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2 episodes with lee eastman
2 episodes with lee eastman
2 episodes with lee eastman
El grupo musical The Beatles puede considerarse como el más exitoso de la historia de la música. Se conocen muchos misterios desvelados a través de su historia, misterios y secretos que se han ido revelando tras años de su disolución. Su historia a grandes rasgos es bastante conocida, pero hay detalles de la misma que he creído significativo repasar. Sus inicios, sus conciertos y por qué dejaron de hacerlos, su disolución… ¿Te animas a repasarlos conmigo? Quizá hay detalles que olvidaste o que directamente desconocías. La disolución de The Beatles, una de las bandas más influyentes y exitosas de la historia de la música, es un tema que ha sido ampliamente discutido y analizado. Existen múltiples factores que contribuyeron a su separación, y aunque no se puede señalar una única causa definitiva, a continuación se presentan las principales razones que llevaron al final del grupo: 1. Diferencias Creativas A medida que los miembros de la banda fueron evolucionando como artistas, surgieron diferencias significativas en sus intereses musicales y estilos. John Lennon y Paul McCartney, quienes habían sido los principales compositores del grupo, comenzaron a tener visiones divergentes sobre la dirección musical que debían tomar. Lennon se inclinaba más hacia un estilo experimental y vanguardista, mientras que McCartney prefería mantener un enfoque más melódico y accesible. 2. Aumento de Tensión Personal Las tensiones personales entre los miembros del grupo se intensificaron con el tiempo. Los desacuerdos no solo eran sobre cuestiones musicales, sino también personales. La llegada de Yoko Ono, pareja de Lennon, y su participación activa en las sesiones de grabación, fue una fuente de fricción. Aunque Lennon deseaba que Ono estuviera presente, el resto del grupo no compartía esta opinión, lo que generó incomodidad y resentimiento. 3. Problemas de Gestión La muerte de Brian Epstein, el mánager de la banda, en 1967 dejó a The Beatles sin una figura central que gestionara sus asuntos empresariales y personales. Epstein había sido crucial para el éxito inicial del grupo, y su ausencia creó un vacío en la estructura de gestión. Los intentos de los miembros de manejar ellos mismos los asuntos de la banda resultaron en conflictos y decisiones empresariales desacertadas. 4. Proyectos Individuales Cada miembro de The Beatles empezó a interesarse más en proyectos individuales. George Harrison, por ejemplo, estaba frustrado por la falta de espacio para sus composiciones dentro del grupo y comenzó a explorar su propia carrera en solitario. Ringo Starr también mostró interés en proyectos fuera de la banda. Estos intereses individuales alejaron a los miembros del enfoque colectivo que había caracterizado sus primeros años. 5. El “Álbum Blanco” y las Grabaciones Posteriores Las sesiones de grabación del “Álbum Blanco” (The White Album) fueron particularmente tensas. A menudo, los miembros de la banda grababan por separado y había un ambiente de competencia en lugar de colaboración. Este álbum, aunque considerado uno de los mejores, evidenció las crecientes divisiones internas. Las grabaciones de “Let It Be” también fueron problemáticas, con frecuentes desacuerdos y falta de cohesión. 6. Diferencias Financieras y Legales Los problemas financieros y las disputas legales también jugaron un papel importante en la disolución. La contratación de Allen Klein como mánager por parte de Lennon, Harrison y Starr, en contraposición al deseo de McCartney de contratar a Lee Eastman (su suegro), exacerbó las tensiones internas. Las diferencias en la gestión financiera y contractual llevaron a conflictos que contribuyeron a la ruptura final. 7. Declaración Pública de McCartney En abril de 1970, Paul McCartney anunció públicamente su salida de The Beatles, citando “diferencias personales, empresariales y musicales” como razones. Este anuncio, aunque no fue la causa única de la disolución, fue un catalizador que hizo oficial lo que ya era evidente: The Beatles habían llegado a su fin. Conclusión La disolución de The Beatles fue el resultado de una combinación de factores creativos, personales, financieros y de gestión. Aunque cada uno de estos elementos contribuyó a la ruptura, juntos crearon un ambiente insostenible para la continuidad del grupo. A pesar de su separación, el legado de The Beatles continúa siendo inmenso, y su música sigue influenciando a generaciones de artistas y oyentes en todo el mundo. Otros temas en el programa: 28:15 The Acolyte 46:15 Fahrenheit 451 55:00 Cómodo. Ese emperador incómodo No soy el Señor Monstruo - Capítulo 18 Puedes leer más y comentar en mi web, en el enlace directo: https://luisbermejo.com/the-beatles-zz-podcast-05x50/ Puedes encontrarme y comentar o enviar tu mensaje o preguntar en: WhatsApp: +34 613031122 Paypal: https://paypal.me/Bermejo Bizum: +34613031122 Web: https://luisbermejo.com Facebook: https://www.facebook.com/ZZPodcast/ X (twitters): https://x.com/LuisBermejo y https://x.com/zz_podcast Instagrams: https://www.instagram.com/luisbermejo/ y https://www.instagram.com/zz_podcast/ Canal Telegram: https://t.me/ZZ_Podcast Canal WhatsApp: https://whatsapp.com/channel/0029Va89ttE6buMPHIIure1H Grupo Signal: https://signal.group/#CjQKIHTVyCK430A0dRu_O55cdjRQzmE1qIk36tCdsHHXgYveEhCuPeJhP3PoAqEpKurq_mAc Grupo Whatsapp: https://chat.whatsapp.com/FQadHkgRn00BzSbZzhNviThttps://chat.whatsapp.com/BNHYlv0p0XX7K4YOrOLei0
Coming at the end of an intensely creative period, The Beatles' Abbey Road features some of the most adventurous compositions in the quartet's catalog. It's fitting then that the album concludes with one of the most inventive and famous medley committed to record. To close season two of “A Life in Lyrics” McCartney discusses The Beatles' send off to recording: “Golden Slumbers”, “Carry That Weight” and “The End.” “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with assistance from Jake Gorski and sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.
“Michelle” from 1965's Rubber Soul started as a kind of light-hearted party piece. But in McCartney's quest to turn it into a legitimate Beatles song, he went on a bit of a journey to sound not only like a believable French chanteur but also to expand his approach to bass playing, taking inspiration from Motown's James Jamerson. “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with assistance from Jake Gorski and sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.
This episode deals with themes and events surrounding the Northern Ireland conflict. As such, this episode may be traumatic or emotional for some listeners. Paul McCartney doesn't view himself as a writer of protest songs. But the events of Bloody Sunday sufficiently moved him to use his voice. Rush released as Wings first single in 1972, “Give Ireland Back To The Irish” was banned in Britain by the BBC and in the US radio avoided playing it. However, through any criticism, McCartney stood steadfastly behind the release which ultimately reached number one in Ireland. “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with assistance from Jake Gorski and sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.
The breadth of Paul McCartney's influences is astounding. One of the many surprising places McCartney found inspiration was in the music of his parent's generation. For 1966's “Here, There and Everywhere”, he found himself looking to write something akin to Fred Astaire's 1935 classic “Cheek to Cheek.” In the process, McCartney wrote what might be his favorite song in his catalog. “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with assistance from Jake Gorski and sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.
In 1968 the longest song to ever reach number one on the Billboard charts was Paul McCartney's epic “Hey Jude”—clocking in at seven minutes and twelve seconds. The song was written to soothe John Lennon's son Julian amid his parent's divorce. But as with all great works, it has come to mean something a little different to everyone who hears it. “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with assistance from Jake Gorski and sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.
Paul McCartney and John Lennon had a knack for finishing each other's songs. They collaborated by lending ideas for verses, choruses and middle eights many times over the course of their partnership. 1967's “A Day in the Life” is one of the most prominent examples of McCartney and Lennon's collaboration. What started as a Lennon song, once worked on with McCartney, became a truly collaborative piece—and a standout in The Beatles' catalog. “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with assistance from Jake Gorski and sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.
The UBP is honored to partner once again with the good folks at Pushkin, as we proudly present Season 2, Episode 3 of McCartney: A Life In Lyrics. This week, T.J., Producer Casey, and a rather talkative, dialed-in, obviously present Tony, listen in and discuss Macca and Paul Muldoon's deep-dish of "Maxwell's Silver Hammer". Bang Bang! On the door, baby! ----- McCartney: A Life in Lyrics | Maxwell's Silver Hammer One day in the car, Paul McCartney heard a BBC production of the absurdist play “Ubu Cocu” by French writer Alfred Jarry. Taken by the rebelliousness of the radio play, McCartney wrote a sweet-sounding tune about a murderous medical student that seemingly lives in the same universe as Ubu: “Maxwell's Silver Hammer.” “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with assistance from Jake Gorski and sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell. -- McCartney: A Life in Lyrics offers listeners the opportunity to sit in on conversations between Paul McCartney and poet Paul Muldoon dissecting the people, experiences, and art that inspired McCartney's songwriting. These conversations were held during the past several years as the two collaborated on the best selling book, “The Lyrics: 1965 to Present.” Over two seasons and 24 episodes of McCartney: A Life in Lyrics, you'll hear a combination master class, memoir, and improvised journey with one of the most beloved figures in popular music. Each episode focuses on one song from McCartney's iconic catalog – spanning early Beatles through his solo work. “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries.
From his earliest days as a songwriter, Paul McCartney was interested in love songs. But by the time of Wing's 1976 album “At the Speed of Sound” McCartney had become tired of critics suggesting that was all he wrote. And so he wrote the album's lead single, a defiant anthem about the importance of love in our lives, and named it “Silly Love Songs.” Through discussing this song with Paul Muldoon, McCartney also touches on some of the other love songs in his catalogue: “Can't Buy Me Love,” “All My Loving,” “I Will” and one he wrote for his wife, Nancy —”My Valentine.” “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with assistance from Jake Gorski and sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.
“Drink to me, drink to my health” were among the last words spoken by the great Spanish artist Pablo Picasso. On somewhat of a lark, Dustin Hoffman challenged Paul McCartney to use those words to write a song – on the spot. McCartney indulged Hoffman and, without hesitation, an early version of “Picasso's Last Words (Drink to Me)” poured out of him. “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with assistance from Jake Gorski and sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.
The Beatles' songbook became standard repertoire for artists to perform almost as quickly as they kicked off “the British invasion.” But one was covered more than all the rest: Yesterday. “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with assistance from Jake Gorski and sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.
One day in the car, Paul McCartney heard a BBC production of the absurdist play “Ubu Cocu” by french writer Alfred Jarry. Taken by the rebelliousness of the radio play, McCartney wrote a sweet-sounding tune about a murderous medical student that seemingly lives in the same universe as Ubu: “Maxwell's Silver Hammer.” “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with assistance from Jake Gorski and sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.
Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond
Countless decisions, large and small, aided The Beatles' ascent to the top of popular culture. The release of their debut single, “Love Me Do,” in the UK in the fall of 1962 was one of those decisions. Their debut on American television was another. In this first episode of season two, Paul McCartney and Paul Muldoon discuss the early evolution of The Beatles. Season Two of McCartney: A Life in Lyrics comes out weekly starting February 7th, and features the stories behind songs like Yesterday, Band on the Run, Here, There and Everywhere, Picasso's Last Words (Drink to Me) and many more. Follow the show to learn more about Paul McCartney's songwriting process, the creation of Wings, the development of McCartney's bass playing over the life of The Beatles and more! Binge the entire season early and ad-free starting February 7th by subscribing to Pushkin+ on our Apple show page or at pushkin.fm/plus. “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with assistance from Jake Gorski and sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.
Countless decisions, large and small, aided The Beatles' ascent to the top of popular culture. The release of their debut single, “Love Me Do,” in the UK in the fall of 1962 was one of those decisions. Their debut on American television was another. In this episode from McCartney: A Life in Lyrics, Paul McCartney and Paul Muldoon discuss the early evolution of The Beatles. Listen to the new season now. “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with assistance from Jake Gorski and sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.
Countless decisions, large and small, aided The Beatles' ascent to the top of popular culture. The release of their debut single, “Love Me Do,” in the UK in the fall of 1962 was one of those decisions. Their debut on American television was another. In this episode from McCartney: A Life in Lyrics, Paul McCartney and Paul Muldoon discuss the early evolution of The Beatles. Listen to the new season now. “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with assistance from Jake Gorski and sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.
Countless decisions, large and small, aided The Beatles' ascent to the top of popular culture. The release of their debut single, “Love Me Do,” in the UK in the fall of 1962 was one of those decisions. Their debut on American television was another. In this first episode of season two, Paul McCartney and Paul Muldoon discuss the early evolution of The Beatles. “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with assistance from Jake Gorski and sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.
Paul McCartney found himself in a tricky place after The Beatles' break up. What did his musical future look like without the three musicians he'd spent half of his life building a musical rapport with? McCartney's other band, Wings, and an impromptu tour of UK colleges helped him find his footing. “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with assistance from Jake Gorski and sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.
Countless decisions, large and small, aided The Beatles' ascent to the top of popular culture. The release of their debut single, “Love Me Do,” in the UK in the fall of 1962 was one of those decisions. Their debut on American television was another. In this episode from McCartney: A Life in Lyrics, Paul McCartney and Paul Muldoon discuss the early evolution of The Beatles. Listen to the new season now. “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with assistance from Jake Gorski and sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.
Season 1 of “McCartney: A Life in Lyrics” concludes with a band in flux. The Beatles had evolved significantly by 1968 from when they first released “Love Me Do.” Back then, they were only competing with the likes of Andy Williams, Little Stevie Wonder, and Peter Paul and Mary. But by the recording of the “White Album" The Beatles were up against acts on the charts with a more hard driving sound like Cream, The Who, and Sly and the Family Stone. Paul McCartney sensed an opportunity to jump into the fray himself and wrote a song that many consider to be the genesis of the hard rock and metal genres. “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell. Special thanks to Leah Rose, Alexandra Garreton, Martin Birket-Smith, Brittani Brown, Owen Miller, Daniella Lakhan, Jordyn McMillin, Kyra Posey, Eric Sandler, Heather Fain, Gretta Cohn, Christina Sullivan, Jon Schnaars and Jacob Weisberg of Pushkin Industries. And also Winslow Bright and Nora Nalepka from Premier Music.See omnystudio.com/listener for privacy information.
Many observers have tried to pinpoint the specific events that lead to Lennon-McCartney, the formidable songwriting partnership, transitioning to Lennon v. McCartney. But the fact is there is no single truth regarding why the beloved duo split. So instead of investigating the why, we look at the aftermath: legal battles, hurtful accusations in song and, ultimately, a sense of resolution. “Too Many People” opens Paul and Linda McCartney's 1971 album, “RAM” and serves as an opening to explore Lennon-McCartney's dissolution ahead of ultimately resolving their differences and rekindling a friendship. “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.
Many observers have tried to pinpoint the specific events that lead to Lennon-McCartney, the formidable songwriting partnership, transitioning to Lennon v. McCartney. But the fact is there is no single truth regarding why the beloved duo split. So instead of investigating the why, we look at the aftermath: legal battles, hurtful accusations in song and, ultimately, a sense of resolution. “Too Many People” opens Paul and Linda McCartney's 1971 album, “RAM” and serves as an opening to explore Lennon-McCartney's dissolution ahead of ultimately resolving their differences and rekindling a friendship. “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.
Many observers have tried to pinpoint the specific events that lead to Lennon-McCartney, the formidable songwriting partnership, transitioning to Lennon v. McCartney. But the fact is there is no single truth regarding why the beloved duo split. So instead of investigating the why, we look at the aftermath: legal battles, hurtful accusations in song and, ultimately, a sense of resolution. “Too Many People” opens Paul and Linda McCartney's 1971 album, “RAM” and serves as an opening to explore Lennon-McCartney's dissolution ahead of ultimately resolving their differences and rekindling a friendship. “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.
Many observers have tried to pinpoint the specific events that lead to Lennon-McCartney, the formidable songwriting partnership, transitioning to Lennon v. McCartney. But the fact is there is no single truth regarding why the beloved duo split. So instead of investigating the why, we look at the aftermath: legal battles, hurtful accusations in song and, ultimately, a sense of resolution. “Too Many People” opens Paul and Linda McCartney's 1971 album, “RAM” and serves as an opening to explore Lennon-McCartney's dissolution ahead of ultimately resolving their differences and rekindling a friendship. “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.
“Long Tailed Winter Bird,” “Bluebird,” and “Single Pigeon” are just a few of the many bird-oriented songs Paul McCartney has written over the years. His love of ornithology extends back before his songwriting days to his early childhood. “Blackbird”, one of the most universally cherished songs in his canon, was born of that love and worked well with the civil rights allusions that were the song's subtext. The latter day companion of “Blackbird”, “Jenny Wren,” was also born of that love. Released 40 years apart, those two songs explore McCartney as an ornithologist as well as the ways in which he's in dialogue with his songs as a writer. “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.
“Magical Mystery Tour” was inspired by a holiday bus from Liverpool to a mystery destination—often ending up in the carnivalesque seaside town of Blackpool. It's one of the best examples of The Beatles further dipping into the era's psychedelic subculture. The production of the song delivers a dense and lively atmosphere, from the opening brass fanfare to the flanging piano in the coda. “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.
James Bond themes were handled by soulful or sultry vocalists in the decade since 1963's “From Russia With Love.” Shirley Bassey, Tom Jones and even Louis Armstrong had taken turns singing themes and secondary themes for the films. The Broccoli family who produces the James Bond franchise expected nothing less when they asked Paul McCartney to write the theme for “Live and Let Die.” What they didn't expect was for him to perform it too. And for the song—1973's “Live and Let Die”—to become the most popular theme of the series thus far. “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.
Warning: This episode begins with a description of the assassination of John Lennon. John Lennon's assassination has reverberated across decades, country and culture. On the 8th of December, 1980 the world lost one of its greatest creative forces and advocates for peace. And Paul McCartney lost even more: a collaborator, a bandmate, and a dear friend. As McCartney sat in the upstairs room of his Sussex home, mourning his loss, he picked up a guitar, found a comforting set of chords and began memorializing his friendship with Lennon in song. “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.
As Paul McCartney's life moved further away from the centering force of Liverpool, the distance, both physical and cultural, started becoming increasingly apparent. It's a distance described by Paul as inevitable, if regrettable. “Uncle Albert / Admiral Halsey” is Paul's expression of the dual longing for home one can experience while also longing to create a new life full of adventure. Released on Paul and Linda's “RAM” album in 1971, the song is layered with meaning and references to his contradictory feelings. “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.
As a young boy, Paul McCartney soaked up the radio plays his mother listened to while cleaning around their house. They gave McCartney an expansive understanding of characterization, something he's been able to do astonishingly well in his own work throughout his writing career. The song “Penny Lane” may sound like much of the psychedelic musings that was common by the late 60s, but the song is actually a beautifully abstract description of a Liverpool suburb well-known to both McCartney and John Lennon. “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.
At the dawn of the Beatles' dissolution, Paul McCartney and his wife, Linda, started to spend an increasing amount of time in the Scottish countryside. Sequestered at their farm near the Mull of Kintyre, McCartney found refuge in his family, his animals, and in fixing up their homestead. The ease and charm of country living was documented in “When Winter Comes” from 2020's McCartney III. And in 1977 his ode to life on the family farm, “Mull of Kintyre,” became a massive hit for Wings despite the hold disco and soft rock had on the charts and the ascendance of punk and new wave. “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell. And thank you to Ally the Piper for her rendition of “Mull of Kintyre,” “inchadney” for their composition, “Bagpipes in Pitlochery” and Ross Fleming for voicing the 1966 news item.See omnystudio.com/listener for privacy information.
Paul McCartney's mother Mary passed away in 1956, when Paul was only 14 years old. Over a decade later, she appeared to him in a dream, lending a few immortal words of wisdom: “Let it be.” These words arrived in time to help see Paul through the difficult days after The Beatles' gave up touring to enter the studio full time. And, of course, they went on to become the basis of the song that's now a popular standard and the title of The Beatles' final studio release, “Let It Be.” “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell. And thank you to the Melbourne Soul & Gospel Choir for their rendition of “Let It Be,” arranged and conducted by Darren Wicks for the album “Stand Strong.”See omnystudio.com/listener for privacy information.
Listen to this special episode from another podcast you'll love called McCartney: A Life in Lyrics from iHeart Media, MPL and Pushkin Industries. Face cream, a Bristol liquor business, and a lifelong reverence for the elderly are just a few of the rather ordinary and disparate inspirations Paul McCartney brought together in the creation of a masterpiece: “Eleanor Rigby.” In this episode, McCartney and Paul Muldoon tease out the song's lyrical inspirations and discuss the influence a Bernard Herrman score for a Hitchcock film had on the lead single from 1966's “Revolver." Hear McCartney: A Life in Lyrics every Wednesday, available wherever you get your podcasts. (The series was produced by Pejk Malinovski and Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with sound design by Pejk Malinovski. And executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger.Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.)See omnystudio.com/listener for privacy information.
What's Paul McCartney, a Liverpudlian, doing writing about the Soviet Union in 1968? Turns out McCartney was doing a little Chuck Berry, a bit of The Beach Boys, some pastiche and a lot of subversion. Opening “The White Album”, “Back in the U.S.S.R.” raised some eyebrows. And because of The Beatles' evolving position within the former Eastern Bloc the song has over the years taken on a life of its own, following the trajectory of the West's often fraught relationship with the region. “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell. See omnystudio.com/listener for privacy information.
Face cream, a Bristol liquor business, and a lifelong reverence for the elderly are just a few of the rather ordinary and disparate inspirations Paul McCartney brought together in the creation of a masterpiece: “Eleanor Rigby.” In this episode, McCartney and Paul Muldoon tease out the song's lyrical inspirations and discuss the influence a Bernard Herrmann score for a Hitchcock film had on the lead single from 1966's “Revolver." “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.
Here's a preview from a podcast from iHeart Media, MPL and Pushkin Industries, McCartney: A Life in Lyrics. Face cream, a Bristol liquor business, and a lifelong reverence for the elderly are just a few of the rather ordinary and disparate inspirations Paul McCartney brought together in the creation of a masterpiece: “Eleanor Rigby.” In this episode, McCartney and Paul Muldoon tease out the song's lyrical inspirations and discuss the influence a Bernard Herrman score for a Hitchcock film had on the lead single from 1966's “Revolver." Hear McCartney: A Life in Lyrics every Wednesday, available wherever you get your podcasts. (The series was produced by Pejk Malinovski and Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with sound design by Pejk Malinovski. And executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger.Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.)See omnystudio.com/listener for privacy information.
Here's a preview from a podcast from iHeart Media, MPL and Pushkin Industries, McCartney: A Life in Lyrics. Face cream, a Bristol liquor business, and a lifelong reverence for the elderly are just a few of the rather ordinary and disparate inspirations Paul McCartney brought together in the creation of a masterpiece: “Eleanor Rigby.” In this episode, McCartney and Paul Muldoon tease out the song's lyrical inspirations and discuss the influence a Bernard Herrman score for a Hitchcock film had on the lead single from 1966's “Revolver." Hear McCartney: A Life in Lyrics every Wednesday, available wherever you get your podcasts. (The series was produced by Pejk Malinovski and Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with sound design by Pejk Malinovski. And executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger.Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.)See omnystudio.com/listener for privacy information.
Here's a preview from a podcast from iHeart Media, MPL and Pushkin Industries, McCartney: A Life in Lyrics. Face cream, a Bristol liquor business, and a lifelong reverence for the elderly are just a few of the rather ordinary and disparate inspirations Paul McCartney brought together in the creation of a masterpiece: “Eleanor Rigby.” In this episode, McCartney and Paul Muldoon tease out the song's lyrical inspirations and discuss the influence a Bernard Herrman score for a Hitchcock film had on the lead single from 1966's “Revolver." Hear McCartney: A Life in Lyrics every Wednesday, available wherever you get your podcasts. (The series was produced by Pejk Malinovski and Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with sound design by Pejk Malinovski. And executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger.Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.)See omnystudio.com/listener for privacy information.
We Segway through softball with Abby Edwards (30:22) and Mack Leonard (37:31), who have a Dwight connection and both play NCAA softball in the ACC, golf via Dixon junior Katie Drew (44:50) and DHS coach Lee Eastman as Drew finished tied for fifth in the state, and we end in translation with Princeton football coach Ryan Pearson (55:01) and a pregame interview for the Class 3A Quarterfinal matchup against IC Catholic.
In March of 1957, John Winston Lennon formed a "skiffle" group called The Quarrymen. What is "skiffle," you may be asking? It's a kind of folk music with a blues or jazz flavor that was popular in the 1950s, played by a small group and often incorporating improvised instruments such as washboards. On July 6, '57, Lennon met a guy named James. James Paul McCartney, while playing at the Woolton Parish church fete. In Britain, fêtes are traditional public festivals held outdoors and organized to raise funds for a charity. On February 6, 1958, the young up-and-coming guitarist George Harrison was invited to watch the group perform at Wilson Hall, Garston, Liverpool. He was soon brought in as a regular player. During this period, members continually joined and left the lineup. Finally, Lennon, McCartney, Harrison, and Stuart Sutcliffe (a classmate of Lennon at Liverpool Art College) emerged as the only constant members. One day, the members showed up to a gig wearing different colored shirts, so they decided to call themselves 'The Rainbows.' In a talent show they did in 1959, they called themselves 'Johnny and the Moondogs.' Once again, changing their name to "The Silver Beatles," they eventually decided, on August 17, 1960, on the moniker "The Beatles." Why did they choose the Beatles, Logan? They were huge fans of Buddy Holly and The Crickets – as a way of emulating their heroes, they called themselves after an insect. Right? Well, According to John Lennon, "It came in a vision – a man appeared on a flaming pie and said unto them, 'from this day forward you are the Beatles with an 'A'! Thank you, mister man, they said, thanking him," he said. Most of the accounts claim that Lennon's love of wordplay led them to adopt the 'a' eventually. Lennon would explain in a 1964 interview: "It was beat and beetles, and when you said it, people thought of crawly things, and when you read it, it was beat music." After Lennon died in 1980, George Harrison claimed that the name came about differently in the Beatles' Anthology documentary (as is usually the case). Harrison claimed that the name, 'The Beatles', came from the 1953 Marlon Brando film, The Wild One. In the film, Brando played a character called 'Johnny' and was in a gang called 'The Beetles.' This answer would add up considering that the group also flirted with the name of 'Johnny and the Beetles', as well as 'Long John and the Silver Beetles.' Their unofficial manager, Allan Williams, arranged for them to perform in clubs on the Reeperbahn in Hamburg, Germany. On August 16, 1960, McCartney invited a guy named Pete Best to become the group's permanent drummer after watching Best playing with The Blackjacks in the Casbah Club. The Casbah Club was a cellar club operated by Best's mother Mona in West Derby, Liverpool, where The Beatles had played and often visited. They started in Hamburg by playing in the Indra and Kaiserkeller bars and the Top Ten club. George, who was only seventeen years old, had lied about his age, and when this little fact was discovered, he was deported by the German authorities. Paul and Pete thought it was good to start a small fire by lighting an unused condom in their living quarters while leaving it for more luxurious rooms. Arrested and charged for arson, they too were both deported. Lennon and Sutcliffe followed suit and returned to Liverpool in December. While in Germany, they stayed in a small room with bunkbeds. George Harrison admitted in The Beatles Anthology that this made things especially awkward when he crawled under the sheets with a woman for the first time — Lennon, McCartney, and then-drummer Pete Best actually applauded for him after the deed was done. Harrison joked, "At least they kept quiet while I was doing it." They went back a second time and played the Top Ten Club for three months (April-June 1961). Stuart Sutcliffe decided to remain in Germany to concentrate on painting and left the group during this time. Sutcliffe's departure led McCartney to switch from playing rhythm guitar to bass guitar. While they were playing at the Top Ten, they were recruited by singer Tony Sheridan to act as his "backing band" on a series of recordings for the German Polydor Records label, produced by famed bandleader Bert Kaempfert ("Strangers in the Night", "Danke Schoen"). Kaempfert signed the group to its own Polydor contract at the first session on June 22, 1961. On October 31, Polydor released the recording, My Bonnie (Mein Herz ist bei dir nur), which made it into the German charts under Tony Sheridan and The Beat Brothers. Around 1962, My Bonnie was mentioned in Cashbox as the debut of a "new rock and roll team, Tony Sheridan and the Beatles," and a few copies were also pressed for U.S. disc jockeys. Cashbox, also known as Cash Box, was a music industry trade magazine published initially weekly from July 1942 to November 1996. Ten years after its dissolution, it was revived and continues as Cashbox Magazine, an online magazine with weekly charts and occasional special print issues. The band's third stay in Hamburg was from April 13–May 31, 1962, when they opened The Star Club. However, that stay was dampened when Astrid Kirchherr informed them upon their arrival of Sutcliffe's death from a brain hemorrhage. Astrid, a German photographer, and friend of the Beatles, revealed that her fiancé (and former Beatles bass player) Stuart Sutcliffe had died. No one was more shocked than John Lennon, who reportedly broke out in a fit of hysterical laughter at the idea of losing his art school buddy. Upon their return from Hamburg, the group was enthusiastically promoted by local promoter Sam Leach, who presented them for the next year and a half on various stages in Liverpool forty-nine times. Brian Epstein (no relation to a particular disgusting human being), took over as the group's manager in 1962 and led The Beatles' quest for a British recording contract. In one now-famous exchange, a senior Decca Records A&R executive named Dick Rowe turned Epstein down flat and informed him that "The Decca audition for guitar groups are on the way out, Mr. Epstein." Remember Decca? They were Buddy Holly's first record label that thought "rock n roll was a fad." Strike two, Decca. Strike two. Epstein eventually met with producer George Martin of EMI's Parlophone label. Martin expressed an interest in hearing the band in the studio. So he invited the band to London's Abbey Road studios to audition on June 6. Martin wasn't particularly impressed by the band's demo recordings but instantly liked them when they met. He concluded that they had raw musical talent but said (in later interviews) that what made the difference for him that fateful day was their wit and humor in the studio. Martin privately suggested to Brian Epstein that the band use another drummer in the studio. Yikes. Pete Best had some popularity and was considered attractive by many fans. Still, the three founding members had become increasingly unhappy with his popularity and personality, and Epstein had become exasperated with his refusal to adopt the distinctive hairstyle as part of their unified look. So Epstein sacked Best on August 16, 1962. Lennon and McCartney immediately asked their friend Richard Starkey, the drummer for one of the top Merseybeat groups, Rory Storm and the Hurricanes, to join the band. Unfortunately, Rory Storm didn't want to release Starkey but let Starkey out of his contract. Oh... Richard Starkey would eventually be known as "Ringo Starr." He chose Ringo because of the rings he wore, and it also had a cowboy feel to it. His drum solos were referred to as Starr Time. The Beatles' first EMI session on June 6 did not yield any releasable recordings, but the September sessions produced the minor U.K. hit, "Love Me Do," which peaked on the charts at number 17. The single reached the top of the United States singles chart more than 18 months later in May 1964. This single was swiftly followed by their second single, "Please Please Me." They recorded their first album (also titled Please Please Me) three months later. George Martin capitalized on the wild, live energy the boys perfected in Hamburg and recorded the entire Please Please Me LP in less than 13 hours — saving "Twist and Shout" for last so the taxing vocals wouldn't ruin Lennon's voice before the other songs were done. That's fourteen songs. Luckily, the longest song on the album was only 2 minutes and 54 seconds long. The shortest was a minute and 47 seconds. The band's first televised performance was on a program called People and Places, transmitted live from Manchester by Granada Television on October 17, 1962. The band experienced massive popularity on the record charts in the U.K. from early 1963. However, Parlophone's American counterpart, Capitol Records (owned by EMI), refused to issue their singles "Love Me Do," "Please Please Me," and "From Me to You" in the United States. Mainly because no British act had ever had a sustained commercial impact on American audiences. Vee-Jay Records, a small Chicago label, is said by some to have been pressured into issuing these initial singles. Allegedly it was part of a deal for the rights to another performer's masters. Art Roberts, music director of Chicago powerhouse radio station WLS, placed "Please Please Me" into radio rotation in late February 1963, making it possibly the first time the American people heard a Beatles record on American radio. In August 1963, the Philadelphia-based Swan Records tried again with The Beatles' "She Loves You," which failed to receive airplay. After The Beatles' massive success in 1964, Vee-Jay Records and Swan Records took advantage of their previously secured rights to The Beatles' early recordings and reissued the songs they had rights to, which all reached the top ten of the charts the second time around. Then, in a shifty move, Vee-Jay Records issued some weird L.P. repackaging of the Beatles' material they had and released "Introducing… The Beatles," which was basically The Beatles' debut British album with some minor alterations. Andi Lothian, a former Scottish music promoter, laid claim to the term in that he coined 'Beatlemania" while speaking to a reporter on October 7, 1963 at the Caird Hall in Dundee at a Beatles concert that took place during The Beatles' 1963 Mini-Tour of Scotland. Beatlemania was taking over the world. In early November 1963, Brian Epstein persuaded Ed Sullivan to commit to presenting The Beatles on three editions of his show in February. He turned this guaranteed exposure into a record deal with Capitol Records. Capitol agreed to a mid-January 1964 release for "I Want to Hold Your Hand." Still, unexpected circumstances triggered premature airplay of an imported copy of the single on a Washington D.C. radio station in mid-December. Capitol brought forward the release of the record on December 26, 1963. Bob Dylan introduced The Beatles to the cannabis drug in 1964 in a New York hotel room. He offered the "Fab Four" marijuana as a consequence of his misconception that the lyrics in their hit song "I Want to Hold Your Hand" from Meet the Beatles! were "I get high" instead of "I can't hide." This initial partaking in drugs grew into heavier experimentation with LSD and other substances whose psychedelic effects were commonly thought to have manifested themselves in the band's music. The Beatles, in turn, would influence Dylan's move into an electrified rock sound in his music. Several New York City radio stations—first WMCA, then WINS, and finally, WABC began playing "I Want to Hold Your Hand" on its release day. The Beatlemania that had started in Washington was duplicated in New York and quickly spread to other markets. The record sold one million copies in just ten days. By January 16, Cashbox Magazine had certified The Beatle's record as number one in the edition published with the cover-date January 23, 1964. This widespread phenomenon contributed to the near-hysterical fan reaction on February 7, 1964 at John F. Kennedy International Airport (which had been renamed in December 1963 from Idlewild Airport). A record-breaking seventy-three million viewers, approximately 40 percent of the U.S. population at the time, tuned in to the first Ed Sullivan Show appearance two days later on February 9. During the week of April 4, The Beatles held the top five places on the Billboard Hot 100, a feat that has never been repeated. They had an additional seven songs at lower positions. That's twelve songs on the Billboard charts at once. Of all the music acts on the charts, 12 percent of the entries consisted of Beatles songs. They were so unaware of their popularity in America that, on their arrival, they initially thought the crowds were there to greet someone else. Oh, and their Concerts Often Smelled Like Urine Apparently, the masses of young girls who turned up for their concerts, movie premieres, or to wave hello as the Beatles walked off the plane in a new city were apparently too distracted by their love for the band to care about whether or not their bladders were full. DSo, they'd pee themselves. In 1964, the band undertook their first appearances outside of Europe and North America, touring Australia and New Zealand, notably without Ringo Starr, who was ill and was temporarily replaced by session drummer Jimmy Nicol. When they arrived in Adelaide, The Beatles were greeted by what is reputed to be the largest crowd of their touring career, when over 300,000 people turned out to see them at the Adelaide Town Hall. Yeah, Adelaide's population was only right around 200,000. In September of that year, baseball owner Charles O. Finley paid the band the unheard-of sum of $150,000 to play in Kansas City, Missouri. That's $1,398,914.52 today and utterly unheard of at that time. In 1965, Queen Elizabeth II of the United Kingdom bestowed the band the Member of the Order of the British Empire or MBE, a civil honor nominated by Prime Minister Harold Wilson. On August 15, that year, The Beatles performed in the first stadium rock concert in the history of Rock n roll, playing at Shea Stadium in New York to a crowd of 55,600. The stadium's capacity is 57,333. The band later admitted that they had mainly been unable to hear themselves play or sing due to the volume of screaming and cheering. This concert is generally considered when they started disliking playing live shows. In 1965, recently interested in Indian music, George Harrison purchased a sitar. He played it in the song Norwegian Wood (This Bird Has Flown), the first instance of such an instrument being used on a rock record. He later took sitar lessons from maestro Ravi Shankar, and implemented additional elements of Eastern music and spirituality into his songs, notably Love You To and Within You Without You. These musical decisions significantly increased the influence of Indian music on popular culture in the late 1960s. In July 1966, when The Beatles toured the Philippines, they unintentionally snubbed the nation's first lady, Imelda Marcos, who had expected the group to attend a breakfast reception at the Presidential Palace. Manager Brian Epstein was forced to give back all the money that the band had earned while there before being allowed to leave the country. Upon returning from the Philippines, an earlier comment by John Lennon back in March of that year launched a backlash against The Beatles. In an interview with British reporter Maureen Cleave, Lennon had offered his opinion that Christianity was dying and that The Beatles were "more popular than Jesus now." Oops! There was an immediate response, starting with an announcement by two radio stations in Alabama and Texas that they had banned Beatles' music from their playlists. WAQY DJ, Tommy Charles said: "We just felt it was so absurd and sacrilegious that something ought to be done to show them that they can't get away with this sort of thing." Around two dozen other stations followed suit with similar announcements. Some stations in the South (shocker) went further, organizing demonstrations with bonfires, drawing hordes of teenagers to burn their Beatles' records and other memorabilia publicly. Many people affiliated with churches in the American South took the suggestion seriously. The Memphis, TN city council, aware that a Beatles' concert was scheduled at the Mid-South Coliseum during the group's upcoming U.S. tour, voted to cancel it. Rather than have "municipal facilities be used as a forum to ridicule anyone's religion" and said, "The Beatles are not welcome in Memphis." On August 13, The Ku Klux Klan nailed a Beatles' album to a wooden cross and subsequently burned it, vowing "vengeance," with conservative groups staging further public burnings of Beatles' records. Young people across the United States and South Africa burned Beatles records in protest. Then, under tremendous pressure from the American media, John Lennon apologized for his remarks at a press conference in Chicago on August 11, the eve of the first performance of what turned out to be their final tour. The Beatles performed their last concert at Candlestick Park in San Francisco on August 29, 1966. From that point forward, they focused on recording music. They ended up pioneering more advanced, multi-layered arrangements in popular and pop music. After three months away from each other, they returned to Abbey Road Studios on November 24, 1966, to begin a 129-day recording period in making their eighth album: Sgt. Pepper's Lonely Hearts Club Band, was released on June 1, 1967. Along with studio tricks such as sound effects, unconventional microphone placements, automatic double-tracking, and vari-speed recording, The Beatles began to augment their recordings with unconventional instruments for rock music at the time. These instruments included string and brass ensembles, Indian instruments such as the sitar and the "swarmandel," tape loops, and early electronic devices, including the "Mellotron," which was used with flute voices on the intro to "Strawberry Fields Forever." McCartney once asked Martin what a guitar would sound like if played underwater and was serious about trying it. Lennon also wondered what his vocals would sound like if he was hanging upside down from the ceiling. Unfortunately, their ideas were ahead of the available technology at the time. Beginning with the use of a string quartet (arranged by George Martin) on Yesterday in 1965, The Beatles pioneered a modern form of art-rock and art song, exemplified by the double-quartet string arrangement on "Eleanor Rigby" (1966), "Here, There and Everywhere" (1966), and "She's Leaving Home" (1967). In addition, Lennon and McCartney's interest in the music of Johann Sebastian Bach led them to use a piccolo trumpet on the arrangement of "Penny Lane" and a Mellotron at the start of "Strawberry Fields Forever." On June 25, 1967, the Beatles became the first band globally transmitted on television, in front of an estimated 400 million people worldwide, in a segment within the first-ever worldwide T.V. satellite hook-up, a show entitled Our World. The Beatles were transmitted live from Abbey Road Studios, and their new song "All You Need Is Love" was recorded live during the show. Following the triumphs of the Sgt. Pepper album and the global broadcast, The Beatles' situation seemingly got worse. First, their manager Brian Epstein died of an overdose of sleeping pills on August 27, 1967, at 32, and the band's business affairs began to unravel. Next, at the end of 1967, they received their first major negative press criticism in the U.K., with disparaging reviews of their surrealistic T.V. film Magical Mystery Tour. The public wasn't a fan, either. The group spent the early part of 1968 in Rishikesh, Uttar Pradesh, India, studying transcendental meditation with the Maharishi Mahesh Yogi. Upon their return, Lennon and McCartney formed Apple Corps, initially a philanthropic business venture they described as an attempt at "western communism." The middle part of 1968 saw the guys busy recording the double album, The Beatles, popularly known as "The White Album" due to its stark white cover. These sessions saw deep divisions beginning within the band, including John Lennon's new girlfriend, Yoko Ono, being at his side through much of the sessions and the feeling that Paul McCartney was becoming too dominating. Paul McCartney gradually took more control of the group. Internal divisions within the band had been a small but growing problem during their earlier career. Most notably, this was reflected in the difficulty that George Harrison experienced in getting his songs onto Beatles' albums, and in the growing artistic and personal differences between John and Paul. On the business side, Paul wanted Lee Eastman, the father of his wife, Linda Eastman, to manage The Beatles, but the other guys wanted New York manager Allen Klein to represent them. All of the band's decisions in the past were unanimous, but this time the four could not agree on a manager. Lennon, Harrison, and Starr felt the Eastmans would look after McCartney's well-being before the group's. Paul was quoted years later during the Anthology interviews, saying, "Looking back, I can understand why they would feel that was biased against them." Afterward, the band kicked themselves in the ass for the Klein decision, as Klein embezzled millions from their earnings. Their final live performance was on the rooftop of the Apple building in Savile Row, London, on January 30, 1969, the next-to-last day of the problematic Get Back sessions. Mainly due to Paul McCartney's efforts, they recorded their final album, Abbey Road, in the summer of 1969. John Lennon announced his departure to the rest of the group on September 20, 1969. The rest of the band talked him out of saying anything publicly. In March 1970, the band gave the "Get Back" session tapes to American producer Phil Spector, whose "Wall of Sound" production was in direct opposition to the record's original intent to appear as a stripped-down live studio performance. McCartney announced the breakup on April 10, 1970, a week before releasing his first solo album, McCartney. On May 8, 1970, the Spector-produced version of Get Back was released as the album Let It Be, followed by the documentary film of the same name. The Beatles' partnership was legally dissolved after McCartney filed a lawsuit on December 31, 1970. Following the group's dissolution, the BBC marketed an extensive collection of Beatles recordings, mainly of original studio sessions from 1963 to 1968. Much of this material formed the basis for a 1988 radio documentary series, The Beeb's Lost Beatles Tapes. Later, in 1994, the best of these sessions were given an official EMI, released on Live at the BBC. On the evening of December 8 1980, John Lennon was shot and fatally wounded in the archway of the Dakota, his home in New York City. His killer was Mark David Chapman, an American Beatles fan incensed by Lennon's lavish lifestyle and his 1966 comment that the Beatles were "more popular than Jesus." Chapman said he was inspired by the fictional character Holden Caulfield from J. D. Salinger's novel The Catcher in the Rye, a "phony-killer" who despised hypocrisy. Chapman planned the killing over several months and waited for John at the Dakota on the morning of December 8. Early in the evening, Chapman met Lennon, who signed his copy of the album Double Fantasy and subsequently left for a recording session. Later that night, Lennon and his wife, Yoko Ono, returned to the Dakota. As Lennon and Ono approached the building's entrance, Chapman fired five hollow-point bullets from a .38 special revolver, four of which hit John in the back. Chapman remained at the scene reading The Catcher in the Rye until the police arrested him. John Lennon was rushed to Roosevelt Hospital in a police car, where he was pronounced dead on arrival at around 11:15 p.m. In February 1994, the then-three surviving Beatles reunited to produce and record additional music for a few of John Lennon's old unfinished demos, almost as if reuniting the Beatles. "Free As A Bird" premiered as part of The Beatles Anthology, a series of television documentaries, and was released as a single in December 1995, with "Real Love" following in March 1996. These songs were also included in the three Anthology collections of C.D.s released in 1995 and 1996, each consisting of two C.D.s of never-before-released Beatles material. On November 29 2001, George Harrison died at a property belonging to Paul McCartney, on Heather Road in Beverly Hills, California. He was 58 years old. As relayed in a statement by his wife Olivia and son Dhani, his final message to the world was: "Everything else can wait, but the search for God cannot wait, and love one another." The Beatles were the best-selling popular musical act of the twentieth century. EMI estimated that by 1985, the band had sold over one billion discs or tapes worldwide. In addition, the Recording Industry Association of America has certified The Beatles as the top-selling artists of all time in the United States based on U.S. sales of singles and albums. The Beatles have spent 132 weeks at No. 1 on the Billboard 200 chart – by far the most of any artist. Garth Brooks occupied the top spot for 52 weeks, the second most. The Beatles are one of only two musical acts to have eight consecutive albums on the Billboard 200 all hit No. 1. – the other being Eminem – Anthology 1 sold 450,000 copies on its first day of release, reaching the highest volume of single-day sales ever for an album. In 2000, a compilation album named one was released, containing almost every number-one single released by the band from 1962 to 1970. The collection sold 3.6 million copies in its first week and more than 12 million in three weeks worldwide, becoming the fastest-selling album of all time and the biggest-selling album of 2000. The collection also reached number one in the United States and 33 other countries. In 1988, every Beatles member (including Pete Best and Stuart Sutcliffe) was inducted into the Rock and Roll Hall of Fame. www.iconsandoutlaws.com www.accidentaldads.com
This week we discuss the life and career of Linda McCartney along with her relationship with Paul. Daughter of showbiz attorney Lee Eastman, Linda grew up with deep respect and fascination for the arts. By her late teens an interest in photography led her to New York City where she began her career shooting all the most respected musicians of the 60's. Linda's naturally gifted eye and her ability to connect to her subjects made her a favourite of anyone she happened to shoot and made her photographs some of the most intimate portraits you can find. When Linda first met Paul McCartney she knew she'd found the one. The pair would marry within 22 months, just as The Beatles were coming to an end. What should have been a time of celebration was instead marred by Paul's depression as well as the fan and media scrutiny over their marriage. Linda became Paul's support through this time and through their love he found another collaborative partnership. While Linda never aspired to be a musician, Paul wanted her by his side and over the next decade they would perform together as Wings. If they had thought that the scrutiny over their marriage was rough, they had no idea how bad it would get, from their own friends nonetheless, when Linda joined the band. Through it all they remained together growing stronger as the years progressed. By the 80's Linda had found a newfound passion for Animal Rights and helping to spread the word about vegetarianism. Linda would put out multiple vegetarian cookbooks as well as her own incredibly successful meatless frozen foods line. She is considered to be one of the leading activists to publicly bring attention to animal rights and initiate change before she succumbed to breast cancer at the age of 56. Pick up your Muses Merch over at https://www.teepublic.com/user/muses Join us Tuesdays on Stereo! Download the Stereo App and follow us at stereo.com/lynxmuses & stereo.com/chantymuses Check out other amazing shows on the Lipstick & Vinyl Network Follow us on TikTok Check out our Patreon Learn more about your ad choices. Visit megaphone.fm/adchoices
Episode one hundred and twenty-one of A History of Rock Music in Five Hundred Songs looks at “The Leader of the Pack”, the rise and fall of Red Bird Records, and the end of the death disc trend. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “California Sun” by the Rivieras. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ (more…)
Episode 107 of A History of Rock Music in 500 Songs looks at “Surf City” and the career of Jan and Dean, including a Pop Symphony, accidental conspiracy to kidnap, and a career that both started and ended with attempts to get out of being drafted. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Hey Little Cobra” by the Rip Chords. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ (more…)
Episode one hundred and two of A History of Rock Music in Five Hundred Songs looks at “Twist and Shout” by the Isley Brothers, and the early career of Bert Berns. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “How Do You Do It?” by Gerry and the Pacemakers. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ (more…)
It doesn't happen every day that you get to hear a new Beatles song; but today is that day! We proudly present the premiere (as a complete song) of 'You Won't Get Me That Way', as recorded by the Beatles on 27 January 1969 in Apple Studios, Savile Row. You Won't Get Me That Way is a swinging blues, in classic McCartney rocker style. Soulful vocals by McCartney, in excellent voice that day. Some neat drum playing by Ringo, and bluesy guitars by George and John. With a bit more work, this could have turned into a track on 'Let It Be' (compare with 'For You Blue'!), were it not that the Beatles had run out of time to rehearse new songs; Ringo was scheduled to take off at the beginning of February to appear in The Magic Christian with Peter Sellers, so they had to finish the sessions soon. They had not come to a conclusion about the finale for the sessions yet, but they realized there would have to be some kind of live performance, and that an album should be assembled from what had been recorded. Later of course, this would culminate in the live performance on the rooftop of Apple studios on 30 January. Anyway, on 27 January it was high time to put the finishing touches on the songs that had been rehearsed since January 2nd. We can only conclude that the Beatles were in a good mood that day, perhaps they were happy that the rehearsal sessions were coming to an end? This Monday was the 16th day of the Get Back/Let It Be sessions. The Beatles recorded a total of 32 takes of Get Back in a single day, experimenting with different tempos and styles – including mock Japanese and German versions and alternative lyrics. One new song to be introduced on this day was George Harrison’s Old Brown Shoe, which would become the B-side to The Ballad Of John And Yoko later in 1969. Towards the end of the day, they were in the middle of rehearsing I've got a Feeling, when Billy Preston (on keyboards) played a classic blues intro. All 4 Beatles picked up on it, Paul improvised the vocals and the lyrics, and You Won't Get Me That Way was born. They then played a little of Jimmy McCracklin's song "The Walk" before returning to I've Got a Feeling. A pretty disciplined rehearsal session, for Beatles standards in those days..... Still, the lyrics may betray some of what was on Paul's mind in these final days of January. The lyrics mainly consist of 'no, you won't get me that way, you're gonna have to go it on your own', with some additional lyrics at the very end: "you won't get what I can give you. No why should I give you what I gotta give, the way you treat me like you do.' The easiest explanation would be to label the lyrics as some pretty nonsense, produced on the spot. However, when improvising on the spot - as Paul was doing here - some inner thoughts might pop up that otherwise might have remained suppressed. Is it a coincidence that these lyrics emerge in the middle of rehearsing 'I've Got a Feeling, a feeling deep inside'? Let's find out what these lyrics could relate to! The first thing that comes to the attention, is the negative form of the lyrics; it is mostly 'No you won't'. This is unusual for McCartney, whose lyrics are usually upbeat. One of the few McCartney songs with lyrics in the negative form is 'You Never Give Me Your Money'. This song was written 2 months later, in March 1969. Could these 2 songs be related? 'You Won't Get Me That way' seems to be a reply to a request to give something to somebody. Paul will not do that, because of the way 'you treat me like you do'. In fist instance, we may imagine that this would be about some 'love' relationship of Paul's, but that doesn't agree with his actual situation. He had met with Linda (Eastman), was deeply in love, and would marry her soon afterwards (March 1969). It is highly unlikely that he would be singing about refusing Linda what she would ask of Paul. Therefore, the refusal could relate to business, or money matters. And that fits nicely with the lyrics of You Never Give Me Your Money; McCartney has said that this song was written with Allen Klein in mind, saying "it's basically a song about no faith in the person'. A notoriously brash character and tough negotiator, Klein invented the role of business manager, taking a stance as the outsider siding with the artists, the enemy of the record companies. And this Allen Klein would have very much been on McCartney's mind already in January 1969. Klein had been trying to become the Beatles financial manager since 1964. Epstein and Klein had met face-to-face, in London, Klein offering to help with handling the Beatles’ finances. Brian Epstein was royally offended at the suggestion that someone else should do his job for him, and he had Klein shown to the door. After Epstein's death in 1967, Klein renewed his efforts. He had spoken with Lennon during the recording of on 11 December 1968 of The Rolling Stones Rock and Roll Circus, where Lennon performed Yer Blues. A December 1968 article in Disc and Music Echo in which Lennon worried that the Beatles were nearly broke (Apple losing around 20000 pound each week) lent an air of urgency to Klein’s appeal for Lennon to meet with him to talk Beatles business, and Klein continued his contact with Lennon from the US. He managed to set up a meeting with John & Yoko on January 26, in the Harlequin suite of the Dorchester Hotel, London, where Klein was staying. Klein served them “a carefully researched and prepared vegetarian meal—exactly the macrobiotic dishes John and Yoko preferred.” Klein had studied the music and lyrics of Lennon and spoke sensibly about the meaning of Lennon’s songs. John & Yoko were very impressed with him, and John decided on the spot to make him his personal adviser. There and then he wrote to Sir Joseph Lockwood, the chairman of EMI: "Dear Sir Joe: From now on Allen Klein handles all my stuff." Lennon wrote a similar letter to Dick James, who ran Northern Songs to publish the Beatles songs. After meeting with John & Yoko, Klein set up a meeting with all four Beatles on 27- or 28 January. Paul McCartney preferred to be represented by Lee and John Eastman, the father and brother respectively of his fiancée, Linda. In fact, the Beatles had appointed Lee Eastman as their financial advisor earlier in January. But now, George and Ringo sided with John & Yoko, and Paul walked out of the meeting. Although we have no direct evidence, it seems likely that Paul was aware of Klein's presence and intentions on January 27th, when they recorded 'You Won't Get Me That Way'. Klein would have had to invite Paul to his meeting sometime during January 27, and they recorded You Won't Get Me' towards the end of the recording session. It was clear that the Beatles could not continue this way; John Eastman came over but could not convince the other 3 Beatles. Eastman felt he could not represent the Beatles if they did not have confidence in him. On 3 February the Beatles met again. Allen Klein was charged with examining their finances and finding a way to stop NEMS from bleeding them of a quarter of their income. As a compromise to Paul, Linda's father and brother were appointed as Apple's General Council, to keep an eye on Allen Klein's activities. However, Klein’s assignment would turn out badly for the Beatles: Dick James, their music publisher, owned a controlling 37.5% of Northern Songs. Lennon and McCartney owned 15% each. After Epstein's death on 27 August 1967, Lennon and McCartney sought to renegotiate their publishing deal with James. In 1968 they invited James for a meeting at Apple Records and it became clear to Dick James that Lennon and McCartney would not renew their contract with Northern Songs. With no new songs being published, Dick James expected that the value of Northern Songs would plummet, and he would lose millions as the major shareholder. In January, Dick James noticed the arrival of Klein through Lennon’s letter. James knew that Klein was a hardball player not averse to questionable business deals; he had a string of lawsuits behind him pending in the States. James feared that Klein would pull some scam that would suddenly leave James out in the cold with nothing. Dick James could no longer offer to sell his shares to Lennon and McCartney, because he expected that they would not pay the full price - threatening to write no more songs when their contract ran out. Therefore, Dick James sold his share of Northern Songs without informing Lennon and McCartney (or Klein), so they had no time to announce their intentions in public. Klein was unsuccessful in buying back NEMS or blocking the sale of Northern Songs, despite his intense efforts. Allen Klein's strategy became to sell Lennon and McCartney’s shares quickly and make some cash before news of the Beatles' breakup leaked - after which the shares would tumble in value. This is why, in the meeting at Apple in October of 1969, where John officially told Paul the Beatles were over, Allen Klein pressured everyone to keep quiet about the situation for at least the next few months. Thus Klein was a factor in Lennon and McCartney losing control of their songs, and they would only regain it decades later; thanks to a revision of copyright laws in the US, the copyright returns to the composer after 56 years, so only now do the first songs return to McCartney and Lennon's estate (Yoko Ono). Klein was successful in other business: sorting out the financial mess of their ill-fated Apple Corps venture. He put an end to the Apple Boutique and got rid of the charlatans and hangers-on. The Beatles’ existing deal with EMI and Capitol gave them 17.5% of the US wholesale price – a considerable amount already. Klein was able to increase to 25%. He argued that, should the label object, The Beatles would cease to record for them. Klein also gained Apple Corps the right to manufacture and sell The Beatles records in the US. EMI would retain the recordings, but Capitol would manufacture the releases on Apple’s behalf. Apple would then profit from the difference between manufacturing and retail costs. The new terms gave The Beatles the right, for the first time, to determine the ways in which their music was manufactured and sold. By 1971 the group’s entire back catalogue was made available on Apple Records. Klein also made sure Let It Be was released as a motion picture rather than a TV film, therefore fulfilling the group's contractual obligations with United Artists. So, the positive contribution of Klein was that The Beatles’ personal incomes were greatly improved, and Apple was guaranteed a regular income until at least 1976. Still, it was downhill from there for Allan Klein and the Beatles. Klein held on to the proceeds from the Concert for Bangladesh, the charity event he organized with Harrison at New York's Madison Square Garden in 1971, delaying the release of the funds to UNICEF for years, and was investigated by the US authorities. After Klein’s contract with Lennon, Harrison and Starr expired in March 1973, they opted not to renew it. The group eventually paid Klein an estimated $4m when all litigation was finally settled in January 1977. Klein was the subject of veiled references in the Harrison song "Beware Of Darkness" – from 1971's All Things Must Pass – and the Lennon composition "Steel And Glass" – on 1974's Walls And Bridges album. In 1979, Klein was sentenced to two months in jail for tax evasion after helping himself to the proceeds from the sale of promotional copies of the Concert For Bangladesh triple album. Klein died 4 July 2009. Of course, McCartney did not know all of this on 27 January 1969, but he must have seen troubles coming his way in the form of Allan Klein. And his sub-conscious pushed the lyrics to his lips: "You won't get what I can give you. No why should I give you what I gotta give, the way you treat me like you do."
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