Podcast appearances and mentions of Mary Hopkin

Con Brian D'Addario, the Monkees, Arthur Alexander, Dr. Hook, Glen Miller, Etta James, Marion Montgomery, Frank Sinatra, Limelighters, Mary Hopkin, The Stylistics, Dionne Warwick & Elton John, Gladys Knight, Stevie Wonder, Buffalongo, King Harvest, Robert Hazard, Cyindi Lauper y Alfa con Roberto Vecchioni.

A (relatively) in-depth analysis of English singer-songwriter Peter Skellern in under thirty minutes.Peter Skellern rose to fame in the 1970s and had two top twenty hits on the UK Singles Chart: 'You're a Lady in 1972, which typifies his signature use of brass bands and choral arrangements and 'Hold On to Love' in 1975. In the 1980s, a decade before the Gallagher brothers, Skellern formed the band Oasis with Julian Lloyd Webber and Mary Hopkin. He also established a long standing musical comedy partnership with Richard Stilgoe.You're a Lady has been covered by many artists including Brigitte Bardot, Davy Jones, Dawn, Johnny Mathis, Hugues Aufray and Telly Savalas to name a few.On her 1985 BBC TV comedy series, Victoria Wood performed an affectionate parody of Skellern's musical style, accompanied by a brass band and choir, in a song entitled Skellern in Love.Skellern died in 2017. Since 2019, fans have crowdfunded CD reissues of his back catalogue. Two compilations have been released so far: The Complete Decca Recordings (2019) and The Complete Island and Mercury Recordings (2021) by Mint Audio. These collections feature all of Skellern's albums and singles from 1972 to 1982 (except music from the Happy Endings TV series). In 2024, another crowdfunding campaign was launched on Kickstarter to release the Happy Endings soundtrack on CD.In this episode I am in discussion with Dr. Andrew Webber.Mathew Woodallhttps://buymeacoffee.com/lownoiseWhy buy me a coffee?Low Noise is proudly ad-free. If you would like to to say thank you for any of the content you have enjoyed (and help support the continuation of creating more), the above link provides a way to make a small donation of your choice (I also function on coffee!).Feel free to leave a note with your donation to let me know what you enjoy about the podcast or any topics you would like me to discuss in the future.

¡Episodio ANIVERSARIO! Hola ¿Cómo estás?. Bueno, esperamos que bien. Si, es el episodio aniversario y es sobre ese disco que todos nos pidieron, que todos querían y que todos sabían que iba a ser un episodio muy largo. Pero antes hay que hablar de noticias: - Paul vuelve a México y lo charlamos. - Martín le cuenta a Maxi que los Fab Four aparecen en un episodio nuevo de Doctor Who Y el tema del días es The BEATLES, si, más conocido como el Álbum Blanco. La previa, los momentos post Sgt. Pepper's y Magical Mystery Tour, el viaje a la India, Apple, las Esher Demos, la aparición de Yoko Ono, Jane Asher, Cynthia Powell, Brian Epstein, Two Virgins, George Martin, Geoff Emerick, Magic Alex, Maharishi, Chris Thomas, Wonderwall Music, Ken Scott, Jackie Lomax, Eric Clapton, Charles Manson, Pattie Harrison, Helter Skelter, Mary Hopkin, las canciones que quedaron, las que no quedaron, Zapple, Bangor, Mal Evans, Neil Aspinall, las grabaciones, las peleas, los encuentros, los viajes, los estudios, las renuncias, las canciones, Revolution 9, Paul McCartney, John Lennon, George Harrison y Ringo Starr. Todo eso y mucho más en un episodio de casi, casi, 10 horas. It's My Birthday Too! *Ruido de mate*

Mike's first gig, an almighty ding-dong over hit single legitimacy, the rave afterlife of new age, an extended Bake Off metaphor, an actual genuine X Factor breakout star, and a revelation which leaves two of us in dumbfounded shock.YouTube playlist // Spotify playlist // extra tracks & bonus bitsTo join in with the voting, please submit your 1st, 2nd and 3rd favourites, plus your "most bad and hated" selection, to:The Patreon Supporters Club // X: @whichdecadetops // Facebook // whichdecadeistops@gmail.comThe voting deadline for this episode is 6pm UK time, Tuesday 9th January 2024. Hosted on Acast. See acast.com/privacy for more information.

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

Ja ho deia Cole Porter: dir adeu

Ja ho deia Cole Porter: dir adeu

Ja ho deia Cole Porter: dir adeu

Mary Hopkin

El nombre de Vangelis nos suena rápidamente al tema de “Carros de fuego” con el que ganaría el Oscar a la mejor banda sonora en 1981, pero este compositor y teclista griego estaba dedicado a la música desde bien niño, ya que tuvo su primer sintetizador y colaboró en varios grupos musicales tanto de jazz como de rock desde los 12 años. Cuando alcanzó cierta fama fuera de su país fue cuando formó parte del grupo Aphrodite’s child en el que se encargaba de las composiciones, arreglos y teclados, con Lucas Sideras en la batería y su primo Demis Roussos como vocalista y bajo. El grupo consiguió varios éxitos de ventas con temas como “It’s five o’clock” o “Spring, Summer, Winter and Fall”. Su capacidad creativa le llevó a combinar su trabajo dentro del grupo con la grabación de algunos discos en solitario y pronto a componer música para películas y documentales, aunque esa faceta ya la veremos en otro programa dedicado al compositor. En este programa vamos a centrarnos en los temas que han versionado grandes cantantes y que en algunos casos fueron escritos exprofeso por Vangelis para intérpretes de la talla de Montserrat Caballé, Irene Papas, Melina Mercouri, Milva, Mary Hopkin o Elaine Paige, aunque encontrareis alguna sorpresa como el poema “Itaca” de Kavafis narrado por Sean Connery, o el tema “State of Independence” que descubrió Quincy Jones entre la discografía de Vangelis con Jon Anderson y que decidió producirle una versión a Donna Summer en la que reunió un grupo coral de auténtico lujo, nada menos que con Lionel Richie, Dionne Warwick, Diana Ross, Michael Jackson, Brenda Russell, Christopher Cross, Dyan Cannon, James Ingram, Kenny Loggins, Peggy Lipton, Patti Austin, Michael McDonald y Stevie Wonder que tuvo gran éxito de ventas. Ya sin más pasamos a escuchar esta selección de temas del original maestro griego 00h 00’00” Presentación 00h 02’02” Cabecera 00h 02’38” Ask the mountains – Stina Nordestam 00h 10’25” Athenes, ma ville – Melina Mercouri 00h 15’01” Canto a Lloret – Milva 00h 20’17” Come to me – Carolina Lavella 00h 24’30” Cuore di passaggio – Milva 00h 29’53” Desiderato sogno – Milva 00h 33’16” El Greco Mouvement IV - Montserrat Caballé 00h 39’36” Ithaca – Sean Connery 00h 43’50” Je te dirai les mots – Melina Mercouri 00h 47’51” Le drapeau de l’humanité – Milva 00h 52’50” Le petit oranger – Irene Papas 00h 58’25” Like a dream – Montserrat Caballé 01h 01’40” Losing sleep still, my heart – Paul Young 01h 08’15” Lui – Milva 01h 11’39” March with me – Montserrat Caballé 01h 15’21” Menousis – Irene Papas 01h 21’52” Missing – Elaine Paige 01h 25’28” Moi, je n’ai pas peur – Milva 01h 29’26” O! Gliki mou ear – Irene Papas 01h 37’58” Odi a – Maria Farantouri 01h 42’16” Oú que me porte mon voyage – Melina Mercouri 01h 47’43” Pas d’amitié a moitié – Milva 01h 53’39” Pluie sur la mer – Milva 01h 58’14” Rachel’s song – Mary Hopkin 02h 02’40” San Elektra – Maria Farantouri 02h 07’45” Spring, Summer, Winter and Fall – Milva 02h 10’50” State of independence – Donna Summer 02h 16’33” The prayer – Montserrat Caballé 02h 20’06” Ti ameró – Nana Moskouri 02h 23’01” Tora Xero – Maria Farantouri 02h 27’26” Un pomeriggio e ½ - Milva 02h 30’44” Un’altro Maggio - Milva

Edward Morus Jones yw gwestai Beti George yr wythnos hon. Mae'n trafod ei gartref fferm Eithin Fynydd yn Llanuwchllyn, ac yn hel atgofion am recordio Cwm Rhyd y Rhosyn gyda Dafydd Iwan a'r cyfnod yn canu gyda Mary Hopkin. Ers 40 mlynedd mae wedi bod yn ymwneud â Chymru a'r byd ac eleni, cafodd ei anrhydeddu gan y sefydliad Cymru gogledd America, sef medal am ei gyfraniad ar hyd y blynyddoedd. Bellach mae Edward wedi dechrau pennod newydd yn ei fywyd, wrth iddo rannu ei amser rhwng Llangristiolus ac yn Philadelphia.

Днешната музикална история разказва за един от най-популярните хитове в САЩ. Това е „Those Were the Days“ на Mary Hopkin от 1968 година. И друг път сме говорили за руското влияние върху западната култура. И тук историята започва в Русия през 1924 година. Тогава Борис Фомин пише музиката за „Дорогой длинною“. Песента се приема много топло от руската диаспора по света не само заради простотата на мелодията и текста, но и поради усещането, че има нещо антисъветско. Може би проблемът е в споменатата вътре тройка. Трудно е накратко да се обяснят десетките асоциации за тройката в руската култура, където от Николай Гогол та до Александър Блок тя символизира много неща. Нещо като нашия Балкан, но по-силно. Руската емиграция, част от която е с дворянски корени, я свързва с тъгата по старото време, но и със свобода и революция, което стряска съветската власт. Песента често е изпълнявана в ресторанта на Настя Полякова в Париж, където се събират много руски емигранти. Там се предполага, че я е чул и Александър Вертински. Проникването на песента в Америка може да е по много начини. Вертински прави голямо турне там през 1934 година. Смята се, че текстът е писан конкретно за певицата Елизавета Белогорская. На места се твърди, че първата версия на текста е на самия Фомин и той го посвещава на циганката Маня, с която има страстна любов. Но няма доказателства, така че това си остава таблоиден мит. Покрай всеки руски романс обикновено има някоя сладникава историйка. Действителният автор на текста е Константин Николаевич Подревски. Първият официален запис на песента е на Александър Вертински от 1926 година, направен в парижко студио, а вторият - на Тамара Церетели от 1929 година. Хронологично обаче Тамара първа я изпълнява още от есента на 1925 година. Има и варианти с друг текст, писан пък от Павел Герман. Версията на Вертински става много популярна и доста хора мислят, че той я е писал. Вертински не отрича този мит, но негови приятели му устройват среща със самия Борис Фомин, след която нещата се променят. През следващите десетилетия много руски певци, основно емигранти, изпълняват песента по целия свят. Сред тях са Юрий Морфеси, Пьотр Лещенко, Стефан Данилевски, Людмила Лопато. Включвана е и във филми. Но и не само руснаци я пеят. Тя е припозната от поляци, грузинци, дори сърби. Изпълняват я и солово, но и цели естрадни оркестри. Така песента става неизменна част от градския фолклор на руснаците по света. Вертински прави няколко версии на „Дорогой длинною“ с най-различни оркестри и записвани в много държави. Но както често става, руска култура не се припокрива с руска политика. През 1929 година, на Всерусийската музикална конференция в Ленинград, днес Санкт Петербург, се решава естрадният репертоар да се раздели на четири групи. В четвъртата група попадат т. нар. контрареволюционни песни, между които са и тези на Борис Фомин. А една от тях е „Дорогой длинною“. Но как можеш да спреш нещо, извиращо дълбоко от руската душа? Нещо, с което руския народ се гордее и представя по целия свят? А и текстът не обижда никого, нито директно споменава нещо против властта. Простичък текст, в който един човек си спомня за своята младост, гледайки как приятелите му летят в руска тройка. В началото на 60-те песента получава нов живот. Русия не смее първа да я подхване отново, а това правят най-вече грузинци и поляци. Когато грузинката Нани Брегвадзе я записва, тя продава милионен тираж. Не е известно колко точно е той. Примерът е последван от десетки други певци и оркестри. В Съветския съюз се налага мнението, че това е руска народна песен, за да не се буди интерес към нейните автори и как властта се е отнесла към тях. Даже повечето руски версии след 1968 година възпроизвеждат варианта на Мери Хопкин, а не началната мелодия на Борис Фомин.

A review of the new album by Mary Hopkin in collaboration with her daughter Jessica Lee Morgan Two Hearts is available now from: http://www.maryhopkin.com/ https://jessicaleemorgan.com/

Singer-songwriter Jessica Lee Morgan chooses the eight items she would take with her, if she was about to be marooned on a desert planet Jessica's new album, a collaboration with her mother Mary Hopkin, is available this week from: http://www.maryhopkin.com/ https://jessicaleemorgan.com/

Totally forgot what we talked about - it's been a long time! Outro song: Goodbye by Mary Hopkin

ELUSIVE GODDESSMary Hopkin possesses one of the most achingly beautiful voices in creation. You wouldn't be blamed, though, for only remembering her for the Paul McCartney produced debut single, “Those Were the Days” from 1968. That song was ubiquitous and sold a million and a half copies in the US alone. She and the cute Beatle followed it up with “Goodbye”, which also hit big. Then, this, her second album, produced by future husband Tony Visconti, was recorded. After, that… relative silence, until 18 years later with the release of 1989's “Spirit”. She is quoted as saying that Earth Song Ocean Song was the album that she wanted to make, and so she refrained from scratching the Show Business itch, dedicating herself instead to raising her children. She made some appearances, and even starred in a BBC 1 TV series, but, mostly she took charge of her own choices, as opposed to being formed and manipulated by others. This is indeed a definitive folk music showcase, lovingly produced by Visconti, with covers by Cat Stevens, Ralph McTell (Streets of London), and string arrangements by the majestic Richard Hewson (of Beatles' and Nick Drake fame). It is an obscure gem by one of England's finest folk muses. Mary Hopkin was victimized by her massive early success. “Those were the Days” was an anomalous monster pop hit for the 18 year old, unrepeatable and out of sync with its own times. Mary's hope of establishing a respected recording career after that was akin to Henry Winkler's struggles to escape the popular effect of being The Fonz. He did it eventually, with Bill Hader's BARRY, but it took over 40 years of trying. Put the Welsh goddess Mary Hopkin on the roster of the greatest British female folk vocalists like Sandy Denny, Jacqui McShee, Shirley Collins, Anne Briggs, June Tabor, and Maddy Prior. Discover and enjoy.

Liverpool wird 2023 im Namen der Ukraine Gastgeberstadt des Eurovision Song Contest 2023 sein. Grund genug für ein spannendes Voting: Welcher britischer Beitrag war der beste in der Eurovision Song Contest-Geschichte? Auf unserer Website www.mercicherie.at und auf www.ogae-austria.at findet ihr alle Details dazu. Am 21.12.2022 ist der Teilnahmeschluss. Ihr könnt euch nicht mehr an alle Beiträge erinnern? Eine Playlist aller Beiträge findet sich hier.In Deutschland setzt man bei der Findung des Beitrages auf Authentizität. Ein kurzes Zeitfenster wurde für die Bewerbung von Acts geöffnet, noch bis zum 28. November 2022 können Songs eingereicht werden. Die Thomas und Marcel vom ESC Update haben die Hintergründe dazu beleuchtet.Die belgische Seite songfestival.be sucht wieder wie jedes Jahr die besten ESC Tracks aller Zeiten mit ihren Top 250. Derzeit führt Loreen.Die Kleine Zeitung (und da speziell unser Merci-Jury-Gast Christian Ude) hat den Auswahlmodus für Österreich kolportiert. Eine Jury aus 25 Personen und einige OGAEs stehen dem ORF beratend zur Seite. Rund 15 Acts haben Songs abgeliefert und live für die Jury performt. Entschieden wird allerdings vom ORF-Unterhaltungschef Alexander Hofer und der Programmdirektorin Stefanie Groiss-Horowitz, die auch heute bei Merci, Chérie zu Gast ist.Stefanie Groiss-Horowitz ist seit fast einem Jahr ORF-Programmdirektorin und somit auch für den Eurovision Song Contest verantwortlich. Groiss-Horowitz war dienstlich bereits 1999 beim Song Contest dabei, nach beruflichen Ausflügen zum Privat-TV, wurde sie zur Programmdirektorin des ORF. Wir sprechen mit ihr über die Bedeutung des öffentlich-rechtlichen Rundfunks, Lehren aus Turin 2022 und Pläne für Liverpool 2023.Bei Merci Cherie erzählt sie von der Kraft der Öffentlich-Rechtlichen Rundfunkanstalten in Europas und der European Broadcasting Union, von der Team-Arbeit "Eurovision" und von dem verständlichen Zögern der Kreativen.Bei den berühmt-berüchtigten Fragen am Schluss gibt es von Groiss-Horowitz natürlich auch Antworten:Auf der Playlist findet sich tatsächlich ein Song aus dem Jahr 2021: Måneskin mit "Zitti E Buoni". Und der Lieblingssong aller Zeiten? Sie feiert Céline Dion, die bekanntlich 1988 für die Schweiz gewann.In der Kleinen Song Contest Geschichte bezieht sich Alkis auf einen Song, der die Brücke schlägt von der letzten Episode #04.28 Auf nach Liverpool zum Aufruf, den besten britischen Beitrag aller Zeiten zu wählen.

Muere Gal Costa, diva eterna de la música Tropicalia. Baby, incluida en el primer álbum solista del Gal Costa de 1968, es probablemente el éxito de mayor resonancia de la cantante.Lou Reed, el icónico músico de rock and roll mejor conocido por liderar el grupo de rock de vanguardia The Velvet Underground, comenzó su furor en la música por un camino diferente.como miembro de una banda de doo-wop llamada THE JADES.El sencillo debut de Mary Hopkin en 1968 de "Those Were the Days", que fue producido por Paul McCartney de los Beatles , se convirtió en un éxito número uno en las listas de singles del Reino Unido Bee Gees grabaron Massassuchets, pero la canción estaba originalmente destinada a The Seekers. “Yo me vi rodeando el mundo, yo me vi rodeándolo por ti. No sabes como sufrí”. La conjunción entre el folk y la música de inspiración medieval para una letra memorable en la que no sobra ni falta una palabra. Fue Lorella antes de ser María Ostiz. La presentadora y actriz Marisa Medina, que también trabajó como cantante, comenzó su carrera profesional en Televisión Española como locutora de guiones culturales para debutar después ante las cámaras de la cadena pública en 1962 en el programa 'Antena infantil'. Estuvo casada con Alfonso Santiesteban, y dejó algunas canciones que pueden sorprender. Laura Nyro, una cantante excelente, con un timbre precioso y un rango vocal soberbio; y una de las mejores compositoras de su generación, aunque no sea tan conocida como Joan Baez, Joni Mitchell o Carole King. Rosalía, la yeyé, cantó una versión de ‘Flamenco' de Los Brincos. Ahora ya podrás saber de dónde sacó la Rosalía de ahora, que triunfa en todo el mundo, lo de “tra tra tra”. Los Tonys, The Cowsills, Los HH, Joan Manuel Serrat. The Fifht Dimension, The Grass Roots.

Part 3 of our 1969 music podcast with BMX Bandit & all round good guy Duglas T Stewart. The full podcast including all songs chosen by Duglas can be heard on Spotify ( search Over Our Garden Wall). However, if you cant access Spotify - this is a copy of all the chat from the podcast. You can of course listen to Duglas's songs on Apple Music too, just not on this Podcast ! Apologies for this, and hopefully one day we can publish in full on Apple as we do on Spotify Not sure how we managed to get to this point....however, part 3 of our 1969 podcast with Duglas T Stewart takes us to the end of our ' greatest music year' discussions. 13 guests, 12 years, over 180 songs. ( remember there is a connected playlist of all the songs on Spotify. https://open.spotify.com/playlist/44oIevVwpOcofskjhq9LUX?si=96c8fc56d24744da) Plus more cool chat than you can shake a stick at. And we go out in style, with 3 songs that sum up how eclectic our guests selections have been over the years chosen. Duglas talks about his love for Francoise Hardy ( hear hear), the legend that is Mary Hopkin, ( and how she is directly connected to Beatles 69 and Bowie 76), and we finish with a lovely discussion about the relative merits of the various Bonds ( Duglas opts for George Lazenby which ties in quite nicely to our chat about 1969). It also allows us to bow out with the perfect final song for all our podcast years, from Louise Armstrong. The final line from the biggest selling album of the year from the greatest band ever (?) sums it up better than either me or McD can.... "And, in the end - the love you take, is equal to the love you make". Over and out. Enjoy, and as ever, stay safe. BD & McD.

In 1968, The Beatles established their APPLE RECORDS Company, and in addition to release their own group and solo tunes, signed many first-time artists to their label, including Ronnie Spector, Mary Hopkin, James Taylor, Badfinger, Billy Preston, and many others.Not surprisingly, The Beatles also released their own group and solo singles on their Apple Records label, up until their contract as a group legally expired at the end of 1976. From 1977 on, The Beatles released their singles on other labels. Here are all the Beatles Apple singles from 1968-1971. Enjoy!APPLE RECORDS BEATLES SINGLES 1972-1974PAUL McCARTNEY (as "WINGS")1. Give Ireland Back to the Irish / Give Ireland Back to the Irish (version) (2/28/72)RINGO STARR2. Back Off Boogaloo / Blindman (3/20/72)PAUL McCARTNEY (as "WINGS")3. Hi Hi Hi / C Moon (4/2/72)JOHN & YOKO/PLASTIC ONO BAND 4. Woman Is the N***** of the World / Sisters O Sisters (4/24/72)PAUL McCARTNEY (as "WINGS")5. Mary Had a Little Lamb / Little Woman Love (5/29/72)Paul McCartney & Wings6. My Love / The Mess (4/9/73)GEORGE HARRISON7. Give Me Love (Give Me Peace on Earth) / Miss O'Dell (5/7/73)PAUL McCARTNEY (as "WINGS")8. Live & Let Die / I Lie Around (6/18/73)RINGO STARR9. Photograph / Down & Out (9/24/73)JOHN LENNON10. Mind Games / Meat City (single version) (10/29/73)PAUL McCARTNEY & WINGS11. Helen Wheels / Country Dreamer (11/12/73)RINGO STARR12. You're Sixteen/ Devil Woman (12/3/73)PAUL McCARTNEY & WINGS13 Jet / Let Me Roll It (2/18/74)RINGO STARR14. Oh My My / Step Lightly (2/18/74)PAUL McCARTNEY & WINGS15. Band on the Run / Zoo Gang / Nineteen-Hundred & Eighty-Five [U.S. & Great Britain B-sides] (4/8/74)JOHN LENNON16. Whatever Gets You Thru' the Night / Beef Jerky (9/23/74)PAUL McCARTNEY & WINGS (as "The Country Hams")17. Walking in the Park with Eloise / Bridge on the River Suite (10/18/74)PAUL McCARTNEY & WINGS18. Junior's Farm / Sally G (11/4/74)RINGO STARR19. Only You / Call Me (11/11/74)GEORGE HARRISON20. Dark Horse / I Don't Care Anymore 11/18/74)JOHN LENNON21. #9 Dream / What You Got (12/16/74)GEORGE HARRISON22. Ding Dong Ding Dong / Hari's on Tour (12/23/74)The Beatles' contract with EMI Records (of which Apple Records was a subsidiary) expired on January 26, 1976, thus ending The Beatles' original "run" with Apple Records (1968-1976). Apple Corps./Apple Records. All Beatles recordings would continue to be distributed by Apple Records, although The Beatles would record for other labels after 1/26/76, except for Paul McCartney, who had re-signed with Capitol Records in 1975.

In 1968, The Beatles established their APPLE RECORDS Company, and in addition to release their own group and solo tunes, signed many first-time artists to their label, including Ronnie Spector, Mary Hopkin, James Taylor, Badfinger, Billy Preston, and many others.Not surprisingly, The Beatles also released their own group and solo singles on their Apple Records label, up until their contract as a group legally expired at the end of 1976. From 1977 on, The Beatles released their singles on other labels. Here are all the Beatles Apple singles from 1968-1971. Enjoy!APPLE RECORDS BEATLES SINGLES 1975-1976RINGO STARR1. No No Song / Snookeroo (1/27/75)JOHN LENNON2. Stand By Me / Move Over Ms. L (3/10/75)PAUL McCARTNEY (as "WINGS")3. Listen to What the Man Said / Love in Song (5/16/75)RINGO STARR4. (It's All Down to) Goodnight Vienna / Oo-Wee (6/2/75)GEORGE HARRISON5. You / World of Stone (9/15/75)PAUL McCARTNEY (as "WINGS")6. Letting Go / You Gave Me the Answer (10/4/75)7. VENUS & MARS/ROCK SHOW / Magneto & Titanium Man (10/27/75)GEORGE HARRISON 8. This Guitar (Can't Keep from Crying) / Maya Love (12/8/75)The Beatles' contract with EMI Records (of which Apple Records was a subsidiary) expired on January 26, 1976, thus ending The Beatles' original "run" with Apple Records (1968-1976). Apple Corps./Apple Records. All Beatles recordings would continue to be distributed by Apple Records, although The Beatles would record for other labels after 1/26/76, except for Paul McCartney, who had re-signed with Capitol Records in 1975.

In 1968, The Beatles established their APPLE RECORDS Company, and in addition to release their own group and solo tunes signed, many first-time artists to their label, including Ronnie Spector, Mary Hopkin, James Taylor, Badfinger, Billy Preston, and many others.Here are all of the non-Beatles singles released on APPLE in 1972-1976, followed by their release dates. Enjoy!APPLE SINGLES (NON-BEATLES) 1972-1976YOKO ONO1. It's Now or Never / Move On Fast (11/13/72)ELEPHANTS MEMORY2. Power Boogie / Liberation Special (11/12/73)LON & DEREK VON EATON3. Warm Woman / More Than Words 93/9/73)YOKO ONO4. Death of Samantha / Yang Yang (5/4/73)5. Run Run Run / Men Men Men (11/9/73)BADFINGER6. Apple of My Eye / Blind Owl (12/10/73)*BONUS TRACKS:MARY HOPKIN7. An Jenem Tag (Those Were the Days in German) 8. Que Tiempo Tan Feliz (Those Were the Days in Spanish)9. Goodbye (Acetate demo)BADFINGER10. Come and Get It (Acetate demo)RONNIE SPECTOR11. Lovely La-De-Day (Acetate of one-sided Apple demo disc - 2/19/71)SPLINTER12. Another Chance That I Let Go (Acetate, unreleased single)[Badfinger's "Apple of My Eye" / " Blind Owl" single was the last non-Beatles Apple single to be released.]

APPLE RECORDS SINGLES (NON-BEATLES) 1970In 1968, The Beatles established their APPLE RECORDS Company, and in addition to release their own group and solo tunes signed, many first-time artists to their label, including Mary Hopkin, James Taylor, Badfinger, Billy Preston, and many others.Here are all of the non-Beatles singles released on APPLE in 1970, followed by their release dates. Enjoy!MARY HOPKIN1. Temma Harbour / Lontano Dagli Occhi (1/16/70)BILLY PRESTON2. All That I've Got / As I Get Older (1/30/70)BADFINGER3. Come and Get It / Rock of All Ages (2/2/70)JACKIE LOMAX4. How the Web Was Woven / Thumbin' a Ride (2/6/70)DORIS TROY5. Ain't That Cute / Vaya con Dios (2/13/70)RADHA KRISHNA TEMPLE (London)6. Govinda / Govinda Jai Jai (3/6/70)MARY HOPKIN7. Bonus Track: Quelli Erano Giomi (Those Were the Days in Italian) Knock Knock Who's There? / I'm Going to Fall in Love Again (3/20/70)8. Que Sera Sera / Fileds of St. Etienne (6/15/70)DORIS TROY9. Jacob's Ladder / Get Back (8/28/70)BILLY PRESTON10. My Sweet Lord / Long As I Get My Baby / Bonus Track: Little Girl (9/11/70)MARY HOPKIN11. Think About Your Children / Heritage (10/16/70)BADFINGER12. No Matter What / Better Days (11/6/70)13 JAMES TAYLORCarolina in My Mind / Something's Wrong (11/6/70)

APPLE RECORDS SINGLES (NON-BEATLES) 1971-1972In 1968, The Beatles established their APPLE RECORDS Company, and in addition to release their own group and solo tunes signed, many first-time artists to their label, including Mary Hopkin, James Taylor, Badfinger, Billy Preston, and many others.Here are all of the non-Beatles singles released on APPLE in 1971-1972, followed by their release dates. Enjoy!RONNIE SPECTOR1. Try Some Buy Some / Tandoori Chicken (4/19/71)MARY HOPKIN2. Let My Name Be Sorrow / Kew Gardens (6/18/71)BILL ELLIOT & THE ELASTIC OZ BAND3. God Save Us / Do the Oz [John Lennon vocals] (7/7/71)RADHA KRISHNA TEMPLE (London)4. Joi Bangla / Oh Bhaugowan / Raga Mishiri (8/31/71)YOKO ONO5. Mrs. Lennon / Midsummer New York (9/29/71)MARY HOPKIN6. Water, Paper, & Clay / Jefferson (11/26/71)BADFINGER7. Name of the Game / Suitcase (12/31/71)8. Day After Day / Sweet Tuesday Morning (1/14/72)YOKO ONO9. Mind Train / Listen, the Snow Is Falling (1/21/72)BADFINGER10. Baby Blue / Flying (3/20/72)DAVID PEEL & THE LOWER EAST SIDE11. F Is Not a Dirty Word / The Ballad of New York City (4/20/72)CHRIS HODGE12. We're On Our Way / Supersoul (5/29/72)SUNDOWN PLAYBOYS13. Saturday Night Special / Valse de Soleil Choucher (10/31/72)

In 1968, The Beatles established their APPLE RECORDS Company, and in addition to release their own group and solo tunes, signed many first-time artists to their label, including Ronnie Spector, Mary Hopkin, James Taylor, Badfinger, Billy Preston, and many others.Not surprisingly, The Beatles also released their own group and solo singles on their Apple Records label, up until their contract as a group legally expired at the end of 1976. From 1977 on, The Beatles released their singles on other labels. Here are all the Beatles Apple singles from 1968-1971. Enjoy!APPLE RECORDS BEATLES SINGLES 1968-1971BEATLES1. Hey Jude / Revolution (8/26/68)2. Get Back / Don't Let Me Down (5/5/69)3. Ballad of John & Yoko / Old Brown Shoe (6/4/69)PLASTIC ONO BAND (John & Yoko)4. Give Peace A Chance / Remember Love (7/7/69)BEATLES5. Something / Come Together (10/6/69)JOHN & YOKO6. Cold Turkey / Don't worry Kyoko (Mummy's Only Looking for a Hand in the Snow) (10/20/69)7. Instant Karma / Who Has Seen the Wind? (2/2/70)BEATLES8. Let It Be / You Know My Name (Look Up the Number) (3/11/70)RINGO STARR9. Beaucoups of Blues / Coochy Coochy (10/5/70)GEORGE HARRISON10. My Sweet Lord / Isn't It a Pity? (11/23/70)11. What Is Life? / Apple Scruffs (2/15/71)PAUL McCARTNEY12. Another Day / Oh Woman, Oh Why? (2/22/71)JOHN & YOKO13. Power to the People / Touch Me (3/22/71)RINGO STARR14. It Don't Come Easy / Early 1970 (4/16/71)GEORGE HARRISON15. Bangla Desh / Deep Blue (7/28/71)PAUL & LINDA McCARTNEY16. Uncle Albert/Admiral Halsey / Too Many People (8/2/71)JOHN LENNON17. Imagine / It's So Hard (10/11/71)JOHN & YOKO18. Happy Xmas (War Is Over) / **The B-side, "Listen the Snow Is Falling," is listed separately under "Yoko Ono" on the Apple Singles (Non-Beatles) as part of a two-sided Yoko single.1971-1972 pageThe Beatles' contract with EMI Records (of which Apple Records was a subsidiary) expired on January 26, 1976, thus ending The Beatles' original "run" with Apple Records (1968-1976). Apple Corps./Apple Records. All Beatles recordings would continue to be distributed by Apple Records, although The Beatles would record for other labels after 1/26/76, except for Paul McCartney, who had re-signed with Capitol Records in 1975.

APPLE SINGLES (NON-BEATLES) 1968-1969In 1968, The Beatles established their APPLE RECORDS Company, and in addition to release their own group and solo tunes signed, many first-time artists to their label, including Mary Hopkin, James Taylor, Badfinger, Billy Preston, and many others.Here are all of the non-Beatles singles released on APPLE in 1968-1969, followed by their release dates. Enjoy! MARY HOPKIN 1. Those Were the Days / Turn! Turn! Turn! (8/26/68) JACKIE LOMAX 2. Sour Milk Sea / The Eagle Laughs At You (8/26/68) BLACK DYKE MILLS BAND 3. Thingumybob / Yellow Submarine (8/26/68)THE IVEYS (Later to become BADFINGER) 4. Maybe Tomorrow / And Her Daddy's A Millionaire (1/27/69)TRASH5. Road to Nowhere / Illusions (3/3/69)MARY HOPKIN6. Lontano Dagli Occhi / The Game (3/7/69) *U.K. release onlyJAMES TAYLOR7. Carolina on My Mind / Taking It In (3/17/69)MARY HOPKIN8. Goodbye / Sparrow (4/7/69)JACKIE LOMAX9. New Day / Fall Inside Your Eyes (5/9/69)BRUTE FORCE10. King of Fuh / Nobody Knows (5/16/69) *U.K. release onlyBILLY PRESTON11. That's the Way God Planned It / What About You (7/14/69)RADHA KRISHNA TEMPLE (London)12. Hare Krishna Mantra / Prayer to the Spiritual Masters (8/21/69)HOT CHOCOLATE BAND13. Give Peace A Chance / Living Without Tomorrow (10/10/69)BILLY PRESTON14. Everything's Alright / I Want To Thank You (10/11/69)TRASH15. Golden Slumbers/Carry That Weight / Trash Can (10/15/69)

Music & Memories (Oct 68) Radio Northsea International (online Sat 7pm UK time) music from: The Hollies, The Doors, Gary Puckett & The Union Gap, Mary Hopkin, Brenton Wood, Love Affair, The Tremeloes, Dave Dee etc, Dave Clark Five, Status Quo, Engelbert Humperdinck and more.......

Having emerged from her own painful pandemic experience, which she talked to the Imbalanced Boys about last Fall, Annie Haslam checks in on all of that, on turning a certain number, and also shares future plans as Renaissance moves forward!!! Great stories with a great friend this week!Check in with Annie on her web site, about Renaissance on tour, her art, and fan funding for the band's next project!We have fantastic sponsors of our podcast, please visit their web sites, and support those who make the show go:Boldfoot Socks   https://boldfoot.comCrooked Eye Brewery   https://crookedeyebrewery.com/Don't forget that you can find all of our episodes, on-demand, for free right here on our web site: https://imbalancedhistory.com/

This episode is part of Pledge Week 2022. Every day this week, I'll be posting old Patreon bonus episodes of the podcast which will have this short intro. These are short, ten- to twenty-minute bonus podcasts which get posted to Patreon for my paying backers every time I post a new main episode -- there are well over a hundred of these in the archive now. If you like the sound of these episodes, then go to patreon.com/andrewhickey and subscribe for as little as a dollar a month or ten dollars a year to get access to all those bonus episodes, plus new ones as they appear. Click below for the transcript Transcript A few episodes back, we took a look at the Who's early records, and in passing we talked about the Ivy League, the studio group who sang backing vocals on their first single under that name. In this bonus episode, we're going to look at one of the biggest hits any of the members of the Ivy League were involved in -- a record that became a massive hit, won a Grammy, and changed the career direction of one of the most important comedy bands in Britain. We're going to look at "Winchester Cathedral" by the New Vaudeville Band: [Excerpt: The New Vaudeville Band, "Winchester Cathedral"] In his book Revolution in the Head, Ian MacDonald makes the point that the quintessential line in British psychedelia is from George Harrison's "It's All Too Much", where Harrison sings "Show me that I'm everywhere, and get me home for tea". Whereas American psychedelia is often angry and rebellious -- understandably, since it was often being made by people who were scared of being drafted to fight in a senseless war, and who were living through a time of great instability more generally -- British psychedelia was tinged with nostalgia, both for childhood and for a lost past of the Empire that had now ended. Now, we're going to get into that in much, much, greater detail when we look at the records the Beatles, the Kinks, the Who and others made in this period, but suffice to say that *one* of the several streams of thought that shaped the youth culture of Britain in the 1960s was a nationalistic one, partly in reaction to a perceived dominance by American culture and a belief that there were things about British culture that deserved celebrating too. And part and parcel of that was a celebration of the popular culture of the 1920s and thirties, the height of Britain's influence in the world. This nationalism, incidentally, was *not* necessarily an entirely regressive or reactionary thing, though it certainly had those elements -- there was a strong progressive element to it, and we'll be unpacking the tensions in it in future episodes. For the moment, just take it that we're not talking about the sort of flag-waving xenophobia that has tainted much of modern politics, but something more complicated. This complex relationship with the past had been evident as early as the very early 1960s, with acts like the Alberts and the Temperance Seven reviving 1920s novelty songs in what would now be considered a postmodern style: [Excerpt: The Temperance Seven, "You're Driving Me Crazy "] That had temporarily gone into abeyance with the rise of the Beatles and the bands that followed in their wake, making guitar music inspired by American Black musicians the new popular thing in British culture. But that stream of the culture was definitely there, and it was only a matter of time before music business professionals would notice it again and start to try to capitalise on it. And Geoff Stephens did just that. Stephens was an odd character, who had entered the music business at a relatively late age. Until the age of thirty he worked in a variety of jobs, including as a teacher and an air traffic controller, but he was also involved in amateur theatrics, putting on revues with friends for which he co-wrote songs and sketches. He then went on to write satirical sketches for radio comedy, writing for a programme hosted by Basil Boothroyd, the editor of Punch, and started submitting songs to Denmark Street publishers. Through his submissions, he got a job as a song plugger with a publishing company, and from there moved into writing songs professionally himself. His first hit, co-written as many of his songs were with Les Reed, was "Tell Me When", the debut single for the Applejacks, which made the top ten: [Excerpt: The Applejacks, "Tell Me When"] Many hits as a writer and producer soon followed, including writing "The Crying Game" for Dave Berry: [Excerpt: Dave Berry, "The Crying Game"] And signing Donovan and co-producing his first two albums and earliest hit singles: [Excerpt: Donovan, "Catch the Wind"] Stephens had been making hits for a couple of years when he conceived the novelty record "Winchester Cathedral", which he recorded with John Carter of the Ivy League on lead vocals, imitating the style of Rudy Vallee, one of the most popular singers of the 1920s, who sang through a megaphone -- he became popular before electronic amplification was a big thing. The record was made by session players, and released under the name "The New Vaudeville Band": [Excerpt: The New Vaudeville Band, "Winchester Cathedral"] The record immediately began to sell. It became a massive, massive, worldwide hit, selling three million copies and inspiring a cover version by Rudy Vallee himself: [Excerpt: Rudy Vallee, "Winchester Cathedral"] Oddly, this wasn't the last time in the sixties that a major hit would be inspired by the sound of Rudy Vallee... But Stephens had a problem. People wanted the New Vaudeville Band to tour, and he didn't actually have a touring act. So he turned to the next best thing. The Bonzo Dog Doo-Dah Band were a band of dadaist comedy performers who had a wonderful stage act, which among other things involved their lead singer Vivian Stanshall wearing a gold lame Elvis suit, their drummer Sam Spoons playing spoons and washboard, and comedy moments like band members holding up speech bubbles, so for example when someone took a solo, one of the other members might hold up a cardboard speech bubble saying "Wow! I'm really expressing myself!" Their repertoire largely consisted of novelty tunes -- some from the fifties, but mostly songs they'd learned from old 78s from the 1920s, like their first single: [Excerpt: The Bonzo Dog Doo-Dah Band, "My Brother Makes the Noises for the Talkies"] As Bonzos guitarist Neil Innes always told the story, Geoff Stephens was friends with the band's trumpet player Bob Kerr, and called him up asking if the Bonzo Dog  Doo-Dah Band wanted to be the touring New Vaudeville Band. Kerr was excited -- his band would get to be proper pop stars! But when he went to talk to the rest of the group, they were dismissive. They were conceptual artists and creative people, and didn't want to be a manufactured pop band. Bob Kerr, on the other hand, thought that being paid vastly more money to do exactly the same stuff he was doing for next to nothing sounded like a great idea, and quit the band. The next thing the rest of his bandmates knew, they were watching him on Top of the Pops, performing with a band with a spoons player, a lead singer who wore a gold lame suit, and band members holding up cardboard speech bubbles. Kerr had taken the group's entire act, and they had to reinvent themselves, turning from 1920s pastiche to modern rock music -- and the chances are very good that we'll be following them up in the future. But of course, as well as an act, the new group needed a singer, and for that Stephens turned to Alan Klein. Now, this is not the Allen Klein who we've mentioned in the main podcast, and who will be coming up again in future episodes. This Alan Klein was someone who had been on the margins of the music industry as a writer and performer for some time. He'd made records with Joe Meek: [Excerpt: Alan Klein, "Striped Purple Shirt"] and he'd co-written the musical What A Crazy World, which had been made into a film which featured his songs being sung by Joe Brown, Marty Wilde, Freddie and the Dreamers, and...Harry H Corbett: [Excerpt: Harry H Corbett: "Things We Never Had"] He'd also made a single solo album, "Well, At Least it's British", which took a satirical look at British life in the 1960s that was hugely influential on Britpop in the 1990s, though the record sold almost nothing at the time: [Excerpt: Alan Klein, "Twentieth-Century Englishman"] With Klein as the new lead singer, the New Vaudeville Band were a real band. And indeed, they had three more top forty hits in the UK, though their most successful song after "Winchester Cathedral" was a song that Stephens and Les Reed wrote for them which wasn't a hit for them: [Excerpt: The New Vaudeville Band, "There's a Kind of Hush"] That *did*, though, become a big hit for Herman's Hermits: [Excerpt: Herman's Hermits, "There's a Kind of Hush"] The New Vaudeville Band were shortlived -- they only had a handful of hits, and Bob Kerr soon left the group after falling out with their manager, Peter Grant -- another figure who we'll definitely be hearing a lot more from in future episodes of the main podcast. Kerr formed Bob Kerr's Whoopee Band with Sam Spoons and Vernon Dudley Bohay-Nowell, two other former members of the Bonzo Dog Doo Dah Band, and they had a quietly successful career doing the same act that the early Bonzos had -- all three men also joined in Bonzo Dog Doo Dah Band reunion tours in 2006 and 2016. A revived version of the New Vaudeville Band, featuring only the drummer from the touring lineup, performed in the 70s and 80s to little success. But the group's biggest legacy remained their first hit, which actually won the Grammy for Best Contemporary (Rock & Roll) Recording in 1967, beating out a shortlist of "Eleanor Rigby", "Monday Monday", "Cherish", "Good Vibrations", and "Last Train to Clarksville". You can decide for yourselves if "Winchester Cathedral" was, in hindsight, a better record than those. But whether it was or not, it was a fun record that made a lot of people happy. Geoff Stephens, its creator, is unlikely to feature further in this podcast. He wrote many more hit records, but they were almost exclusively for artists like Dana, Tom Jones, Wayne Newton, Ken Dodd, and Mary Hopkin, whose careers lie largely outside the scope of a history of rock music, however broadly defined. He had a long and successful career, but died last Christmas Eve, aged eighty-six, from pneumonia, having been weakened by an earlier bout of covid. So as we enter a second Covid Christmas, I'd just like to say I hope you're all vaccinated, boosted, and otherwise safe. I'm hoping to get one more episode and bonus out before Xmas Eve, and I hope to see you all still here in the New Year. Vo-de-o-do [Excerpt: The New Vaudeville Band, “Winchester Cathedral”]

L'histoire d'une chanson. Celle de ce succès « Those Were The Days » de la chanteuse Mary Hopkin racontée par Ginger Joe. #Gingerjoe #MaryHopkin

Bring in the New Year the only way you should - with Mike Parry and Lesley-Ann Jones on Planet Porky. Topics include: The days of all night partying, how attending soirees as a singleton differs between the sexes, Mary Hopkin, why music and TV producers don't always justify their titles, a new year but the same old COVID, a debate about the future of the virus, Cheryl Cole, celebrities who stay humble, Heather Mills' media absence, Macca's love of marriage, hopes for 2022, postal problems, the lack of high street banks, Il Divo, the Penlee lifeboat tragedy, Ben Affleck's disgraceful antics, Margaret of Argyll's sexual appetite, polyamory, and Porky's unhealthy love of deep fried fish. It's the podcast that would rather you were roasted, it's Life on Planet Porky. Follow the show on Twitter: @PlanetPorky or Mike is: @MikeParry8 while you can find Lesley-Ann: @LAJwriter. Or you can email us questions or comments to: planetporkypod@gmail.com. We'd love to hear from you!  And from everyone at Planet Porky, have a very Happy New Year and a healthy and prosperous 2022! 

Renowned British photographer Bill Zygmant and Beatles historian andauthor David Bedford have released a new book entitled “Where Did You Get That Shirt?”, featuring three decades' worth of Zygmant's film and rock photos. Zygmant's Beatles photos are considered so important that the Hard Day's Night Hotel in Liverpool displays them within a suite named after him. This brand-new book, designed by artist Paul Skellett, contains over 200 original photos taken by Zygmant – including 60 of the Beatles (as well as John Lennon and Yoko Ono) plus the first photos of Jimi Hendrix with The Experience in London – and many that have never been published before. Also included are shots of music legends such as the Rolling Stones, the Bee Gees, Mary Hopkin, Marc Bolan, Suzi Quatro, Madness, Bananarama and more.Bill Zygmant's passion for photography started at an early age seeing press photographers on newsreels photographing film stars. He began his career at the London Star before going on to work at the News Chronicle in Fleet Street - first on the picture desk and then in the darkroom. In 1966 Bill went freelance, photographing music and show business stars with his work being regularly published in the Musical Express, Billboard, Picture Post as well as british national newspapers and magazines. He has since worked as picture editor and a lecturer on film and television production.David Bedford trained as a biologist and was a scientific researcher until his love of reading, then writing, set him along the path to becoming an author. David has had 85 books traditionally published, which have been translated worldwide in 35 languages. They include the much-loved bestselling picture-book Big Bear Little Bear, and The Team series of football fiction for juniors. He has taught creativity, literacy and author techniques in schools around the world for ten years, and now combines his writing and teaching in his new personal publishing venture, ME & YOU BOOKS – where readers write. Purchase a copy of “Where Did You Get That Shirt?” through Bill Zygmant's website: https://billzygmant.comAlso visit The Beatles Bookstore website: https://www.beatlesbookstore.comListen to a playlist of the music discussed in this episode: https://open.spotify.com/playlist/4PAU2Wry8kStXHOOEMo4HP?si=7b1e697ce80543edThe Booked On Rock Website: https://www.bookedonrock.comFollow The Booked On Rock with Eric Senich:FACEBOOK: https://www.facebook.com/bookedonrockpodcastTWITTER: https://twitter.com/bookedonrockSupport Your Local Bookstore! Find your nearest independent bookstore here: https://www.indiebound.org/indie-store-finderContact The Booked On Rock Podcast:thebookedonrockpodcast@gmail.comThe Booked On Rock Theme Song: “Whoosh” by Crowander [ https://freemusicarchive.org/music/crowander]The Booked On Rock “Latest Books On Rock Releases” Song: “Slippery Rocks” by Crowander [ https://freemusicarchive.org/music/crowander]

One FM presenter Josh Revens and Steve present 'Whatever Happened To?' This week's topic is singer Mary Hopkin. This program originally aired on Monday the 27th of September, 2021. Contact the station on admin@fm985.com.au or (+613) 58313131 The ONE FM 98.5 Community Radio podcast page operates under the license of Goulburn Valley Community Radio Inc. (ONE FM) Number 1385226/1. PRA AMCOS (Australasian Performing Right Association Limited and Australasian Mechanical Copyright Owners Society) that covers Simulcasting and Online content including podcasts with musical content, that we pay every year. This licence number is 1385226/1.

Week one of the "When They Was Fab" look at the singles on Apple Records.    This week:  Mary Hopkin, Jackie Lomax, Billy Preston, The Black Dyke Mills band and JOHNPAULGEORGE&RINGO - the foursome that started it all.      We discuss Richard DiLello delivering copies of this box set to Buckingham Palace, and the unique writing style of Derek Taylor.

In this thrilling conclusion, T.J. and Tony get Lost in Space (and Portugal) while rummaging thru the songs John, Paul and George gave to other artists—P.J. Proby, Mary Hopkin, Badfinger, Jackie Lomax and more. The embarrassment of riches is sure to send you into a lap slappin' frenzy. As usual, the fellas pose hard-hitting questions such as: Which performance trick did Paul McCartney nick from Barry Manilow? Who is the most famous member of Hollywood Vampires? Do they have the rodeo in the United Kingdom? Plus cameo appearances by local plumbers from Tony's crackerbox palace. Today's episode was compiled by guest editor L'anJello Peculiarissimo. EPISODE LINKS You can drink liquids and you can drink music, but can you drink this podcast? Rate and review on Apple or wherever you listen. That means a lot! Which song(s) did they leave out? Take us to task on Facebook.

Chris Byrd good friends and fellow band mate with Eddy Detroit. “Where to start with Eddy Detroit? Born and raised in Detroit, Michigan, it was there, in 1966, that he was in attendance for the first Iguanas gigs (Iggy Stooge's first band). He joined the White Panther party in Detroit and was "there" for the pre-punk sounds of The Stooges and MC5 ("We all smoked dope on the state Capitol and got beat up by the cops"). In the early '70s he traveled to London, where he stalked Marc Bolan and tried to seduce Tony Visconti's then-girlfriend Mary Hopkin. It was with Ms. Hopkin, when he was dropping off a demo tape at the Apple store, that he witnessed the moment when Ringo found out that The Beatles had broken up! (We've got the pictures to prove it!) In the mid-'70s, Detroit settled in Hollywood and started The Terminal Wave Band (bongo/synth/punk) which was the soundtrack to the hippy/biker/S&M/satanic/polyamorous scene that Detroit ruled in dingy, underground LA -- that's when he wasn't trying to seduce Nico (The Velvet Underground) to become one of his muses and lovers ("True story bub"). When rents in LA got too much for an acid-fried biker/S&M/punk, Eddy moved to Phoenix, AZ, and was seminal in fostering one of the most interesting underground musical scenes of the early '80s. He was an unofficial member of the Sun City Girls, toured with the Meat Puppets and Mighty Sphincter, and was the pith-helmeted shaman-in-residence at his club The Grotto!” – Forced Exposure Songs - Eddy Detroit "The Immortal Gods" Live from Brussels 2019 Eddy Detroit "I Am Pazu Zu" 1982 Eddy Detroit "Run To The Sun" 1982 Eddy Detroit "Nic Nak Kerouac" 1979 Eddy Detroit "Ghetto Lights" 1982   Links- The Real Eddy Detroit - YouTube Channel Eddy Detroit - Bandcamp Page Eddy Detroit - Facebook Page 

Today is the day, my friend! Laugh away the hours with another episode of THE STORY SONG PODCAST. Join your hosts for their review of the 1968 international hit,”Those Were the Days” by Mary Hopkin. Come reminisce about starry notions, la revolution, and an unknown producer named Paul McCartney. Don't be like the lonely woman staring at a tavern door — come on in, raise a glass (or two), and join the familiar laughter of THE STORY SONG PODCAST.Continue the conversation; follow THE STORY SONG PODCAST on social media. Follow us on Twitter (@Story_Song), Instagram (storysongpodcast), and Facebook (thestorysongpodcast).THE STORY SONG PODCAST is a member of the Pantheon Podcast Network.“Those Were the Days” by Mary Hopkin (from the album Post Card) is available on Apple Music, Amazon Music, YouTube Music, Spotify, or wherever you listen to music.

Today is the day, my friend! Laugh away the hours with another episode of THE STORY SONG PODCAST. Join your hosts for their review of the 1968 international hit,”Those Were the Days” by Mary Hopkin. Come reminisce about starry notions, la revolution, and an unknown producer named Paul McCartney. Don't be like the lonely woman staring at a tavern door — come on in, raise a glass (or two), and join the familiar laughter of THE STORY SONG PODCAST.Continue the conversation; follow THE STORY SONG PODCAST on social media. Follow us on Twitter (@Story_Song), Instagram (storysongpodcast), and Facebook (thestorysongpodcast).THE STORY SONG PODCAST is a member of the Pantheon Podcast Network.“Those Were the Days” by Mary Hopkin (from the album Post Card) is available on Apple Music, Amazon Music, YouTube Music, Spotify, or wherever you listen to music.

Today is the day, my friend! Laugh away the hours with another episode of THE STORY SONG PODCAST. Join your hosts for their review of the 1968 international hit,”Those Were the Days” by Mary Hopkin. Come reminisce about starry notions, la revolution, and an unknown producer named Paul McCartney. Don't be like the lonely woman staring at a tavern door — come on in, raise a glass (or two), and join the familiar laughter of THE STORY SONG PODCAST. Continue the conversation; follow THE STORY SONG PODCAST on social media. Follow us on Twitter (@Story_Song), Instagram (storysongpodcast), and Facebook (thestorysongpodcast). THE STORY SONG PODCAST is a member of the Pantheon Podcast Network. “Those Were the Days” by Mary Hopkin (from the album Post Card) is available on Apple Music, Amazon Music, YouTube Music, Spotify, or wherever you listen to music.

Today is the day, my friend! Laugh away the hours with another episode of THE STORY SONG PODCAST. Join your hosts for their review of the 1968 international hit,”Those Were the Days” by Mary Hopkin. Come reminisce about starry notions, la revolution, and an unknown producer named Paul McCartney. Don't be like the lonely woman staring at a tavern door — come on in, raise a glass (or two), and join the familiar laughter of THE STORY SONG PODCAST. Continue the conversation; follow THE STORY SONG PODCAST on social media. Follow us on Twitter (@Story_Song), Instagram (storysongpodcast), and Facebook (thestorysongpodcast). THE STORY SONG PODCAST is a member of the Pantheon Podcast Network. “Those Were the Days” by Mary Hopkin (from the album Post Card) is available on Apple Music, Amazon Music, YouTube Music, Spotify, or wherever you listen to music.

Desde Aretha Frankin a Carla Thomas y Otis Redding y otros grandes como Arthur Conley, Amy Whinehouse, Mary Hopkin, Bobby Vinton, Sergio Endrigo y Serrat, I Pooh y Miguel Bosé, La Ley, los Tiki Phantoms y los Lobos

My guest today is Stefan Granados - he joins me to discuss 'Those Were The Days 2.0', the fully updated version of his definitive chronicle of The Beatles' Apple organisation.  Stefan dispels the myth that Apple was the great Beatle folly - it not only was home to hugely successful artists like James Taylor, Badfinger and Mary Hopkin, but it carefully cultivated The Beatles image, and is now a multi million dollar empire.  This fantastic book is published by Cherry Red, and can be purchased at https://www.cherryred.co.uk/product/those-were-the-days-2-0-the-beatles-apple-book/    

Making a Scene Presents Turn it up with Gerry Casey Show #91 and his Guest Jessica Lee Morgan!Not many 4year olds will have a memory of singing vocals on a Hazel O’Connor Album. But then this young child had no ordinary parents. Her father Tony Visconti has legendary status in the world of rock n roll .Having worked with the likes of David Bowie , Mark Bolan and so many iconic artists over the years and right up to the present day Her mother Mary Hopkin has what be best described a voice gentle and pure and certainly unique. Those were the days being the song made her a household name all over the world. In recent times I’ve had the pleasure to see Jessica perform live which without a doubt was a really special occasion. So as you can see another really informative and entertaining internet here on Turn It Up one you will definitely not want to miss

Making a Scene Presents Gerry Casey's Interview with Jessica Lee Morgan!Jessica Lee Morgan is a whole-hearted singer songwriter who doesn't beat around the bush. She's been raised on rock and folk by legendary parents (Mary Hopkin and Tony Visconti) and writes songs that reflect her upbringing and jobs in the real world. As happy in a tiny club or a large theatre, she performs live with her acoustic guitar, percussion strapped to her army boots, and partner Christian Thomas on bass.

We have lift off on the latest episode of Planet Porky as Mike Parry and Lesley-Ann Jones don the spacesuits and fire another edition into orbit.Today they discuss: Bank holiday travel, the Beatles' arrival at JFK, Vincent Mulchrone and the bars he frequented, Harvey Goldsmith auctioning his rock memorabilia, leaving prized possessions to your family, Al Pacino, why young people no longer own cars, driving in London, women facing job losses, Mary Hopkin, living for the present, making a new career as a lyricist, downloading music, Porky's ode to the English pub, sophisticated scams catching people out, Michael Collins, the remarkable resolve of astronauts, and having to wait for your food when the pubs reopen. Get ready to blast off to Planet Porky once again! Follow the show on Twitter: @PlanetPorky or Mike is: @MikeParry8 while you can find Lesley-Ann: @LAJwriter.Or you can email us questions or comments to: planetporkypod@gmail.com. We'd love to hear from you! 

«Pop Routes» feiert musikalische Geburtstagskinder vom 3. Mai: James Brown, Michael Kiwanuka, Mary Hopkin, Pete Seeger und Frankie Valli. Star der Show ist aber Conny Plank, der in einem Saustall ausserhalb von Köln Musikgeschichte produzierte: Kraftwerk, Gianna Nannini, DAF, Eurythmics, NEU! uvm.

...o las de Billy Nixon con su gran disco retro C'mon Let's Rattle. Los Sarandons vienen desde Toronto con su Americana y Neo-psychedelia, mientras que los Streetwalkin' Cheetahs, veteranos de la escena punk rock de LA vuelven con el primer disco en 20 años y con 50 años a sus espaldas los incombustibles Cheap Trick atronan las ondas, como los noruegos Plastic Tears o los suecos Grande Royale. Un Drive-by Trucker powerpopero, Jay Gonzalez, tiene unas canciones fabulosas y buenas son también las versiones de los Beatles del batería de los Posies, Frankie Siragusa, acompañado de amigos en su último trabajo, sobre las canciones regaladas a otros. En este caso, un Mersey Beat de Lennon-McCartney, un George Harrison y un McCartney, a cual mejor, que cantaron Billy J. Kramer y los Dakotas, Jackie Lomax y Mary Hopkin, respectivamente.⦁ The Royal Pacifics, Telstar Twist⦁ Dany Laj & The Looks, Don't Keep Me Guessin' ⦁ Billy Nixon, I Get Along With My Baby⦁ The Sarandons, Lately, I Believe⦁ The Sarandons, Caught In A Dream ⦁ The Streetwalkin' Cheetahs, We Are The Ones (We've Been Waiting For) ⦁ The Streetwalkin' Cheetahs, Ain't It Summer⦁ Cheap Trick, Boys & Girls Rock And Roll ⦁ Plastic Tears, Riot Zone ⦁ Plastic Tears, Look Of Lies⦁ Grande Royale, Carry On ⦁ Jay Gonzalez, I Wanna Hold You ⦁ Jay Gonzalez, Need You Round ⦁ Joe Giddings, Better From Here⦁ Frankie Siragusa, I'll Keep You Satisfied (With Roger Joseph Manning, Jr)⦁ Frankie Siragusa, Sour Milk Sea (With Ken Stringfellow)⦁ Frankie Siragusa, Goodbye My Love (With Keith Slettedahl)

Music & Memories (Apr 69) Radio Northsea International (online Sat 7pm UK Time) muisc from : The Who, Beatles, Steppenwolf, Mary Hopkin, Beach Boys, Foundations, Hollies, Desmond Dekker, Tremeloes, Marvin Gaye, Stevie Wonder and more.........

Mike Parry and Lesley-Ann Jones bring some light to the dark days with the latest look at Life on Planet Porky. Topics include: Porky's devotion to walking, waiting to receive the vaccine, COVID concerns, working in a radio station during challenging times, Piers Morgan's interview with Joan Collins, Botox, Amanda Holden, the siege on the Capitol, Trump's dangerous last days, the joy of (not) being average, Geoff Stephens, the New Seekers, Mary Hopkin, first hand experiences of Rowan Atkinson, Bryony Gordon, Iman, disgraceful stories coming out of Fleet Street, Christmas party debauchery, Aled Jones, and the importance of Lord Beaverbrook. The days may be short in the winter on Earth but on Planet Porky they never end... Don't forget to subscribe and download from your favourite provider so you never miss an episode; with new ones dropping every Tuesday and Friday. Follow the show on Twitter: @PlanetPorky or Mike is: @MikeParry8 while you can find Lesley-Ann: @LAJwriter. Or you can email us questions or comments to: planetporkypod@gmail.com. We'd love to hear from you! 

This week, after a slice of a 1920 Russian song via Mary Hopkin: brand new Gretchen’s Wheel, Steve Winwood, Bob Mould, Reds, Pinks and Purples, Damned, and The Black Watch, plus The Temptations,... Real Punk Radio podcast Network brings you the best in Punk, Rock, Underground Music around! From Classic Oi!, Psychobilly and Hardcore to some Classic Rock n Roll and 90's indie Alt Rock greatness!! With Tons of Live DJ's that like to Talk Music From Garage Rock, to Ska.. We are True MUSIC GEEKS!

En nuestro programa 91 hablamos de: · LIBROS: Diarios del Sáhara, Diarios de las Canarias y Diarios de ninguna parte, de Sanmao · DOCUMENTAL: Sanmao: la novia del desierto, de Marta Arribas y Ana Pérez De La Fuente · VIDEOJUEGO: Project Zero, de Tecmo · CÓMIC: La soledad del dibujante, de Adrian Tomine Además, dedicamos un breve homanaje a Javier Reverte y suenan The Beths y Mary Hopkin.

The 40th episode of Melody Motel is a special one. I welcome songwriter and artist Elizabeth Allen for an interview about "Ocean Song," a classic that was recorded on Mary Hopkin's 1971 Earth Song Ocean Song LP. This has been one of my favorite songs since the first night I heard it and it was an honor to discuss it with the composer herself.

Aquí os dejamos una selección de grandes temas de la década de los 60 con Creedence Clearwater Revival, Etta James, The Beatles, Mary Hopkin, The Rolling Stones, The Zombies, Bob Dylan, Count Five, The Byrds...y muchos más. Y recordad que el mejor rock continúa 24 horas al día en https://radiofreerock.com

Mike Parry and Lesley-Ann Jones return for another exciting look at Life on Planet Porky. Today they debate: when (or if) life will return to normal, calling your child Wilfred, Harry and Meghan's latest venture, the promiscuous Princess Margaret, Mary Hopkin, Amanda Holden's new release, charity singles, recording home movies, heart transplants, Sex and the City, Neil Diamond's career and The Monkees. And don't worry, there's a cracking Fleet Street tale involving Koo Stark thrown in as well!  Don't forget to subscribe so you never miss an episode, with new ones dropping every Tuesday and Friday. You can follow the podcast on Twitter: @PlanetPorky while Porky is: @MikeParry8 and Lesley-Ann can be found: @LAJwriter.  Meanwhile, if you'd like to send a question or comment about the show you can email: planetporkypod@gmail.com. We'd love to hear from you. 

For many of us, our festive viewing includes the groundbreaking 1984 BBC television adaptation of The Box Of Delights. This has enthralled viewers for 35 years. We have decided that we needed to celebrate this milestone by having a conversation with the director of this incredible serial, Renny Rye. Take a listen as we talk with Renny about his career and how he got connected with The Box of Delights. It’s a fun conversation that spans not only that series but some of his other work too. We are also happy to finally bring everyone the second part of our interview with Richard Marson. If you recall way back to Episode 10, we talked with Richard about the his documentary, Tales of Television Centre but this time we talk about what it actually was like to work within BBC Television Centre and how fun and how difficult it could be working there. This is a great conversation with some really smart analysis on how the BBC works. Sprinkled into the episode is some clips from the missing 1971 Boxing Day edition of The Golden Shot. Clips include Bob Monkhouse, Alfie Bass, Stephen Lewis, and a performance from Mary Hopkin.  These are some wonderful archive clips that haven’t been heard in nearly 50 years! If you have feedback or questions you would like to have read on the podcast or general inquiries, please contact us at feedback@fromthearchive.co.uk. We would love to hear from you! This podcast is a co-production between From the Archive: A British Television Blog and Kaleidoscope. Thank you for listening.

Deze aflevering te gast Herman Sinnige, producer bij NH Radio en oud radio collega. Met muziek van Led Zeppelin, Les Baroques, Los Allegres, G Moore and the Reggae Guitars, The Rolling Stones, Jango Edwards, Sparks, The Collectors, Mary Hopkin, Drafi Deutscher, Atomic Rooster en Bob Marley.

Je hoort muziek van Mary Hopkin, The Zombies, Aafke Romeijn en Spinvis, The Spinners, Laura Branigan, Genesis, Erykah Badu, Joan As Police Woman, The Verve.

The first break-out star at Apple Records was, of course, Mary Hopkin with "Those Were The Days." A huge international hit, it typed her as a cheery ingénue, somewhat removed from her folk roots (and aspirations). Other hits followed, diverging from her preferred stylistic path, until her second Apple album, Earth Song / Ocean Song (produced by her future husband, Tony Visconti) at last gave her some artistic satisfaction. Her story - at Apple and beyond (including session work for David Bowie, Linda McCartney...and The Beatles) - is recounted here by her daughter, Jessica Lee Morgan (herself a recording artist). Check out Mary's releases - including archival studio and live recordings, as well as recent work - here: http://www.maryhopkin.com/ Jessica's releases and tour news can be found here: http://www.jessicaleemorgan.com/   Jessica live in Belgium 2018

The first break-out star at Apple Records was, of course, Mary Hopkin with "Those Were The Days." A huge international hit, it typed her as a cheery ingénue, somewhat removed from her folk roots (and aspirations). Other hits followed, diverging from her preferred stylistic path, until her second Apple album, Earth Song / Ocean Song (produced by her future husband, Tony Visconti) at last gave her some artistic satisfaction. Her story - at Apple and beyond (including session work for David Bowie, Linda McCartney...and The Beatles) - is recounted here by her daughter, Jessica Lee Morgan (herself a recording artist). Check out Mary's releases - including archival studio and live recordings, as well as recent work - here: http://www.maryhopkin.com/ Jessica's releases and tour news can be found here: http://www.jessicaleemorgan.com/   Jessica live in Belgium 2018

Fifty years ago, the winter of discontent had subsided a bit and spring was around the corner.       Both George and Ringo expressed positive vibes to interviewers concerning the future of the band while work on the "Get Back" acetate proceeded.   Meanwhile, greenery was sprouting (and getting some arrested), while  the fancy of two young men in particular turned to love.

Happy New Year!; Greggs goes vegan; Starbucks goes strange; Lest we forget; You don't have to be big to be seen; get more engagement; An interview with Walter Bond; Music from Mary Hopkin

This Harrison composition has a recording history that is far longer than the song itself....it was written during the All Things Must Pass period as "Whenever", after which it was copyrighted with the title "When Every Song Is Sung". Harrison originally intended the song for Shirley Bassey, who had a hit in the summer of 1970 with a cover version of "Something". Harrison recorded a demo of "When Every Song Is Sung" during the sessions for All Things Must Pass; some of the outtakes are available and show that his voice sounds tired, and he doesn't have all the words yet. The song is performed in a jazzy style, and Harrison is often barely audible above the instruments. We managed to isolate the vocals for this remix. Obviously, the track "Whenever" was not included on All Things Must Pass. He went on to produce recordings of the track by Ronnie Spector in February 1971, and Cilla Black in August 1972, but neither version was completed for release. Mary Hopkin and Leon and Mary Russell also attempted the song during the first half of the 1970s. A later version by Black – produced by David Mackay and titled "I'll Still Love You" – appeared on her 2003 compilation Cilla: The Best of 1963–78. The song was finally released in 1976 by Ringo Starr on Ringo's Rotogravure. The musicians on "I'll Still Love You" included pianist Jane Getz and a rhythm section comprising Starr and Jim Keltner (both on drums) and Voormann (on bass). Lon Van Eaton, a former Apple Records signing, played lead guitar on the track. Harrison was "not pleased" with Starr's version of the song and took legal action against him, which was soon settled out of court. We used Ringo's instrumental track for this remix. Musically, I Still Love you combines features of Harrison's greatest compositions. The verses have the same descending pattern as in "Something" and the middle eight is harsher compared to the verses, just like the middle eight in Something. And then the chords are very similar to those of While My Guitar Gently Weeps. Now, you can judge for yourself if I'll Still Love You is the greatest Harrisong that never was. Many thanks to Paul-René Lee for alerting me to this possible Synmix.

Je hoort George Harrison, Richie Havens, Mary Hopkin, Curtis Mayfield, War en Fleetwood Mac.

In this episode, we conclude our look at Apple artists compiled on the 2010 album Come And Get It: The Best of Apple Records. We've had fun examining the careers and music of famous Apple alumni like Badfinger, Mary Hopkin, and James Taylor in full episodes, but what about the Hot Chocolate Band? The Radha Krishna Temple? David Peel?  Join us for a tour of Apple odds and sods and let us know your thoughts on the episode on Facebook, Twitter, or by email (ivegotabeatlespodcast@hotmail.com).  

Celebrating some of the greatest female songwriters of all time. Aside from Dusty Springfrield and Mary Hopkin, these women never got the credit they deserved, but that's usually the case in this dirty, scumbag filled business they call the music industry.

Why not treat yourself to this the latest in-depth Bowie love-in we call the A To Z Of David Bowie. This week Rob and Marc turn the spotlight on early Bowie creative outlet The Mannish Boys, The man who put Bowie in a (man’s) dress - Mr Fish, Mrs Visconti (aka Mary Hopkin)… and not forgetting the uneasy business arrangement that was the now infamous Mainman Management deal. Not for the faint hearted…As well as continuing the podcast journey from A to Z you can also immerse yourself in more Bowie related interviews, quizzes, and filmed pieces at our exclusive members club called "Cheap Things", simply by following the link www.patreon.com/cheapthings See acast.com/privacy for privacy and opt-out information.

1968 was another year of drastic transformation for The Beatles, and by December the group was ready to take a breath and let the world continue to absorb their new double album. Apple's biggest success story, Mary Hopkin, was back in the studio with Paul preparing a full length LP to follow-up on the massive hit single Those Were The Days, and the pair was joined by Donovan (who had made quite an impact on the Beatle sound in 1968). John and Yoko retreated to their Kenwood home where John would pen a new slew of songs such as Don't Let Me Down and Oh My Love. Ringo's latest film Candy held its premiere and Apple's latest find James Taylor saw his very first self-titled LP debut. On December 11th John joined the Rolling Stones for their ultimately unreleased Rock and Roll Circus television special. Appearing as "the Dirty Mac", John performed the double album track Yer Blues alongside Eric Clapton, Keith Richards and Mitch Mitchell to sizzling results. John would later remark that this experience opened his eyes to just how rewarding playing with different musicians could be. 1968 took four boys and made them into four men, and the year that followed would test friendships, yield more brilliant music, and see the disintegration of the biggest band to ever grace the world stage... See acast.com/privacy for privacy and opt-out information.

It's June 1968 and The Beatles' double album is finally taking shape. Kicking things off this month was the very first all-original composition by Ringo Starr, a years-in-the-making honky tonk number called Don't Pass Me By. And the Beatles wouldn't pass it by, spending as much time and energy on Ringo's first track as they had for any of those that came before. It was moments like these that drew a sharp distinction from the tension that was beginning to haunt these sessions - a tension never before experienced on a Beatles project. The four boys who had entered the EMI studios 5 years earlier were now four men who were beginning to lead separate (and sometimes intense) personal lives of their own. As John's marriage to Cynthia broke down, his passionate love affair with artist Yoko Ono became public knowledge, and while a divergence into the avant-garde was good for Lennon's soul, it also alienated many longtime friends and fans. George's attempt to bring Indian spiritualism to his bandmates may have been a rocky road with mixed results, but his heart remained in Indian culture even if his brothers-in-arms didn't. With Apple in full swing, Paul's attention was set squarely on talent development, both his own (recording tracks like Blackbird and Mother Nature's Son to name a few) and that of his musical proteges like Mary Hopkin. The band would have to hang on to periodic shows of unity, because the woes of the double album sessions would be far from over... See acast.com/privacy for privacy and opt-out information.

It's April 1968 and The Beatles are back from India and open for business with a new company: APPLE. The concept of Apple Corps began as a clever way to reinvest money into creative endeavors, rather than pay it all to the taxman...but it soon blossomed into, as Paul put it, a type of "western communism" that sought to change the world of pop music from the top down and the bottom up. The company would be divided into several sectors including records, manufacturing, retail, publishing and technology, each designed by the Beatles themselves to promote art, music, culture, innovation and talent that they each believed in. At the heart was Apple Records, and John, Paul, George and Ringo each set out to discover, nurture and promote talented fresh faces of music such as Mary Hopkin, James Taylor, The Iveys, Jackie Lomax and others. Apple was a massive undertaking, and could not have come at a more unstable period for the group. Upon returning from Rishikesh with a renewed sense of inner self, John put months of secret correspondence to bed (literally) with Japanese conceptual artist Yoko Ono Cox, sending his marriage into a tailspin. George, meanwhile, became the increasing target of bitterness and resentment from his bandmates for having involved them with the Maharishi in the first place, whom John especially felt personally betrayed by. All this while the boys readied themselves to return to the studio and begin the most challenging sessions of their musical career... See acast.com/privacy for privacy and opt-out information.

We look at the NRA convention in Dallas.......the Valdez-White runoff and debate coming up......Giuliani now on Trump team........James Brown 1933-2006......Happy # 84 Frankie Valli......Happy # 68 Mary Hopkin......Machievalli born 1469 the author of "The Prince"......and others stories............. Please check our blog or follow me on Twitter. Check Carlos Guedes' schedule this week in Dallas      

Going back to his Beatle days, Paul McCartney wrote many songs for other artists. Join Chris and Ryan along with author and Beatles expert Andrew Grant Jackson (Still The Greatest) for this special episode on the songs Paul gave away. We venture back to The Beatles' humble beginnings and walk through every song we could uncover up to present day. Artists discussed include Billy J. Kramer & The Dakotas, The Fourmost, Cilla Black, The Rolling Stones, Peter & Gordon, P.J. Proby, Mary Hopkin, Badfinger, John Christie, Peggy Lee, Rod Stewart, The Everly Brothers, Diana Krall, Charlotte Gainsbourg, and more. If you want it, here it is, come and get it!Enter our Still The Greatest Sweeps to win a copy of Andrew Grant Jackson's book.Listen to our Songs Paul McCartney Gave Away Spotify and Apple playlists.Buy merchandise in our new Take It Away Shop.This episode edited since initial publication.Click here for the Episode 22 song list.Email us: takeitawaypodcast@gmail.com See acast.com/privacy for privacy and opt-out information.

Un día como hoy pero de 1969, se llevó a cabo la fiesta de lanzamiento del disco "Post Card" de Mary Hopkin que produjo Paul McCartney.

Un día como hoy pero de 1969, se llevó a cabo la fiesta de lanzamiento del disco "Post Card" de Mary Hopkin que produjo Paul McCartney.

After studying piano privately for 12 years, Rick gained a scholarship to the Royal College of Music where he studied piano, clarinet and orchestration. In March 2012 Prince Charles presented him with his Fellowship of the RCM. He was also made a Professor at the London College of Music. As a much sought after session musician in the late sixties and early seventies , he played on more than 2000 records including such hits as Cat Steven's Morning Has Broken, David Bowie's Space Oddity and Life on Mars and worked with a real eclectic mixture of other notable artistes such as Donovan, Cilla Black, Marc Bolan, Black Sabbath, Lou Reed, Mary Hopkin, Dana, Al Stewart , Elton John and John Williams. In March 1970 he joined Strawbs and his first album with them , “Just a Collection of Antiques and Curios” , paved the way for “Folk-Rock” and reviews from their concert at The Queen Elizabeth Hall on July 11th of that year , did much to take Rick's career to a new level. He joined YES in August of 1971 and has been in and out of that band on quite a few occasions ! (One journalist likened the relationship to that of Richard Burton and Elizabeth Taylor , in as much as they can't live with each other for long periods of time , but in the same breath , can't live without each other ! Rick told the journalist he didn't disagree as long as it was accepted that he was “Richard Burton”) ! Both as a solo artist and with YES he has sold more than 50,000,000 albums, although he says that only past management and past wives would be able to tell you where the royalties went! He has written 2 film scores for Ken Russell , (Lisztomania and Crimes of Passion), 2 scores for Harry Palmer films starring Michael Caine, (Bullet to Beijing and Midnight in St. Petersburg), and the award winning White Rock as well as Gole, Hero, A Day After The Fair and 2 horror films, Creepshow 2 and The Burning. He has also carved out quite a television career in the UK appearing on every single programme of the massively successful Grumpy Old Men series , making just under 100 appearances on Countdown plus numerous invites onto Never Mind The Buzzcocks, Have I got News For You and 6 years as a regular presenter on Watchdog. He also hosted the highly successful comedy programme Live at Jongleurs for 6 years and indeed has won comedy awards himself for his anecdotal comedy stand-up. He is a regular television presenter of documentaries and is in constant demand for voiceovers and recently did the narrative voiceover for the new Saxon DVD and is about to record the voiceover for the new Deep Purple film. On Radio 4 he can be regularly heard on The News Quiz, Just a Minute and It's Your Round and has just been contracted by Radio 2 to present a weekly programme based around music that has been keyboard inspired..This follows on from his award winning programme on Planet Rock.. He has two current books available …Grumpy Old Rockstar and Further Adventures of a Grumpy Old Rockstar, both of which made the best sellers list. The third in the series is due for release in 2017. He still finds time each year to perform concerts around the world which can range from his extremely popular one man show to extravaganzas with symphony orchestras and choirs . In 2013 he performed 12 consecutive sell out one man shows at the Edinburgh Festival , In 2014 he performed his highly acclaimed Journey to the Centre of the Earth with a symphony orchestra , choir and band to more than 35,000 in the UK and this show will continue to be performed for the ensuing years around the world. 2015 saw him continuing to tour both with his one man show and also with his band as well as presenting three major television programmes and it was during that year that plans were finally put into place with Jon Anderson and Trevor Rabin to form ARW . On very rare occasions he performs with some of his very talented offspring and these shows literally sell out the moment ...

In this episode we discuss the Apple career of Mary Hopkin, signed to Apple Records by Paul McCartney and singer of a couple of hits including "Those Were The Days." We discuss her first Apple album produced by McCartney called Postcard, as well as her Tony Visconti-produced second Apple album, Earth Song/Ocean Song.

Se va a subastar un poster Mary Hopkin que es muy raro de 1963.Se vendió en...

Se va a subastar un poster Mary Hopkin que es muy raro de 1963.Se vendió en...

We will look at the political stories of the day......the GOP House continues to struggle with Obama Care.........Colbert goes over the top with his "joke" about President Trump......CBS needs to make a statement........the larger issue is the crazy anger in the left........there is outrage about the president of Philippines and his "human rights" record.......where was the outrage about President Obama watching a game with Raul Castro..........we remember Mary Hopkin who is 67 today and the career of James Brown 1933-2006.......plus other stories.......... Please check our blog or YouTube or follow me on Twitter.      

¿Recuerdas la compañía de Los Beatles Apple?A demás de ellos, el artista que más éxito tuvo para la compañía fue... Mary Hopkin.

¿Recuerdas la compañía de Los Beatles Apple?A demás de ellos, el artista que más éxito tuvo para la compañía fue... Mary Hopkin.

With some disagreement and friction, Martin and Sam discuss some of the musical borrowings and stylistic repetitions in this track from Foreign Affairs. Debating cliche, originality and their place in pop music, as well as Mary Hopkins’s contribution to the theme in a very similar track, Song by Song returns for another discussion on Tom Waits. Song by Song is Martin Zaltz Austwick and Sam Pay; two musicians listening to and discussing every single Tom Waits track in chronological order. website: songbysongpodcast.com twitter: @songbysongpod e-mail: songbysongpodcast@gmail.com Music extracts used for illustrative/review purposes include: A Sight for Sore Eyes, Foreign Affairs, Tom Waits (1977) Those Were The Days, Single, Mary Hopkin (1968) We think your Song by Song experience will be enhanced by hearing, in full, the songs featured in the show, which you can get hold of from your favourite record shop or online platform. Please support artists by buying their music, or using services which guarantee artists a revenue - listen responsibly.

So Now I'm the Asshole? returns with Shawn Aparo, Riley Knispel, and Kiley Alexander to talk about a chill cop, reminisce about the old days, and get a call from Stoney Bologna. @IamNathanBurke @HotcastStudio @wileyrileyCSA @sissy_spaceout Music: Those Were the Days by Mary Hopkin

In an episode first aired on June 15, 2015 DJ Andrew Sandoval presents a birthday tribute to the remarkable, Harry Nilsson. You'll hear more than two hours of fantastic Nilssongs, including rarities, radio spots and covers from the likes of Billy J. Kramer, Neil McArthur, The Fruit Machine, Mary Hopkin, Puppet, The Collage, The Turtles, Micky Dolenz, The Yardbirds, Sagittarius, The Cryan' Shames, Griffin, The Glass Menagerie, Sandie Shaw and The Ronettes.

A slip of the tongue; Eurovision Song Contest; Terry Pratchett; Jeremy Clarkson; Ten perfect pitching tips; Inspired by true events; Message first, social network second; An interview with Kimberly Davis; Music from Mary Hopkin

Clipper's Owner Ronald Sterling Those Were The Days sung by Mary Hopkin

Hints and tips for media appearances, speaking and social media.  This week; Lance Armstrong confesses; Horse burgers; Toy Story live; No charity at HMV; Disraeli gears; Being a spokesperson; Recycling your content; An interview with Lindsay Adams; Music from Mary Hopkin

Hints and tips for media appearances, speaking and social media. This week; Steve Jobs; An apology; Professional speaking; David Cameron; Star Wars; A real GASP; Working from a script; Soft and hard interviews; Twitter analytics; An interview with Russell Trahan;  Music from Mary Hopkin