La grabación de la pista de ritmo base empezó el 25 de septiembre y fue resuelta en una sola sesión. Más tarde se añadieron sucesivas pistas, la de bajo, flautas, John y George tocaron la armónica y Paul grabó una flauta dulce doblada. La batería y la voz principal se agregaron más tarde en una cuarta toma. Por cierto, ese mismo 25 de septiembre también estuvo presente en la sesión, Yoko Ono, en la que fue, probablemente, la primera visita de la futura esposa de John a las sesiones de The Beatles. While My Guitar Gently Weeps», "Mientras mi guitarra llora suavemente", está escrita por George Harrison e incluida en The White Album. La composición interesó poco en los otros tres Beatles. La grabaron varias veces, pero no parecía funcionar. Ninguna de las tomas que se hicieron dejaban satisfecho a Harrison hasta, casi aborrecido de la canción, que pidió a Eric Clapton que grabara con ellos y tocara él el solo de guitarra. Clapton se resistía, pero Harrison lo convenció y al final Eric tocó. Harrison dijo más tarde que, además de su solo, la presencia de Clapton tenía otro efecto sobre la banda: ". Los hizo esforzarse más, sacar lo mejor de sí. Clapton quería un sonido "Beatle", por lo que el solo se ejecutó a través de un circuito ADT, -un artilugio que genera artificialmente una segunda pista, para doblar el instrumento. Y esto fue porque Eric no quería un sonido Clapton en un disco de los Beatles. De esta grabación nació la leyenda urbana de que Paul está muerto. Y es que, durante el solo, se escucha la voz de Harrison diciendo una frase que suena como "Oh Paul, Oh Paul". “Mientras mi guitarra llora suavemente” «Come Together», “Juntémonos”, fue escrita por John Lennon. La canción es la primera en el álbum de septiembre de 1969, Abbey Road. Es curioso pero esta canción comenzó como un intento de Lennon por escribir una canción para Timothy Leary en su campaña electoral por ser el gobernador de California en donde compitió contra Ronald Reagan. "Come Together" fue demandada por plagio en 1973 por la editora musical de Chuck Berry, porque una línea en "Come Together" tiene parecidos con una línea de "You Can't Catch Me" de Chuck Berry. Después de solucionarlo en el juzgado, Lennon prometió grabar otras canciones pertenecientes a Chuck Berry, las cuales fueron lanzadas en su álbum de 1975, Rock 'n' Roll. Come together. Let It Be es el último álbum de estudio lanzado por la banda, a pesar de que fue grabado antes que Abbey Road. El disco salió al mercado el 8 de mayo de 1970. Se trata de un álbum controvertido desde su concepción. Se habían propuesto grabar un álbum para tocar un último concierto en vivo, tal vez en un barco o en un lugar público. Por tanto, las sesiones de grabación deberían ser filmadas. Los ensayos fueron tensos, muy tensos y por primera vez el trabajo en el estudio fue más una labor individual que colectiva, por cuanto la mayoría de las canciones no requerían que toda la banda grabara al mismo tiempo o estuviera incluso a la vez en el mismo estudio, sino que cada compositor fuera grabando individualmente en múltiples sesiones, y utilizando a los otros miembros como músicos de estudio. Las sesiones empezaron el 2 de enero de 1969, y enseguida se vio que aquello no funcionaba. Solo Paul McCartney mostraba interés por sacar el grupo hacia delante y ofrecer un producto de calidad; John Lennon (acompañado por la inseparable Yoko Ono) pasaba por una etapa de adicción a las drogas que redujeron al mínimo su interés por la música de la banda, mientras que George Harrison, consciente de su valía como músico y compositor, se consideraba menospreciado por sus compañeros. El resultado fue que para el 10 de enero, y tras una agria discusión con McCartney, George Harrison anunciara su decisión de dejar el grupo. Aunque un sarcástico Lennon propuso sustituirlo por Jimi Hendrix o Eric Clapton y seguir como si nada importara, finalmente la situación se recompuso y fue cuando se sumo al grupo el pianista Billy Preston. La cuestión acerca de dónde, cuándo y cómo se iba a hacer el concierto se debatió desde los primeros días de las sesiones. Después de barajar ideas descabelladas (tocar en un hospital rodeados de niños enfermos, a bordo de un barco con multitud de admiradores, o frente a las pirámides de Egipto con un público formado por beduinos del desierto), se optó finalmente por una idea ingeniosa que a todos satisfizo: Nos subimos al tejado del edificio, enchufamos los instrumentos y nos ponemos a tocar allí mismo. Dicho y hecho. A la hora de la comida del 30 de enero, The Beatles tocaron el que era el primer "concierto" desde la gira americana de 1966 y el último de su carrera. The Beatles tocaron hasta que las quejas de los vecinos de la zona llevaron a la policía a poner fin al concierto. Varias de esas canciones terminaron por incluirse en el disco Let It Be. ¿Get Back? ¿Volver?, volver a los inicios para acabar. Y final del cuento. Así termina, en el tejado, la historia de una banda que cambió el devenir de la música popular, que influyó en numerosos artistas y que acompaño, nos acompañó, a muchos en nuestra andadura vital. Sin su aportación nuestra vida habría sido de otra manera. ¿mejor?, no creo, ¿peor?, seguro que no. Hasta la próxima semana amigos, hola y adiós.

¡¡¡Hola y adiós!!! El 10 de abril de 1970, el Daily Mirror publicó en primera página: “Paul quits the Beatles”, Paul deja los Beatles. Un mes después el grupo más grande de la historia de rock se había separado. Un feo final. ¡Hello, Goodbye! Nunca se hizo una rueda de prensa para anunciarlo, solo mensajes entre líneas, manipulaciones periodísticas y el ventilador de viejos rencores repartiendo inquina por todo y para todo el mundo. Lennon se enfadó muchísimo y dijo: “Está adjudicándose el mérito de romper el grupo cuando yo lo dije en septiembre”. ¡Menudo mérito! Pero era cierto, porque en esas fechas ya había manifestado su deseo de dejar el grupo y si no lo hizo fue porque estaba en marcha su último proyecto como banda: Let it be. Fuera como fuese, el grupo se disolvió y nunca más volvieron a tocar todos juntos. Pero durante los diez años que lo hicieron, dejaron perlas que la historia de la música guardará para siempre. Hoy vamos a recorrer todos los LPs de estudio que grabaron en ese periodo. I Saw Her Standing There aparece en el primero de ellos: Please, please me. Fue escrita principalmente por Paul McCartney. Según el biógrafo de los Beatles Mark Lewisohn, McCartney trabajó los acordes y los cambios para la canción. La completó un mes más tarde trabajando conjuntamente con Lennon. Una curiosidad, en los títulos de crédito de la composición aparece "McCartney-Lennon", algo diferente al más familiar "Lennon-McCartney" que aparece en los lanzamientos posteriores. I saw her stanting there Don't bother me (no me molestes) no es una gran canción, pero viene a colación porque fue la primera canción escrita por George Harrison estando en The Beatles. Realmente la escribió cuando estaba molesto por tener un resfriado, pero le cambió la letra para que tuviera un sentido amoroso y fue incluida en el álbum "With The Beatles" «If I Fell» se publicó en 1964 en el álbum A Hard Day's Night. Se publicó, asimismo, como lado B del sencillo «And I Love Her» y formó parte de la banda sonora de su primera película “Que noche la de aquel día”. La canción fue escrita principalmente por John Lennon, pero se acreditó, siguiendo la costumbre, como Lennon/McCartney. «If I Fell» fue parte del repertorio en vivo de la banda durante su gira por Estados Unidos y Canadá en 1964. En general, el grupo interpretó la canción más rápido que la versión de estudio, y Lennon y McCartney casi siempre la cantaban con una risa apenas contenida. Ahora bien, no se por qué. If I fell. Beatles for Sale es el cuarto álbum de estudio de la banda y se publicó el 4 de diciembre de 1964. Este álbum marcó un momento decisivo en la evolución de Lennon y McCartney como letristas, particularmente en Lennon, que estaba cada vez más interesado en componer canciones de naturaleza autobiográfica. La cara dos del disco se abría con «Eight Days a Week», un tema que para muchos es uno de los primeros ejemplos de experimentación en el estudio que la banda repetiría en el futuro. En dos sesiones de grabación del 6 de octubre de ese año 1964, que totalizaron cerca de siete horas, y que estaba dedicado exclusivamente a este tema, Lennon y McCartney intentaron una técnica de grabación tras otra antes de que pudiesen fijar el arreglo definitivo. Tras numerosas probatinas, por fin, la introducción de la guitarra al principio de la canción sería grabada en una sesión diferente e incorporada al resto de las grabaciones más tarde. «Eight Days a Week» fue inicialmente compuesta por Lennon , aunque la idea era de Paul, a quien le llamó la atención una frase de su chófer —«trabajando siempre, trabajando ocho días a la semana»— cuando lo llevaba a casa de John. Con ese punto de apoyo, compuso la canción inmediatamente Eight Days a Week (Beatles for Sale) «I Need You» (Te necesito) está incluida en el álbum Help! de 1965. Esta es la segunda canción escrita por George Harrison que es grababa, después de un largo paréntesis de dos álbumes. La canción forma parte de la banda sonora de la película ¡Help!. La canción, con una letra simple y melancólica, se refiere al enamoramiento, quizás no correspondido, de una persona hacia otra, así como al deseo de que sea parte de su vida. En esta canción, Harrison graba por primera vez con un pedal de efectos (más específicamente, el pedal de volumen de un órgano eléctrico, menudo derroche). La letra es personal y está relacionada con Pattie Boyd, actriz que Harrison conoció durante el rodaje de A Hard Day's Night, y con quien se casó en enero de 1966. Como sabéis, más adelante se haría muy amiga de Eric Clapton. «In My Life» está incluida en el sexto álbum de estudio, Rubber Soul, que fue lanzado el 3 de diciembre de 1965. Fue escrita principalmente por John Lennon y, como siempre, acreditada a Lennon/McCartney. También, como casi siempre, el álbum fue producido por George Martin, que también toca el teclado en el solo de «In My Life». Según Lennon, escribió la canción en forma de un largo poema evocando su infancia. Al no estar conforme con esta primera versión, volvió a trabajar la letra, reemplazando los recuerdos específicos con una meditación generalizada sobre su pasado. La música la terminó con Paul McCartney. Lennon dijo que la contribución de McCartney fue la armonía de los ocho compases centrales o sección del puente musical de la canción (aunque esa es la parte en la que el productor George Martin toca el solo de teclado). Paul McCartney aclaró en una entrevista que él puso música a la letra de Lennon de principio a fin. Hay que ver… ya empezamos. La canción fue grabada el 18 de octubre de 1965, y finalmente fue George Martin el que compuso e interpretó, con un sonido “barroco”, el solo de piano. En un primer momento, Martin vio que su solo, tal y como lo había compuesto, no se podía reproducir en el tempo de la canción, así que, volvió a grabar el solo una octava por debajo del anterior y la velocidad de la cinta fue doblada para su grabación, resolviendo el problema del rendimiento y dándole al solo de piano un timbre único, parecido al de un clavecín. Un gran profesional este George Martin. «She Said She Said», que forma parte del álbum Revolver, apareció en 1966, fue escrita por John Lennon inspirándose en los comentarios del actor Peter Fonda durante un "viaje" de LSD en 1965, acompañado por todos los miembros del grupo. Los Beatles, que se encontraban de gira por Estados Unidos en 1965, estaban en una casa alquilada en California con el actor Peter Fonda tomando LSD. Cuando George le dijo al actor que se moría, el actor le dijo que cuando tenía 10 años se había disparado accidentalmente en el estómago a sí mismo, y que su corazón se paró tres veces: “sé cómo es estar muerto”, a lo que John respondió: “me estás haciendo sentir como si no hubiera nacido nunca. ¿Quién te ha metido toda esa mierda en la cabeza?”. Bueno pues, fruto de la psicodelia y de este trajín que se llevaban, salió She Said She Said. Otra curiosidad, esta es una de las pocas canciones en las que Paul no participa, porque se negó a tocar después de una discusión. El bajo lo toca Harrison. «A Day in the Life», «Un día en la vida», es el último tema del álbum Sgt. Pepper's Lonely Hearts Club Band, de 1967 y también una de las últimas veces en que realizaron una canción juntos como en sus primeros años. Mientras la letra de Lennon estaba inspirada en artículos periodísticos de aquella época, McCartney se inspiró en su juventud. Inicialmente la BBC prohibió la difusión de la canción porque uno de sus versos, “Me encantaría excitarte” se suponía que hacía referencia a las drogas. Las dos secciones de la canción fueron divididas por un puente de 24 compases. Al principio, no estaban seguros sobre cómo unir estas transiciones. Así, que al terminar la grabación de las pistas base, la canción solamente consistía en una simple repetición de cuerdas de piano y la voz del asistente Mal Evans contando los compases. La voz de Evans iba aumentando gradualmente en eco. Esta canción está considerada por muchos como una de las obras maestras de la banda de Liverpool y como una de las mejores canciones de la historia. De hecho, ocupa el puesto 28 de las 500 más grandes canciones de todos los tiempos, según la revista Rolling Stone. The fool on the hill es una canción compuesta e interpretada por Paul McCartney, y está incluida en el álbum de 1967 Magical Mystery Tour y , por supuesto, en la película del mismo título de ese mismo año. La grabación de la pista de ritmo base empezó el 25 de septiembre y fue resuelta en una sola sesión. Más tarde se añadieron sucesivas pistas, la de bajo, flautas, John y George tocaron la armónica y Paul grabó una flauta dulce doblada. La batería y la voz principal se agregaron más tarde en una cuarta toma. Por cierto, ese mismo 25 de septiembre también estuvo presente en la sesión, Yoko Ono, en la que fue, probablemente, la primera visita de la futura esposa de John a las sesiones de The Beatles. While My Guitar Gently Weeps», "Mientras mi guitarra llora suavemente", está escrita por George Harrison e incluida en The White Album. La composición interesó poco en los otros tres Beatles. La grabaron varias veces, pero no parecía funcionar. Ninguna de las tomas que se hicieron dejaban satisfecho a Harrison hasta, casi aborrecido de la canción, que pidió a Eric Clapton que grabara con ellos y tocara él el solo de guitarra. Clapton se resistía, pero Harrison lo convenció y al final Eric tocó. Harrison dijo más tarde que, además de su solo, la presencia de Clapton tenía otro efecto sobre la banda: ". Los hizo esforzarse más, sacar lo mejor de sí. Clapton quería un sonido "Beatle", por lo que el solo se ejecutó a través de un circuito ADT, -un artilugio que genera artificialmente una segunda pista, para doblar el instrumento. Y esto fue porque Eric no quería un sonido Clapton en un disco de los Beatles. De esta grabación nació la leyenda urbana de que Paul está muerto. Y es que, durante el solo, se escucha la voz de Harrison diciendo una frase que suena como "Oh Paul, Oh Paul". “Mientras mi guitarra llora suavemente” «Come Together», “Juntémonos”, fue escrita por John Lennon. La canción es la primera en el álbum de septiembre de 1969, Abbey Road. Es curioso pero esta canción comenzó como un intento de Lennon por escribir una canción para Timothy Leary en su campaña electoral por ser el gobernador de California en donde compitió contra Ronald Reagan. "Come Together" fue demandada por plagio en 1973 por la editora musical de Chuck Berry, porque una línea en "Come Together" tiene parecidos con una línea de "You Can't Catch Me" de Chuck Berry. Después de solucionarlo en el juzgado, Lennon prometió grabar otras canciones pertenecientes a Chuck Berry, las cuales fueron lanzadas en su álbum de 1975, Rock 'n' Roll. Come together. Let It Be es el último álbum de estudio lanzado por la banda, a pesar de que fue grabado antes que Abbey Road. El disco salió al mercado el 8 de mayo de 1970. Se trata de un álbum controvertido desde su concepción. Se habían propuesto grabar un álbum para tocar un último concierto en vivo, tal vez en un barco o en un lugar público. Por tanto, las sesiones de grabación deberían ser filmadas. Los ensayos fueron tensos, muy tensos y por primera vez el trabajo en el estudio fue más una labor individual que colectiva, por cuanto la mayoría de las canciones no requerían que toda la banda grabara al mismo tiempo o estuviera incluso a la vez en el mismo estudio, sino que cada compositor fuera grabando individualmente en múltiples sesiones, y utilizando a los otros miembros como músicos de estudio. Las sesiones empezaron el 2 de enero de 1969, y enseguida se vio que aquello no funcionaba. Solo Paul McCartney mostraba interés por sacar el grupo hacia delante y ofrecer un producto de calidad; John Lennon (acompañado por la inseparable Yoko Ono) pasaba por una etapa de adicción a las drogas que redujeron al mínimo su interés por la música de la banda, mientras que George Harrison, consciente de su valía como músico y compositor, se consideraba menospreciado por sus compañeros. El resultado fue que para el 10 de enero, y tras una agria discusión con McCartney, George Harrison anunciara su decisión de dejar el grupo. Aunque un sarcástico Lennon propuso sustituirlo por Jimi Hendrix o Eric Clapton y seguir como si nada importara, finalmente la situación se recompuso y fue cuando se sumo al grupo el pianista Billy Preston. La cuestión acerca de dónde, cuándo y cómo se iba a hacer el concierto se debatió desde los primeros días de las sesiones. Después de barajar ideas descabelladas (tocar en un hospital rodeados de niños enfermos, a bordo de un barco con multitud de admiradores, o frente a las pirámides de Egipto con un público formado por beduinos del desierto), se optó finalmente por una idea ingeniosa que a todos satisfizo: Nos subimos al tejado del edificio, enchufamos los instrumentos y nos ponemos a tocar allí mismo. Dicho y hecho. A la hora de la comida del 30 de enero, The Beatles tocaron el que era el primer "concierto" desde la gira americana de 1966 y el último de su carrera. The Beatles tocaron hasta que las quejas de los vecinos de la zona llevaron a la policía a poner fin al concierto. Varias de esas canciones terminaron por incluirse en el disco Let It Be. ¿Get Back? ¿Volver?, volver a los inicios para acabar. Y final del cuento. Así termina, en el tejado, la historia de una banda que cambió el devenir de la música popular, que influyó en numerosos artistas y que acompaño, nos acompañó, a muchos en nuestra andadura vital. Sin su aportación nuestra vida habría sido de otra manera. ¿mejor?, no creo, ¿peor?, seguro que no. Hasta la próxima semana amigos, hola y adiós.

From that iconic count in to the thumping bass and jangly guitars, I Saw Her Standing There is a Beatles classic through and through.

Season 2 continues with the in-depth story behind The Beatles song "I Saw Her Standing There" which is the second track on the "Meet The Beatles" album.

An in-depth story behind The Beatles song I Saw Her Standing There including the songwriting history and recording session.

La larga gira de otoño de los Beatles en 1963 por el Reino Unido e Irlanda finalmente terminó un día como hoy. Esta era la 34ª fecha de la gira, que había comenzado en Cheltenham el 1 de noviembre.El programa de la gira de invierno de los Beatles en 1963. Durante toda la gira, The Beatles interpretaron un set con las mismas 10 canciones: I Saw Her Standing There, From Me To You, All My Loving, You Really Got A Hold On Me, Roll Over Beethoven, Boys, Till There Was You, She Loves You, Money (That’s What I Want) y Twist And Shout.

La larga gira de otoño de los Beatles en 1963 por el Reino Unido e Irlanda finalmente terminó un día como hoy. Esta era la 34ª fecha de la gira, que había comenzado en Cheltenham el 1 de noviembre.El programa de la gira de invierno de los Beatles en 1963. Durante toda la gira, The Beatles interpretaron un set con las mismas 10 canciones: I Saw Her Standing There, From Me To You, All My Loving, You Really Got A Hold On Me, Roll Over Beethoven, Boys, Till There Was You, She Loves You, Money (That’s What I Want) y Twist And Shout.

Charming, funny, provocative, hugely talented and already seasoned stage professionals—The Beatles were perfect for television during an era when sales of television sets were skyrocketing. And TV was also the ideal, all-encompassing promotional tool for the Fab Four. So, it was a symbiotic relationship. At first, they were more than happy to not only perform their songs, but also participate in comedy sketches… until they no longer needed to. This show examines the group’s halcyon TV years—and provides viewer sound recordings of several ultra-rare, ‘long lost’ broadcasts. The TV Appearances: (* = unheard since first broadcast) Morecambe and Wise – 2 Dec. 1963 People and Places – 17 Oct. 1962 * People and Places – 2 Nov. 1962 * People and Places – 17 Dec. 1962 * Pops and Lenny – 16 May 1963 * Juke Box Jury – 29 Jun. 1963 The Mersey Sound ¬– 9 Oct. 1963 Ready Steady Go! – 4 Oct. 1963 Val Parnell’s Sunday Night at the London Palladium – 13 Oct. 1963 Drop In – 3 Nov. 1963 The Royal Variety Performance – 6 Jun. 1963 This Week – 7 Nov. 1963 The Huntley-Brinkley Report – 18 Nov. 1963 Late Scene Extra – 27 Nov. 1963 Juke Box Jury – 7 Dec. 1963 It’s The Beatles – 7 Dec. 1963 JFK Airport press conference – 7 Feb. 1964 CBS Evening News – 7 Feb. 1964 The Ed Sullivan Show – 9 Feb. 1964 What’s Happening! The Beatles in the U.S.A. – Feb. 1964 Big Night Out – 23 Feb. 1964 Around The Beatles – 6 May 1964 Beatles in Nederland – 8 Jun. 1964 Not Only… But Also – 20 Nov. 1964 BBC News – 12 Jun. 1965 The Music of Lennon and McCartney – 16 Dec. 1965 Circus Krone-Bau, München – 24 Jun. 1966 Independent Television News – 8 Jul. 1966 Reporting ’66 – 20 Dec. 1966 The Music: This Boy Some Other Guy Love Me Do A Taste of Honey Twist and Shout From Me to You Devil in Disguise I’ll Get You She Loves You I Saw Her Standing There Till There Was You Love Hit Me Money (That’s What I Want) All My Loving You Can’t Do That Nowhere Man Shout

This week, me and my new co-host Justen look at the the brief but prolific history of the Beatles! If you liked this episode, please subscribe, leave a comment, and share with your friends! Also, click on this link to listen to this week’s songs! https://open.spotify.com/user/lucaschrisman/playlist/1bhH8fpP24BOrPiEC3BBL7?si=nq7CV5NKRju-IKo-m5w7qA This week’s songs are: I Saw Her Standing There, Can’t Buy Me Love, Ticket to Ride, In My Life, Within You Without You, I Am the Walrus, Something, and Let It Be. The bonus song is House of the Rising Sun by the Animals --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/lucas-chrisman5/support

Here's your daily look at 'Today in Rock History' featuring: Houston Texans defensive end, J.J. Watt is 30. He raised over $37 million for Hurricane Harvey relief. Keegan Michael Key is 48. He's the taller Oscar-free half of "Key and Peele". William Shatner is 88. Captain James Tiberius Kirk, Sergeant T.J. Hooker, and the musical mastermind behind "Rocket Man". Today in 1963, The Beatles released their debut album "Please Please Me". It featured their classic hits "Love Me Do", "I Saw Her Standing There", and "Twist and Shout". Today in 1985, Wendy's fired their amazing "Where's the Beef?" spokesperson ClaraPeller after Clara did spots for Prego pasta sauce saying she'd FOUND the beef. AND today in 1997, Paul McCartney's original birth certificate sold to an unidentified buyer for $84,146 in the biggest-ever auction of Beatles memorabilia. for why?

Episode 31 | In this episode, Dante + Lola recap the documentary Surviving R. Kelly Parts 1 + 2. This message is not suitable for all audiences; please be advised of the graphic + sexual nature of this content. During the podcast, Lola spoke about the sexualization of adolescents + the following are details of what she didn't cite on the podcast: * In 1957, artist Jerry Lee Lewis married his 13-year-old cousin, Myra Gale Brown. * In 1963, The Beetles released the song "I Saw Her Standing There," which references romantic interests in a 17-year-old girl. * In 1990, Bel Biv DeVoe released "Do Me" with these lyrics: Backstage, underage, adolescent How ya doin', fine, she replied I sighed, I like to do the wild thing Action took place Thank you for listening - to show my appreciation here's a free meditation graphic: pin.it/xd2qr5r6jtbn5h JOIN OUR PRIVATE COMMUNITY: https://www.facebook.com/groups/thesmokingprophet/?ref=share FOR DAILY INSPIRATION FOLLOW: pinterest.com/lolacabaya instagram.com/thesmokingprophet instagram.com/lolacabaya facebook.com/thesmokingprophet CONTACT US: mylolacreates.com/the-smoking-prophet

The cripple impersonations, the Nazi salutes, the MBEs (received and returned), the groupies, the ‘Butcher cover’, the ‘bigger than Jesus’ controversy, the drugs, the love anthem, the naked album cover, the politically-charged lyrics, the peace campaign, the erotic artwork… However we slice and dice The Beatles’ story, it’s never boring,. What they said, sang and did still incites heated debates and disagreements five decades later. And what was deemed acceptable or unimportant back in the 1960s is often judged far more harshly today—as well as the other way around. So, diving into this often amusing, sometimes disturbing topic, we appraise things according to not only current mores, but also the era in which they took place—guaranteeing an action-packed episode… and a splendid time for all. The Music I Saw Her Standing There Day Tripper The Word Girl Run for Your Life Got to Get You into My Life Tomorrow Never Knows Doctor Robert Penny Lane Lucy in the Sky with Diamonds A Day in the Life All You Need is Love Revolution 1 Blackbird Piggies No Pakistanis Maggie Mae I’ve Got a Feeling Don’t Let Me Down Give Peace a Chance Come Together You Can’t Do That Across the Universe Piggies Happiness is a Warm Gun Revolution Commonwealth

The end of summer is signaled by the Champions League Draw.  It is the moment when Europe’s elite are drawn together for nights of excitement under the lights and today we got glamour and and possible hope for Europe past Christmas.   Harry spoke with Hullbhoy and the two discuss the draw and how we got there with the victory over Astana.  we also hear from assistant boss Chris Davies and Kieran Tierney and Olivier Ntcham.   Cover versions were suggested by Sean Hamilton and Derek McLean with Waterloo sunset by The Jam and I Saw Her Standing There by Elton John.   Enjoy…

Fábio Fasolo é um apaixonado por música, preferencialmente de Rock como um todo, em todas as suas vertentes. Morou 8 anos em Londres, terra do punk 77 e do british pop, um lugar que respira música. Tem um gosto especial também para os sons dos anos 50, 60 e do rockabilly, que está bem vivo em sua primeira playlist para o “Aperta O Play” que de alguma forma o fará dançar um pouco ao som dos “país” da guitarra. Se ligue em algumas bandas que ele selecionou: Chuck Berry, Stray Cats, Jerry Lee Lewis, Lee Rocker, Little Richard, Eddie Cochran, The Baseballs, Elvis Presley,  faça o download agora. (clique com o botão direito e selecione salvar). Para ouvir outras músicas do artista clique nos links. 01 – I Saw Her Standing There – The Beatles 02 – Johnny B. Goode – Chuck Berry 03 – Blue Suede Shoes – Elvis Presley 04 – Boom Boom – John Lee Hooker 05 – Tutti Fruti – Little Richard 06 – Walk This Way – Dick Brave & The Backbeats 07 – Whola Lotta Shakin’ Going On – Jerry Lee Lewis 08 – Really Rockabilly – Brian Setzer 09 – Summertime Blues – Eddie Cochran 10 – Stray Cats Strut – Stray Cats 11 – (we’re Gonna) Rock Around The Clock – Bill Halley & His Comets 12 – Umbrella – The Baseballs 13 – Tainted Love – Imelda May 14 – Baby Did A Bad Thing – Chris Isaak 15 – Wild Child – Lee Rocker 16 – Wake Up Little Susie – The Everly Brothers 17 – Reed Light (spells Danger) – Black Raven 18 – Take Me Home, Country Roads – John Denver 19 – Hippy Hippy Shakes – The Swinging Blue Jeans 20- Jerry Lee Medley – The Playtones  21 – Hi-Heel Sneakers – Tommy Tucker 22 – At The Hop – Danny and the Juniors A próxima mixtape vai pro ar no dia 16/08/2017.

One, two, three, fawh! On this episode of Beatles Therapy I analyze I Saw Her Standing There.

We talk about the Beatles' first album: the incredible "Please Please Me." Recorded in a stunningly short 9 hours, this is the album that announced what would quickly become the greatest band in rock history. Although the band was still taking shape (Ringo, after all, had just joined the week before they recorded this), there is still plenty of evidence on this record of how great the Beatles were. What other band was writing so many of its own songs, never mind ones as great as "Please Please Me" (the song, obvs) and "I Saw Her Standing There." Who else was cool enough to cover Ray Charles and Carole King and Motown? Who could do songs in the style of classic standards like "A Taste of Honey" but also rock harder than all of Motown when John blows open "Twist and Shout?" Oh my God, look at me, this is just the first episode and I've already lost my mind. Panelists: Will Hines, Curtis Gwinn, Ben Rodgers, Ariana Lenarsky.

In this episode, Richard and Robert examine the songs that The Beatles drastically re-thought before releasing or abandoned altogether. Featuring insights from singer/songwriter/producer/guitarist Craig Bartock from Heart. Songs include “I Saw Her Standing There” and “Two of Us.” Roy Orbison’s “Please Please Me” performed by Jared Lekites of The Lunar Laugh. More on Craig Bartock. The post 60: You Say You Want An Evolution: The Beatles’ Left Turns and Re-thinks appeared first on Something About The Beatles.

In this episode, Richard and Robert examine the songs that The Beatles drastically re-thought before releasing or abandoned altogether. Featuring insights from singer/songwriter/producer/guitarist Craig Bartock from Heart. Songs include “I Saw Her Standing There” and “Two of Us.” Roy Orbison’s “Please Please Me” performed by Jared Lekites of The Lunar Laugh. More on Craig Bartock. The post 60: You Say You Want An Evolution: The Beatles’ Left Turns and Re-thinks appeared first on Something About The Beatles.

Jerry, Jene and Megan went to Cuba last week -- in this podcast, they recap the highlights of the trip, which include: -Jerry not being recognized by many Cubans because his show isn't on there. So Casey became the star. -Where was Megan for 28 hours? And why did they almost keep her in Cuba at the very end? -Jene was the most invisible member of the delegation who said very little. (Remember, team, what is said in Cuba STAYS in Cuba!) -Jerry said to a ranking government official at dinner, “You want some?” -Jerry singing "I Saw Her Standing There" on the Malecon Wall with a crowd gathering to hear but no one knowing he's a US celebrity. He earned their love with talent. -The “ranking govt. official “ who told us at dinner about being jailed, tortured and exiled by Batista for 11 days before returning when the revolution was won and Fidel, Che, Raul and others paraded into Havana victorious, and going sleepless for 8 days among a jubilant celebration. -Realizing that music is the universal language. See acast.com/privacy for privacy and opt-out information.

In this episode, Richard and Robert trace the musical partnership of the Beatles’ two senior members. Songs include “I Saw Her Standing There,” “We Can Work It Out” and “A Day in the Life.” April 2016 is upon us and so are the Something About The Beatles 2016 calendars – get one of the last remaining copies in stock here and specially priced! The post 50: “Another Lennon-McCartney Original” – John and Paul as Songwriters appeared first on Something About The Beatles.

In this episode, Richard and Robert trace the musical partnership of the Beatles’ two senior members. Songs include “I Saw Her Standing There,” “We Can Work It Out” and “A Day in the Life.” April 2016 is upon us and so are the Something About The Beatles 2016 calendars – get one of the last remaining copies in stock here and specially priced! The post 50: “Another Lennon-McCartney Original” – John and Paul as Songwriters appeared first on Something About The Beatles.

You know what we mean when we discuss "I Saw Her Standing There!" See acast.com/privacy for privacy and opt-out information.

A bit late to cash in on the 50th Anniversary of The Beatles arriving in the USA, but better late than never. "I Saw Her Standing There" is unquestionably a timeless classic pop-rocker, and unquestionably much more McCartney than Lennon. Lennon even chose to cover it at what would be his final big concert appearance. You can hear that version, and the story behind it, as well as many other versions and the stories behind those (by everyone from Bob Welch to Mary Wells to Daniel Johnson...) Enjoy!