Podcast appearances and mentions of Lady Madonna

Dennis Greaves took a week off from Nine Below Zero in 1980 but otherwise kept his nose firmly applied to the grindstone. They broke up in 1983 when he formed the Truth, who broke up in 1989 when he rebooted the old band. He looks back here at the first gigs he ever saw and played – a world with the attractive scent of spilt beer and tobacco – stopping off at various points, among them … … why blues and R&B flourished in South London, police and villains drinking together at the Thomas A Becket and the folklore of the Old Kent Road. ... the great advantage of never having a hit. … taking his parents to see Chuck Berry in 1972. ... the lasting appeal of R&B in a world of processed music. … what he learnt from Glyn Johns when he produced them at Olympic Studios, “the man who invented phasing with Itchycoo Park”. … buying singles at A1 Records in Walworth – “Progressive, Reggae, Artists A-Z …” … seeing Blackfoot Sue and Scarecrow on the pub circuit, and the Groundhogs and Rory Gallagher at the Rainbow. … Pete Townshend watching Nine Below Zero from the wings - “you remind me of us in the ‘60s”. … seeing the Jam 11 times – “900 people in a 400 capacity venue!” … “getting gyp is good as you learn how to control an audience.” … 2am service station food and how touring has changed in 45 years. ... performing in the pilot for The Young Ones in 1982. … “the song you should study for A-Level Pop”. … memories of Mylone LeFevre, Capability Brown, Sonny Terry & Brownie McGee, BB King, Muhammad Ali, Henry Cooper, Uriah Heep, The Little Roosters, Deep Purple, Gary Moore, Greg Lake, Love Sculpture, Free, the Fabulous Thunderbirds, Stevie Ray Vaughan, Alvin Lee, Dr Feelgood and Charlie McCoy playing Lady Madonna on the harmonica on the Val Doonican Show …  … and the greatest record ever made! Nine Below Zero tickets and tour dates here: https://www.ninebelowzero.com/tourHelp us to keep the conversation going by joining our worldwide Patreon community: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Dennis Greaves took a week off from Nine Below Zero in 1980 but otherwise kept his nose firmly applied to the grindstone. They broke up in 1983 when he formed the Truth, who broke up in 1989 when he rebooted the old band. He looks back here at the first gigs he ever saw and played – a world with the attractive scent of spilt beer and tobacco – stopping off at various points, among them … … why blues and R&B flourished in South London, police and villains drinking together at the Thomas A Becket and the folklore of the Old Kent Road. ... the great advantage of never having a hit. … taking his parents to see Chuck Berry in 1972. ... the lasting appeal of R&B in a world of processed music. … what he learnt from Glyn Johns when he produced them at Olympic Studios, “the man who invented phasing with Itchycoo Park”. … buying singles at A1 Records in Walworth – “Progressive, Reggae, Artists A-Z …” … seeing Blackfoot Sue and Scarecrow on the pub circuit, and the Groundhogs and Rory Gallagher at the Rainbow. … Pete Townshend watching Nine Below Zero from the wings - “you remind me of us in the ‘60s”. … seeing the Jam 11 times – “900 people in a 400 capacity venue!” … “getting gyp is good as you learn how to control an audience.” … 2am service station food and how touring has changed in 45 years. ... performing in the pilot for The Young Ones in 1982. … “the song you should study for A-Level Pop”. … memories of Mylone LeFevre, Capability Brown, Sonny Terry & Brownie McGee, BB King, Muhammad Ali, Henry Cooper, Uriah Heep, The Little Roosters, Deep Purple, Gary Moore, Greg Lake, Love Sculpture, Free, the Fabulous Thunderbirds, Stevie Ray Vaughan, Alvin Lee, Dr Feelgood and Charlie McCoy playing Lady Madonna on the harmonica on the Val Doonican Show …  … and the greatest record ever made! Nine Below Zero tickets and tour dates here: https://www.ninebelowzero.com/tourHelp us to keep the conversation going by joining our worldwide Patreon community: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

https://www.virginradio.it/audio/long-playing-stories/1386063/long-playing-stories-the-beatles-lady-madonna-single.htmlhttps://www.virginradio.it/audio/long-playing-stories/1386063/long-playing-stories-the-beatles-lady-madonna-single.htmlTue, 06 May 2025 15:54:00 +0200Virgin RadioVirgin Radiono0

Hoy en ¡Ya Párate! de LOS40 con Delia y Faisy …De Estreno con Riva Pop Music, El cantante italiano Ruggero presenta sencillo ‘Lady Madonna', tenemos la insólita con Leoncio Cósmico y empezamos chisme con todos los niños

Before the legend of the Amityville Horror, there was a real-life nightmare—a family massacre, a shocking confession, and a story that still doesn't add up.Darkness Syndicate members get the ad-free version. https://weirddarkness.com/syndicateInfo on the next LIVE SCREAM event. https://weirddarkness.com/LiveScreamInfo on the next WEIRDO WATCH PARTY event. https://weirddarkness.com/TVIN THIS EPISODE: Was there another gunman in the notorious Amityville House murders? (The Defeo Family Massacre) *** We've all heard of the Headless Horseman – but Sleepy Hollow's lesser-known ghost will terrify you all the more. (The Bronze Lady of Sleepy Hollow) *** Theodore Roosevelt was so tough, that during one of his speeches he was shot in the chest – but still kept going until his speech was over. And then there was Alice, his daughter – who may have been even tougher than Teddy! (A Bullet And a Voodoo Doll) *** An icy cold hand caresses a girl in the middle of the night. (A Comfort) *** For most people, spotting a UFO would be considered extremely unusual, but for two Ohio women, seeing a UFO was the least surprising part of their experience. (UFOs And Time Distortions) *** AND A WHOLE LOT MORE!CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Disclaimer and Lead-In00:01:45.670 = Show Open00:03:27.779 = The Defeo Family Massacre00:21:20.179 = The Bronze Lady of Sleepy Hollow00:24:19.766 = The Bullet And The Voodoo Doll00:28:06.565 = A Comfort00:33:47.838 = UFOs and Time Distortions00:50:17.276 = I Was Born With Superhuman Abilities (Fictional Story)01:01:01.954 = Leaving The Hospital01:08:13.836 = To The Moon and Back01:20:21.638 = Don't Let This Be You (Fictional Story)01:42:48.921 = Grandma's House01:47:56.073 = Show Close01:48:41.694 = Final Thought SOURCES AND RESOURCES FROM THE EPISODE…Episode Page at WeirdDarkness.com (includes list of sources): https://weirddarkness.com/BeforeAmityville“The Defeo Family Massacre” posted at The UnRedacted: https://tinyurl.com/uuc9r6c“The Bronze Lady of Sleepy Hollow” by Jessica Ferri for The Line Up: http://ow.ly/fmVz30mX4TL“A Bullet And The Voodoo Doll” by Troy Taylor for American Hauntings Ink: https://tinyurl.com/v8v8q7f“A Comfort” by Lady Madonna, posted at YourGhostStories.com: https://tinyurl.com/yx4y7xvz“UFOs and Time Distortions” by Tim Swartz at UFO Review: https://tinyurl.com/w4plgq2FICTION STORY: “I Was Born With Superhuman Abilities” by Alayne Winters – posted at Creepypasta.com: https://tinyurl.com/rlxl9lr“Leaving the Hospital” by Weirdo family member, Louise Latham – submitted directly to Weird Darkness“To the Moon and Back” submitted anonymously to Weird DarknessFICTION STORY: “Don't Let This Be You” by Hikari Shimizu – posted at Creepypasta.com:https://tinyurl.com/r42rmmm“Grandma's House” by Weirdo family member, Rachel West – submitted directly to Weird Darkness=====(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2025, Weird Darkness.=====Originally aired: November, 2018

Ruggero, cantante, lanza "Lady Madonna", un pop electrónico lleno de intensidad y pasión, tras su éxito en Cien Años de Soledad. La canción narra una historia de amor tormentosa.Conéctate en Tamara con Luz en MVS, de lunes a viernes, de 10:00 AM a 01:00 PM por MVS 102.5 FM.See omnystudio.com/listener for privacy information.

After spending a year and half out firmly planted in psychedelia, The Beatles returned to Earth at the beginning of 1968 with "Lady Madonna," a Paul-penned tune that pays tribute to the strength of women, a topic he mines throughout his career. The song also serves an homage to New Orleans' piano legend and rock and roll trail blazer Fats Domino, and marks maybe the first time the band created their own intentional throwback to the early rock and roll of their youth. It's a grooving song with a fantastic shuffle from Ringo, some great faux-horn vocals from George and Paul. It always feels like a little slice of home to me, perhaps because New Orleans music is at the root of the song. To talk about New Orleans piano music, there are few better than Davis Rogan. Davis is known internationally as a master of the artform, and one of New Orleans' classic larger than life personalities. That personality is so big, it spawned a main character on HBO's popular Treme series. He's worked in radio, worked as a music teacher, been at the forefront of the hybrid of brass music, funk and hip-hop with his band All That. We chat with Davis about reapproaching the Beatles music after music education, Fats Domino, synthesizing New Orleans music, Alex Chilton, and much more! Check out Davis at davisrogan.com and Facebook.com/DavisRoganMusic to see if he's coming to your neck of the woods! What do you think about "Lady Madonna" at #89? Too high? Too low? Or just right? Let us know in the comments on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! Be sure to check out ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.rankingthebeatles.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and grab a Rank Your Own Beatles poster, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Us A Coffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! --- Send in a voice message: https://podcasters.spotify.com/pod/show/rankingthebeatles/message Support this podcast: https://podcasters.spotify.com/pod/show/rankingthebeatles/support

There seems to be somewhat of a misconception of The Beatles having a really big "Indian period." In reality, there's only 3 songs that really fit that bill, and the 3rd a final one, "The Inner Light," may be the most open hearted and enlightened one. After being inspired/challenged by a scholar he met on the David Frost show, George took lyrics from the Tao Te Ching and created a gorgous song that found it's home on the b-side of the Lady Madonna single. Recorded in Bombay while working on the Wonderwall Music soundtrack, George created an authentic and beautiful song with a gorgeous lyric, that gets sprinkled with a kiss of the Beatles magic at the end, one line of 3 part harmony that reminds the listener "oh yeah, it's The Beatles." It's an unappreciated, somewhat unknown tune that should get more love than it usually does. We're joined this week by an absolute ray of sunshine, the lovely Caitlin Larkin! Caitlin is a DJ on the Sirius XM Beatles Channel who got her job after a campaign of posting a series of faux-radio promos on Tik Tok and catching the ear of the Sirius folks. She's a joy to listen to, has great taste in what she chooses to play, and is one the nicest folks in all of Beatle-fandom. We have a blast talking about old Napster throwbacks, what goes on behind the scenes at the Beatles channel, Liverpool tears, and the magical Beatles quiz book. Be sure to listen to Caitlin weekdays on the Sirius XM Beatles Channel from 12-1 EST, and follow her on Facebook, Twitter, and Instagram. What do you think about "The Inner Light" at #90? Too high? Too low? Or just right? Let us know in the comments on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! Be sure to check out ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.rankingthebeatles.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and grab a Rank Your Own Beatles poster, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Us A Coffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! --- Send in a voice message: https://podcasters.spotify.com/pod/show/rankingthebeatles/message Support this podcast: https://podcasters.spotify.com/pod/show/rankingthebeatles/support

David Bowie ist für viele Menschen ein unglaublich inspirierender und mutiger Künstler gewesen. Er hat schon früh mit queeren Geschlechter-Rollen gespielt und mit Ziggy Stardust die Kunstfigur im Pop etabliert. Zum 50. Jubiläum sprechen wir über sein Album "Diamond Dogs". Nachdem David Bowie 1973 im Hammersmith Odeon seine eigene Kunstfigur Ziggy Stardust, mit der er eineinhalb Jahre lang live aufgetreten war, zum Schock vieler Fans zerstörte, stand Bowie vor einem Scheideweg: Wie sollte es weiter gehen? Das Ergebnis hören wir auf "Diamond Dogs". Für den Musiker, Musikjournalisten und vor allem David-Bowie-Experten Heinz Rudolf Kunze war die Zeit nach Ziggy Stardust eine ganz besondere Phase in der Karriere von David Bowie: "Die Diamond-Dogs-Phase war die vielleicht gefährlichste in Bowies Laufbahn. Ziggy ist zu den Akten gelegt. Wer oder was würde er nun werden?" Das sagte Heinz Rudolf Kunze 1985 in einer Feature-Reihe, die er für den NDR gemacht hatte. Auch nach "Diamond Dogs" gab es noch prekäre Phasen in der Karriere von David Bowie, wie Heinz Rudolf Kunze im Podcast erzählt. Die Phase von "Diamond Dogs", war für Heinz Rudolf Kunze damals so gefährlich, weil das sehr erfolgreiche Ziggy-Stardust-Konzept komplett beendet wurde und Bowie mit "Diamond Dogs" quasi vor einem Neuanfang stand, der auch hätte schief gehen können. "Das war ein "Alles oder Nichts" Promotion-Coup! Es war eine geniale, aber wenn es schief gegangen wäre, eben auch selbstmörderische Maßnahme von der Bühne herab 1973", sagt Heinz Rudolf Kunze über das plötzliche Ende von Ziggy Stardust. Glücklicherweise hat das Album "Diamond Dogs" die Karriere von David Bowie nicht beendet, sondern Bowie als Ausnahmekünstler hat sich mit diesem Album gewandelt und gleichzeitig auch an sein vorheriges Album "Aladdin Sane" angeknüpft. Und durch die Musiker, mit denen Bowie auf "Diamond Dogs" zusammengearbeitet hat, die aus unterschiedlichen Genres kamen, hat er selbst auch seine Bandbreite erweitert. Nach dem Glanz und Glamour von Ziggy Stardust kommt bei David Bowie der menschliche Abgrund, die Dystopie. Es ist ein düsterer und apokalyptischer Blick in die Zukunft. Inspiriert dazu haben David Bowie unter anderem Fritz Langs Film "Metropolis", George Orwells Klassiker "1984" und auch die Werke von William S. Borroughs. Bowie schaut auf "Diamond Dogs" in die Zukunft und sieht in seinem Song "Future Legend" verstörende Dinge. Zum Beispiel "Flöhe, die so groß wie Ratten sind und Ratten, die so groß wie Katzen sind". Definitiv kein rosiger Blick in die Zukunft. Musikalisch hat sich David Bowie auf "Diamond Dogs" sehr viel bei seinen Kollegen und Freunden bedient wie zum Beispiel auch bei der Gitarrenarbeit, die teilweise einen deutlichen Rolling Stones Stempel trägt. Mit "Diamond Dogs" hat sich David Bowie von Großbritannien auch in Richtung USA orientiert. In Großbritannien und Europa war Bowie spätestens nach seiner Ziggy Stardust Zeit ein absoluter Megastar. Die USA hingegen waren noch ein Markt, den er gerne noch erobern wollte. Deshalb erkennen wir auf seinem Album auch immer wieder musikalische Elemente von Künstlern, die in den USA bereits sehr erfolgreich waren. Einige davon kamen auch aus dem amerikanischen Funk und Soul Bereich, wie zum Beispiel von den Temptations oder auch Bill Withers. Ob das alles nun Inspiration, Diebstahl oder eine Leihgabe ist, darüber wird auch in diesem Podcast gestritten. Aber auch über die Rolling Stones hinaus hat David Bowie sich für "Diamond Dogs" an anderen Stellen musikalisch "inspirieren" lassen. Wo genau, das hören Sie im Meilensteine Podcast zu "Diamond Dogs" von David Bowie. __________ Shownotes Meilenstein-Folge zum Album "Court And Spark" von Joni Mitchell: https://www.swr.de/swr1/rp/meilensteine/swr1-meilensteine-joni-mitchell-court-and-spark-100.html Meilenstein-Folge zum Album "Let's Dance" von David Bowie: https://www.swr.de/swr1/rp/meilensteine/swr1-meilensteine-david-bowie-lets-dance-102.html Meilenstein-Folge zum Album "The Rise and Fall of Ziggy Stardust…": https://www.swr.de/swr1/rp/meilensteine/swr1-meilensteine-david-bowie-the-rise-and-fall-of-ziggy-stardust-and-the-spiders-from-mars-100.html Bruce Springsteen singt "Rebel Rebel" live: https://www.youtube.com/watch?v=YYiyufw1Wqw __________ Über diese Songs vom Album "Diamond Dogs wird im Podcast gesprochen (11:40) – "Future Legend"(29:01) – "1984"(37:11) – "Rock'n'Roll With Me"(44:07) – "Sweet Thing – Candidate – Sweet Thing Reprise"(01:04:39) – "Rebel Rebel"__________ Über diese Songs wird außerdem im Podcast gesprochen (15:23) – "It's Only Rock'n'Roll (but I LIke It)" von den Rolling Stones(23:01) – "Brown Sugar" von den Rolling Stones(23:32) – "Blackstar" von David Bowie(34:57) – "Papa Was a Rolling Stone" von The Temptations(41:42) – "Lean On Me" von Bill Withers(01:00:02) – "Zion" von David Bowie(01:00:26) – "Changes" von David Bowie(01:00:59) – "Lady Madonna" von The Beatles (01:01:24) – "Negativland" von Neu!(01:07:13) – "The Last Time" von den Rolling Stones__________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Meldet euch gerne per WhatsApp-Sprachnachricht an die (06131) 92 93 94 95 oder schreibt uns an meilensteine@swr.de

Esta semana, en "El trastero" de Carlos del Amor, conversamos con José Lebrero, comisario de la exposición Pintora a pesar del cubismo, dedicada a la artista María Blanchard (1881-1932), que se inaugurará en el Museo Picasso de Málaga el próximo 30 de abril. Después, en “¿Quién es quién?”, junto a Aitor Caminero, recibimos al enfermero experto en emergencias Ramón Pedrosa, coordinador del Máster en Urgencias y Emergencias Sanitarias (MUUES) de la Universitat Internacional de Catalunya (UIC). Y acabamos con "Las mil y un músicas" y "Lo Bitel" de Marta G. Navarro. Hoy hacemos un alto en el camino para hablar de los Past Masters, los discos que recopilan todos los singles de Los Beatles. Y escuchamos: I’ll Get You, Paperback Writer, Rain, The Inner Light y Lady MadonnaEscuchar audio

Acabamos con "Las mil y un músicas" y "Lo Bitel" de Marta G. Navarro. Hoy hacemos un alto en el camino para hablar de los Past Masters, los discos que recopilan todos los singles de Los Beatles. Y escuchamos: I’ll Get You, Paperback Writer, Rain, The Inner Light y Lady Madonna.Escuchar audio

IN THIS EPISODE: Was there another gunman in the notorious Amityville House murders? (The Defeo Family Massacre) *** We've all heard of the Headless Horseman – but Sleepy Hollow's lesser-known ghost will terrify you all the more. (The Bronze Lady of Sleepy Hollow) *** Theodore Roosevelt was so tough, that during one of his speeches he was shot in the chest – but still kept going until his speech was over. And then there was Alice, his daughter – who may have been even tougher than Teddy! (A Bullet And a Voodoo Doll) *** An icy cold hand caresses a girl in the middle of the night. (A Comfort) *** For most people, spotting a UFO would be considered extremely unusual, but for two Ohio women, seeing a UFO was the least surprising part of their experience. (UFOs And Time Distortions) *** AND A WHOLE LOT MORE!SOURCES AND REFERENCES FROM THE EPISODE…“The Defeo Family Massacre” posted at The UnRedacted: https://tinyurl.com/uuc9r6c“The Bronze Lady of Sleepy Hollow” by Jessica Ferri for The Line Up: http://ow.ly/fmVz30mX4TL“A Bullet And A Voodoo Doll” by Troy Taylor for American Hauntings Ink: https://tinyurl.com/v8v8q7f“A Comfort” by Lady Madonna, posted at YourGhostStories.com: https://tinyurl.com/yx4y7xvz“UFOs and Time Distortions” by Tim Swartz at UFO Review: https://tinyurl.com/w4plgq2The original horror short story, “I Was Born With Superhuman Abilities” by Alayne Winters – posted at Creepypasta.com: https://tinyurl.com/rlxl9lr“Leaving the Hospital” by Weirdo family member, Louise Latham – submitted directly to Weird Darkness“To the Moon and Back” submitted anonymously to Weird DarknessThe fictional story, “Don't Let This Be You” by Hikari Shimizu – posted at Creepypasta.com:https://tinyurl.com/r42rmmm“Grandma's House” by Weirdo family member, Rachel West – submitted directly to Weird DarknessWeird Darkness theme by Alibi Music Library.= = = = =(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2024, Weird Darkness.= = = = =Originally aired: November, 2018PARTIAL TRANSCRIPT: https://weirddarkness.com/horror-before-amityville/

00:00 - Intro 1:05 - Twenty Flight Rock 4:05 - Magical Mystery Tour 7:10 - Jet 12:32 - All My Loving 15:22 - Let Me Roll It 21:37 - I've Got A Feeling 26:24 - My Valentine 30:00 - Nineteen Hundred and Eighty-Five 35:15 - Lady Madonna 39:50 - In Spite of All the Danger 45:30 - Love Me Do 48:50 - Who Cares? 52:20 - Birthday 55:50 - Fuh You 1:00:00 - Get Back 1:04:20 - Ob-La-Di, Ob-La-Da 1:08:30 - Band On The Run 1:14:32 - Hi Hi Hi 1:18:45 - I Saw Her Standing There 1:22:15 - Sgt. Pepper's Lonely Hearts Club Band (Reprise) 1:23:30 - Helter Skelter 1:27:25 - Outro All uploads on this channel are for promotional purposes only! The music has been converted before uploading to prevent ripping and to protect the artist(s) and label(s). If you don't want your content here  please contact us immediately via email: allmusiclive@outlook.com and WE WILL REMOVE THE EPISODE IMMEDIATELY

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

Luke 1:46-55, 2:41-52

Happy Anniversary Madonna-Fans! Die Travestie für Deutschland verabschiedet sich von diesem Jahr mit einer Sonderfolge zu Ehren unserer Schutzheiligen: Vier Jahrzehnte lang schon verteidigt Lady Madonna ihre Rekorde, formt Popkultur und Musikvideos und lädt nun ein zu ihrer Celebration Tour. Wir sprechen mit Zeitzeuginnen, die ihre persönliche Geschichte mit der Queer-Ikone erzählen, fünfzehn sehr unterschiedliche Alben durchleuchten und über alle Meilensteine berichten: Singer-Songwriter Mavin spricht über Madonnas Weg vom New Yorker Club-Kid zum erfolgreichstes Showgirl der Welt (ab 4:00 Min), Act-T-Vistin Kaey beleuchtet (ab 33:00 Min) die balladigen Neunziger, Fashionista Firouz erklärt Madonnas drittes Jahrzehnt an der Spitze (ab 58:00 Min) und Drag Queen Absinthia Absolut beschreibt (ab 1 Std 27 Min) das nicht minder spannende Spätwerk der bahnbrechenden Entertainerin. Viel Spaß bei unserem letzten Podcast der Saison: It's a Celebration! WICHTIG: Travestie für Deutschland ist ein gemeinnütziger Verein. Wir stellen diesen Podcast unentgeltlich zur Verfügung und verfolgen keine kommerziellen Zwecke. Alle Rechte an der Musik liegen bei Madonna. Mehr Infos unter www.travestiefuerdeutschland.de

It could be time for some NBA history. With the Nuggets sweeping the Lakers, and the Heat up 3-0 on the Celtics, this could be the first time that both NBA conference finals have been sweeps.A sweep and a gentleman's sweep in the other series? That's happened before, most recently in 2017, when Golden State obliterated Portland, while the Cavaliers dropped Game 3 (at home) to the Celtics before beating Boston by 13 and 33 (in Boston) to close out the series.The other times there have been only nine conference finals games, total?* 1974: Bucks swept Bulls (West), Celtics over Knicks (East)* 1986: Celtics swept Bucks (East), Rockets over Lakers (West)* 2015: Cavaliers swept Hawks (East), Warriors over Rockets (West) This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit willetspen.substack.com/subscribe

E874

Dead Airwaves E 30 Night Caller By G.L. Raisor. Read By Wesley Critchfield Another great story from one of our favorite writers of Horror and Dark Fantasy, G.L. Raisor. Gary is an American horror author best known for the novels Less Than Human, Graven Images, Sinister Purposes, and his extensive short fiction work. His novels garnered reviews. He was nominated for a Bram Stoker Award for Best First Novel for Less Than Human in 1992. He also edited the anthology Obsessions with stories from Dean Koontz, Kevin J. Anderson, F. Paul Wilson, Dan Simmons, Joe R. Lansdale, and featured the story Lady Madonna by Nancy Holder, which won the Bram Stoker Award for Short Fiction in 1991. Make sure you checkout our magazine Twisted Pulp at Amazon and https://www.screamingeyepress.com/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/mslade/message

1. Fool on the hill. Lucas Santtana 2. Help. Caetano Veloso 3. With A Little Help From My Friends. Rita Lee 4. Lady Madonna. Caetano Veloso 5. Imagine. Milton Nascimento & Gilberto Gil

Help spread the darkness! VOTE FOR THIS EPISODE at https://weirddarkness.tiny.us/mvjsnkbz – you can vote up to 3X per day! Find Weird Darkness in your favorite podcast app at https://weirddarkness.com/listen. PLEASE SHARE WEIRD DARKNESS® in your social media and with others who loves paranormal stories, true crime, monsters, or unsolved mysteries like you do!IN THIS EPISODE: We've all heard of the Headless Horseman – but Sleepy Hollow's lesser-known ghost will terrify you all the more. (The Bronze Lady of Sleepy Hollow) *** Theodore Roosevelt was so tough, that during one of his speeches he was shot in the chest – but still kept going until his speech was over. And then there was Alice, his daughter – who may have been even tougher than Teddy! (A Bullet And a Voodoo Doll) *** An icy cold hand caresses a girl in the middle of the night. (A Comfort) *** For most people, spotting a UFO would be considered extremely unusual, but for two Ohio women, seeing a UFO was the least surprising part of their experience. (UFOs And Time Distortions) *** Was there another gunman in the notorious Amityville House murders? (The Defeo Family Massacre) *** AND A WHOLE LOT MORE!SOURCES AND ESSENTIAL WEB LINKS…“The Defeo Family Massacre” posted at The UnRedacted: https://tinyurl.com/uuc9r6c “The Bronze Lady of Sleepy Hollow” by Jessica Ferri for The Line Up: http://ow.ly/fmVz30mX4TL “A Bullet And A Voodoo Doll” by Troy Taylor for American Hauntings Ink: https://tinyurl.com/v8v8q7f “A Comfort” by Lady Madonna, posted at YourGhostStories.com: https://tinyurl.com/yx4y7xvz “UFOs and Time Distortions” by Tim Swartz at UFO Review: https://tinyurl.com/w4plgq2 The original horror short story, “I Was Born With Superhuman Abilities” by Alayne Winters – posted at Creepypasta.com: https://tinyurl.com/rlxl9lr “Leaving the Hospital” by Weirdo family member, Louise Latham – submitted directly to Weird Darkness“To the Moon and Back” submitted anonymously to Weird DarknessThe fictional story, “Don't Let This Be You” by Hikari Shimizu – posted at Creepypasta.com: https://tinyurl.com/r42rmmm “Grandma's House” by Weirdo family member, Rachel West – submitted directly to Weird Darkness= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =Weird Darkness theme by Alibi Music Library. Background music provided by Alibi Music Library, EpidemicSound and/or StoryBlocks with paid license. Music from Shadows Symphony (https://tinyurl.com/yyrv987t), Midnight Syndicate (http://amzn.to/2BYCoXZ) Kevin MacLeod (https://tinyurl.com/y2v7fgbu), Tony Longworth (https://tinyurl.com/y2nhnbt7), and Nicolas Gasparini (https://tinyurl.com/lnqpfs8) is used with permission of the artists.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46WeirdDarkness™ - is a production and trademark of Marlar House Productions. © 2023, Weird Darkness.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =TRANSCRIPT: https://weirddarkness.com/archives/14723

El nuevo disco de piano solo de Brad Mehldau, 'Your mother should know', está dedicado a los Beatles con grabaciones de temas del grupo de Liverpool como 'I am the walrus', 'Your mother should know', 'I saw her standing there', 'For no one', 'Here, there and everywhere', 'Maxwell's silver hammer' o 'Golden slumbers'. Más Beatles, con Caetano Veloso ('Eleanor Rigby', 'Lady Madonna'), Rita Lee ('A hard day´s night', 'If I fell', 'All my loving') y Toninho Horta ('She´s leaving home'). Escuchar audio

1968 was a year of disappointments for the Monkees.  During this year their television series was cancelled, their first motion picture effort failed at the box office, and band member Peter Tork would leave the group at the end of the year.  Despite all this they would still find success in their fifth studio album, The Birds, The Bees & the Monkees.  This album would chart at number 3 in the United States and would sell over a million copies.Members Mickey Dolenz, Davy Jones, Michael Nesmith, and Peter Tork had gained artistic control and the right to play their own instruments by 1967, and all band members were credited as producers for the songs on this album.  However, much of the music on this album was created by members going their own separate ways and working with session musicians to create the tracks, with few collaborative efforts represented on the album.  Nevertheless, the album shows a diverse range of styles from broadway pop, to country & western, to psychedelia.  Songs from Mickey Dolenz, Davy Jones, and Michael Nesmith are represented on the album, and only Peter Tork is excluded.  Tork would contribute piano work to the song “Daydream Believer,” but little else on the album.Friend of the show Mike Fernandez brings us this album in Wayne's absence.  Daydream BelieverJohn Stewart of the Kingston Trio wrote this song, and it was originally performed by the Monkees with Davy Jones singing lead.  It hit number 1 on the US charts.  The original lyrics were “and now you know how funky I can be,” but “funky” was changed to “happy” due to concerns that funky might have drug or other unsavory references.Auntie's Municipal Court Mickey Dolenz sings lead on this track composed by  Michael Nesmith and Keith Allison.  We feel it has a “jangle pop country feel.”  The title doesn't appear in the lyrics, and writer Michael Nesmith has no recollection why it was named as it was.  It was not the only song whose title was not referenced in the song.  Valleri  Tommy  Boyce and Bobby Hart wrote this song with Davy Jones on lead.  It reached number 3 on the US charts and would be the last top 10 showing for the Monkees.  Guitar work is done by Louie Shelton, a session guitarist with the Wrecking Crew.Zor and Zam Bill and John Chadwick penned this track, sung by Mickey Dolenz.  It is an unusual anti-war song in the Monkee's catalogue.  The lyrics describe preparation for a war between two kingdoms, but no one shows up when the war is supposed to happen.  This psychedelic track closes the album. ENTERTAINMENT TRACK:Main theme from the television series “The Andy Griffith Show”This long running series on the life and time of Sheriff Andy Taylor of Mayberry, North Carolina ended its run in this month.  STAFF PICKS:Kiss Me Goodbye by Petula ClarkBrian's leads off the staff picks with a Les Reed and Barry Mason composition.  This song would reach number 15 on the US Billboard Hot 100, and would be the last time Petula Clark reached into the top 30 on that chart.  Just Dropped In (To See What Condition My Condition Was In) by The First Edition Bruce brings us a psychedelic rock song recorded by the First Edition as their second single, and the first to feature Kenny Rogers on lead vocals.  It peaked at number 5 on the Billboard Charts and was Rogers' first top 10 hit.  The solo is played by Glen Campbell with heavy compression and tremolo to get the psychedelic feel.  The lyrics are a warning about the dangers of LSD.Lady Madonna by the Beatles Rob's staff pick is a well-known tune.  This was written by Paul McCartney, and marked a change into a more rock sound from the psychedelic sound they had previously explored.  It talks about a working class mother who has something to do every day of the week.  A Beautiful Morning by the RascalsMike features a very optimistic tune from a prolific group.  This easy breezy song was written by Rascals members Felix Cavaliere and Eddie Brigati, Jr. in Honolulu, Hawaii, where beautiful mornings are a common occurrence. INSTRUMENTAL TRACK:2001:  A Space Odyssey (Also Sprach Zarathustra by Ricard Strauss)Stanley Kubrick would make this Richard Strauss theme famous in his epic science fiction movie based on the Arthur C. Clarke book. The film as released this month in 1968....and we couldn't pronounce it either!!

Peel back the many layers of creativity from EMMY Award-winning and Academy Award-nominated composer, Daniel Pemberton, as he describes how he reimagined the sounds of the 50's but in very unconventional ways to create the score for murder-mystery film, See How They Run, based in 1950's London. Pemberton pulled out all the stops in creating the sounds of the era without being too literal. Incorporated into the 70-piece orchestra are vintage banjoes, interesting drum and rhythmic textures, and even his glass water bottle and a metal stick. Also featured in the score is the iconic Mrs. Mills piano housed at Abbey Road Studios and famously known as the piano in the Beatles' Lady Madonna, Penny Lane and With A Little Help From My Friends to bring in a vaudeville, honky tonk sound.

#TheeTrista, aka #DJTripsta. This album when it came out in 1989 was incredibly important for me, as teenage girl and young lady, and I'm absolutely sure that it was momentous for all of society, this phenomenon that was Madonna Louise ciccone. Same, similar Catholic parental influence and culture, and she was a dancer that went to New York when she made it big, with mega hits like borderline, Lucky Star, debuted on MTV which was new at the time. Madonna's music literally rocked our world as young people! And I for one would like to thank her for her contribution to girls and women's psychology I would guess, to have a sex positive or healthy sense self-image, and be comfortable with one sexuality, and to be discerning in one's romantic and sexual relationships. All these things Madonna talk about in these songs like Express yourself, which is so uplifting, it still brings tears to my eyes, when I think of how loving ly beautiful are those lyrics, how understanding of our fears and insecurities. It was a healthy atmosphere, I think, to grow up in a world where Madonna, literally Lady Madonna was such a star and role model and even creative influence. Like the Madonna, her aspect was benevolent. I've often thought about how she would make a great health and human services head of that department; in fact, I may have actually mentioned that to her. Madonna's compassionate and understanding response to the devastation of the gay community that was the AIDS epidemic in the mid 80s is exactly, was impressive to me at the time, as counterbalance to the homophobic rhetoric at the time. Her pushback against bigotry towards the lgbtq+ community which is what we call it now, that was what was needed at that time. I've sent postcards to her in the past, like from Paris, which I knew she enjoyed, and that she loved the French poets, like Rimbaut, les fleurs du mal, which incidentally Jim Morrison was inspired by. I studied intellectual history and biography of the American suffragette, Alice Paul, when I was given some unknown notes Paul had written home from when she was a student in England. I got photocopies of these letters she had written home to her mother in America, and wrote ✍️ one of my three research papers at Oxford university. At any rate, so I wrote Madonna from paris, but she never wrote me! Although I don't know if I asked her to! I wonder if she ever got them? In the mountain of fan mail she was getting,... But now this is the age of Aquarius, the golden internet age, the Golden age of the internet. So now, I can just send her a link to this podcast! Madonna or tag her here! Yes Trista that it's a very good idea :-) #comedy #improv #music hashtag live #performance #genius #madonna #lady Gaga - is mentioned in this podcast! #Comedy Central hashtag Trevor Noah #rollingstone #puffpost hashtag and what time #washingtonpost # azcentral #variety @Hollywoodreporter #bulwark Maverick City Music ichael Cohen #dojacat thanks for 10, 000 or more listeners and subscribers and followers across social media! I love you and appreciate you :-) have a blessed day /

A song about Boris Johnson. Parody of "Lady Madonna" by The Beatles. --- Send in a voice message: https://anchor.fm/lawrence-ross9/message

A Beatles song we never performed, but we liked the way it turned out ....

A Beatles song we never performed, but we liked the way it turned out ....

A mad mix of songs have come out of the box, as four more random Beatles tracks contend to become the Greatest of All Time. In play this week are Baby It's You, Ob-La-Di Ob-La-Da, Slow Down & Lady Madonna. One of these songs completely divides us, though it might not be the one you think....

This week a real character, Jimmy Warnock, tells us about his involvement with the original imports of Texel sheep into UK and the early rules that were brought in to control it. As well as his own successes including the great show ewe Lady Madonna, Jimmy explains the justification of the extreme high prices of some sheep today. We move on to cover his exploits judging sheep abroad. With another hat on, Jimmy has done wonderful work educating children and non-farming folk in the ways of agriculture which has in turn won him the award of an MBE.

Elvis Presley a chanté 5 titres des Beatles dans sa vie, dont "Yesterday". "Sans Elvis, il n'y aurait pas de Beatles", phrase de John Lennon. Elvis Presley, lui, se serait bien passé de l'ouragan Beatles dans les années 60. Elvis se sentait menacé par leur succès. Et pourtant, en mai 1971, Elvis Presley est en studio avec ses musiciens, ils enregistrent un album de Noël et captent une impro sur "Lady Madonna". Autre document enregistré en studio : en 1970, pendant les répétitions de son show à Las Vegas, Elvis s'amusait à glisser le "Get back" des Beatles dans sa chanson "Little Sister". Elvis a aussi repris "Hey Jude" et "Something". Ecoutez La pépite musicale avec Anthony Martin du 25 mai 2022

1. Minha mulher. Caetano Veloso 2. Canto do povo de um lugar. Caetano Veloso 3. Joia. Caetano Veloso 4. Qualquer coisa. Caetano Veloso 5. Lady Madonna. Caetano Veloso

It's the twos-iest Tuesday we'll ever know, so we talk about Tal Bachman at length. It also seems that no one else in the world really talks about Tuesday in the detail we do in this episode, so our Google searches force us to dive deeper than usual. We remember that time where the whole world hated free music. Plus, we inform you about the best Wii U and 3DS games you need to download while you still have time!

Yesterday, Eleanor Rigby en Lady Madonna. Paul McCartney heeft behoorlijk wat hits geschreven en vandaag komt dan ook een verzameling van al zijn songteksten mét uitleg van de man himself uit. We bespreken het boek Paul McCartney: De Lyrics met Beatles-fan, Trouw-journalist en spraakmaker van vandaag, Stijn Fens. In het Mediaforum zitten Pieter Klok en Henrike van Gelder. En het is hoog tijd voor een nieuwe Europese universiteit, zegt hoogleraar Ellen Rutten. Ze hoopt daarmee een plek te kunnen bieden aan Oost-Europese denkers die in hun eigen land niet vrij meer kunnen werken.

Like the podcast on Facebook – https://facebook.com/weirddarkness, join the Weirdos Facebook Group – https://facebook.com/groups/marlarhouse, and sign up for the fee email newsletter - https://weirddarkness.com/newsletter! Please SHARE Weird Darkness with someone who loves paranormal stories, true crime, monsters, or unsolved mysteries like you do! Recommending the show to others helps make it possible for me to keep doing the show!IN THIS WEEKEND DARK ARCHIVES EPISODE (with stories from December 11-14, 2018): We've all heard of the Headless Horseman – but Sleepy Hollow's lesser-known ghost will terrify you all the more. (The Bronze Lady of Sleepy Hollow) *** Theodore Roosevelt was so tough, that during one of his speeches he was shot in the chest – but still kept going until his speech was over. And then there was Alice, his daughter – who may have been even tougher than Teddy! (A Bullet And a Voodoo Doll) *** An icy cold hand caresses a girl in the middle of the night. (A Comfort) *** For most people, spotting a UFO would be considered extremely unusual, but for two Ohio women, seeing a UFO was the least surprising part of their experience. (UFOs And Time Distortions) *** Was there another gunman in the notorious Amityville House murders? (The Defeo Family Massacre) *** AND A WHOLE LOT MORE!SOURCES AND ESSENTIAL WEB LINKS…“The Defeo Family Massacre”: https://tinyurl.com/uuc9r6c “The Bronze Lady of Sleepy Hollow” by Jessica Ferri: http://ow.ly/fmVz30mX4TL “A Bullet And A Voodoo Doll” by Troy Taylor: https://tinyurl.com/v8v8q7f “A Comfort” by Lady Madonna: https://tinyurl.com/yx4y7xvz “UFOs and Time Distortions” by Tim Swartz: https://tinyurl.com/w4plgq2 “I Was Born With Superhuman Abilities” by Alayne Winters: https://tinyurl.com/rlxl9lr “Leaving the Hospital” by Weirdo family member, Louise Latham – submitted directly to WeirdDarkness.com“To the Moon and Back” submitted anonymously to WeirdDarkness.com“Don't Let This Be You” by Hikari Shimizu: https://tinyurl.com/r42rmmm “Grandma's House” by Weirdo family member, Rachel West – submitted directly to WeirdDarkness.com Weird Darkness theme by Alibi Music Library. Background music provided by Alibi Music, EpidemicSound and/or AudioBlocks with paid license. Music from Shadows Symphony (https://tinyurl.com/yyrv987t), Midnight Syndicate (http://amzn.to/2BYCoXZ), Kevin MacLeod (https://tinyurl.com/y2v7fgbu), Tony Longworth (https://tinyurl.com/y2nhnbt7), and/or Nicolas Gasparini/Myuu (https://tinyurl.com/lnqpfs8) is used with permission. 

= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =WANT TO ADVERTISE ON WEIRD DARKNESS?Weird Darkness has partnered with AdvertiseCast to handle our advertising/sponsorship requests. They're great to work with and will help you advertise on the show. Email sales@advertisecast.com or start the process now at https://weirddarkness.com/advertise = = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness WeirdDarkness™ - is a production and trademark of Marlar House Productions. Copyright, 2021.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =

Hugo Egon Balder erzählt Geschichten und Anekdoten rund um einen Lieblingshit und seine Entstehung: "Lady Madonna" von The Beatles. Von Hugo Egon Balder.

What can we learn about Paul McCartney from the female protagonists in his songbook? Phoebe and Thalia discuss several McCartney compositions featuring prominent female characters and identify their central themes. Sources: “Many Years From Now” by Barry Miles (1997) Interview w/ Allison Anders, Bomb Magazine (1997) Paul McCartney interview w/ Jonathan Wingate Record Collector (2008) “Chaos and Creation at Abbey Road” (2006) "Still I Rise" by Maya Angelou (1978) “The Oprah Winfrey Show” (1984) Interview w/ Paul McCartney for Billboard Magazine (2001) Paul McCartney Interview w/ Susan Goldberg for National Geographic (2017) PLAYLIST: She’s Leaving Home (1967) Jet (1973) Blackbird (1968) Jenny Wren (2005) Working Women at the Top (1991) It’s Not On (1982) Temporary Secretary (1980) Another Day (1971) Penny Lane (1967) Eleanor Rigby (1966) Eleanor’s Dream (1984) Treat Her Gently/Lonely Old People (1975) English Tea (2005) Let it Be (1970) Imprisonment, Ocean’s Kingdom (2011) Daytime Nighttime Suffering (1979) Mama’s Little Girl (1973) The World You’re Coming Into (1991) Lady Madonna (1968) For No One (1966) Extended Spotify Playlist: Click Here

Episode # 135 - Rocker Griffin Tucker & The Real Rock Revolution release single / video "Gypsy Woman." Griffin explains to Pat how it all started musically for love at the age of 8. He is a very talented multi-instrumentalist and his first instrument was playing the drums. Over the years, he would progress to piano, guitar and many more instruments. We talked about his music and songwriting, of which his Awesome parents write the lyrics and he proves the music. He released a 6 track EP in 2017 "Believe It" Griffin talks about his experience on American Idol and on The Voice. We talk about his band - The Real Rock Revolution with Patrick Smith on rhythm guitar, Cameron Cianelli on bass, and Joshua Sloan on drums. The track "Gypsy Woman" What the plan is, releasing singles or is there an album release upcoming? Touring plans for 2021? And much more!! Subscribe to Pat's Soundbytes Unplugged Podcast, Pat's Soundbytes IGTV and Pat's Soundbytes Unplugged - Podcast Radio Show on YouTube for all the interviews and incredible content. Instagram: Pat's Soundbytes Twitter: @PatsSoundbytes Facebook: Patrick Calamari or Pat's Soundbytes Unplugged!! Patreon Page: Pat's SoundbytesRocker

Podcast del programa Submarino Amarillo 2.0, emitido en Radio Círculo el 9 de Abril de 2021. Navegando a través de las canciones de Morcheeba, The Pale White, St Vincent, Sea Girls, Morrisey, The Films, The Greenhornes & Holly Golightly. En la segunda parte del viaje rescatamos tesoros de Emitt Rhodes, Herman's Hermits, The Hollies y terminamos en Liverpool, escuchando y contándote la historia detrás de "Lady Madonna", el homenaje de Paul McCartney a todas las madres. Con Iván Ramos y Andrés Jiménez. No nos faltéis grumetes.

En este episodio de Rock is Here visitamos un club con una larguísima lista de recitales y que tiene la particularidad de unir la historia de Eric Burdon con la de Jimi Hendrix y con la de The Beatles: el Ronnie Scott's Jazz Club.Estamos en pleno Soho londinense, en el 47 de la Frith Street, a unos 500 metros de la estación Tottenham Court Road, a la que podés llegar con las líneas Central o Northern del subte. Ahí está este famosísimo club de conciertos que se llama Ronnie's Scott's Jazz Club.Este club se había instalado originalmente a unas pocas cuadras hacia el sur, pero en ésta sede actual que visitamos dio su última presentación en vivo nada menos que Jimi Hendrix, el 16 de septiembre de 1970. Esa noche, la anteúltima de su vida, subió al escenario del Ronnie Scott's Jazz Club para tocar junto a War, la por entonces nueva banda del ex Animals, Eric Burdon.Durante bastantes años se dudó sobre la veracidad de este dato y en muchas oportunidades se lo consideró casi un mito urbano. Pero no solamente lo confirmó Ron Wood (el bajista de los Stones) que estaba entre el público, sino que también aparecieron algunos bootlegs de esa noche.Ronnie Scott fue un saxofonista de jazz que formó varios grupos, pero es recordado principalmente por haber fundado este club en 1959. Y otro dato clave en su vida artística, aunque quizás menos conocido, es que Scott fue invitado a tocar su saxo en el solo de "Lady Madonna", el clásico de los Beatles editado como lado B de un simple de 1968...Varios discos fueron registrados en vivo en este escenario. Principalmente, de artistas de jazz. Entre ellos, Curtis Manfield, Chet Baker, Nina Simone y la gran Ella Fitzgerald. Y también otros más rockeros, como Jeff Beck, Charlie Watts y Van Morrison, entre otros.Ronnie Scott murió en 1996, a los 69 años, pero el club aún hoy permanece abierto y es uno de los sitios más frecuentados y reconocidos de la música en vivo en Londres, con buenos tragos y comida, y que tiene shows programados prácticamente los 7 días de la semana.Mi nombre es Marcelo Lamela y te invito a que sigamos en contacto a través de la web rockishere.com. No solamente para escuchar los otros episodios en los que recorremos Londres a través del rock, sino para que conozcas más sobre nuestros libros y nuestras visitas turísticas relacionadas con el rock en Londres, en Manchester y en Liverpool...Y justamente, para la despedida escuchamos "Lady Madonna", pero acá vamos con la versión incluida en la recopilación "Anthology", una mezcla en la que se luce mucho más el saxo de Ronnie Scott que en la versión original.Tracks incluidos:"See See Rider", Eric Burdon & The Animals"Little Child Running Wild", Curtis Mayfield Live at Ronnie Scott's"She Stole My Heart Away", Eric Burdon & The Animals featuring Jimi Hendrix"Cantaloupe Island", The Ronnie Scott Quintet"Lady Madonna", The Beatles"I will be there", Van Morrison"Pork Pie", Jeff Beck Live at Ronnie Scott's"Lady Madonna", The Beatles (Versión alternativa) See acast.com/privacy for privacy and opt-out information.

Abbiamo già visto in puntate precedenti come qualsiasi cosa sia venuta in contatto con qualcuno dei Beatles si sia trasformata in musica.Lady Madonna non fa eccezione a questa regola. Non aveva in mente Howard Sochurek che una sua fotografia sarebbe stata decisiva per l'ispirazione di Paul McCartney. Nè quando la scattò, nè quando la stessa fu pubblicata in un numero del National Geographic.Clicca qui per ascoltare su Spotify la playlist di oggi! https://rbe.it/?p=65110

On today's installment: Jeremiah, the end of days, and the love of family and community. This week people all over America and the world will start planning for St. Valentine's Day. You might not expect a Rabbi to care. Instead, we decided to drop four special episodes each covering a different angle on love, the Bible, and, of course, the Beatles. Sign up for more events here: https://thejoshuaproject.com/love

The first in a series of the Untitled Beatles Podcast’s exploration of the “McCartney” albums kicks off with the cute one’s 1970 solo debut.TJ and Tony make a case for its greatness and its weakness in the context of other solo Beatle ventures that year while revealing which Breakfast Club members they most identified with.Also, what if Lady Madonna and The Fool On The Hill had made it?Meanwhile a random Joe Jackson reference unwittingly unlocks a turbulent used car memory for Tony in the California desert of the 90s, and TJ ponders an incontinent Rocky Raccoon.It should also be noted that Don Mattingly bats left/throws left.Q: Is this a Beatles podcast or Gen X pop culture therapy?A: It's both.

One of the biggest, longest running, and commercially successful bands of the rock era was founded by Carlos Santana, the only consistent member of the band throughout the years.  That band of course is simply named Santana, and their debut album was also known as Santana.Santana has always been about fusion, and you get that with this debut as well.  There's jazz, Latin, calypso, funk, and soul in there, all held together by the guitar virtuosity of Mexican-American Carlos Santana.  The debut album provides a lot of opportunity to take in Santana's guitar work with about half the songs being instrumentals.  Santana came to prominence with their live shows, and of course would be propelled to the top with their concert at Woodstock.The lineup for this iteration of Santana would of course include Carlos Santana on guitar and backing vocals.  Greg Rolie would be on lead vocals and piano, as Carlos Santana usually had someone else on lead vocals in all the different iterations of his band.  Rolie would go on to found the band Journey, as would a future Santana member, Neal Schon.  Other band members were David Brown on bass, Michael Schrieve on drums, Michael Carabello, Jose "Chepito" Areas, and Marcus Malone on congas and percussion.The band was formed in San Francisco in 1966 as the Santana Blues Band.  Promoter Chet Helms told the band that they couldn't be successful with Latin-infused rock, and recommended that Santana "keep his day job" as a dishwasher at Tick Tock's Drive-In.  Time would prove how wrong Helms' advice was.  Santana has sold over 43 million albums in the US, and perhaps 100 million worldwide.Friend of the show Vann Mathis joins us for this podcast. Soul SacrificeIf you have seen the documentary about the August 1969 Woodstock music festival you may have heard this instrumental song.  This one had three screens projecting, one of the band and the other two scanning people at the concert.PersuasionA deeper cut sung by frontman and keyboardist Greg Rolie about a woman that his "put a spell" on a guy, and he can't think of anyone but her.  "Like the devil in disguise, something about you baby.  You're one, you're one of a kind."SavorThis is a hard driving instrumental.  One thing you get from Santana other than the excellent guitar riffs is a lot of congas.Evil WaysThis was Santana's second single the band's first hit, topping out at number 9 on the Billboard charts.  This song was a cover originally recorded by jazz percussionist Willy Bobo in 1967.  It has a great guitar solo. ENTERTAINMENT TRACK:The theme from the television series “Sesame Street”The Sesame Street Kids sing this well-known children's television theme which debuted in November of 1969. STAFF PICKS:Sugar, Sugar  by The ArchiesBrian's staff pick was performed by the cartoon band “The Archies.”  Don Kirshner heard it and decided that it needed to be released.  After persuading radio stations to play it, the song took off and became the biggest single hit of the year.Suspicious Minds by Elvis PresleyMark James wrote this and recorded it in 1968, but Elvis would make it successful in 1969.  It was his 18th and last number 1 single.  The song itself is inspired by James' relationship with his first wife.  He still had feelings for his childhood girlfriend, and his wife had suspicions about that.  Undun   by The Guess WhoRob's staff pick is from Winnipeg's own The Guess Who.  Randy Bachman wrote this about a girl he dated who went into a coma after doing drugs.  It is Bachman's favorite song done with the band.  It was actually the B-side of a song called “Laughing.”Space Cowboy  by the Steve Miller BandWayne finishes us off with a song from Steve Miller's third album, Brave New World. It has a psychedelic feel.  The main guitar riff borrows heavily from "Lady Madonna" by the Beatles.  Steve Miller played at the Monterrey Pops Festival.  INSTRUMENTAL/COMEDY TRACK:Yakety Sax From The Benny Hill ShowThe song was first used on The Benny Hill Show in November 1969.  It was composed by James Q. “Spider” Rich and Boots Randolph.

Child abuse wearing fake masks. Question the abuse

Cuarto dia de versiones Rock, de las buenas: 01. "Revolution" The Beatles por Orquesta Mondragón. 02. "Whole Lotta Love" Led Zeppelin por Hollywood Vampires 03. "Itchyco Park" Small Faces por Hollywood Vampires 04. "Lady Madonna" The Beatles por Orquesta Mondragón 05. "Oh Darling" The Beatles por Orquesta Mondragón 06. "Jepster" T. Rex por Morse, Portnoy y George 07. "Rock and Roll Suicide" David Bowie 08. "Born to be Wild" Steppenwolf por Joe Lynn Turner 09. "Fortunate Son" Creedence Clearwater Revival por Joe Lynn Turner 10. "The Boys are Back in Town" Thin Lizzy por Joe Lynn Turner 11. "War Pigs" Black Sabbath por Faith No More 12. "Maggie Mae" Rod Stewart por Blur 13 "The Sounds of Silence" Simon & Garfunkel por Disturbed 14. Fragmento de "Surfin USA" Beach Boys por Jesus & Mary Chain. Escuchar audio

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 

Musician, producer and founder of Spacebomb records, Matthew E. White joins Jack and Robin from Richmond, VA to chat about The Beatles and George Martin's impact on his sound and career. Matt also talks about his eclectic musical influences, the Lady Madonna piano in Abbey Road, and the ingenious arrangement on Ob-Lad-Di-Ob-La-Da.Support this show http://supporter.acast.com/personalbeatles. See acast.com/privacy for privacy and opt-out information.

シンガーソングライターのレイヤマダです。 外出自粛の日々を経験した今だからこそ、「歌を通じてみんなの心に癒しを届けられるのではないか」「ライブがないならラジオで歌を届けよう！」という思いで、FM那覇のご協力のもと、ラジオ番組を作りました。 既存の曲をただ流すのではない、「生」の歌を届けるアカペラライブです。 是非みなさんは私に歌って欲しい曲のリクエストをすることで、スポンサーになっていただく仕組みです。 レイヤマダがアカペラで歌いますよ。 お待ちしています。 FM那覇・・・ http://www.fmnaha.jp/ 今回のリクエスト曲はこちら・・・ 1曲目　リンダ/竹内まりや 2曲目　色褪せた世界/レイヤマダ 3曲目　The Long And Winding Road/ビートルズ 4曲目　Lady Madonna/ビートルズ 5曲目　Woman〜Wの悲劇より〜/薬師丸ひろ子 6曲目　逢いたくていま/MISIA

And we are back again with another double episode! Hopefully this will provide some entertainment for your quarantine blues.Welcome to Episode 41. Our wine of the week is the Siegerrebe which was kindly gifted to us by Latch Hills Winery. In this episode we will be discussing all things Lady Gaga, giving you the Coles notes on Madonna, including a tiny recap of Truth or Dare, and as always we will be catching you up on all the pop culture news. Enjoy!Support the show (https://www.patreon.com/abcsandpinotgris)

“THE HORROR *BEFORE* AMITYVILLE” and 8 More True Scary Stories plus a Creepypasta! #WeirdDarknessIf you like the podcast, please leave a review in the podcast app you listen from, and share a link to the podcast on Facebook and Twitter to invite others to become Weirdos too!IN THIS WEEKEND DARK ARCHIVES EPISODE (with stories from December 11-14, 2018): We’ve all heard of the Headless Horseman – but Sleepy Hollow's lesser-known ghost will terrify you all the more. (The Bronze Lady of Sleepy Hollow) *** Theodore Roosevelt was so tough, that during one of his speeches he was shot in the chest – but still kept going until his speech was over. And then there was Alice, his daughter – who may have been even tougher than Teddy! (A Bullet And a Voodoo Doll) *** An icy cold hand caresses a girl in the middle of the night. (A Comfort) *** For most people, spotting a UFO would be considered extremely unusual, but for two Ohio women, seeing a UFO was the least surprising part of their experience. (UFOs And Time Distortions) *** Was there another gunman in the notorious Amityville House murders? (The Defeo Family Massacre) *** AND A WHOLE LOT MORE!
SUPPORT THE PODCAST…Become a patron: http://www.WeirdDarkness.com/WEIRDOVisit the store: http://www.WeirdDarkness.com/STORE Social media and contact info: http://www.WeirdDarkness.com/CONTACT STORY AND MUSIC CREDITS/SOURCES…(Note: Over time links can and may become invalid, disappear, or have different content.)“The Defeo Family Massacre”: https://tinyurl.com/uuc9r6c “The Bronze Lady of Sleepy Hollow” by Jessica Ferri: http://ow.ly/fmVz30mX4TL “A Bullet And A Voodoo Doll” by Troy Taylor: https://tinyurl.com/v8v8q7f “A Comfort” by Lady Madonna: https://tinyurl.com/yx4y7xvz “UFOs and Time Distortions” by Tim Swartz: https://tinyurl.com/w4plgq2 “I Was Born With Superhuman Abilities” by Alayne Winters: https://tinyurl.com/rlxl9lr “Leaving the Hospital” by Weirdo family member, Louise Latham – submitted directly to WeirdDarkness.com“To the Moon and Back” submitted anonymously to WeirdDarkness.com“Don’t Let This Be You” by Hikari Shimizu: https://tinyurl.com/r42rmmm “Grandma’s House” by Weirdo family member, Rachel West – submitted directly to WeirdDarkness.com Weird Darkness opening and closing theme by Alibi Music Library. Weird@Work music bed by Audioblocks. Background music, varying by episode, provided by Alibi Music, EpidemicSound and/or AudioBlocks with paid license; Shadows Symphony (http://bit.ly/2W6N1xJ), Midnight Syndicate (http://amzn.to/2BYCoXZ), Tony Longworth (http://TonyLongworth.com) and/or Nicolas Gasparini/Myuu (https://www.youtube.com/user/myuuji) used with permission. MY RECORDING TOOLS…* MICROPHONE (Neumann TLM103): http://amzn.to/2if01CL* POP FILTER (AW-BM700): http://amzn.to/2zRIIyK* XLR CABLE (Mogami Gold Studio): http://amzn.to/2yZXJeD * MICROPHONE PRE-AMP (Icicle): http://amzn.to/2vLqLzg * SOFTWARE (Adobe Audition): http://amzn.to/2vLqI6E * HARDWARE (iMac Pro): https://amzn.to/2suZGkA I always make sure to give authors credit for the material I use. If I somehow overlooked doing that for a story, or if a credit is incorrect, please let me know and I’ll rectify it the show notes as quickly as possible.***WeirdDarkness™ - is a trademark and creation of of Marlar House Productions. Copyright © Marlar House Productions, 2020."I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46 *** How to escape eternal darkness: https://www.youtube.com/watch?v=2IYmodFKDaM

¿Sabías que en la canción "Glass Onion", John Lennon menciona otras canciones de The Beatles?Algunas canciones que suenan son: "Strawberry Fields Forever, Im The Walrus, Lady Madonna y algunas otras son mencionadas, algo que alimentó el rumor de la muerte de Paul McCartney.

¿Sabías que en la canción "Glass Onion", John Lennon menciona otras canciones de The Beatles?Algunas canciones que suenan son: "Strawberry Fields Forever, Im The Walrus, Lady Madonna y algunas otras son mencionadas, algo que alimentó el rumor de la muerte de Paul McCartney.

Neste episódio vamos falar do décimo sétimo single do grupo, com a música “Lady Madonna”.

STANDARD SEMANAL.- “Moment's Notice”.-JAZZ RECUERDO ANIVERSARIO.-Ronnie scott - the couriers of jazz!( & tubby hayes) (1958).-JAZZ ACTUALIDAD .- Ander Garcia Trio con su álbum “AMAHIRU” PROG.Nº 648.- Dos horas para el análisis y repaso a la historia y actualidad que generan esta música americana . Todo en el tono que acostumbra este programa, en dos secciones JAZZ ANIVERSARIO y JAZZ ACTUALIDAD importantes novedades y diferentes canales de comunicación que se ofrecerán al oyente. STANDARD SEMANAL.- “Moment's Notice” JAZZ RECUERDO ANIVERSARIO.-Ronnie scott - the couriers of jazz!( & tubby hayes) (1958) Ronnie Scott & Tubby Hayes - The Couriers Of Jazz* ?– The Couriers Of Jazz Sello: Carlton ?– LP12-116 Formato: Vinyl, LP, Mono País: US Publicado: 1958 Género: Jazz Estilo: Bop Lista de Títulos A1 Mirage 5:20 A2 After Tea 7:50 A3 Stop The World, I Want To Get Off 3:40 A4 In Salah 3:50 B1 Star Eyes 4:10 B2 The Monk 4:35 B3 My Funny Valentine 4:45 B4 Day In, Day Out 5:30 Créditos • Bass – Jeff Clyne • Drums – Bill Eyden • Piano – Terry Shannon • Tenor Saxophone – Ronnie Scott, Tubby Hayes Ronnie Scott OBE (nacido Ronald Schatt , 28 de enero de 1927 - 23 de diciembre de 1996) era un saxofonista tenor inglés de jazz y propietario de un club de jazz. [1] Cofundó el Ronnie Scott's Jazz Club , uno de los clubes de jazz más populares del Reino Unido, en 1959. Ronnie Scott nació en Aldgate , East London , en una familia judía. Su padre, Joseph Schatt, era de ascendencia rusa, y la familia de su madre Sylvia asistió a la sinagoga portuguesa en Alie Street. Scott asistió a la Fundación Central Boys 'School . Scott comenzó a tocar en pequeños clubes de jazz a la edad de 16 años. Su reclamo a la fama fue que "el suegro de Vera Lynn le enseñó a tocar". Estuvo de gira con el trompetista Johnny Claes de 1944 a 1945 y con Ted Heath en 1946. Trabajó con Ambrose , Cab Kaye y Tito Burns . Estuvo involucrado en la cooperativa banda y club Club Eleven de músicos de corta duración (1948–50) con Johnny Dankworth . Scott se hizo conocido del arreglista / compositor Tadd Dameron , cuando el estadounidense trabajaba en el Reino Unido para Heath, y se informa que actuó con Dameron como el pianista, en un concierto de Club Eleven. Scott fue miembro de la generación de músicos británicos que trabajaron en el transatlántico Cunard Queen Mary de forma intermitente desde 1946 hasta alrededor de 1950 para visitar la ciudad de Nueva York y escuchar la nueva forma de jazz llamada bebop en los clubes de allí. Scott fue uno de los primeros músicos británicos influenciados por Charlie Parker y otros músicos de jazz moderno. En 1952, Scott se unió a la orquesta de Jack Parnell y de 1953 a 1956 dirigió una banda y quinteto de nueve integrantes que incluyó a Pete King , con quien luego abrió su club de jazz, Victor Feldman , Hank Shaw y Phil Seamen . Co-dirigió The Jazz Couriers con Tubby Hayes de 1957 a 1959 y fue líder de un cuarteto que incluía a Stan Tracey (1960-67). De 1967 a 1969, Scott fue miembro de la Big Band Kenny Clarke / Francy Boland , que recorrió Europa e incluyó a Johnny Griffin y Eddie "Lockjaw" Davis . Simultáneamente, dirigió su octeto, que incluía a John Surman y Kenny Wheeler , y un trío con Mike Carr en los teclados y Bobby Gien en la batería (1971–1975). Las otras bandas de Scott a menudo incluían a John Critchinson en los teclados y Martin Drew en la batería. Hizo un trabajo de sesión ocasional, que incluyó tocar el solo en " Lady Madonna ", el sencillo de 1968 de los Beatles , tocar en la partitura de Roy Budd para la película Fear Is the Key (1972) y tocar el solo de saxo tenor en " I Missed Again ", el sencillo de 1981 de Phil Collins . Charles Mingus dijo de él en 1961: "De los niños blancos, Ronnie Scott se acerca al sentimiento del negro y azul, como lo hace Zoot Sims ". [9] Scott grabó con poca frecuencia durante las últimas décadas de su carrera. Sufría de depresión. Mientras se recuperaba de una cirugía para implantes dentales, murió a la edad de 69 años de una sobredosis accidental de barbitúricos recetados por su dentista. La viuda de Ronnie Scott, Mary Scott, y su hija, Rebecca Scott, escribieron las memorias A Fine Kind of Madness: Ronnie Scott Remembered , con un prólogo de Spike Milligan. El libro fue publicado en 1999 en Londres por Headline Book Publishing. Scott es quizás mejor recordado por su cofundación, con el ex tenista de saxo tenor Pete King , Ronnie Scott's Jazz Club , que abrió el 30 de octubre de 1959 en un sótano en 39 Gerrard Street en el distrito Soho de Londres , con el debut de un joven alto El saxofonista llamado Peter King (sin relación), antes de mudarse a un lugar más cercano en 47 Frith Street en 1965. El lugar original continuó operando como el "Old Place" hasta que el contrato de arrendamiento se agotó en 1967, y fue utilizado para actuaciones de la nueva generación de músicos nacionales. Scott actuó regularmente como el genial Maestro de Ceremonias del club, y se destacó por su repertorio de bromas, comentarios y frases ingeniosas. Una introducción típica podría ser: "Nuestro próximo invitado es uno de los mejores músicos del país. En la ciudad, es una mierda". Otro anuncio memorable fue: "La próxima semana estamos orgullosos de tener un cuarteto con Stan Getz y el violinista Stuff Smith. Se llama el" Cuarteto relleno de Getz ". Ronnie solía usar en los últimos días los servicios de John Schatt para reservar bandas de rock para Ronnie. Scott está arriba. Después de la muerte de Scott, King continuó dirigiendo el club durante otros nueve años, antes de venderlo al empresario de teatro Sally Greene en junio de 2005. En septiembre de 2013, mientras se redecoraba el club, se colocó un acaparamiento de 12 metros cuadrados en la fachada de la calle Frith como un homenaje a su fundador homónimo, con una fotografía gigante de Ronnie Scott por Val Wilmer , junto a una de su legendaria -liners: "Me encanta este lugar, es como estar en casa, sucio y lleno de extraños". Además de participar en orquestas de nombre, Scott dirigió o co-dirigió numerosas bandas con algunos de los músicos de jazz más destacados de Gran Bretaña del día. JAZZ ACTUALIDAD .-Esta semana vamos a tener al contrabajista Ander Garcia Trio con su álbum “AMAHIRU” Cuando los ingredientes son sobradamente conocidos, tendemos a pensar que los resultados también serán los habituales. Y aunque a menudo es así, cuando esos mismos ingredientes caen en manos de un artitsta valiente, obstinado y brillante como Ander Garcia la sorpresa puede ser mayúscula. Y este bello y excitante nuevo trabajo que se presenta bajo el nombre de Ander Garcia Trio sin duda lo es. En ese sentido, son especialmente destacables sus discos en solitario “Ttun Kurrun” y “Hiru”, ampliamente aclamados por la crítica especializada. Pero en el caso que nos ocupa, el del trio que forma junto al piano de Jorge Castañeda y la batería de Mikel Urretagoiena, nos encontramos con el Ander Garcia mas explorador y aventurero. En este proyecto Ander utiliza las métricas y melodías de ancestrales bailes y bersos euskaldunes para desarrollar sus improvisaciones, y al mismo tiempo los moldea y adapta a nuevos contextos musicales creando un espacio de intercambio limbre entre ellos. De este modo el ritmo de la ezpata dantza se convierte en danza latinoaméricana, y partiendo del de los zortzikos llega a un híbrido rítimico absolutamente contemporáneo y desconocido, o se lanza a llevar el ritmo del tamboril a la batería para diseccionarlo en un abánico de variantes deslumbrante. Las oportunidades para la sorpresa son infinitas en este disco.

Madonna résiste aux pressions, la légende du Concours, Ralph Siegel, se souvient de l'Eurovision de 1979 et la chansonAbanibi comme vous ne l'avez jamais entendueSee omnystudio.com/listener for privacy information.

Hablar de Madonna es nombrar a “LA REYNA DEL POP”,la mas grande diva que haya existido sobre el planeta. En esta ocacion haremos un homenaje a su vida,sus inicios,su trayectoria,su vida personal,su lado obscuro,su afición por la religión llamada cabala. Sin duda esta estrella atraves de sus conciertos tiene la mas grande y fastuosa producción. Quien ha ido a verla no dejara mentir. Sus coreografías,vestuario,escenografía,su inagotable condición física y despliegue que hace en el escenario a sus 60 años de edad. La reyna,la diva! LADY MADONNA!! Y sobre todo habrá mucha música en esta emisión. Sus mas emblemáticos éxitos desde sus inicios hasta que fue encumbrada como la máxima exponente femenina del pop. DIOS SALVE A LA REYNA!!

Tjena alla monsterdiggare! Vi startar 2019 med en RIV-start. Vi tar pulsen på den håriga besten och slentrianylar mot månen en stund. Vi ska såklart besöka varulven! Vi kommer i novellen, som är idag två stycken, filosofera kring begreppet Pulp och träffa Anna som plåtar djur i blodmånens sken över Skansen. Vi träffar även Lady Madonna och Claus på dragklubben Macarena Banan någonstans nere i centraleuropa. Välkomna till Monsterboxen! En podcast som tar dig in bland monster och spöken, myter och legender. När du öppnar på locket, vet du aldrig vad som kan trilla ut. Följ med mig, Emil Eriksson, in bland väsen och sägner, skräck och stämning i en mysryslig röra. Monsterboxen, som ett barnprogram, fast för vuxna! Tjena!

En este episodio de Rock is Here visitamos un club con una larguísima lista de recitales y que tiene la particularidad de unir la historia de Eric Burdon con la de Jimi Hendrix y con la de The Beatles: el Ronnie Scott’s Jazz Club.Estamos en pleno Soho londinense, en el 47 de la Frith Street, a unos 500 metros de la estación Tottenham Court Road, a la que podés llegar con las líneas Central o Northern del subte. Ahí está este famosísimo club de conciertos que se llama Ronnie’s Scott’s Jazz Club.Este club se había instalado originalmente a unas pocas cuadras hacia el sur, pero en ésta sede actual que visitamos dio su última presentación en vivo nada menos que Jimi Hendrix, el 16 de septiembre de 1970. Esa noche, la anteúltima de su vida, subió al escenario del Ronnie Scott’s Jazz Club para tocar junto a War, la por entonces nueva banda del ex Animals, Eric Burdon.Durante bastantes años se dudó sobre la veracidad de este dato y en muchas oportunidades se lo consideró casi un mito urbano. Pero no solamente lo confirmó Ron Wood (el bajista de los Stones) que estaba entre el público, sino que también aparecieron algunos bootlegs de esa noche.Ronnie Scott fue un saxofonista de jazz que formó varios grupos, pero es recordado principalmente por haber fundado este club en 1959. Y otro dato clave en su vida artística, aunque quizás menos conocido, es que Scott fue invitado a tocar su saxo en el solo de “Lady Madonna”, el clásico de los Beatles editado como lado B de un simple de 1968... Varios discos fueron registrados en vivo en este escenario. Principalmente, de artistas de jazz. Entre ellos, Curtis Manfield, Chet Baker, Nina Simone y la gran Ella Fitzgerald. Y también otros más rockeros, como Jeff Beck, Charlie Watts y Van Morrison, entre otros.Ronnie Scott murió en 1996, a los 69 años, pero el club aún hoy permanece abierto y es uno de los sitios más frecuentados y reconocidos de la música en vivo en Londres, con buenos tragos y comida, y que tiene shows programados prácticamente los 7 días de la semana.Mi nombre es Marcelo Lamela y te invito a que sigamos en contacto a través de la web rockishere.com. No solamente para escuchar los otros episodios en los que recorremos Londres a través del rock, sino para que conozcas más sobre nuestros libros y nuestras visitas turísticas relacionadas con el rock en Londres, en Manchester y en Liverpool...Y justamente, para la despedida escuchamos "Lady Madonna", pero acá vamos con la versión incluida en la recopilación "Anthology", una mezcla en la que se luce mucho más el saxo de Ronnie Scott que en la versión original.Tracks incluidos:"See See Rider", Eric Burdon & The Animals"Little Child Running Wild", Curtis Mayfield Live at Ronnie Scott's"She Stole My Heart Away", Eric Burdon & The Animals featuring Jimi Hendrix"Cantaloupe Island", The Ronnie Scott Quintet“Lady Madonna”, The Beatles“I will be there”, Van Morrison"Pork Pie", Jeff Beck Live at Ronnie Scott's“Lady Madonna”, The Beatles (Versión alternativa)

“The Horror BEFORE Amityville” and 4 More True Terrifying Stories! #WeirdDarkness*Advertise on Weird Darkness; visit http://www.bgadgroup.com or call 770-874-3200.*The iconic Dutch Colonial style building at 112 Ocean Avenue, Amityville, is best known today for the extraordinary account of a haunting at the house in 1976. The Amityville Horror, as it was soon known, became one of the most famous incidents of paranormal activity ever recorded. It would inspire a book and a successful series of Hollywood films. The account of the young Lutz family being tormented by demonic pigs, plagues of flies and green slime oozing from the walls terrified readers and moviegoers, all the more so because it was labelled as a true story. One surprisingly little-known fact about the Amityville Horror is that it was an admitted hoax. George Lutz and his wife Kathy invented the haunting with the help of lawyer and literary agent William Weber. But the paranormal version obscures a very real horror, one far more frightening and mysterious than the fanciful tales of poltergeists Hollywood gave the world. Because in the same house, less than 2 years earlier, one of the strangest and most baffling mass murders in recent history occurred. And the true events may not be the story you are familiar with. IN THIS EPISODE: We’ve all heard of the Headless Horseman – but Sleepy Hollow's lesser-known ghost will terrify you all the more. (The Bronze Lady of Sleepy Hollow) *** Theodore Roosevelt was so tough, that during one of his speeches he was shot in the chest – but still kept going until his speech was over. And then there was Alice, his daughter – who may have been even tougher than Teddy! (A Bullet And a Voodoo Doll) *** An icy cold hand caresses a girl in the middle of the night. (A Comfort) *** For most people, spotting a UFO would be considered extremely unusual, but for two Ohio women, seeing a UFO was the least surprising part of their experience. (UFOs And Time Distortions) *** Was there another gunman in the notorious Amityville House murders? (The Defeo Family Massacre)EMERGENCY HOTLINE NUMBERS…Depressed? Contemplating suicide?: 800-830-9804Struggling with alcohol or drug addiction?: 800-831-1560SUPPORT THE PODCAST...BECOME A PATRON at http://www.patreon.com/marlarhouse WHAT WAS THAT COMMERCIAL I HEARD?: http://www.WeirdDarkness.com/sponsors AUDIOBOOKS NARRATED BY DARREN at http://www.WeirdDarkness.com/audiobooks WEIRD DARKNESS STORE at http://www.WeirdDarkness.com/store JOIN THE FACEBOOK GROUP at https://www.facebook.com/groups/MarlarHouse/ STORY CREDITS AND/OR SOURCES…“The Defeo Family Massacre”: https://theunredacted.com/the-defeo-family-massacre-amityville-horrors/ “The Bronze Lady of Sleepy Hollow” by Jessica Ferri: http://ow.ly/fmVz30mX4TL “A Bullet And A Voodoo Doll” by Troy Taylor: https://www.facebook.com/authortt/posts/1911087615654882?__tn__=K-R “A Comfort” by Lady Madonna: https://www.yourghoststories.com/real-ghost-story.php?story=25725“UFOs and Time Distortions” by Tim Swartz: http://uforeview.tripod.com/time/ufostimedistortion.html WEIRD DARKNESS MUSIC PROVIDED BY Midnight Syndicate http://amzn.to/2BYCoXZ and Shadow’s Symphony http://www.facebook.com/shadowssymphony/ - all music used with permission. All rights reserved.  All other music provided by AudioBlocks.com with paid license. There is no copyright infringement intended for this episode and/or the material used for it. If you have an issue with Marlar House/Weird Darkness posting this, please contact us privately and we can sort it out. "Even though I walk through the valley of the shadow of death, I will fear no evil, for you are with me; your rod and your staff, they comfort me.” — Psalm 23:4 ESV*** “How can I be saved from darkness?” https://www.youtube.com/watch?v=2IYmodFKDaM   

Voordat The Beatles begin 1968 naar India vertrekken om te mediteren, vraagt EMI om een nieuwe single. Na al het psychedelische geweld van de afgelopen 2 jaar luidt Lady Madonna een ‘terug-naar-de-basis'-fase voor de groep in. Fab4Cast keert terug naar de sessies van deze heerlijke single.

It's 1968! After a year of incredible highs and dizzying lows, The Beatles took on the new year with energy and enthusiasm. The boys entered the studio to record rockers, pop tunes and ballads that would be counted among their very finest, as well as a segment for the upcoming Yellow Submarine film still in development. Macca's ode to Fats Domino, Lady Madonna, and John's rocking Hey Bulldog roared with the kind of sound and energy of the band's pre-psychedelic recordings, while Across the Universe grew from the type of poetic song-craft of the year prior. The early weeks of the year also saw John and Paul produce the band Grapefruit - one of the first groups connected to the as-yet-to-be-fully-up-and-running Apple and whom share their name with a book published by Japanese artist Yoko Ono. They were named by John Lennon, who at this time was focused on finding himself under the tutelage of the Maharishi. John made amends with his father Freddie, who had abandoned him at an early age, and looked inward with meditation as a way to peel back the layers of anger and pain that had driven him to substance abuse. Life was good, and change was coming as the band made its final preparations for an extended holiday in India... See acast.com/privacy for privacy and opt-out information.

Se comenzó a grabar en la cara A del sencillo "Lady Madonna". Primero haciendo una mezcla de reducción, y agregando una segunda parte de piano...

Se comenzó a grabar en la cara A del sencillo "Lady Madonna". Primero haciendo una mezcla de reducción, y agregando una segunda parte de piano...

Rick recalls an unsuccessful stakeout outside the New Orleans home of Fats Domino. Lady Madonna by Fats Domino: https://www.youtube.com/watch?v=Q1OdbPpvFYg

Fats Domino interpretó "Lady Madonna" haciendo un cover.Paul menciona que al escribirla se inspiró en algo "Boggie Boggie" a la Fats Domino.

Fats Domino interpretó "Lady Madonna" haciendo un cover.Paul menciona que al escribirla se inspiró en algo "Boggie Boggie" a la Fats Domino.

Lady Madonna, una canción que rinde tributo a Fats Domino, que hoy se ha adelantado en el camino.¡Uno de sus ídolos!

Lady Madonna, una canción que rinde tributo a Fats Domino, que hoy se ha adelantado en el camino.¡Uno de sus ídolos!

Wonderwall Music — дебютный сольный альбом Джорджа Харрисона, вышедший в 1968 году, саундтрек к фильму Wonderwall (англ.). Диск состоит из инструментальных композиций, на некоторые из которых был включён неанглийский вокал и замедленная речь. Wonderwall Music был первым официальным сольным альбомом одного из участников The Beatles. Запись альбома началась в декабре 1967 в Англии и завершена в январе 1968 года в Бомбее. Во время индийской сессии записи альбома, были также записаны инструментальные треки песни «The Inner Light», вышедшей на стороне «Б» сингла «Lady Madonna», который стал последним синглом The Beatles на лейбле Parlophone Records. В списке исполнителей, в ряде случаев Джордж Харрисон, Эрик Клэптон и Ринго Старр значатся под своими псевдонимами. Имя Харрисона упоминается только как продюсера, аранжировщика и автора песен альбома. В записи альбома также принял участие Питер Торк из The Monkees, сыгравший на банджо, позаимствованном у Пола Маккартни. Автором всех композиций был Джордж Харрисон. Wonderwall Music вышел за несколько недель до альбома The Beatles и стал первым альбомом, изданным незадолго до того основанным лейблом Apple Records. Ремастированная версия альбома вышла на CD в 1992 году. Wonderwall Music не попал в британские чарты, но достиг 49-й позиции в США. Автор и ведущий, музыкант Дмитрий Филиппов.

Playlist: Danny Pease & The Regulators, She Says, Brian Charette, Late Night Tv, Brad Stivers, 2,000 Miles, Bridget Kelly Band, Ain’t Missing You, Lighthouse Sweden, Can’t Find My Way, Andy T Band, I Want You Bad, Big Joe Shelton, Put The Chairs In The wagon, Gina Sicilia, I Don’t Want To Be In Love, Diane Blue, That’s What They Call The Blues, Racky Thomas, Down In The Bottom, Jeff Pitchell, One Day Away, Danny Draher Band, 32nd & 3rd, Micki Free, Six Feet Down In The Blues, Chris Bergson Band, Just Before The Storm, Laura Tate, Hitting On Nothing, Mark Cameron Band, Mojo Shuffle, Mick Kolassa & Mark Telesca, Lady Madonna, Jeffrey Halford, Bird Of Youth, Jim Roberts And The Resonants, The Hell Hound’s Due, The Lovelace Brothers, Leaving, Polly O’Keary And The Rhythm Method, I Don’t Understand, Low Society, Here Come The Flood, Vintage#18, Pieces, Monster Mike Welch And Mike Ledbetter, Can’t Sit Down, John Primer & Bob Corritore, Harmonica Boogaloo, Mr. Sipp, Turn Up, Balkun Brothers, Don’t Be Afraid, Christine Ohlman & Rebel Montez, Love And Tenderness, Mojomatics, Soy Baby Many Thanks To: We here at the Black-Eyed & Blues Show would like to thank all the PR and radio people that get us music including Frank Roszak, Rick Lusher ,Doug Deutsch Publicity Services,American Showplace Music, Alive Natural Sounds, Ruf Records, Vizztone Records,Blind Pig Records,Delta Groove Records, Electro-Groove Records,Betsie Brown, Blind Raccoon Records, Miss Jill at Jill Kettles PR and all of the Blues Societies both in the U.S. and abroad. All of you help make this show as good as it is weekly. We are proud to play your artists.Thank you all very much!

Throughout the course of their career, The Beatles freely tapped the talents of a number of outside musicians to add color to their musical palette. Many (string and brass players, mostly) were professionals toiling in relative obscurity, but a handful were well-known personas in their own right: Eric Clapton – Brian Jones – Billy Preston – Nicky Hopkins – Ronnie Scott. In this show, Robert and Richard examine the contributions these men provided; names that many of us are familiar with for work issued under their own names. Songs include “Don’t Pass Me By,” “Lady Madonna” and “Waiting For The Band.” Find Richard’s books here. Find Robert’s books here. The post 101: Beatle Guest Stars appeared first on Something About The Beatles.

Throughout the course of their career, The Beatles freely tapped the talents of a number of outside musicians to add color to their musical palette. Many (string and brass players, mostly) were professionals toiling in relative obscurity, but a handful were well-known personas in their own right: Eric Clapton – Brian Jones – Billy Preston – Nicky Hopkins – Ronnie Scott. In this show, Robert and Richard examine the contributions these men provided; names that many of us are familiar with for work issued under their own names. Songs include “Don’t Pass Me By,” “Lady Madonna” and “Waiting For The Band.” Find Richard’s books here. Find Robert’s books here. The post 101: Beatle Guest Stars appeared first on Something About The Beatles.

We get into the half-album Yellow Submarine. Not so much the movie -- more the album that came out with the movie which had a bunch of re-releases (title track, All You Need Is Love), some fun deeper cuts (All Together Now, It's All Too Much, Only A Northern Song) and then one of the coolest songs the Beatles ever did: Hey Bulldog. Just like the album, this episode is a bit of mish-mash since we also go back and cover a bunch of singles we skipped on previous episodes: some early B-sides as well as Long Tall Sally and Lady Madonna. We pose and then do not answer several questions like: which Beatles songs are fun for kids? Why does George complain about money so much? Did Yoko being in the studio make John want to show off for her?  Panelists: James Bachman, Will Hines, Jen Krueger, Joel Spence.  

Podcast della puntata andata in onda il 15/07/2016. Live cover : Lady Madonna.

Covers! Covers! Covers! -=-=-=-=-=-=-=-=-=-=-=-=-=--= John Keating, Lucy In The Sky With Diamonds, Space Experience 2 Polyphonic Size, Mother's Little Helper, Nouvelle Vague Presents New Wave [disc 1] Slingshot Featuring Kathy Kosins, You Shook Me All Night Long (Instrumental Mix), You Shook Me All Night Long Valérie, A Whiter Shade Of Pale, A Whiter Shade Of Pale Inspired, The Bare Necessities, The Bare Necessities / It's A Small World John Cleffer Band, Happy 60's, Happy 60's Rosebud, Have A Cigar, Discoballs Planet Earth, Doctor Who (From The BBC TV Series), Planet Earth Snakefinger, The Model, Nouvelle Vague Presents New Wave [disc 1] The Twins Plus Him, Turn The Beat Around, Turn The Beat Around Marx & Spencer, Stay (Dub Mix), Stay The Cover Band, Medley (Relax, Somebody's Watching Me, It's My Life), Relax / Big In Japan Telex, Rock Around The Clock, Looking For Saint Tropez Zeus B. Held, The Fool On The Hill, Zeus' Amusement Saxophone, Souvenir, Souvenir Hot Butter, Mah-Na, Mah-Na, More Hot Butter Duffo, Walk On The Wild Side, (Take A) Walk On The Wild Side Christian Death, Sex Dwarf, Pornographic Messiah The Stranglers, Walk On By, Nouvelle Vague Presents New Wave [disc 1] Gian Piero Reverberi, Stairway To Heaven, Stairway To Heaven Sven Perner, High Tension (Whole Lotta Love), Sounds Funky - Pop Brass Background Naomi Akimoto, Com Rain Or Come Shine (Sukebe Bias-Slice), Summer Champion / Come Rain Or Come Shine Sandy Kerr, (I'm) Billy Jean, (I'm) Billy Jean Robey, One Night In Bangkok, Robey Material, For A Few Dollars More, Deconstruction - The Celluloid Recordings [disc 1] Pink Project, Disco Project, Disco Project David Van Tieghem, In-A-Gadda-Da-Vida, In-A-Gadda-Da-Vida Kristina Karali, We Live For Love, We Live For Love Chilly, For Your Love, For Your Love Local Boy, Thriller Medley With Owner Of A Lonely Heart, Thriller Medley With Owner Of A Lonely Heart Boris Midney, The Imperial March (Darth Vader's Theme), Music From The Empire Strikes Back Walter Murphy, Themes From Raiders Of The Lost Ark, Themes From E.T. The Extra Terrestrial And More Future World Orchestra, Theme From E.T., Theme From E.T. John Keating, I Feel The Earth Move, Space Experience Yuji Ohno, CHiPs, CHiPs Tino, Starsky & Hutch, Starsky & Hutch Manny Delgado, Kung Fu Chino, Las 10 Calientes De Manny Delgado The Enoch Light Singers, I Say A Little Prayer, 12 Smash Hits Apollo 100, Lady Madonna, Apollo 100 Dick Bakker Orchestra, We're All Alone, Beauty Of Nature

Сегодня мы приглашаем вас на концерт Пола Маккартни и его группы Wings: Wings over America или Крылья над Америкой 1976 года. Концерт "Wings over America" 1976 года Трэк лист: 1 Venus And Mars / Rock Show / Jet 10:22 2 Let Me Roll It 3:44 3 Spirits Of Ancient Egypt 4:05 4 Medicine Jar 4:06 5 Maybe Im Amazed 5:20 6 Call Me Back Again 5:15 7 Lady Madonna 2:37 8 The Long And Winding Road 4:28 9 Live And Let Die 3:20 10 Picassos Last Words 1:53 11 Richard Cory 3:05 12 Bluebird 3:43 13 Ive Just Seen A Face 2:10 14 Blackbird 2:27 15 Yesterday 1:56

You say you want a Revolution? Well, you know, We'd all love to have the Andromeda fight the Neitzscheans for us. But somewhere Across the Universe they've got their own problems with Her Majesty, Elsbett, and the Drago-Kazov pride. Harper is called back home to Help lead the charge.  Things may seem Helter Skelter, but you've got admit it's Getting Better. Eventually, anyway... It's a Long and Winding Road to freedom.  Can he rally the people of Earth to victory, or is he just a Fool on the Hill. It's just A Day in the Life in "Bunker Hill."Also, cameo appearances made by:Mean Mr. Mustard, Rocky Racoon, Bungalow Bill, Polythene Pam, Maxwell Edison (with his Silver Hammer,) Mr. Kite with special guests the Hendersons, Eleanor Rigby, Lady Madonna, Desmond and Molly Jones, Penny Lane, Sexy Sadie, and a very special performance by Sgt. Pepper's Lonely Hearts Club Band. 

The boys get into the groove of "Lady Madonna" before these lucky stars go on holiday! See acast.com/privacy for privacy and opt-out information.

By Adam Olenn November 14, 2011 Piano Department professor Laszlo Gardony has just released his ninth album, Signature Time, a blend of originals and ambitious reinventions of classic tunes. Hungarian-born Gardony '87 graduated from the Bartok Conservatory and the Science University of Budapest before working as a sought-after sideman in Europe. After releasing his own recordings overseas, he matriculated to Berklee on a full scholarship and subsequently joined the faculty. Of Signature Time, Gardony says, "Today's music owes a lot to the birthplace of culture and music—Africa. This album is an acknowledgment of how many genres draw upon the heritage of African music, which has enriched my own cultural experience."

On this episode of Compleatly Beatles, Ian and Dave discuss the first two sides of the Beatles only double album, The Beatles (aka The White Album. They also discuss the first of two singles released before The Beatles, “Lady Madonna” and its b-side “The Inner Light”. We’ll hear about The Beatles trip to Rishikesh; we’ll […]

For this podcast, we imagined that the Beatles reunited for a concert/tour in 1979 and each came up with a set list for the first concert.  We limited ourselves to 30 songs and had to make many tough choices!  Listen to the podcast for other rules and for lots of sample clips from live performances of the songs we chose.  What would you choose?  Do like or dislike our choices?  What did we forget?  Our setlists run like this: Dave: Get Back, Day Tripper, A Hard Day's Night, Got to Get You Into My Life, Here Comes the Sun, Come Together, Coming Up, Whatever Gets You Through The Night, Live And Let Die, Ticket To Ride, Yellow Submarine, Maybe I'm Amazed, Money, Blow Away, Yesterday, You've Got To Hide Your Love Away, Give Me Love (Peace on Earth), Lady Madonna, Rain, Band On The Run, Watching The Wheels, Something, In My Life, Hey Jude, I Saw Her Standing There, It Don't Come Easy, Let It Be, My Sweet Lord, Imagine, Golden Slumbers/Carry That Weight/The End Chris: Sgt. Pepper's, With A Little Help From My Friends, Help!, All My Loving, Something, Mind Games, Jet, Yer Blues, Every Night, In My Life, Can't Buy Me Love, Jealous Guy, Wah-Wah, I've Got A Feeling, I'm Only Sleeping, Photograph, Maybe I'm Amazed, God, While My Guitar Gently Weeps, All You Need is Love, Hey Jude, A Hard Day's Night, Hello Goodbye, Isn't It A Pity, A Day In The Life, Because, Yesterday, Imagine, Let It Be, Golden Slumbers/Carry That Weight/The End

Javier Gurruchaga nos hace este regalo en forma de entrevista en exclusiva para todos los oyentes del programa "Hijos de la Luna" a pocos días del lanzamiento del nuevo álbum de La Orquesta Mondragón "Liverpool Suite". Con José Luis Mateo y María Tortosa iniciamos un recorrido musical en un especial en el que recordamos los más grandes éxitos de la Orquesta Mondragón (Ver lista de canciones más abajo) y conocemos de su propia voz diversas opiniones y sentimientos acerca de sus trabajos así como la presentación del nuevo disco de la Orquesta Mondragón "Liverpool Suite". El programa está disponible a través de nuestros canales habituales de difusión a las 21 h. Canciones incluidas en el especial: "Es solo cine, pero me gusta", "Jus't a Gigoló", "Mi Delilah", "Olvídate de mí", "Mis gafas", "El hotel azul", "El hombre de los caramelos", "Garras humanas", "Pasen y vean", "Ponte la peluca", "Muñeca hinchable", "Bon voyage", "Viaje con nosotros", "Bésame tonta", "Cumpleaños feliz", "Es la guerra", "Feliz navidad", "Corazón de neón", "I wanna dance", "El huevo de Colón", "Imagine", "Tómatelo con calma", "Es mi vida", EL diablo dijo no", "Lola, Lola", "Smokin' no smokin'", "Stand by me", "Estoy harto de ti, muñeca", "Tu eres la noche" y "Something". Más de 35 años y 14 álbumes publicados avalan la impresionante trayectoria de Javier Gurruchaga y La Orquesta Mondragón. En Junio del año pasado Javier Gurruchaga y su grupo fueron invitados personalmente por Julia Baird, hermana de John Lennon, a participar en la International Beatle Week, a celebrar en Liverpool, con motivo del 50 aniversario de los Beatles. El 27 de Agosto La Mondragón se subía al escenario más famoso del mundo, en la mítica Sala The Cavern, para realizar un espectacular show en el que la banda interpretó temas como “Something”, “Yesterday” o “Drive my car”. A su regreso, Javier Gurruchaga pareció quedarse con ganas de más y empezó a darle vueltas a la idea de un disco tributo a los Beatles. Tras meses de ensayos y grabación, esa idea se ha hecho ahora realidad y la Orquesta Mondragón ultima los detalles de su nuevo lanzamiento “Liverpool Suite” que verá la luz el próximo 22 de Abril. Canciones como Lady Madonna, Revolution, Something, Twist and Shout u Obladi Oblada, junto a las colaboraciones de Michele McCain, Santiago Segura o Nacho Campillo dan forma a un disco que marcará un hito fundamental en la ya larga historia del grupo. Con numerosas apariciones en televisión y radio para promocionar el lanzamiento del disco, Gurruchaga y compañía vuelven a embarcarse en ese ritmo frenético y apasionado de actuaciones, entrevistas y como no, buena música. Este programa es una producción de "Hijos de la Luna". Copyright 2013 Hijos de la Luna / José Luis Mateo. Todos los derechos reservados. Contacto: programahijosdelaluna@gmail.com

How common sense works, Lady Madonna's harmonica, how to make a curry,  New York's phlegm retardant Eskimo index, Ryan Seacrest invades Dublin, artificial fists, foreigners who say “Patty's Day”, two Skid Rows, defining a street, viral videos versus AIDS, human pockets, doing your best with a Beamish, cat optimism, regulating chewing, caninular versus felinular, Pope Benedict Emeritus' cat, making the most of going nowhere and more. License: Creative Commons Attribution-NonCommercial-NoDerivs 4.0 International – It is mandatory to reproduce this attribution for each episode: “Neal O'Carroll via IntoYourHead.ie – Many episodes findable forever on Archive dot org.”

Nuestro invitado de hoy es con toda seguridad, uno de los mejores músicos del Siglo XX, desempolvaremos una de sus facetas menos recordadas. La edición en 2006 de su disco de rock, titulado Cê, puso a la crítica y a sus fanáticos a rebuscar sus primeros discos, los de los años setenta, que fueron definitivos a la hora de hablar del movimiento Tropicalismo y del estilo musical MPB (Música Popular Brasileña). Presentamos en +El Rock es un Búmerang a Caetano Veloso.Canción 1: De caraCanción 2: MuitoLa canción Muito del disco Muito (Dentro la Estrela Azulada) de 1978, precedida de De cara/Eu quero essa mulher del disco Araçá Azul de 1973. Caetano Emanuel Vianna Telles Velloso nació el 7 de agosto de 1942 en la pequeña ciudad de Santo Amaro da Purificação en el estado de Bahía. Antes de los diez años de edad ya sabía tocar piano y componía sus primeras canciones con su hermana, la también imprescindible María Betania.Os Doce BárbarosCanción 3: Fé cega faca amoladaCanción 4: Canto do povo de um lugarJòiaLa preciosa canción Canto do povo de um lugar del disco Joia de 1975 y antes teníamos Fé cega faca amolada, una canción de Os Doce Bárbaros (Los dulce bárbaros), el súper grupo que conformó Caetano Veloso con su hermana María Betania y sus entrañables amigos Gilberto Gil y Gal Costa en 1976. Caetano se hizo amigo de Gilberto y Gal en la facultad de filosofía de la Universidade Federal da Bahia, la amistad con ellos sería definitiva en su paso hacia la música. Escuchemos ahora Marinheiro Só de 1969.Canción 5: Marinheiro SóCanción 6: Enquanto Seu Lobo Não VemEnquanto Seu Lobo Não Vem, parte del experimento Tropicalia: ou panis et circenses, una grabación de 1969 con Caetano Veloso, Gal Costa, Gilberto Gil y el grupo Os Mutantes, un disco fundamental en la Música Popular Brasileña, considerado el fundador del Tropicalismo, mezcla de bossa-nova y rocanrol. El Tropicalismo sentaba sus bases y se oponía a la dictadura militar, de hecho Caetano fue apresado varias veces por las fuerzas represivas del gobierno. Escuchemos con atención la canción É proibido proibir, un increíble tema en el que Caetano se da el lujo de ser extenso.Canción 7: É proibido prohibirUno de sus temas más importantes É proibido prohibir de 1968. En Junio de 1969 y luego de tres shows de despedida Caetano Veloso y Gilberto Gil se exiliaron en Londres por la insufrible persecución que sufrían por la dictadura brasileña.LP Caetano Veloso (Londres 1971)Canción 8: HelpAsí Caetano tuvo contacto directo con el rock británico que lo influenció profundamente. Los discos Caetano Veloso de 1971 y Transa de 1972, cantados en principalmente en inglés, reflejan la experiencia vivida por el artista bahiano en Londres. Canción 9: Shoot me deadCanción 10: Nine out of tenCaetano en LondresDel disco Transa realizado en Londres escuchábamos Nine out of ten. Caetano volvió definitivamente a Brasil en 1972 con la experiencia musical de tres años en Londres. El aprendizaje de diferentes músicas seguiría siendo una de las principales inquietudes de Veloso; discos como Araçá Azul, Cara a Cara y Bichos profundizarían en el folk, el funk, el jazz y la música africana. Caetano y Gilberto Gil participaron en el 2º Festival Mundial del Arte y la Cultura Negra, en Lagos, Nigéria. Escuchemos las canciones Cara a cara y O Leãozinho.Canción 11: Cara a caraCanción 12: O LeãozinhoTransaLa mezcla musical del tropicalismo de Caetano Veloso involucrando Bossa Nova y Rocanrol está bien evidenciada en las canciones que oiremos a continuación: Lady Madonna y una especie de versión en inglés de Marinheiro só al estilo de los himnos hippies de 1971: If you hold a stone.Canción 13: Lady MadonnaCanción 14: If you hold a stoneLa popularidad de Caetano en los años ochentas se expandiría por el mundo entero, el interés por la música popular latinoamericana lo llevaría a grabar en castellano algunos clásicos. Europa, Asia y América se pondrían de pie para aplaudir a un músico que hasta el día de hoy sigue produciendo obras maestras. Terminamos con la canción Piaba. Uno de los temas que Caetano compuso para el Carnaval de Río en los años setenta. Canción 15: Piaba