Podcasts about Long Tall Sally

El “Aullido” de Ginsberg, el de la Beat Generation, el equivalente rockero «Awopbopaloobamboom» (“Tutti Frutti”) de Little Richard. 1955, el año, en el que una onomatopeya de segundos se convirtió en canción emblemática. Junto a Fats Domino o Larry Williams, acompañado por la flor y nata de los músicos de Nueva Orleans. "Long Tall Sally” o "Good Golly Miss Molly” clásicos del rock de los 50. Su imagen evolucionó hasta la "extravaganza" y su huella de Paul Mc Cartney a Prince. En EEUU un público segregado, emergente, juvenil, el mundo más tarde. Su historia merece ser contada, su aullido aún nos traspasa. Esta edición la prueba. Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com.

El “Aullido” de Ginsberg, el de la Beat Generation, el equivalente rockero «Awopbopaloobamboom» (“Tutti Frutti”) de Little Richard. 1955, el año, en el que una onomatopeya de segundos se convirtió en canción emblemática. Junto a Fats Domino o Larry Williams, acompañado por la flor y nata de los músicos de Nueva Orleans. "Long Tall Sally” o "Good Golly Miss Molly” clásicos del rock de los 50. Su imagen evolucionó hasta la "extravaganza" y su huella de Paul Mc Cartney a Prince. En EEUU un público segregado, emergente, juvenil, el mundo más tarde. Su historia merece ser contada, su aullido aún nos traspasa. Esta edición la prueba. Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com.

Send us a textIntro song: Johnny B. Goode40. The Fool on the Hill39. Dear Prudence38. Julia37. Tomorrow Never Knows36. Twist and ShoutOutro song: Long Tall Sally

A Gab Four spectacular!    Jon Stone, Lonnie Pena, Martin Quibell and I gathered to talk about the characters and stories in Beatles songs.     They started with covers of folks like Long Tall Sally, and this episode takes us through Rubber Soul, where the band gives us Michelle, the Nowhere Man, and asks about the possibility of exchanging golden rings in favor of getting behind the wheel to "Drive My Car!"

This week on Classic Vinyl Podcast and our Meet The Beatles series, Justin and Tyler listen to and review the first two songs off of the Long Tall Sally EP, Long Tall Sally and I Call Your Name. Give them a listen and let us know what you think!

The Beatles' rise to fame (1962-63): The podcast covers their signing to EMI, recording their first single, and early TV appearances. https://youtu.be/Go4X-3aZDv0 Context matters: Early 1960s Britain shaped The Beatles' development, with the podcast highlighting the social and cultural factors at play. Personality & charisma: The Beatles' humor and charm were as crucial as their music in winning over fans and the industry. Collaboration: Brian Epstein, George Martin, and others were instrumental in The Beatles' success, which the podcast examines in detail. Historical accuracy: The podcast stresses credible sources and distinguishes facts from myths when exploring The Beatles' history. The Beatles' Early Days Hamburg's influence: Their time in Hamburg was transformative, improving their music and stage presence. Quote: “Hamburg very much unlike Liverpool… they don't know how to do Beatles tourism.” The podcast contrasts Hamburg's handling of Beatles history with Liverpool's. Early rejections: The podcast recounts labels like Decca and EMI turning them down, showcasing their uncertain early career. The Decca Audition: It analyzes the audition's recordings, providing insight into their pre-fame sound. Brian Epstein's role: As their manager, he refined their image and secured a record deal, remaining honest even under pressure. The Beatles and EMI George Martin's initial reaction: Martin was initially skeptical but grew interested after meeting the band. Quote: “Martin didn't know it, but he was as lucky as The Beatles were.” This reflects the chance nature of their collaboration. June 6th recording session: A pivotal moment in Martin's perception, marking a turning point in the band's journey. Recording dynamics: The podcast explores how The Beatles and Martin created a shared vision and changed industry practices. Methods of Historical Research Primary sources: The podcast relies on interviews, letters, and news articles for authenticity. Fact vs. fiction: It emphasizes being critical of sources and separating myths from reality. Avoiding presentism: The podcast warns against modern interpretations of past events, stressing historical context. Quotes of Note • “The interwebs are full of empty infotainment in the same old, same old about Beatles trivia. You deserve the real story.” - Ariana Grande • “The Beatles didn't quite achieve their stylistic target. It was their failure that made them succeed.” • “They wanted their live and studio set of songs to sound something like American Pop R&B… but they failed. They sort of created their own genre.” • “Think of Jed Clampett out shooting at some food… He missed what he was aiming at… but up from the ground, he found oil under his land to make him very rich.” • “There would be no Beatles without R&B. In fact, there would have been no rock and roll at all.” - John Lennon • “Black music is my life. The Beatles and Sergeant Pepper and all that jazz—it doesn't mean a thing. All I talk about is 1958 when I heard Little Richard's ‘Long Tall Sally' and when I heard Chuck Berry's ‘Johnny B. Goode' and when I heard Bo Diddley. That changed my life completely.” - John Lennon • “The Beatles are like rock and soul men singing their pop with boy-man energy that matches girl-group energy.” • “They weren't whitening the music like a bunch of Pat Boons. It becomes a thing of its own but it remains soulful.” • “For us in the group, all that matters is that we try to get it right. If we make an error, we don't dig in. It's really just the opposite. We love to get corrections.” • “We treat ourselves and each other as knowers who might know something, to have something to offer, have some insight that's worth hearing potentially. We're all students… there are no teachers. We're all fallible. We're all students.” • “So much of Britain was black and white and bleak until The Beatles came along.”

In which the Musical Man recounts his vision of a real wild child hurling great balls of fire at a hound dog named Long Tall Sally who weighs sixteen tons. Donate today via Patreon: patreon.com/musicalmanpod / Podbean: musicalmanpod.podbean.com / Email: musicalmanpod@gmail.com

ALBUM FOCUS: Cactus – Temple Of Heroes-Influences & Friends http://www.cactusrocks.net "Restrictions" featuring Ty Tabor (King's X) & Phil Soussan (Ozzy Osbourne) "Long Tall Sally" featuring Mark Stein (Vanilla Fudge) & Fernando Perdomo "Guiltless Glider" featuring Tim "Ripper" Owens (Judas Priest) ************************** Durham County Poets "Mean Old Dog" - Out Of The Woods Michele D'Amour And The Love Dealers "Muddling Through" - Hot Mess www.micheledamourandthelovedealers.com Lawrence Lebo "Give Me A Try" - Old School Girl www.lawrencelebo.com Cuff The Duke "Seasons Come, Seasons Go" www.cufftheduke.com Gasoline Lollipops “Freedom Don't Come Easy' http://www.gasolinelollipops.com Jon Shain "Living With Regret" - Restless Soul Syndrome www.jonshain.com Ian Roland "Lodestone" www.ianrolandmusic.com ********************* These artists are part of the upcoming Ossipee Valley Music Festival in Maine www.ossipeevalley.com Twisted Pine "Papaya" - Right Now www.twistedpineband.com Maya de Vitry "Infinite" - The Only Moment www.mayadevitry.com Crooked Still "Tell Her To Come Back Home"' - Still Crooked www.crookedstill.com Donna The Buffalo "Across The Way" - Dance In The Street www.donnathebuffalo.com ************************** Mo Kenney "Evening Dream" From Nowhere- www.mokenney.com Julian Taylor "Running Away" www.juliantaylormusic.ca Jamie Keelaghan "Before The Morning Sun" - Second Hand www.jameskeelaghan.com Mean Mary "Old Banjo" - Portrait Of A Woman, Part 1 www.meanmary.com Fil Campbell & Tom McFarland "Ring The Bell" - Together www.filcampbell.com Annie & Rod Capps "Bell Bottoms & Leather" - Love & Rain www.annieandrodcapps.com Doug Alan Wilcox "When I Wished Upon The Moon" - The Guild Project www.dawilcox.com Joel Styzens "Ascendence II" Resonance www.relaxyourears.com ************************ Closing: Coyote Oldman "Home World" - Under An Ancient Sky Running time: 4 hours, 49 minutes --- Support this podcast: https://podcasters.spotify.com/pod/show/radiocblue/support

This episode of Big Blend Radio's "Rants, Raves & Rock 'n Roll" Show features iconic drummer Carmine Appice, founding member of the blues rock band Cactus. Carmine is also a founding member of Vanilla Fudge and has performed and/or recorded with Rod Stewart, Jeff Beck, Ozzy, and Pink Floyd, amongst others.  Cactus is as heavy, bluesy, and uncompromising in its musical assault as they were 50-plus years ago. Their new album "Temple of Blues - Influences & Friends" is out now through Cleopatra Records. Featured along with the current Cactus band is a who's who of blues and rock icons: Guitarists Joe Bonamassa, Ted Nugent, Pat Travers,  Warren Hayes, Vernon Reid, Steve Stevens, Johnny A (The Yardbirds), Ty Tabor (King's X) and bassists  Billy Sheehan (Mr. Big), Dug Pinnick (King's X)  Tony Franklin (The Firm, Blue Murder), Phil Soussan (Ozzy Osbourne, Billy Idol), Rudy Sarzo (Quiet Riot, Ozzy Osbourne), Kenny Aaronson (ex- Joan Jet and The Yardbirds), as well as members of  Government Mule, Vixen, Rainbow, Zebra, and Whitesnake.     Vocalist Dee Snider of Twisted Sister appears on the band's remake of the Howlin' Wolf classic "Evil," and Appice's bandmate in Vanilla Fudge Mark Stein turns in a powerful vocal on Little Richard's "Long Tall Sally." A second version of "Guiltless Glider," appears as a bonus track with former Judas Priest vocalist, Ripper Owens. In addition to Appice on drums and vocals on all tracks, original Cactus guitarist Jim McCarty also appears on Temple of Blues. Get the album at https://cleorecs.com/products/cactus-temple-of-blues-cd  More at: https://www.carmineappice.net/ 

Drummer Carmine Appice (who is also a founding member of Vanilla Fudge and who has performed and/or recorded with Rod Stewart, Jeff Beck, Ozzy, and Pink Floyd, amongst others), Cactus is as heavy, bluesy, and uncompromising in its musical assault as they were 50-plus years ago.The band released its new album, Temple of Blues – Influences & Friends, June 7 on Cleopatra Records.  The album merges the current members of Cactus with a big-name, star laden, ensemble of guest artists, all of whom have called the group among their biggest influences.  Featured along with the current Cactus band is a who's who of blues and rock icons: Guitarists Joe Bonamassa, Ted Nugent, Pat Travers,  Warren Hayes, Vernon Reid, Steve Stevens, Johnny A (The Yardbirds), Ty Tabor (King's X) and bassists  Billy Sheehan (Mr. Big), Dug Pinnick (King's X)  Tony Franklin (The Firm, Blue Murder), Phil Soussan (Ozzy Osbourne, Billy Idol), Rudy Sarzo (Quiet Riot, Ozzy Osbourne), Kenny Aaronson (ex- Joan Jet and The Yardbirds), as well as members of  Government Mule, Vixen, Rainbow, Zebra, and Whitesnake.  Vocalist Dee Snider of Twisted Sister appears on the band's remake of the Howlin' Wolf classic “Evil,” and Appice's bandmate in Vanilla Fudge Mark Stein turns in a powerful vocal on Little Richard's “Long Tall Sally.” A second version of “Guiltless Glider,” appears as a bonus track with former Judas Priest vocalist, Ripper Owens.In addition to Appice on drums and vocals on all tracks, original Cactus guitarist Jim McCarty also appears on Temple of Blues.  The new album contains reimagined versions of some of Cactus's most legendary songs with the current band and guests putting a new spin on these bad-ass tunes that are among the heaviest of heavy blues-rock ever recorded. “The music of Cactus has always been steeped in the blues tradition,” says Appice, who wanted the group to re-visit its best songs within a modern rock approach to traditional blues. “We kept hearing from so many of our music celebrity friends how much Cactus influenced them and how they would love to be a guest on a Cactus album. Any band named Cactus has got to be raw and heavy.  And that's just what these boys have been and are since the band's formation in 1970. Referred to when they first formed as the “American Led Zeppelin,” the band's reputation as supreme masters of relentless hard rock still precedes them and is well deserved. Cactus was formed in 1970 from the ashes of Vanilla Fudge when Appice and former Vanilla Fudge bassist Tim Bogert's plans to form a band with Jeff Beck were canceled when Beck had a nasty automobile accident that sidelined him for a lengthy period-of-time. The original lineup featured Appice, Bogert, former Mitch Ryder guitarist Jim McCarty and singer Rusty Day from Ted Nugent's Amboy Dukes. This lineup released three classic albums - Cactus (1970), One Way... or Another (1971), and Restrictions (1971) – all of which charted in the Billboard Top 200 and that still hold up well today.  Carmine's playing has also been a huge influence on drummers including Joey Kramer (Aerosmith), Neal Peart (Rush), Phil Collins (Genesis), Brian Taylor (Queen), John Bonham (Led Zeppelin) and countless others.  He was inducted into the Classic Drummer Hall of Fame in 2013 and the Modern Drummer Hall of Fame in 2014. His best-selling drum instruction book The Realistic Rock Drum Method was first published in 1972 and has since been revised and republished as The Ultimate Realistic Rock Drum Method. Carmine also published his best-selling memoir, Stick It!: My Life of Sex, Drums & Rock 'n' Roll, in 2016. Learn more about your ad choices. Visit megaphone.fm/adchoices

Drummer Carmine Appice (who is also a founding member of Vanilla Fudge and who has performed and/or recorded with Rod Stewart, Jeff Beck, Ozzy, and Pink Floyd, amongst others), Cactus is as heavy, bluesy, and uncompromising in its musical assault as they were 50-plus years ago.The band released its new album, Temple of Blues – Influences & Friends, June 7 on Cleopatra Records.  The album merges the current members of Cactus with a big-name, star laden, ensemble of guest artists, all of whom have called the group among their biggest influences.  Featured along with the current Cactus band is a who's who of blues and rock icons: Guitarists Joe Bonamassa, Ted Nugent, Pat Travers,  Warren Hayes, Vernon Reid, Steve Stevens, Johnny A (The Yardbirds), Ty Tabor (King's X) and bassists  Billy Sheehan (Mr. Big), Dug Pinnick (King's X)  Tony Franklin (The Firm, Blue Murder), Phil Soussan (Ozzy Osbourne, Billy Idol), Rudy Sarzo (Quiet Riot, Ozzy Osbourne), Kenny Aaronson (ex- Joan Jet and The Yardbirds), as well as members of  Government Mule, Vixen, Rainbow, Zebra, and Whitesnake.  Vocalist Dee Snider of Twisted Sister appears on the band's remake of the Howlin' Wolf classic “Evil,” and Appice's bandmate in Vanilla Fudge Mark Stein turns in a powerful vocal on Little Richard's “Long Tall Sally.” A second version of “Guiltless Glider,” appears as a bonus track with former Judas Priest vocalist, Ripper Owens.In addition to Appice on drums and vocals on all tracks, original Cactus guitarist Jim McCarty also appears on Temple of Blues.  The new album contains reimagined versions of some of Cactus's most legendary songs with the current band and guests putting a new spin on these bad-ass tunes that are among the heaviest of heavy blues-rock ever recorded. “The music of Cactus has always been steeped in the blues tradition,” says Appice, who wanted the group to re-visit its best songs within a modern rock approach to traditional blues. “We kept hearing from so many of our music celebrity friends how much Cactus influenced them and how they would love to be a guest on a Cactus album. Any band named Cactus has got to be raw and heavy.  And that's just what these boys have been and are since the band's formation in 1970. Referred to when they first formed as the “American Led Zeppelin,” the band's reputation as supreme masters of relentless hard rock still precedes them and is well deserved. Cactus was formed in 1970 from the ashes of Vanilla Fudge when Appice and former Vanilla Fudge bassist Tim Bogert's plans to form a band with Jeff Beck were canceled when Beck had a nasty automobile accident that sidelined him for a lengthy period-of-time. The original lineup featured Appice, Bogert, former Mitch Ryder guitarist Jim McCarty and singer Rusty Day from Ted Nugent's Amboy Dukes. This lineup released three classic albums - Cactus (1970), One Way... or Another (1971), and Restrictions (1971) – all of which charted in the Billboard Top 200 and that still hold up well today.  Carmine's playing has also been a huge influence on drummers including Joey Kramer (Aerosmith), Neal Peart (Rush), Phil Collins (Genesis), Brian Taylor (Queen), John Bonham (Led Zeppelin) and countless others.  He was inducted into the Classic Drummer Hall of Fame in 2013 and the Modern Drummer Hall of Fame in 2014. His best-selling drum instruction book The Realistic Rock Drum Method was first published in 1972 and has since been revised and republished as The Ultimate Realistic Rock Drum Method. Carmine also published his best-selling memoir, Stick It!: My Life of Sex, Drums & Rock 'n' Roll, in 2016. Learn more about your ad choices. Visit megaphone.fm/adchoices

We check in with legendary drummer Carmine Appice ( Vanilla Fudge, Cactus, Beck, Bogart, Appice...Rod Stewart, Ozzy) this month to chat about the new CACTUS album.... it album merges the current members of Cactus with a big-name, star laden, ensemble of guest artists, all of whom have called the group among their biggest influences.   Featured along with the current Cactus band is a who's who of blues and rock icons: Guitarists Joe Bonamassa, Ted Nugent, Pat Travers,  Warren Hayes, Vernon Reid, Steve Stevens, Johnny A (The Yardbirds), Ty Tabor (King's X) and bassists  Billy Sheehan (Mr. Big), Dug Pinnick (King's X)  Tony Franklin (The Firm, Blue Murder), Phil Soussan (Ozzy Osbourne, Billy Idol), Rudy Sarzo (Quiet Riot, Ozzy Osbourne), Kenny Aaronson (ex- Joan Jet and The Yardbirds), as well as members of  Government Mule, Vixen, Rainbow, Zebra, and Whitesnake.   Vocalist Dee Snider of Twisted Sister appears on the band's remake of the Howlin' Wolf classic “Evil,” and Appice's bandmate in Vanilla Fudge Mark Stein turns in a powerful vocal on Little Richard's “Long Tall Sally.” A second version of “Guiltless Glider,” appears as a bonus track with former Judas Priest vocalist, Ripper Owens. In addition to Appice on drums and vocals on all tracks, original Cactus guitarist Jim McCarty also appears on Temple of Blues.    The new album contains reimagined versions of some of Cactus's most legendary songs with the current band and guests putting a new spin on these bad-ass tunes that are among the heaviest of heavy blues-rock ever recorded. “The music of Cactus has always been steeped in the blues tradition,” says Appice, who wanted the group to re-visit its best songs within a modern rock approach to traditional blues. “We kept hearing from so many of our music celebrity friends how much Cactus influenced them and how they would love to be a guest on a Cactus album. Any band named Cactus has got to be raw and heavy.  And that's just what these boys have been and are since the band's formation in 1970.Referred to when they first formed as the “American Led Zeppelin,” the band's reputation as supreme masters of relentless hard rock still precedes them and is well deserved.http://www.cactusrocks.nethttps://www.facebook.com/cactusrocks/ 

‘True, Fine Rock ‘N' Roll'By the mid 1950s, Rock ‘N' Roll had established itself and its sound, but there were still artists pushing the boundaries and exploring the avenues of the genre.‘Here's Little Richard' is one of those albums that made such a significant contribution to the genre's progression and development. In this episode, we dive deep into the energetic performances, raw sound, and innovative songwriting that made ‘Here's Little Richard' a groundbreaking album of its time.From the infectious melodies of "Tutti Frutti" to the rebellious spirit of "Long Tall Sally", join us as we dissect and explore the album's impact on music, and uncover the genius behind the man who helped shape the sound of a generation - whether you're a longtime fan or discovering this iconic album for the first time, there's something here for every Music fan to enjoy and appreciateEpisode Playlist: https://open.spotify.com/playlist/0dbYu32kxbxxhIYzOwfTWj?si=b0ec008f3c974d40What's A 12 Bar Blues?: https://www.youtube.com/watch?v=vx3N6tlz9N8Earl Palmer: https://www.youtube.com/watch?v=MI6-WeRRNcE

Upon lighting the inaugural candle at Arcade 160 Studios new location in Atlanta GA, I, Jim Bois, and the eclectic Jimmy embarked on a rock 'n' roll pilgrimage back to the grunge-laden era of the '90s. Together, we savor the sonic boom of Nirvana's "Smells Like Teen Spirit," which tore through the fabric of the music scene, and pay homage to the tragically woven tapestry that is Kurt Cobain's legacy. We unwrap the rawness of "Bleach," and the decade changing songs of "Nevermind," reveling in the tracks that continue to resonate through the corridors of rock history. We look back at Hole and their album "Live Through This," released the week after Hole's frontwoman, Courtney Love's husband, Kurt, took his life. From the opening chords of "Violet" to "Doll Parts," and "Softer, Softest", it's a really good album that doesn't get the credit it deserves.The spotlight refuses to dim as it dances over the corners of our music library where The Hoodoo Gurus' "Stone Age Romeos" stands proud at its 40th anniversary, and the timeless jangles of The Beatles' guitars on their second album still beguile listeners. McCartney's unrestrained vocals on "Long Tall Sally" and the cowbell charm of "You Can't Do That" are just appetizers in our feast of musical milestones. We then shift gears to honor the craft of Difford and Tilbrook of Squeeze as we approach their golden jubilee. Whether it's the quirky allure of "Cool for Cats", The Psychedelic Furs evolving with "Mirror Moves", or the punk revolution signaled by The Offspring's "Smash," this episode is a testament to the enduring power of anthems that have become the soundtracks of our lives. Join us for a harmonious blend of reflection and revelation in a celebration that transcends generations.

What's your most loved and least favorite song on Little Richard's debut album, 1957's Here's Little Richard?! We finally delve into the 1950s by talking about the oldest album we've ranked yet. Adam repeatedly circles back to himself, talking about his short European tour with the red-hot Little Richards and interviews two of its main creators: Sparkle Gail Higgins, longtime London/NY/California vintage clothing queen and Heartbreakers road manager who named her San Diego store the Girl Can't Help It and her friend Robert Lopez (El Vez), who started the wild allstar act to play at her store. Listen at WeWillRankYouPod.com, Apple, Spotify and your favorite piano store.  Follow us and weigh in with your favorites on Facebook, Instagram & Threads and Twitter @wewillrankyoupod . Architect of Rock and Roll, Attitude, A-WOOOOOOO, a-wop-bop-a-loo-mop-a-lop-bam-boom, Baby, the beat, the beat, the beat, the Beatles, Pat Boone, Can't Believe You Wanna Leave, choreography, El Vez, energy, the Girl Can't Help It, Good Golly Miss Molly, the Heartbreakers, Sparkle Gail Higgins,  Benny Hill, Jenny, Jenny, Little Adam, Little Richard, Little Robert, the Little Richards, Long Tall Sally, Robert Lopez, Lucille, Dean Martin, Paul McCartney, Miss Ann, my band, my band, my band, Oh Why?, Richard Penniman, piano, Elvis Presley, Ready Teddy, Rip It Up, rock and roll, Rubber Duckie, saxophone solo, She's Got It, shut up, Slippin' and Slidin', Trio, True, Fine Mama, Tutti Frutti, 1957. US: http://www.WeWillRankYouPod.com wewillrankyoupod@gmail.comhttp://www.facebook.com/WeWillRankYouPodhttp://www.instagram.com/WeWillRankYouPodhttps://www.threads.net/@WeWillRankYouPod http://www.twitter.com/WeWillRankYouPo http://www.YourOlderBrother.com (Sam's music page) http://www.YerDoinGreat.com (Adam's music page)https://open.spotify.com/user/dancecarbuzz (Dan's playlists)

Filmmaker Lisa Cortes brought a 1950s rock ‘n' roll legend to life again in her rollicking new documentary Little Richard: I Am Everything. Richard, who was known for hits like Long Tall Sally and Tutti Frutti, was a complicated personality who felt he never got the kind of recognition that he deserved. But in Cortes' film, celebrated musicians talk about how Richard influenced their work. Mick Jagger says he studied Richard's dance moves and Paul McCartney credits Richard with teaching him how to shriek. I talk to Lisa Cortes about making films that set the record straight when it comes to artists who are overlooked and misunderstood. “Now What?” is produced with help from Steve Zimmer, Lucy Little and Jackie Schwartz. Audio production is by Nick Ciavatta.   Photo by Paul Morejón 

Little Richard, born Richard Wayne Penniman, in 1932 Georgia. He was a trailblazing musician, singer, and songwriter whose contributions to the world of music are immeasurable. He is often referred to as the "Architect of Rock 'n' Roll" due to his pioneering role in shaping the genre during its formative years in the 1950s.Richard's musical journey began at an early age. Growing up in a deeply religious family, he sang gospel music in church, developing a powerful and dynamic vocal style that would later become his trademark. In the mid-1950s, Little Richard burst onto the music scene with a string of hits that would forever change the landscape of popular music. His energetic, flamboyant stage presence and wild piano playing, combined with his unmistakable voice, created a unique and electrifying sound. His breakthrough came with the song "Tutti Frutti" in 1955, followed by classics like "Long Tall Sally," "Lucille," and "Good Golly, Miss Molly." These hits not only topped the charts but also had a profound influence on future generations of musicians.Little Richard's impact on the development of rock 'n' roll cannot be overstated. He helped bridge the gap between rhythm and blues and rock, infusing the genre with a frenetic energy and a sense of liberation. His gender-bending, flamboyant style challenged traditional notions of masculinity and sexuality in the conservative 1950s.Despite his groundbreaking success, Richard faced numerous challenges and struggles. He grappled with issues related to his sexuality and identity, ultimately identifying as gay, though he had a complex relationship with his own orientation due to societal norms of the era. His life also saw periods of substance abuse and financial troubles. However, his resilience and enduring love for music kept him in the spotlight.In the late 1950s, Little Richard experienced a religious conversion and withdrew from the music industry to become a preacher. He returned to recording and performing in subsequent years, often balancing his dual roles as a musician and a minister. This phase of his career saw him release gospel and spiritual music, reflecting his deep faith.Throughout his lifetime, Little Richard received numerous accolades and honors for his contributions to music. He was inducted into the Rock and Roll Hall of Fame in 1986, and his influence can be heard in the work of countless artists, including The Beatles, Elvis Presley, Prince, and David Bowie.Little Richard's impact extended beyond his music. He challenged racial segregation in the American South during the Jim Crow era by refusing to perform for segregated audiences. His actions contributed to breaking down racial barriers in the music industry, paving the way for future Black artists.News & notes:Hot Headlines: “Kansas to no longer change trans people's birth certificates to reflect gender identities” | “Tennessee elects its first transgender lawmaker” | “Alabama Public Library Service votes to create a list of inappropriate books for kids” Bands no, not those kind. More bans on LGBTQ:As another academic year gets underway, more school boards across the country are debating banning LGBTQ Pride flags, Two California school districts banned the display of LGBTQ pride flags Tuesday as organizations and municipalities move to limit flags on display, often citing the controversy around them. – USA Today The American Civil Liberties Union teamed up with the Gilbert Baker Foundation this year to create legal resources for communities across the country to fight...

Suite et fin de notre série dédiée à la saga Predator, entamée il y a de cela un an !Cette randonnée pédestre organisée par la crème de la crème de l'intelligentsia testostéronée se voit remaniée dès l'année 2018 par ni plus ni moins que le Hawkins originel, c'est-à-dire Shane Black.Aux côtés de son fidèle comparse Fred Dekker, Shane Black nous livre un The Predator tout droit sorti des années 80, punchlines décérébrées à l'appui.Faute d'avoir trouvé son public en salles, c'est par le biais de la plateforme Disney Plus, que la saga refait surface en 2022 avec l'inattendu Prey, prenant place en l'an de grâce 1719.Refonte intelligente du concept, ce dernier effort est aussi symptomatique d'une époque bien plus préoccupée par son message de fond que par le genre dans lequel il s'inscrit.Un ultime épisode en forme de confrontation, entre ancienne garde et nouvelle garde.Cerise sur le gâteau, nous vous livrons notre classement des épisodes de la saga en fin de podcast.Bonne écoute.Pour illustrer cette 3ᵉ partie, le score incontournable d'Alan Silvestri, suivi du titre One Shot One Kill par Jon Connor, du thème de Prey par Sarah Schachner et on clôture avec l'incontournable Long Tall Sally par Little Richards, histoire de boucler la boucle.--Pour celles et ceux qui apprécient notre diarrhée verbale (presque) quotidienne, n'hésitez pas à liker, partager sur vos plateformes d'écoutes habituelles. Vous pouvez venir aussi nous faire un petit coucou sur notre Facebook, notre Instagram, notre Twitter, et même notre TikTok dis donc ! vous verrez on y est bien !Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

It's four for the price of one this episode, as JG and Andrew tackle the whole of the Long Tall Sally EP in one go. So that'll be Long Tall Sally itself, I Call Your Name, Matchbox and Slow Down - plenty to be getting on with! How does the EP stack up when compared to the material that surrounds it? Does the band manage to make a good fist of the covers? And what of the lone Lennon/McCartney original? Rankings: Track-by-track Ranking eMail: beatlesstuffology@gmail.com Twitter: @beatles_ology JG's Blog: Judgementally Reviews… Andrew's Blog: Stuffology   Produced by: JG McQuarrie

Sept 2, 1970 Oakland, CA. This is tonight's Led Zeppelin concert. It's right before Blueberry Hill and shines with that same magick. We Communication Breakdown (w/ Good Times Bad Times), a rare Train Kept A Rollin', Blueberry Hill and a raucous Long Tall Sally. Powerful and kinetic.

N° 9

 | Artist  | Title  | Album Name  | Album Copyright  |   |  | Jake Leg Jugband  | The Alcoholic Blues  | Prohibition Is A Failure  |   |  | Robert Nighthawk And The Blues Rhythm Boys  | Blues Before Midnight  | Mississippi Delta Blues: Blow My Blues Away Disc 1 | Big Joe Turner  | Blues On Central Avenue  | Rocks In My Bed  |   |   |  | Blind Willie McTell  | Mr. McTell Got the Blues  | Complete Recorded Works, Vol. 1 (1927-1931) | Homesick James  | No More Lovin'  | The Country Blues  |   |   |  | Alger ''Texas'' Alexander  | Gold Tooth Blues (1929)  | Complete Recorded Works, Vol. 2 (1928 - 1930) | Half Deaf Clatch  | A Parallel World  | Robot Johnson. Mechanical Bluesman  |  | Robert Johnson  | Me And The Devil Blues  | The Complete Recordings;  The Centennial Collection | Ry Cooder  | Brother Is Gone  | Election Special  |   |   |  | Raphael Callaghan's Blue Cee  | Long Tall Sally  | Long Tall Sally  |   |   |  | Lone Bear  | Bye Bye Baby  | Live In Mississippi  |   |   |  | Ry Cooder, Jim Dickenson (B) & Jim Keltner (D)  | Ax Sweet Mama  | Broadcast From the Plant | Reverend Gary Davis  | 'Tis So Sweet To Trust In Jesus  | See What The Lord Has Done For Me(Disc 1) | Seasick Steve  | Seasick Boogie  | Man From Another Time  |   |  | Sam Chatmon  | St Louis Blues  | Sam Chatmon's Advice  |   |  | Memphis Minnie  | Skeleton In The Closet  | Blues, Blues Hoodoo Halloween  | 

 | Artist  | Title  | Album Name  | Album Copyright | Raphael Callaghan's Blue Cee  | Call Your Name  | Long Tall Sally  |  | Catfish Keith  | Keep Your Lamp Trimmed And Burning  | A True Friend Is Hard To Find | Guy Davis  | The Lynching  | The Adventures Of Fishy Waters In Bed With The Blues (2012)  -  | Lightnin' Hopkins  | You're Too Fast  | Morning Blues - Charley Blues Masterworks Vol. 8 | Furry Lewis  | Judge Harsh Blues (alt tak)  | In His Prime 1927-1928 | Stompin Dave Allen and Sam Kelly  | Did You  | Live At The Bulfrog Blues Club | John Hammond  | Let's Go Home  | Source Point - 1970 - 256 - FC | Reverend Gary Davis  | Sally Please Come Back to Me (Worried Blues)  | Manchester Free Trade Hall 1964 | Big Bill Broonzy  | Roll Them Bones  | Big Bill Broonzy Vol 12 (1945-1947) | Gary Grainger  | All Round Man - First Time Played  | Mistakes and Out-takes | Pink Anderson  | John Henry  | Blues Legend  |  | Doc Watson and Gaither Carlton  | Reuben's Train  | Doc Watson and Gaither Carlton  | Smithsonian Folkways | Mary Flower  | Hula Hoedown  | Instrumental Breakdown | Corey Harris  | High Fever Blues (solo version)  | Fish Ain't Bitin'  |  | Doc Watson & Rec Live Newport Folk Fest 1963/4  | Shady Grove  | The Essential Doc Watson | Jo Ann Kelly  | Black Rat Swing  | Do It and More  | 

For the month of March, I am taking a break from recording new episodes so that I can highlight some of the other fantastic podcasts that I have had the privilege of being a guest co-host on. This week, I will be replaying part of an episode of Retro Life 4 You with host Chris Adams.  Chris reached out to me last year to guest host on an episode about Chuck Norris and we hit it off immediately.  Chris loves the 80s and created Retro Life 4 You to talk about all things retro from the 2000s, the'90s, the ‘80s, and even the ‘70s if he's feeling good. From “Dukes of Hazard” to “The Lord of the Rings Trilogy” he loves to reminisce about the greatest shows and movies from our childhoods.  So light up the cigars and crank up “Long Tall Sally” on the boombox as Chris Adams and I “get to da Choppa!” to discuss “Predator” from 1987 on this special “Retro Life 4 You” replay episode of the 80's Flick Flashback! Send us an email or reach out to us on social media to let us know what you liked, what you loved, what we may have missed, or what 80's movie we should discuss next! You can also support the podcast by becoming a subscription member through "Buy Me A Coffee".  Click on the following linktree link for more details and other great extensions of the podcast. https://linktr.ee/80sFlickFlashback --- Send in a voice message: https://podcasters.spotify.com/pod/show/moviviews80sff/message

We start with news of Tommy's upcoming hiatus from the pod before diving into  the nostalgia of XDR tonebursts, Led Zeppelin ripping of Def Leopard, Ranking the Beatles' Jonathan Pretus doing our karaoke in the voice of Dr. John, an A-Paul-ogy, our first listener submitted karaoke track, that time the Beatles wore leather and specific haircuts while beating on brats, the Ramones debut LP as a Thanksgiving record, and the live set staple from the Beatles, Long Tall Sally.As always, you can find Team Blotto Beatles on Instagram (@blottobeatles) and Twitter (@blottobeatles), by emailing us (blottobeatles@gmail.com), or on the web (blottobeatles.com).  We want to hear from you!Please also take the time to rate and review us on Apple podcasts or wherever you get your podcasts.We have a shop!  Grab some merch.  You can always drunk dial us at 1.857.233.9793 to share your thoughts, feedback, confessions, and concerns and to be featured in an upcoming episode. Enjoying the show? Buy us a beer via the tip jar (don't forget to include a message telling us what we should drink with the money).You know we're making a list of it, see the canonical, argument-ending list of Beatles songs we are assembling here: https://www.blottobeatles.com/list & listen to it on Spotify here.Please remember to always enjoy Blotto Beatles responsibly.Peace and Love.Hosts: Becker and TommyExecutive Producer: Scotty C.Additional Musical Supervision: RB (@ryanobrooks)Associate Musical Supervision: Tim Clark (@nodisassemble)#PeteBestGetThatCheck

Vamos con The Beatles y la historia del EP Long Tall Sally de 1964, el primero de la banda que incluía canciones no lanzadas previamente en un álbum o sencillo en el Reino Unido. El EP contiene tres versiones, Long Tall Sally, Slow Down y Matchbox, y una canción original de Lennon-McCartney, I Call Your Name. Ricardo Portman nos cuenta su historia, track by track. Si os gusta el programa podéis apoyar Ecos del Vinilo Radio siendo patrocinadores ¡por lo que vale un café al mes! desde el botón azul de iVoox. Recuerden que nuestros programas los pueden escuchar también en: Nuestra web https://ecosdelvinilo.com Radio M7 (Córdoba) lunes 18:00 y sábados 17:00. Distancia Radio (Córdoba) jueves y sábados 19:00 Radio Free Rock (Cartagena) viernes 18:00. Generación Radio (Medellín, Colombia) jueves y domingos 19:00 (hora Col.) Radio Hierbabuena (Lima, Perú) jueves 20:00 (hora Perú)

Aquesta setmana al Males Vibracions tornem després de les vacances amb Ruben, Godzilla, Andreu i Eduard. Tenim novetats, agenda, un "Cada casa és un mon" amb música molt actual (massa fins i tot); ah! i una crítica cinematogràfica. Diuen que els dies següents al nadal són els més tristos, però amb la música de Males Vibracions no es nota. LListat: The Legendary Tigerman - The Saddest Thing To Say; Brant Bjork - Trip On The Wine; Deniz Tek - Long Before day; Daddy Long Legs - Nightmare; Laura Cox - So long; The Gundown - My band; Los Criptozoos - En cada mirada; Dry River - Segundo intento; Gin Lady - Mother's ruin; Rebe - Hasta el fin; El buen hijo - El puente romano; Paco Moreno - Cuando baja la mare; Chavales - Hola mi amor; Johnny Winter - Great Balls Of Fire – Long Tall Sally – Whole Lotta Shakin’ Goin’ On.

Started this week with the breaking news out of South Korea that over 146 people have died in a massive crowd crush disaster. Then I got into the bombings in Somalia, and the ISIS attack in Iran. Then it was the mystery over Paul Pelosi getting assaulted at his home, a woman in Liberia squeezed her husband to death, murder/suicide in Oklahoma kills 8, Waukesha murderer found guilty, and a South Africa teacher was collecting his students' bodily fluids. Music: Jerry Lee Lewis/"Long Tall Sally"

Voilà un épisode qui est tout à la fois glaçant par certains aspects et franchement joussif par bien d'autres. J'espère qu'il vous plaira autant à l'écoute qu'il m'a plus à le réaliser. A-wop-bop-a-loo-bop A-lop-Bam-BOOM! Cpt Diligaf Little Richard, “Lucille ” Louis Jordan, “Caldonia” Billy Wright, “Married Woman's Boogie” Little Richard, “Every Hour” Billy Wright, “Every Evening” Esquerita: “Believe Me When I Say Rock And Roll Is Here To Stay” Little Richard and the Tempo Toppers with the Deuces of Rhythm: “Ain't That Good News” Little Richard with Johnny Otis and his Orchestra, “Little Richard's Boogie” Little Richard, “Wonderin'” Huey “Piano” Smith, “The Rockin' Pneumonia and the Boogie-Woogie Flu” Little RIchard, “Directly From My Heart to You” Little Richard, “Tutti Frutti”, just the opening phrase Dinah Washington, “Blowtop Blues” Pat Boone, “Tutti Frutti” Little Richard, “Long Tall Sally” Pat Boone, “Long Tall Sally”

¿Magos, prestidigitadores o simples trileros? El hecho es que, cuando parece que las cosas pintan mal, que el pardillo sabe dónde está escondida la bolita, un súbito giro de los acontecimientos lo vuelve todo del revés. Ya nada es como era, o como nos habían contado que era, y se sacan de la chistera un nuevo guion que resuelve todas las tramas, todas las incógnitas. Min. 01 Seg. 45 - Intro Min. 06 Seg. 16 - ¿Quién miente aquí? Min. 13 Seg. 49 - La noticia del día Min. 17 Seg. 51 - Se queda todo el mundo Min. 22 Seg. 38 - Milagro a medianoche Min. 28 Seg. 22 - A nadie le importan las consecuencias Min. 33 Seg. 10 - Esto se estudiará en las universidades Min. 38 Seg. 46 - Intento de patada en el culo Min. 42 Seg. 25 - Una pregunta que nadie se habría hecho Min. 48 Seg. 26 - Despedida Delaney, Bonnie & Friends (Londres 01/123/1969) I Don't Want To Discuss It Medley: Poor Elijah > Tribute To Johnson Medley: Tutti Frutti > The Girl Can't Help It > Long Tall Sally > Jenny Jenny I Don't Know Why Everybody Loves A Winner Coming Home Medley: Pour Your Love On Me > Just Plain Beautiful Manolo Sanlúcar - Torre Bermeja

À Sep7ieme Dimension, on aime joindre l'utile à l'agréable. Le développement durable, c'est notre truc vous voyez. Depuis les multiples confinements, on aime se balader en forêt, on aime la nature et nous ne manquons aucune occasion de communier avec elle.C'est à cette communion que nous vous convions.Vous y apprendrez la camaraderie, à pister le guérillero à moustache, à aiguiser vos couteaux, à vous raser sans préparation, à mastiquer du tabac, à déboiser un espace très rapidement pour vous frayer un chemin et aussi que "S'il peut saigner, on peut le tuer".C'est du développement personnel "Bigger Than Life" pendant près de 2 h 30 orchestré par nos animateurs maison que sont Arnold Schwarzenegger, Carl Weathers, Bill Duke, Jesse Ventura, Sonny Landham, Shane Black, Danny Glover, Bill Paxton, Gary Busey et même Robert Davi.Vous repartirez avec une vidéo souvenir réalisée par John Mc Tiernan et Stephen Hopkins.Au fait… il se peut… qu'un extraterrestre rasta adepte de la taxidermie se joigne à la fête.On prévient juste au cas où !En vous souhaitant une bonne écoute.-------------------------------------Pour accompagner cette balade champêtre, un peu de rock'n'roll pour se mettre dans l'ambiance avec le Long Tall Sally de Little Richard, suivi de près par le score d'Alan Silvestri composé pour la bête.-------------------------------------Pour ceux qui apprécient notre diarrhée verbale quotidienne, n'hésitez pas à liker, partager sur vos plateformes d'écoutes habituelles. Vous pouvez venir aussi nous faire un petit coucou sur notre Facebook, notre Instagram et notre twitter, vous verrez on y est bien !https://www.facebook.com/7emedimension/https://www.instagram.com/sep7iemedimension/ https://twitter.com/7emedimensionHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

TVC 586.2: Chuck Harter and Ed discuss some of the many cover songs that Elvis Presley performed throughout his career, including “Love Letters (Straight from the Heart),” “Any Day Now,” “Blue Suede Shoes,” “Long Tall Sally,” and “Tomorrow is a Long Time.” Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit megaphone.fm/adchoices

Sept. 2, 1970 kicks off the California stretch of the tour for Led Zeppelin. Another incredible performance from all of them as we hear Whole Lotta Love (w/ a whole lotta medleys), Train Kept A Rollin' (!), Blueberry Hill, and Long Tall Sally. Good times.

 | Artist  | Title  | Album Name  | Album Copyright | Furry Lewis With Bukka White And Gus Cannon  | Why Don't You Come Home Blues  | On The Road Again  |  | The Curse of K. K. Hammond  | The Ballad of Lampshade Ed  | The Curse of K. K. Hammond | Charles -Cow Cow- Davenport  | Low Down Hound Blues  | Accompanist 1924-1929 | Freddie Spruell  | 4A Highway  | When The Levee Breaks, Mississippi Blues (Rare Cuts CD A)  | 2007 JSP Records | Andy Cohen  | The Goodnight-Loving Trail  | Road Be Kind  |  | Jake Leg Jug Band  | Alabama Blues  | LIve At The Audley Theatre [(no chat)] | Half Deaf Clatch  | The Unknown  | Short Songs for the Barely Conscious | Duke Robillard  | My Old Kentucky Home  | The Acoustic Blues & Roots Of Duke Robillard | Catfish Keith  | Roll You In My Arms Like A Wagon Wheel  | Live AtThe Half Moon, Putney | Hans Theessink & Terry Evans  | Let The Four Winds Blow  | Visions  |   |  | John Hammond  | Southbound Blues  | You Can't Judge A Book By The Cover - 1993 - Vbr - FC | Memphis Slim  | John Henry  | American Folk Blues Festival 1962-1965  CD2 | The Jake Leg Jug Band  | Who's Sorry Now¿  | EVERYTHIN'S JAKE  |  | Sonny Terry, Brownie McGhee  | That's How I Feel  | The Bluesmen  |  | Amos Milburn  | Girl Of My Dreams  | Complete Aladdin Recordings 1994 CD7 | Raphael Callaghan's Blue Cee  | Memphis Tennessee.mp3  | Long Tall Sally  | 

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

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Colabora Con Biblioteca Del Metal: Twitter - https://twitter.com/Anarkometal72 Y Donanos Unas Propinas En BAT. Para Seguir Con El Proyecto De la Biblioteca Mas Grande Del Metal. Muchisimas Gracias. La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Tokyo Tapes es el primer álbum en vivo de la banda alemana de hard rock y heavy metal Scorpions, publicado en 1978 por RCA Records. Su grabación tuvo lugar el 24 y 27 de abril de 1978 en el salón de conciertos del hotel Nakano Sun Plaza de Tokio, en el marco de la gira Taken by Force Tour (1977-1978). Es el último registro del guitarrista Uli Jon Roth, ya que luego de los conciertos por Japón renunció a la banda para iniciar una carrera solista. Recibió críticas favorables por parte de la prensa especializada. Además de un positivo recibimiento comercial en algunos países europeos, sobre todo en Francia, en donde la Syndicat National de l'Édition Phonographique (SNEP) lo certificó con disco de oro. En 2015, con motivos de la celebración del cincuenta aniversario de Scorpions, el disco se remasterizó con un segundo disco compacto adicional que incluyó siete canciones en vivo, entre ellas «Hell Cat», «Catch Your Train» y «Kimigayo». Hacia la segunda mitad de los años 1970 Scorpions alcanzó una importante popularidad en Japón, ya que sus álbumes Virgin Killer (1976) y Taken by Force (1977) lograron la certificación de disco de oro.​​ Por ese motivo, para abril de 1978 se agendaron los primeros conciertos por ese país en el marco de la gira Taken by Force Tour (1977-1978).​ De acuerdo con el vocalista Klaus Meine, una vez que llegaron a Tokio recibieron una increíble bienvenida a tal punto que por primera vez se sintieron como una banda internacional.​ En ese mismo sentido, el batería Herman Rarebell contó que vivieron una especie de beatlemanía y que al fin se dieron cuenta de lo que era ser una estrella de rock.​ Por otro lado, antes de que Taken by Force saliera a la venta, el guitarrista Uli Jon Roth consideró renunciar a la banda para iniciar una carrera solista, pero continuó en beneficio de la gira promocional. En una entrevista en 2006 se le consultó si había algún problema con el resto del grupo y señaló que: «No, no, no teníamos ningún problema en la banda, hubo algunos desacuerdos en las letras y esas cosas, yo no estaba contento con algunas de las canciones en ese momento, pero seguimos adelante y fue de buena camadería».​ Al final, Klaus lo convenció de participar en el disco para, en cierto modo, celebrar el «fin de una era».​ La gira por Japón constaba de cinco presentaciones: tres en Tokio (23, 24 y 27 de abril), una en Nagoya (25 de abril) y otra en Osaka (26 de abril), las cuales comenzaron a las 19:00 horas y no contaban con teloneros.​​ La grabación del álbum se realizó en las dos últimas fechas en Tokio, en el salón de conciertos del hotel Nakano Sun Plaza.​ Para Uli Jon Roth el primer concierto en la capital japonesa (23 de abril) fue el mejor, inclusive mencionó: «Todo fue correcto esa noche, nunca en esos cinco años tuvimos un show como ese».​ Lamentablemente, dicha presentación no se registró.​ Tokyo Tapes posee temas de todas las producciones de estudio publicadas por la banda hasta ese momento, como también cuatro pistas inéditas.​ La primera de ellas fue «All Night Long», la que empleaban como la canción de apertura de sus conciertos hace años pero que no se había grabado con anterioridad en un disco, ya que Uli no la consideraba lo suficientemente fuerte para ser un tema de estudio.​​ También se incluyeron unas versiones de las rocanroleras «Hound Dog» y «Long Tall Sally».​ Mientras que, solo para estos conciertos, agregaron la canción tradicional japonesa «Kōjō no Tsuki». Según Klaus Meine, antes de viajar a Japón, se contactó con el club de fanes y les sugirió que le buscaran un tema de su cultura para cantar con el público. Con la ayuda de un casete, una profesora de idiomas de Hannover y con el incentivo de su esposa Gabi, Klaus aprendió la letra y su pronunciación. Sin embargo, no le avisó al resto de la banda hasta que llegaron al país asiático, por ende Uli tuvo que realizar la musicalización en el escenario para que fuera una canción de heavy rock.​ Si bien no hubo posteriores sobregrabaciones al sonido de la banda, se tuvo que recurrir a una «pequeña sucia idea» para corregir un problema con el registro del ambiente del público. En abril de 2019, Uli Jon Roth aseguró que los ingenieros japoneses registraron los preajustes con un ecualizador y que una vez que se interponían con las palabras de Klaus el público no sonaba bien ni tampoco se podía modificar. Por ese motivo, tuvieron que utilizar el ambiente del álbum Frampton Comes Alive! de Peter Frampton en un loop para corregir el error. En palabras del guitarrista: «Así que el público de Frampton Comes Alive! está en Tokyo Tapes de Scorpions. Tuvimos una gran audiencia pero no fue grabada».​ Tokyo Tapes salió a la venta el 15 de agosto de 1978 por el sello RCA.​ En septiembre del mismo año obtuvo el puesto 35 en el Media Control Charts de Alemania, que lo convierte en la primera producción de la banda en ingresar en la lista musical de su país.​ El 6 de octubre de 1978 debutó en el Sverigetopplistan de Suecia en la posición 42, mientras que en Japón alcanzó el lugar 51 en el conteo de Oricon.​​ Por su parte, en Francia logró la posición 14 y en 1981 la Syndicat National de l'Édition Phonographique (SNEP) lo certificó con disco de oro, luego de vender más de 100 000 copias en ese país.​​ En 2015, con la remasterización llamada Tokyo Tapes 50th Anniversary, nuevamente ingresó en las listas alemana, japonesa y francesa, como también llegó hasta el puesto 165 en el Ultratop de Bélgica.​​​​ Por otro lado, en agosto de 1978 se publicó el sencillo «All Night Long» en formato EP, que incluía cuatro de las canciones del disco: «All Night Long», «Fly to the Rainbow», «Speedy's Coming» e «In Trance».​ La carátula original mostraba al guitarrista Rudolf Schenker echado hacia atrás y con el bajista Francis Buchholz dando la espalda a la cámara. La fotografía la tomó el alemán Hans G. Lehmann, quien estuvo a cargo de retratar tanto el viaje a Japón como las presentaciones en vivo. De acuerdo con Klaus Meine querían colocar en la portada una fotografía de la banda tomada directamente de los conciertos y sin una postura ensayada previamente. No obstante, en Japón se reemplazó por una imagen de un escorpión en una rosa roja y con un fondo negro detrás.​ Por motivos de la celebración del 50° aniversario de la banda, el 6 de noviembre de 2015 se relanzó con el título de Tokyo Tapes 50th Anniversary. Esta reedición incluyó un segundo disco compacto con canciones en vivo, las cuales también provienen de las presentaciones japonesas. De los siete temas agregados destacaron «Hell Cat», «Catch Your Train» y «Kimigayo» —himno nacional japonés— ya que fueron descartados para la publicación original.​ Tokyo Tapes recibió generalmente reseñas positivas por parte de la crítica especializada. Eduardo Rivadavia de Allmusic lo nombró como «una colección ideal de grandes éxitos de la primera década de Scorpions» y que proporciona la introducción perfecta al material inicial de la banda. Además, destacó la «espectacular ejecución» de Uli Jon Roth, pero criticó su «terrible canto» como también las canciones «Hound Dog» y «Long Tall Sally» a las cuales consideró como «versiones sin sentido».​ Scott Hudson de la revista en línea PopMatters tuvo una opinión similar con respecto a los temas de rock and roll y a la voz de Uli; aunque resaltó su técnica como guitarrista, sobre todo en «We'll Burn the Sky» y «Fly to the Rainbow». Asimismo, mencionó que: «Para la mayoría, Tokyo Tapes sirve como un puente entre el pasado y el futuro de Scorpions, de lo que fue y de lo que sería» y que «es un disco en vivo tan brillante y entretenido como nunca lo oirás».​ La revista alemana Rock Hard indicó que el disco es la mejor prueba para expresar el dicho de que «nadie es profeta en su propia tierra». Además, aseveró que es un lanzamiento histórico para la música alemana, ya que marca la «entrada definitiva en el mercado mundial de una banda independiente, previamente reservado para los teclados de Tangerine Dream y Kraftwerk» y que, de cierto modo: «pone fin a la era del krautrock».​ Fraser Lewry en la revisión a los álbumes remasterizados para celebrar el 50° aniversario de la banda aseguró que: «Tokyo Tapes puede sentarse al lado de Made in Japan y Live and Dangerous como uno de los grandes álbumes en vivo de los setenta».​ Paul Elliot de Loudersound lo posicionó en el séptimo puesto de los diez mejores álbumes en vivo de todos los tiempos y señaló que es un «monumento al Scorpions de antaño».​Escucha este episodio completo y accede a todo el contenido exclusivo de Biblioteca Del Metal - (Recopilation). Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/308558

 | Artist  | Title  | Album Name  | Album Copyright  |  | Gina Sicilia  | Valentine  | Unchange  |   |  | Big Jack Johnson with Wild Child Butler  | Run Blues Run  | Stripped Down In Memphis  |  | Bernard Allison  | Last Night  | Highs and Lows  |   |  | Stacy Jones  | Jefferson Way  | World On Fire  |   |  | Travellin' Blue Kings  | Too Many People  | Bending The Rules  |   |  | Delbert McClinton  | Long Tall Sally  | Outdated Emotion  |   |  | Jason Lee McKinney Band  | Sing On  | One Last Thing  |   |  | Ben Hemming  | Lost Faith  | Marked Man  |   |  | Ray Charles  | Boogie Woogie  | The Complete Atlantic Recordings (1952-1959) - 7 | Michael Rubin  | I'll Worry If I Wanna  | I'll Worry If I Wanna  |   |  | Two Gospel Keys  | Every Man Got To Lay Down And Die  | Country Gospel 1946-1953  | Document Records  |  | Cadillac Kings & Recorded In Norway  | Bad Bad Boy  | Gonna Tell Your Mama  |  | Memphis Minnie  | Hoodoo Lady  | Blue Ladies  |   |  | Jose Ramirez  | Forbidden Funk  | Major League Blues  |   |  | Automatic Slim  | The Love Mechanic  | Down by the Waterside  | 

It's our first repeated artist and it can only be the greatest band that ever there was - The Beatles.   Neil had always intended a Vol II for this artist right back at the very start of the "Daddy's Introduction To..." series and so a few wonderful gems were purposefully held back for this volume. So Don't Pass Us By, join us for a Savoy Truflly with a Walrus and Long Tall Sally. Joel's revenge is not commensurate with how much he actually enjoyed the CD which I don't think is really that fair!   My YouTube channel: Pockenrop  Joel's YouTube Channel: FoxEatingNuggetsGaming

If you think it's tricky finding long-length fashion now, imagine what it was like in the early 1970s before Judy Rich founded Long Tall Sally. I talk to the remarkable entrepreneur and certified life coach about how she launched a fashion brand in the days before Google and social media. 

#30-26Intro/Outro: You Make Me Feel So Young by Frank Sinatra30. The Great Pretender by The Platters29. Long Tall Sally by Little Richard28. Blue Suede Shoes by Carl Perkins27. In the Still of the Nite by The Five Satins26. Yakety Yak by The CoastersVote on your favorite song from today's episodeVote on your favorite song from Week 2

Tom Petty & The Heartbreakers "Supernatural Radio"Jake Xerxes Fussell "Love Farewell"Fiona Apple "Heavy Balloon"Little Richard "Long Tall Sally"Tom Waits "Long Way Home"Don Nix "Yazoo City Jail"Percy Sledge "Baby Help Me"Big Mama Thornton "Gimme A Penny"Outkast "Elevators (Me & You)"Cedric Burnside "We Made It"James Carr "To Love Somebody"Amanda Shires/Jason Isbell and the 400 Unit "Cross Bones Style"Esther Phillips "Use Me"Porter Wagoner "Better Move It on Home"Will Johnson "Just to Know What You've Been Dreaming"Taj Mahal "Lovin' in My Baby's Eyes"Lucero "A Dangerous Thing"Jim Dickinson "Nobody Wants You When You're Down And Out"Dave Rawlings Machine "Pilgrim (You Can't Go Home)"Phoebe Bridgers "Graceland Too"Drive-By Truckers "The Opening Act"John Hammond, Jr. "Drop Down Mama"Grateful Dead "Me & Bobby McGee"The Rolling Stones "Monkey Man"Sam Cooke "Bring It On Home To Me"Otis Redding "Cigarettes and Coffee"Duane Allman "B.B. King Medley: Sweet Little Angel / It's My Own Fault / How Blue Can You Get"Neil Young "Unknown Legend"Bonnie 'Prince' Billy "New Memory Box"Charlie Parr "Louis Collins"The Staple Singers "Be What You Are"Aimee Mann "Suicide is Murder"Billy Joe Shaver "Get Thee Behind Me Satan"Sallie Ford "Coulda Been"Centro-matic "Supercar"Dave Van Ronk "Duncan and Brady"The Fox Hunt "We Know This Town"R.E.M. "New Test Leper"Waxahatchee "Under a Rock"

The Beatles performed before 18,000 fans at the Convention Hall in Atlantic City, New Jersey, on August 30, 1964. Among those in attendance were Barry's aunt, Carole Hummel, and family friends Carol "Cris" Crisafulli Johnson, Joan Bacon, and Marie Falzone. Despite the fact that Barry has been a huge Beatles fan since high school, he finally found out about this while discussing our recent Tripping Walruses episode with his aunt! The night before the concert, they stayed at the Lafayette Motel. At 2:15 PM, they left in the back of a fish truck, and a short distance from the Convention Hall, they switched to their waiting tour bus. The Beatles performed their standard 12-song set: Twist And Shout, You Can't Do That, All My Loving, She Loves You, Things We Said Today, Roll Over Beethoven, Can't Buy Me Love, If I Fell, I Want To Hold Your Hand, Boys, A Hard Day's Night, and Long Tall Sally. After the show, The Beatles left the venue in a laundry truck, as their limousine was too conspicuous. That night, they stayed at the Marquis De Lafayette Hotel in nearby Cape May, where they stayed for a few days prior to their September 2nd concert in Philadelphia. During their stay in Atlantic City, John Lennon and Paul McCartney wrote two songs for the Beatles For Sale album: Every Little Thing and What You're Doing. Follow Barry or Abigail on Untappd to see what we're drinking when we're not on mic! Facebook | Instagram | Twitter | YouTube | Website | Email us --- Send in a voice message: https://anchor.fm/pops-on-hops-podcast/message

#410-406Intro/Outro: Papa Loved Mama by Garth Brooks410. C.R.E.A.M. by Wu-Tang Clan409. Lightning Crashes by Live408. Smooth by Santana (feat. Rob Thomas)407. Long Tall Sally by Little Richard406. Aqualung by Jethro TullBonus excerpt: F.R.E.A.M. by Andrew MayLink to F.R.E.A.M. video (play on 0.75x): https://www.youtube.com/watch?v=1DK_ZUikdfs

In the final episode of series one of The Walrus Was Paul, the founder of Canadian indy band The Pursuit of Happiness, Moe Berg, talks with host Paul Romanuk about the Beatles Canadian-only release from 1964 "Long Tall Sally". Find Moe Berg on Twitter and Instagram at the handle: https://twitter.com/moeTPOH (@moetpoh) Find Paul Romanuk on Twitter and Instagram at the handle: https://twitter.com/the_romycast (@the_romycast) The Walrus Was Paul podcast website: https://www.romycast.com (romycast.com)

The Story of Little Richard By John Goehrke of The Rock & Roll Hall of Fame Today on The Caregiver Dave Celebrity Segment, Caregiver Dave and The Total Tutor Neil Haley will interview John Goehrke of The Rock & Roll Hall of Fame. he Rock & Roll Hall of Fame is remembering the incredible career and legacy of Inductee Little Richard, and sharing the following assets with media. REMEMBER: “Inductee Little Richard ripped-up the Fifties. His unrestrained musicality and charismatic persona created a rock & roll blueprint followed by generations. Songs like “Tutti Frutti,” “Long Tall Sally” and “Good Golly, Miss Molly” were amplified by Richard's rockin' piano, rolling rhythms and an electric stage presence. His sound and style were the cornerstones of rock & roll, and his outrageousness and rebellious spirit challenged the world to change,” Greg Harris, President & CEO of the Rock & Roll Hall of Fame.

Twitter announced on Tuesday that its employees who can work from home can continue to work from home -- for forever, if they want. One wonders how many companies will follow suit -- and how employees will feel about such an arrangement. And: Ryan Murphy is the showrunner behind things like Nip/Tuck, Glee, American Horror Story, 9-1-1, and The Politician. In 2018, Murphy signed the largest development deal in the history of television with Netflix. His new miniseries, Hollywood, is the second project to come out of that deal. Some other stuff that happened this week, give or take: Little Richard, Founding Father of Rock Who Broke Musical Barriers, Dead at 87Pianist-singer behind "Tutti Frutti," "Good Golly Miss Molly," and "Long Tall Sally" set the template that a generation of musicians would follow Column: Will the new coronavirus kill spitting in sports? The pandemic has reminded us: We don't need more sports in our lives -- we need less Robot dogs are patrolling Singapore parks telling people to socially distance How Analog Clocks Can Give Us More by Giving Us Less Nearly Half of Men Say They Do Most of the Home Schooling. 3 Percent of Women Agree. New Banksy art unveiled at hospital to thank doctors, nurses Contact-Free Movie Theaters Being Tested in South Korea Solstice Studios' Russell Crowe Road Rage Thriller 'Unhinged' To Be First Film Back In Movie Theaters July 1 'Hamilton' Movie Will Stream on Disney Plus on July 3In a surprise move, the film of the original Broadway production is being released 15 months early. Tony Hawk's Pro Skater 1 and 2 are being remastered for PS4, Xbox One, and PCTwo classics in one package A million people are pretending to be ants on Facebook -- and it could be therapeuticMore than 18,000 Facebook users responded to a post of ants on ice cream, writing comments like, "NOM," "SLURP" and "LIFT.TO.THE.QUEEN." Ex-Tigers pitcher Armando Galarraga wants MLB to recognize 2010 perfect game, overturn blown call Bob Dylan Cancels U.S. Summer Tour in 'Interest of Public Health and Safety'"We hope to be back out on the road at the earliest possible time," he says Inside HBO Max, the $4 Billion Bet to Stand Out in the Streaming Wars GUESTS: Carolyn Paine - An actress, comedian, and dancer; she is founder, director, and choreographer of CONNetic Dance Irene Papoulis - Teaches writing at Trinity College Join the conversation on Facebook and Twitter. Colin McEnroe and Cat Pastor contributed to this show.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

A member of the classic first wave of Jamaican ska artists, Derrick Morgan was among the genre's founding fathers, emerging alongside pioneers including the Skatalites, Laurel Aitken, Prince Buster, and Desmond Dekker. Born in March, 1940, Morgan was raised in the Kingston area, exposed to a variety of musical sources spanning from New Orleans R&B to the choral music of the nearby church where his father served as deacon. At the age of 17, he took top honors at the annual Vere John's Opportunity talent show, delivering blistering renditions of Little Richard's "Long Tall Sally" and "Jenny Jenny," and in 1959 teamed with producer Duke Reid to record his debut single "Lover Boy." Morgan's follow-up, "Fat Man," was a smash throughout Jamaica, and he later scored with recordings of "Leave Earth" and "Wigger Wee Shuffle," both cut with the legendary Clement "Coxsone" Dodd.

What made Sir George Martin the Fifth Beatle? As a tribute to the late, legendary record producer, I sit down with Davey Lane (You Am I) and drummer Brett Wolfie to talk about Martin's contributions to the greatest pop records ever made. We delve into: - The tough decision he forced them to make that changed the band forever - How Martin's arranging skills made Can't Buy Me Love a hit - Sir George's contribution as a musician on tracks like A Hard Day's Night, Long Tall Sally and In My Life - How his background in making comedy records with Peter Sellers helped him make 'Being for the Benefit of Mr Kite' - Why he walked out during the White Album sessions - The production advice George Martin once gave me - The George Martin tribue show Davey and Brett played together earlier this year - The unusual covers of Beatles songs Martin produced later on in his career - The time that John Lennon asked George to do the impossible, and how he did it and more... My Favorite Album is a podcast unpacking the great works of pop music. Each episode features a different songwriter or musician discussing their favorite album of all time - their history with it, the making of the album, individual songs and the album's influence on their own music. Jeremy Dylan is a filmmaker, journalist and photographer from Sydney, Australia who has worked in the music industry since 2007. He directed the the feature music documentary Jim Lauderdale: The King of Broken Hearts (out now!) and the feature film Benjamin Sniddlegrass and the Cauldron of Penguins, in addition to many commercials and music videos. If you've got any feedback or suggestions, drop us a line at myfavoritealbumpodcast@gmail.com.  

A member of the classic first wave of Jamaican ska artists, Derrick Morgan was among the genre's founding fathers, emerging alongside pioneers including the Skatalites, Laurel Aitken, Prince Buster, and Desmond Dekker. Born in March, 1940, Morgan was raised in the Kingston area, exposed to a variety of musical sources spanning from New Orleans R&B to the choral music of the nearby church where his father served as deacon. At the age of 17, he took top honors at the annual Vere John's Opportunity talent show, delivering blistering renditions of Little Richard's "Long Tall Sally" and "Jenny Jenny," and in 1959 teamed with producer Duke Reid to record his debut single "Lover Boy." Morgan's follow-up, "Fat Man," was a smash throughout Jamaica, and he later scored with recordings of "Leave Earth" and "Wigger Wee Shuffle," both cut with the legendary Clement "Coxsone" Dodd. By 1960, Morgan was the unrivaled King of Ska -- at the peak of his popularity, he was the first and only Jamaican artist to date to hold down the top seven slots on the national pop singles chart during the same week, generating a string of smashes including "Be Still," "In My Heart," "Don't Call Me Daddy," "Moon Hop," and "Meekly Wait and Murmur Not." In 1961, he recorded his biggest hit ever, "Housewives' Choice," and a year later -- in celebration of Jamaica's emancipation -- he recorded the first independence song, "Forward March." Morgan and Prince Buster, arguably the two biggest ska performers of the era

A member of the classic first wave of Jamaican ska artists, Derrick Morgan was among the genre's founding fathers, emerging alongside pioneers including the Skatalites, Laurel Aitken, Prince Buster, and Desmond Dekker. Born in March, 1940, Morgan was raised in the Kingston area, exposed to a variety of musical sources spanning from New Orleans R&B to the choral music of the nearby church where his father served as deacon. At the age of 17, he took top honors at the annual Vere John's Opportunity talent show, delivering blistering renditions of Little Richard's "Long Tall Sally" and "Jenny Jenny," and in 1959 teamed with producer Duke Reid to record his debut single "Lover Boy." Morgan's follow-up, "Fat Man," was a smash throughout Jamaica, and he later scored with recordings of "Leave Earth" and "Wigger Wee Shuffle," both cut with the legendary Clement "Coxsone" Dodd.1960, Morgan was the unrivaled King of Ska -- at the peak of his popularity, he was the first and only Jamaican artist to date to hold down the top seven slots on the national pop singles chart during the same week, generating a string of smashes including "Be Still," "In My Heart," "Don't Call Me Daddy," "Moon Hop," and "Meekly Wait and Murmur Not." In 1961, he recorded his biggest hit ever,