Podcasts about only sleeping

Send us a textTim is joined by podcaster, musician, and life coach Antony Rotunno to explore John Lennon's dreamy Revolver track 'I'm Only Sleeping,' from its conception on the back of a phone bill to George Harrison's meticulous work on the backward guitar parts. They discuss the song's unique sound textures and how it reflects Lennon's state of mind in 1966.Antony Rotunno's website: https://www.antonyrotunno.com/Glass Onion Podcast on John Lennon: https://glassoniononjohnlennon.com/X.com: @OnionLennonLife And Life Only Podcast: https://lifeandlifeonly.podbean.comX.com: @lifeonly75Film Gold: https://creators.spotify.com/pod/show/filmgoldX.com: @filmgold75Antony has also appeared as a guest doing film reviews on Reel Britannia, The Stinking Pause and The Mind Renewed podcasts.Follow My Favourite Beatles SongBluesky: https://bsky.app/profile/myfavebeatles.bsky.socialX (Twitter): https://twitter.com/myfavebeatlesFacebook: https://www.facebook.com/MyFavouriteBeatlesSongInstagram: https://www.instagram.com/myfavouritebeatlessongOriginal music by Joe KaneLogo design by Mark Cunningham

It's the story you've heard a thousand times before, from a perspective you've never heard…Welcome back to the Dolls Pod! To kick off season 2, we're telling the story of the Beatles from the point of view of their biggest fan: longtime secretary and Fan Club president Freda Kelly! Her no-nonsense attitude, big heart, and hard work are proof of just how much a girl's love can change rock-and-roll

B.S.O. "I Am Sam":Aimee Mann And Michael Penn “Two Of Us”Sarah McLachlan “Blackbird”Rufus Wainwright “Across The Universe”The Wallflowers “I'm Looking Through You”Eddie Vedder “You've Got To Hide Your Love Away”Ben Harper “Strawberry Fields Forever”Sheryl Crow “Mother Nature's Son”Ben Folds “Golden Slumbers”The Vines “I'm Only Sleeping”Stereophonics “Don't Let Me DownThe Black Crowes “Lucy In The Sky With Diamonds”Chocolate Genius “Julia”Heather Nova “We Can Work It Out”Grandaddy “Revolution”Nick Cave “Let It Be”Aimee Mann “Lucy In The Sky With Diamonds”Neil Finn / Liam Finn “Two Of Us”Escuchar audio

Como cada 8 de diciembre, el mundo enciende una vela recordando a uno de los mejores compositores que hemos tenido. En el programa de hoy rescatamos el olvidado lanzamiento de 1986 'Menlove Ave.' e invitamos a dos amigos: Javier Polo y Felipe Couselo. En el acústico suenan: 01. I'm Only Sleeping 02. My Dark Sweet Horse (Homenaje a George Harrison) 03. Five Five Five (The Winnerys) 04. Now and Then 05. Norwegian Wood + info - https://linktr.ee/b90podcast Espacio patrocinado por: khabron - tueresgeorge - boldano - Eduardo Mayordomo Muñoz - kharhan - Barrax de Pump - PDR - Fernando - QUIROGEA - Jorge - J. Gutiérrez - dacou - Gabriel Vicente - Carlos Conseglieri - Miguel - faeminoandtired - Isabel Luengo - Franc Puerto - screaming - HugoBR - angelmedano - Vicente DC - VICTORGB - Alvaro Gomez Marin - tonicaspo7 - Achtungivoox - PabloArabia - Alvaro Perez - Naïa - Sergio Serrano - Antuan Clamarán - Mario Sosa - Isranet - Jesus Arribas Jimenez - Paco Gandia - ok_pablopg - braulio - Eduardo Vaquerizo - Crisele - David Reig - Wasabi Segovia - Dani RM - Fernando Masero - María Garrido - RafaGP - Macu Chaleka - laura - Infestos - Öki Þeodoroson - davidgonsan - Juan Carlos Mazas - 61garage - JJM - Rosa Rivas - Bassman Mugre - SrLara - David Meño Manzaneque - Próxima Estación Okinawa - Barullo - Megamazinger - Francisco Javier Indignado Hin - Unai Elordui - carmenlimbostar - Piri - Miguel Ángel Tinte - Miquel CH - Jon Perez Nubla - agui102 - Raul Sánchez - Nuria Sonabé - davicin blackmetal - Spinda Records - Pere Pasqual - Juanmi - JulMorGon - blinddogs - JM MORENTE - Alfonso Moya - Rubio Carbón - LaRubiaProducciones - cesmunsal - Mr.Kaffe - Marcos - jocio - Norberto Blanquer Solar - Tolo Sent - LIP -Carmen Ventura - Jordi y varias personas anónimas.

Singles Going Around- Operation Retrieve- Mono Beatles Volume One"Act Naturally" (T 2553)"Nowhere Man" (T 2553)We Can Work It Out" (T 2553)"Day Tripper" (T 2553)"I've Just Seen A Face" (T 2442)"It's Only Love" (T 2442)"Think For Yourself" (T 2442)"Michelle" (T 2442)"I Want To Tell You" (T 2576)"Got To Get You Into My Life" (T 2576)"Tomorrow Never Knows" (T 2576)"I'm Only Sleeping" (T 2553) *"Doctor Robert" (T 2553) *"And Your Bird Can Sing" (T 2553) *"You Won't See Me" (T 2442)"Wait" (T 2442)"Good Day Sunshine" (T 2576)"Getting Better" (MAS 2653)"When I'm Sixty Four" (MAS 2653)"Lovely Rita" (MAS 2653)"Good Morning, Good Morning" (MAS 2653)"What Goes On?" (T 2553)"Sgt Pepper's Lonely Heart Club Band (Reprise) (MAS 2653)"A Day In The Life" (MAS 2653)* These mono mixes from Yesterday and Today are different from those used on the mono mixes from Revolver.

One very early Sunday morning coming down, the Boyz decided to make an unscheduled visit back to the Homan Studio after an already long late night of recording on Saturday.  What made this unusual was they had left the previous night's recording session just a few hours earlier. So, in the early morning hours with their friend Jack Herrer in tow, they decided to go into the night on a two-wheeled ride while the city slept.  They took random turns into alleys and onto streets that just seemed interesting at the moment, and every now and then they would stop, shut down the engines and engage in conversation with their friend Jack. They were trying to truly get ‘lost' in the city that raised them.  As the ride and the night unfolded they came upon a most interesting consideration for a food stop they had never seen before, even though they had passed by this same corner on the city's south side what seemed like hundreds of times before.  The ‘Cannibal Cafe' appeared out of nowhere.  They pulled in, sat down, looked at the menu, and ordered the “special” from the silent waiter that was also the cook and the only other person in the cafe.  The meal was meat, potatoes, toast, and jam, and was simply referred to on the menu as YOU?  After only a few bites, Vince looked up from across the booth and with a smile on his face told Edward “I have to say there is no telling what the hell this meat is, but overall - YOU taste good”!  Edward looked up and made no reply, but just smiled.  When they were finished, they paid the check and stepped outside to again converse with Jack about their ride, the evening, and the meal and it was then they decided to immediately return to the studio for some follow-up recording inspired by their trip into the night and their foodie experience at the Cannibal Cafe.  The follow-up conversations recorded that early Sunday morning were interesting, to say the least.  And as for the Cannibal Cafe?  The Boyz have been unable to locate that cafe again, but every now and then they will look at each other and remember that - YOU taste good at the Cannibal Cafe.   Thanks to the many listeners of the Hamlin Avenue Boyz Podcast for pointing your ears in this direction now and then.  And remember, you can send along your comments, questions, or topics for the Boyz to ponder: JustRollTape@mail.com Vince Hamlin Edward Hamlin TRACKS: Sleepy ConversationYou Taste GoodThe First TimeUnderwater Sausage FingersYeah, That Was Then A Little More GripBack In Da SaddleHow R UEden  MUSIC COMPOSITION / PERFORMANCE CREDITS: 1.“I'm Only Sleeping” > Lennon McCartney 1966 / Blues Motel 2006 2.“You Taste Good” > Radio Ranch 2022 / Radio Ranch 2022 3.“The First Time” > Blink 182 2019 / Blink 182 2019 4.“Underwater Music” > Academia De Musica 2015 / Academia De Musica 2015 5.“Monterey” > The Animals 1967 / The Animals 1967 6.“Grip” > Calvin Dewayne Holloway 2019 / Ralo The Pimp 2019 7.No Music 8.“How Are You” > SOKO 2012 / SOKO 2012 9.“Garden Of Eden” > John Cafferty 1989 / John Cafferty & The Beaver Brown Band 1989 RECORDING ENGINEERS / BOARD OPERATORS: DB Cooper Dick Goesinya  Barry MyKockinher Craven Morehead PRODUCERS: Tiffany Rosedale Anita Hickey Ben Dover RECORDING STUDIO CONSULTING: Jack Herer & Friends CERVEZA CART ATTENDANTS: Anita Hardon Sofonda Peters CATERING: The Cannibal Cafe TRANSPORTATION: Harley Davidson --- Send in a voice message: https://podcasters.spotify.com/pod/show/edward-hamlin/message

The Milk Carton Kids, Kenneth Pattengale and Joey Ryan, sit down with Jack Lawless to talk about their new album, "I Only See The Moon", their favorite Beatles records, the real meaning of "Norwegian Wood", if the stereo mixes are better than the mono mixes, and so much more. So get ready for an amazing and hilarious conversation with the Grammy-Award-nominated folk duo featuring a spectacular cover of The Beatles' classic, "I'm Only Sleeping". You won't want to miss this one.   Follow The Milk Carton Kids on Social Media here: Instagram: https://instagram.com/themilkcartonkids?igshid=YmM0MjE2YWMzOA== Twitter: https://twitter.com/milkcartonkids?s=21&t=aOh55u30afWUEzTDwRADcQ   Listen to The Milk Carton Kids' new album, "I Only See The Moon" here: https://open.spotify.com/album/7tXYHXjFDzAtPIZoIoX2W6?si=yRX5iPwWSMSshIHJCqwehQ   Check out their touring information and everything else on https://www.themilkcartonkids.com/   If you like this episode, be sure to subscribe to this podcast! Follow us on Twitter and Instagram. Or click here for more information: Linktr.ee/BeatlesEarth   --- The Beatles were an English rock band, formed in Liverpool in 1960, that comprised John Lennon, Paul McCartney, George Harrison and Ringo Starr. They are regarded as the most influential band of all timeand were integral to the development of 1960s counterculture and popular music's recognition as an art form. Rooted in skiffle, beat and 1950s rock 'n' roll, their sound incorporated elements of classical music and traditional pop in innovative ways; the band later explored music styles ranging from ballads and Indian music to psychedelia and hard rock. As pioneers in recording, songwriting and artistic presentation, the Beatles revolutionised many aspects of the music industry and were often publicised as leaders of the era's youth and sociocultural movements. Led by primary songwriters Lennon and McCartney, the Beatles evolved from Lennon's previous group, the Quarrymen, and built their reputation playing clubs in Liverpool and Hamburg over three years from 1960, initially with Stuart Sutcliffe playing bass. The core trio of Lennon, McCartney and Harrison, together since 1958, went through a succession of drummers, including Pete Best, before asking Starr to join them in 1962. Manager Brian Epstein moulded them into a professional act, and producer George Martin guided and developed their recordings, greatly expanding their domestic success after signing to EMI Records and achieving their first hit, "Love Me Do", in late 1962.   Lennon, McCartney, Harrison and Starr all released solo albums in 1970. Their solo records sometimes involved one or more of the others; Starr's Ringo (1973) was the only album to include compositions and performances by all four ex-Beatles, albeit on separate songs. With Starr's participation, Harrison staged the Concert for Bangladesh in New York City in August 1971. Other than an unreleased jam session in 1974, later bootlegged as A Toot and a Snore in '74, Lennon and McCartney never recorded together again. Two double-LP sets of the Beatles' greatest hits, compiled by Klein, 1962–1966 and 1967–1970, were released in 1973, at first under the Apple Records imprint. Commonly known as the "Red Album" and "Blue Album", respectively, each has earned a Multi-Platinum certification in the US and a Platinum certification in the UK. Between 1976 and 1982, EMI/Capitol released a wave of compilation albums without input from the ex-Beatles, starting with the double-disc compilation Rock 'n' Roll Music. The only one to feature previously unreleased material was The Beatles at the Hollywood Bowl (1977); the first officially issued concert recordings by the group, it contained selections from two shows they played during their 1964 and 1965 US tours. The music and enduring fame of the Beatles were commercially exploited in various other ways, again often outside their creative control. In April 1974, the musical John, Paul, George, Ringo ... and Bert, written by Willy Russell and featuring singer Barbara Dickson, opened in London. It included, with permission from Northern Songs, eleven Lennon-McCartney compositions and one by Harrison, "Here Comes the Sun". Displeased with the production's use of his song, Harrison withdrew his permission to use it.Later that year, the off-Broadway musical Sgt. Pepper's Lonely Hearts Club Band on the Road opened. All This and World War II (1976) was an unorthodox nonfiction film that combined newsreel footage with covers of Beatles songs by performers ranging from Elton John and Keith Moon to the London Symphony Orchestra. The Broadway musical Beatlemania, an unauthorised nostalgia revue, opened in early 1977 and proved popular, spinning off five separate touring productions. In 1979, the band sued the producers, settling for several million dollars in damages. Sgt. Pepper's Lonely Hearts Club Band (1978), a musical film starring the Bee Gees and Peter Frampton, was a commercial failure and an "artistic fiasco", according to Ingham. Accompanying the wave of Beatles nostalgia and persistent reunion rumours in the US during the 1970s, several entrepreneurs made public offers to the Beatles for a reunion concert.Promoter Bill Sargent first offered the Beatles $10 million for a reunion concert in 1974. He raised his offer to $30 million in January 1976 and then to $50 million the following month. On 24 April 1976, during a broadcast of Saturday Night Live, producer Lorne Michaels jokingly offered the Beatles $3,000 to reunite on the show. Lennon and McCartney were watching the live broadcast at Lennon's apartment at the Dakota in New York, which was within driving distance of the NBC studio where the show was being broadcast. The former bandmates briefly entertained the idea of going to the studio and surprising Michaels by accepting his offer, but decided not to.        

April of 1965 was a relatively uneventful month in western culture. If you research it, you'll see that nothing particularly critical happened during those thirty days. However, even though it never showed up on any of society's radar screens, one event did take place that was to change the entire world. John Lennon and George Harrison of the Beatles went to dinner at their dentist's home and unbeknownst to them, the dentist slipped LSD into their after-dinner coffee. They had no idea of what was going to happen, but according to George, although things were a little rocky at first, it turned out to be quite a night. As he put it, "I had such an overwhelming feeling of well-being, that there was a God, and I could see him in every blade of grass. It was like gaining hundreds of years of experience within twelve hours. It changed me, and there was no way back to what I was before." He also said that as he was coming back to normal consciousness, a thought occurred to him that had no connection to any part of his life and he had no idea where it had come from. This thought, that came to him completely out of nowhere, was simply this: “The yogis of the Himalayas.” Now LSD was relatively new and still legal at the time. An extremely powerful psychedelic drug, many famous celebrities had taken it and had profound experiences including Carey Grant, Groucho Marx and Jack Nicholson, along with renowned Harvard professors, Timothy Leary and Richard Alpert. And speaking of Harvard, there are still rumors that JFK took acid several times as well, with his longtime companion Mary Meyers. Timothy Leary hints that he played a key role in those events in his autobiography, “Flashbacks.” Again, it was still legal and there were no prohibitions to it. Anyway, a few months after the incident in their dentist's home, whether or not it had anything to do with his thought of the “yogis of the Himalayas,” George introduced Indian music to pop culture when he played the sitar on the Beatles song “Norwegian Wood.”  This was the early beginnings of a revolutionary change in popular culture as the band began to introduce a new genre that would eventually become known as psychedelic music. Not only did their sound change, but their songs took on a new depth of meaning, with primary examples being “Nowhere Man,” “The Word,” “In My Life,” “Elanor Rigby,” “I'm Only Sleeping,” “Tomorrow Never Knows,” ‘Lucy in the Sky with Diamonds” and “Within You, Without You.” They were all part of a remarkable string of three groundbreaking albums: “Rubber Soul,” “Revolver” and “Sgt. Peppers' Lonely Hearts Club Band.” Now, it's nearly sixty years later and all of these songs are looked at as just great classics. But back then, they were incredibly revolutionary and the Beatles themselves were even more so. Along with their radical appearance and their welcoming approach to marijuana, psychedelics and the expansion of consciousness, they were at the forefront of an astounding cultural shift that would radically alter not only England and America, but every other country throughout the entire civilized world. And it all went to the next level in February of 1968 when the Beatles travelled to India to study meditation with a guru named Maharishi Mahesh Yogi. And as usual, they weren't shy about telling the world what they were doing. The massive publicity surrounding their trip created a major sensation that rocked the whole world. Now as earthshattering as all this was, it wasn't the first time that Indian spirituality, with its reverence for the expansion of consciousness, had made a profound impact on western culture. Far from it. In one way or another it had been going on since the 1500s. Unfortunately, it came about as the result of a rather brutal societal development. Certain European nations established superior military might and mixed it with ever-increasing naval reach.  And with an appalling display of the greed-driven, incredibly destructive delusion that “might makes right,” they began to conquer and subjugate as much of the world as they could get their hands on. They would routinely invade a foreign country, enslave its people and plunder their resources. All in the name of civilization, of course. A prime example of this arrogance of power is what England did to India. Although the British had been in the land for centuries, they finally conquered it completely in 1876. Queen Victoria became the Empress of India and the exploitation of the country moved into full swing. But something unexpected happened as well and it became an example of something extremely positive resulting from something extremely negative. Along with all the horrors that came with the conquest, an inevitable interaction of Indian and English cultures got underway along with it.  And nowhere was the distinction between the two cultures more evident than in the realm of religion.   The difference was somewhat stark. Western religion was basically a societal matter, where people would gather at houses of worship, sing songs of praise to God and hear sermons from clerical leaders that promoted higher ethical, moral and religious standards. In India it was a little different. Their religion had been around for over five thousand years and was the oldest in the world. And although it did have many similarities to its Western counterpart, it had some significant differences as well. For instance, according to its teachings, not only is there a God, but rather than being far away and unapproachable, it is actually within you right now and is completely accessible to you at all times. If you wish, you can evolve your consciousness to the point where you can become enlightened and actually merge with it. So, you didn't have to die to go to heaven, you could do it while you were still alive. In fact, doing it was the actual point of being alive. And also, given the idea that it was possible to reach this higher level of consciousness, rather than having clerics who could only give speeches and sermons about the higher realms, they had beings who had supposedly attained the enlightened state and were talking about something they actually knew, rather than something they just believed. And not only that, they had the ability to show you how to get there as well. They called these teachers “Swamis,” “Yogi's” or “Gurus,” which was an interesting term word because “Gu” means darkness and “Ru” means light, and a true spiritual guru can take you from inner darkness to inner light. And this isn't supposed to be just a bunch of words and concepts, it's experiential. In other words, if you were thirsty, you weren't confined to just hearing stories about people who had gotten to drink water, you could actually drink it yourself.    Now a couple of these Gurus had made it to the United States over the years and their impact had been extremely significant. The first one was named Swami Vivekananda who travelled to Chicago in 1893 to address the First World's Parliament of Religion. The Swami created quite a stir and his talk was, in a word, a sensation. The attendees to the conference felt they had heard someone address them who was in a uniquely elevated state and seemed to be speaking about God consciousness from direct personal experience. And there was something extraordinary about being in his physical presence. It wasn't just uplifting and inspiring. It was actually elevating.  It was palpable. Indeed, one of the delegates, Professor John Henry Wright of Harvard University told him, "To ask you, Swami, for your credentials is like asking the sun about its right to shine." After his ground-breaking appearance in Chicago, Vivekananda's reputation grew rapidly and he travelled to New York and gave lectures to sold out auditoriums, where people waited for hours to buy tickets. One night, New York's most prominent actress Sarah Barnhart held a party for him and introduced him to her friends Nicola Tesla and Mark Twain. His vast influence spread from there and even though he passed away in 1902, at the age of just 39, he continues to be a renowned and deeply respected authority on inner growth. Then in 1920 another Guru from India arrived in America, this time in Boston, in the form of Parmahansa Yogananda. He was also a powerful presence whose impact quickly grew to the extent that he was able to reach millions of people, encouraging them to evolve and grow their inner consciousness. As his life work evolved, along with remaining a powerful force in India, he became a major phenomenon throughout the West and indeed the entire world.  Not only was Yogananda a magnetic speaker, he was also a brilliant and profoundly prolific writer. He went on to establish a major center for mediation in Los Angeles and many local residents of the area studied his work. The internationally esteemed author W. Summerset Maugham cited him as a primary inspiration for his 1944 masterpiece novel, “The Razor's Edge,” which is about one American man's search for enlightenment following his harrowing experiences in World War I. In 1946, it became a well-loved motion picture as well.  The next truly major interaction between India and Western culture happened when Mahatma Gandhi visited London at the end of 1931, and this was quite a phenomenon. Although Gandhi was the head statesman of his country, when he came to England, instead of wearing formal western clothing, he only wore his simple handwoven Indian cloth and sandals. He always looked like he was walking through the blistering heat of India, although he was in the freezing temperatures of England, with its shivering rains. Wherever he went, he was mobbed by massive crowds who were in awe of his presence. Not only were his words inspiring, he also had a piercing wit. As he was about to depart, a reporter asked him, “What do you think about Western Civilization. “I think it would be a good idea,” he shot back. A few years later in August of 1935 Gandhi met with Parmahansa Yogananda, who initiated him into the practice of Kriya Yoga, an advanced form of meditation. But to Gandhi, the ground breaking elevation of consciousness had applications that were societal as well as individual. And in response to the increasingly harsh British domination of India, Gandhi began to institute a process he called “Satagraha” which means “holding onto truth,” with its emphasis on non-violent civil disobedience. Although it was a slow and difficult process, it was extremely powerful and twelve years later, the British were driven out of India with relatively little violence. It was a truly incredible example of the application of evolved consciousness to resolve a cruel societal injustice.   But that wasn't the end of it. In the late forties, an African-American theology student at Morehouse College in Atlanta was introduced to these remarkable works of the Mahatma. Intrigued, the student began a serious study of Gandhi and the unique way he had been able to terminate British rule      Upon his graduation, that student was ordained to the Baptist ministry at the age of 19. And of course, that student was Martin Luther King, Jr. As his activities in the civil rights movement began to evolve and grow, he became more interested in the idea of applying Gandhi's methods to break the chains of racial oppression that were so overwhelmingly prevalent throughout the land.      It all culminated on February 3, 1959 when King and his wife Coretta, embarked on a three-month trip to India to get more familiar with Gandhi's approach. “To other countries I may go as a tourist,” he said upon his arrival. “But to India I come as a pilgrim.” During his stay, his study of Gandhi deepened considerably. As an ordained minister, he was taken with Gandhi's profound spiritual understandings and in his closing remarks he said, “In a real sense, Mahatma Gandhi embodied in his life certain universal principles that are inherent in the moral structure of the universe, and these principles are as inescapable as the law of gravitation.” Dr. King returned to the United States and anyone remotely familiar with American history knows the extraordinary story of what happened next.  So, that unlikely acid trip that ended with George Harrison's mysterious inner reflection about the Yogis of the Himalayas began yet another major chapter in the story of how the evolution of consciousness has changed the world. And changed it for the better. And even though a lot of the advances that happened came about as a result of some terrible cruelty, the truth is, the negativity had quite a silver lining.  And for me, it's always important to remember that the only reason there ever is a silver lining, is because of the powerful light that is right behind those dark clouds. Well, that's the end of this episode. As always, keep your eyes, mind and heart opened and let's get together in the next one.

Vor etwas mehr als 56 Jahren kam "Revolver" raus. Einige Beatles Fans halten es für eines der wichtigsten Alben der Popgeschichte. Gleichzeitig soll es auch eines der besten, wenn nicht das beste Album der Beatles sein. Das "Revolver" Album der Beatles hat langsam die Zeit eingeläutet, in denen die Beatles sich von ihren Livekonzerten ab und mehr der Studioarbeit zugewandt haben. Es wurde mehr mit Aufnahmetechniken rumprobiert und die Band hat die Soundtechniker in den Abbey Road Studios dazu gedrängt, ihre Ideen irgendwie zu realisieren. Beim Song "Tomorrow Never Knows" wurden Soundelemente rückwärts abgespielt, bei "I'm Only Sleeping" wird sogar das Gitarrensolo des Songs rückwärts komponiert und eingespielt und dann auf der Aufnahme umgedreht, für einen ganz besonders einlullenden und schläfrigen Effekt. Auf die Idee, diese Technik zu nutzen, kam die Band durch den Fehler eines Studiotechnikers, der ein Tonband aus Versehen verkehrt herum einlegte und es rückwärts abspielte. Die Band war zu dem Zeitpunkt im Studio und erkannte sofort ihre Chance, genau diesen Effekt bewusste einzusetzen. Darüber hinaus hat die Band bei diesem Album auch sehr intensiv mit der sogenannten Double-Tracking-Technik herumprobiert, also einem technischen Verfahren, bei dem automatisch und leicht zeitversetzt Tonspuren aufzeichnen werden können, die den Klang einfach weiter verdichten und noch intensiver klingen lassen. Außerdem werden die Beatles auf "Revolver" auch zunehmend etwas rockiger, wie man zum Beispiel auch am Eröffnungsstück "Taxman" hört, in dem sich George Harrison über die enormen Steuern aufregt, die die Band in England zahlen musste. Auf "Revolver" werden die Beatles aber nicht nur rockiger, sondern sie sind auch unglaublich vielfältig. Neben rockigen Songs gibt es auch ganz viel psychodelische Klänge, Songs mit Streichern und mit Yellow Submarine sogar ein Kinderlied, in dem Schlagzeuger Ringo Starr die Hauptstimme übernimmt. __________ Über diese Songs vom Album “Revolver” wird im Podcast gesprochen 03:25 Mins – “Taxman” 10:44 Mins – “Eleanor Rigby” 19:38 Mins – “I'm Only Sleeping” 23:00 Mins – “Yellow Submarine” 28:22 Mins – “Good Day Sunshine” 37:31 Mins – “And Your Bird Can Sing” 40:38 Mins – “Got to Get You Into My Life” 43:24 Mins – “Tomorrow Never Knows” __________ Über diese Songs wird außerdem im Podcast gesprochen 06:19 Mins – “Taxman” (Live) von Tom Petty And The Heartbreakers 42:31 Mins – “Got to Get You Into My Life” von Earth, Wind and Fire __________ Shownotes: Teaser auf die Titelgeschichte des Rolling Stone im November 2022: https://www.rollingstone.de/rolling-stone-im-november-the-beatles-inhalt-2510257/ Die komplette Graphic Novel zum Album-Cover von Klaus Voormann: https://shopping.voormann.com/product/iconic/ Trailer zur 2022er Special Edition: https://www.youtube.com/watch?v=Dd5WSqOJF7M Das neue von Klaus Voormann gestaltete Video zu I'm Only Sleeping: https://www.youtube.com/watch?v=5XwXliCK19Y __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Schreibt uns an: meilensteine@swr.de

The panel goes over the new Revolver Super Deluxe remix (2022). Topics covered: Revolver's importance in the Beatles' history and discography, Ray Davies' contemporary review of the album (not as mean as you might have heard, but also dismissive of major songs in a funny way), the murky meaning of "remaster" and "remix" and a summary of the history of Beatles re-releases, a bit of comparison of the new mix with the previous version, Will's grouchy take that these new releases are unnecessary (he was tired, folks), and wondering when the "deez nuts" version will come out. We then pore over the extra tracks! We talk about the complexity of the early versions, the sadness of the original Yellow Submarine, the fuzz guitar that briefly existed on Got to Get You Into My Life, the insanely fast take of Rain, the magic vibraphone that vanished from I'm Only Sleeping, the disputed account of Paul leaving the session for She Said, She Said, the beauty of Paul's voice, the modernity of George's songs, Ringo's creatively great drumming, the spell John could cast, and more! Other podcasts go deeper in the facts, but no one else enjoys their own "maybe we're wrong"ness more than us! Panel: Will Hines, Brett Morris, Katie Platner, Joel Spence  

Here is our long-awaited review and discussion about the newly-released super deluxe Revolver box set! We talk about each track on the Revolver album and what is included in the set. Is it a must for every Beatlefan? Of course! Check out the new video for "I'm Only Sleeping" discussed in the episode: https://www.youtube.com/watch?v=5XwXliCK19Y   Complete episodes can be found at https://ivegotabeatlespodcast.podbean.com. Email: ivegotabeatlespodcast@hotmail.com Twitter: @ivegotabeatles Facebook: I've Got A Beatles Podcast Our video venture: "Song Album Career!" https://www.youtube.com/channel/UClqNdoDpQxpj6QMNDmXYYog

NEW FOR AUGUST 1, 2022 Perfect pitch not required . . . Perfect 440 - The Best Radio You Have Never Heard Vol. 440 1. 1984 / Rebel Rebel / Moonage Daydream (live) - David Bowie 2. Sway - Black Joe Lewis and The Honeybears 3. Like A Rolling Stone (live) - The Rolling Stones 4. Yes We Will - Tedeschi Trucks Band 5. I'm Only Sleeping (early) - The Beatles 6. Here, There, and Everywhere - David Gilmour 7. Girl (live) - Joe Jackson 8. Here To Forever - Death Cab For Cutie 9. Don't Follow Me - Kerosene Stars 10. Impossible Germany - Wilco 11. In Memory Of Elizabeth Reed (live unplugged) - The Allman Brothers 12. Sugar Magnolia (live) - The Grateful Dead 13. Biko (live) - Peter Gabriel w/ Ekome Dance Company 14. Dogs - Pink Floyd 15. Midnight Walker - Jeff Beck 16. Gateway Of Love - Neil Young and Crazy Horse 17. Cool For Cats (live) - Squeeze The Best Radio You Have Never Heard. Your musical tuning fork since 2004. Accept No Substitute. Click to join the conversation on the Facebook page.

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

It's the battle of the Revolvers this week, as I'm Only Sleeping takes on And Your Bird Can Sing, with Chains and Sexy Sadie in the mix as well. Along the way, we'll identify a hidden yawn,  discuss a blatant lyric ripoff, and ponder whether one of the songs is about Frank Sinatra or a wind-up clock. It's that kind of week. 

Vamos con una doble celebración en nuestro espacio. Primero, los 56 años que el próximo 5 de agosto se cumplirán del lanzamiento de un hito musical insuperable en la historia de la cultura occidental: Revolver de The Beatles. Y segundo, mañana 18 de junio nuestro genio de genios Paul McCartney cumplirá 80 años. Por estas dos razones regresamos a este álbum clásico. Ricardo Portmán nos cuenta su historia. Escucharemos Taxman, Eleanor Rigby, I’m Only Sleeping, Love You To, Here, There and Everywhere, Yellow Submarine, She Said She Said, Good Day Sunshine, And Your Bird Can Sing, For No One, Doctor Robert, I Want To Tell You, Got to Get You into My Life y Tomorrow Never Knows + Bonus tracks. Si os gusta el programa podéis apoyar Ecos del Vinilo Radio siendo patrocinadores ¡por lo que vale un café al mes! desde el botón azul de iVoox. Recuerden que nuestros programas los pueden escuchar también en: Nuestra web https://ecosdelvinilo.com Distancia Radio (Córdoba) miércoles 18:00 y domingos 23:00. Radio Free Rock (Cartagena) viernes 18:00. Radio M7 (Córdoba) lunes 18:00 y sábados 17:00. Generación Radio (Medellín, Colombia) jueves y domingos 19:00 (hora Col.) Radio Hierbabuena (Lima, Perú) jueves 20:00 (hora Perú)

I don't feel great today and I am having roadblocks researching the next album, so I am reuploading the live show from December 30th! This one is about the Revolver Album. SONGS COVERED Taxman, Eleanor Rigby, I'm Only Sleeping, Love You To, Here, There and Everywhere, Yellow Submarine, She Said She Said, Good Day Sunshine, And Your Bird Can Sing, For No One, Doctor Robert, I Want to Tell You, Got To Get You Into My Life, Tomorrow Never Knows --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/classicalbumpodcast/message

Daniël Lohues is een van de meest begiftigde singer-songwriters van Nederland én fanatiek muziekluisteraar. Gijs vroeg hem een lijst met zijn ultieme zomernummers te maken, en zocht hem op in Drenthe om die te bespreken.  Tracklist:(28.08) The Beach Boys - Wouldn't It Be Nice(33.47) Stevie Wonder - I Don't Know Why(38.30) Marvin Gaye & Tammi Terrell - Ain't Nothing Like The Real Thing (45.22) The Beatles - I'm Only Sleeping(55.33) Big Joe Turner - Shake, Rattle and Roll(59.00) Prince - If I Was Your Girlfriend(1.07.47) The Rolling Stones - Tumbling Dice(1.15.22) Georges Brassens - Chanson pour l'auvergnat(1.26.02) Robert Johnson - Terraplane BluesSee omnystudio.com/listener for privacy information.

Daniël Lohues is een van de meest begiftigde singer-songwriters van Nederland én fanatiek muziekluisteraar. Gijs vroeg hem een lijst met zijn ultieme zomernummers te maken, en zocht hem op in Drenthe om die te bespreken.  Tracklist: (28.08) The Beach Boys - Wouldn't It Be Nice (34.10) Stevie Wonder - I Don't Know Why (38.51) Marvin Gaye & Tammi Terrell - Ain't Nothing Like The Real Thing  (45.45) The Beatles - I'm Only Sleeping (56.20) Big Joe Turner - Shake, Rattle and Roll (59.50) Prince - If I Was Your Girlfriend (1.08.34) The Rolling Stones - Tumbling Dice (1.16.10) Georges Brassens - Chanson pour l'auvergnat (1.26.50) Robert Johnson - Terraplane Blues See omnystudio.com/listener for privacy information.

In this episode, Diana explores Paul McCartney's artistry and creative process with  Phillip McIntyre and Paul Thompson, authors of the upcoming book “Paul and His Creative Practice. The Beatles and Beyond.”  Phillip, Paul, and Diana have a  wide-ranging discussion that covers topics such as flow state,  collaboration,  Crocodile Dundee, and how Paul McCartney is just like James Bond.   A link to their book:  “Paul and His Creative Practice. The Beatles and Beyond.”Phillip and Paul's  list of recommended/ representative McCartney songs:Phillip's List of Songs:Yesterday: A very real classic of Western songwriting which is to be to be honored as such.‘Paperback Writer': Not only a great set of lyrics but the guitar part also looks ahead to the playing on ‘Maybe I'm Amazed' t!!‘Rain/Taxman/And Your Bird Can Sing/I'm Only Sleeping': If you want to hear why McCartney is one the pioneers of the electric bass listen to this much-imitated golden period.‘Back in the USSR': This is a great demonstration of how McCartney plays drums.‘You Never Give Me Your Number/Golden Slumbers/Carry That Weight/The End': Put these together in a playlist and you get a very good sense of what George Martin asked them to do with this album.‘Maybe I'm Amazed': It is so hard to pull this trick off and he does it in spades here. Every note, every part, does exactly what it should do and he played it all. The Mind boggles. Amazing!  ‘Back Seat of My Car: A singer's singer right there!‘Listen to What the Man Said': Just listen to the harmonies.‘Hey Diddle': Relaxed, simple, and loads of fun just like ‘Dance Tonight'. He keeps throwing them away. ‘Warm and Beautiful' is An understated and underrated hymn.Paul's ListYou Never Give Me Your Money: Quite simply, this is my favorite McCartney song; his voice right at the end is just incredible. Drive My Car: McCartney's voice at its best.1985: Killer piano, killer voice!On My Way to Work: Love the arrangement(I want to) Come Home: A beautiful arrangement and an example that showcases Paul's aging voice.

John Hassall er bassist i engelske The Libertines, hvis skramlede indierock lagde verden ned i 00erne. En forelskelse førte ham til Århus, hvor han har boet i et årti, og hvorfra han nu er aktuel med duoen The Orchid Room (https://www.youtube.com/watch?v=ktPCoc_rKpo) med sangerinden Anne Kei (billedet). En overgang var John ramt af skriveblokering, og for at komme videre blev han rådet til at nærstudere én eneste Beatles-sang. Logikken var, at kan man knække koden til én sang med The Fab Four, har man knækket koden til dem alle! Valget faldt på "I'm Only Sleeping" (https://www.youtube.com/watch?v=BT5j9OQ7Sh0) fra Revolver-pladen. En sang, hvis søvnige tekst modsvares af John Lennons rebelske attitude. En kombination, John inspireres af og kan identificere sig med. The Orchid Room er aktuelle med singlen "Be The Light" (https://www.youtube.com/watch?v=ktPCoc_rKpo). John Hassall er også en del af bandet John Hassall & The April Rainers (https://www.facebook.com/theaprilrainers). The Libertines (https://www.thelibertines.com/) er stadig aktive og tager på koncertturné i England i slutningen af 2021. Foto: Per Nissen Varighed: 7:03

"Laguna Tropical Surf" features Episode 3 of the Torquays' album, "Return Engagement" with expert color commentary by lead guitarist Steve Soest! Mark Freeman reports that good swells are expected this week and Michelle Haynes' Henton Update had hair-raising stories of rescues at the Rusty Dog Ranch. Tommy J premiered one of Aloha Curtis' cover of tThe Beatles' "I'm Only Sleeping!"

Podcast del programa Submarino Amarillo 2.0, emitido en Radio Círculo el 05 de Marzo de 2021. Navegando a través de las canciones de Crowded House, James Dean Bradfield, Leon Bridges, Paul Weller, Teenage Fanclub y The Waterboys. En nuestro periscopio hablamos de los Festivales de verano y su complicada situación en estos tiempos, y en la segunda parte bailamos a ritmo de Northern Soul con Rita and The Tiaras, Edward Hamilton & The Arabians y The Flirtations. Terminamos en Liverpool como siempre con una canción de los Beatles, en esta ocasión con el sueño profundo al que Lennon nos invita en I'm Only Sleeping. Con Iván Ramos y Andrés Jiménez. No nos faltes. Nos ahogamos sin ti

For over a decade the Sunday before Christmas at The Railway Hotel would be marked by the Annual Beatles Convention, a day where everyone would pick a handful of their favourite songs (no repeats!) and give them a play.  As this wasn't an option this year, we felt this was needed to fill the void.   The Magical Mystery Tour (alternate version) Aerial Tour Instrumental (Flying) Take 8 Like Dreamers Do (Rejected Decca Demo) Help! (Take 1) And I Love Her Two of Us (Naked)  Solider of Love (Live at the BBC) Penny Lane Fool on the Hill (Take 1) Savoy Truffle (for Steve Taylor) Hey Bulldog If I Needed Someone Strawberry Fields Forever (selected demos and work in progress) You’ve Got To Hide Your Love Away (for Robin Ince) For No One It’s Only Love Martha My Dear I’m Only Sleeping (for George O'Hare) Act Naturally Rain Back In The USSR A very Beatley Christmas Present from Daryl Easlea I Feel Fine (Live at the BBC) I’ll Follow The Sun You Won’t See Me Oh! Darling  John Lennon - Jealous Guy Baby, You’re A Rich Man (for Duglas T Stewart) Paul McCartney - Singalong Junk Why Don’t We Do It In The Road? (for Jon Monk) John Lennon - Ain’t That A Shame Michelle (for Jennifer Taylor) George Harrison - Beware of Darkness I Will (for Jo O'Hare) Revolution (Escher Sessions) She’s Leaving Home (for Liz and Genevieve) Only a Northern Song (for Robyn Hitchcock) Because Wings - Picasso’s Last Words (Drink To Me) (for Phill Jupitus) All Things Must Pass (studio chat/work in progress) I Me Mine (for Barry Sinclair) Paul McCartney - Seize the Day Ringo Starr - Photograph I Call Your Name (for Dave Collins) Hold Me Tight George Harrison - Give Me Love (Give Me Peace on Earth) Something - A work in progress (from Let It Be Sessions) Get Back (Apple Rooftop, first performance) A Day In The Life Tuppenny Bunters - Carnival of Light All Things Must Pass Ram On! (for Lily Bond) The End

Hour 2Tea Power - Mother Jazz.Don Henley - The End Of The Innocence.Triple X - X-Files Theme.Exponents - Who Loves Who The Most.John D Loudermilk - Great Snowman.Cliff Richard - A Little In Love.Al Stewart - On The Border.Billy Joel – Pressure.Whitlams - Cries Too Hard.Roy Orbison - Pretty Woman.Beatles - I'm Only Sleeping.Eric Clapton – Promises.

El pasado 9 de Octubre se cumplía el 80º aniversario del nacimiento de John Lennon y por ello dedicamos nuestro programa a escuchar varias de sus composiciones en las voces de músicos incluidos en el gran paraguas de la Americana. El próximo martes será obligado recordar que 40 años atrás un loco asesino que no merece ni tan siquiera que se recuerde su nombre nos privó de su presencia a las puertas del edificio Dakota de Nueva York. Por eso, hoy nos adelantamos a esa fecha para recordar cómo los más significativos músicos de Americana han mirado en alguna ocasión las canciones que John Lennon creó para formar parte de la discografía de los Beatles.  El cuarteto de Liverpool grabó “One After 909” en su concierto de la terraza y esa versión en directo fue la que se incluyó en el álbum original. Era un tema de Lennon que compuso con 17 años y hacía referencia a un número, el 9, que parecía perseguirle. Nació el 9 de octubre y por entonces vivía en el 9 de Newcastle Road. Por entonces se escuchaban varias canciones que hablaban de trenes de carga como "Rock Island Line" o “Midnight Special” y John y PaulMcCartney decidieron ponerla un ritmo similar. El cuarteto llegó a grabar la canción en la primavera de 1963, durante las sesiones de "From Me to You" y "Thank You Girl”, que conformaron su tercer single, pero el resultado no les convenció y la desestimaron. Willie Nelson quiso homenajear al grupo con su propia versión. Los más veteranos artistas de country también han tenido un momento en su carrera para rememorar alguna canción de los Beatles. Kris Kristofferson también echó una mirada a los Fab 4 para versionar una canción claramente compuesta por John Lennon como fue “Paperback Writer” haciendo referencia a su faceta de escritor. Sería grabada por los Beatles cuando trabajaban en 1966 en Revolver, y aunque se editó en single en su momento, quedó fuera de sus álbumes oficiales. Se acaban de cumplir 55 años de la salida al mercado de Rubber Soul, uno de los discos más determinantes de la discografía de los Beatles y en el que las canciones de John Lennon tuvieron una significación relevante. Aquel trabajo lo cerraba “Run For Your Life”, que fue, por el contrario, la primera canción que grabaron para el disco. Para componer aquel tema sobre los celos con tonalidades de country, Lennon se basó en Elvis y su "Baby Let's Play House", utilizando incluso una frase completa de aquella canción de El Rey. John Cowan, una de las voces más potentes de la Americana, firmó en 2014 por el sello Compass para afrontar un proyecto que tituló Sixty, producido por su buen amigo y compañero de los Doobie Brothers, John McFee, y en el que pudimos encontrar una lista interminable de selectos invitados, desde Leon Russell, Alison Krauss y Rodney Crowell, hasta Bernie Leadon, Sam Bush o Chris Hillman, pasando por Huey Lewis, Bonnie Bramlett, Ray Benson y varios más. Su versión de “Run For Your Life” se convirtió en uno de los cortes de bonificación de la edición de lujo de Sixty, donde el artista de Ohio exhibió su poderío vocal. En Rubber Soul John Lennon compuso cuatro temas de forma independiente y otros tantos McCartney. También fueron cuatro en los que la pareja colaboró conjuntamente y dos los firmó George Harrison. “Norwegian Wood (This Bird Has Flown)” pasó a ser la primera canción de rock en la que aparecía un sitar y, como todo aquel álbum Rubber Soul al que pertenecía, marcó en música y letra un paso de gigante en la evolución de los Beatles. De hecho, John Lennon la creó como una carta a su mujer, Cynthia, admitiendo una aventura. Tim O’Brien aprovechó las tonalidades folkies para realizar una versión imponente que sirvió de cierre a su disco de 2011 Two Journeys. En realidad, escarbó en los antecedentes irlandeses del cuarteto de Liverpool, un importante puerto de entrada para tantos exiliados que buscaban trabajo. Una de las bandas míticas del bluegrass es Hot Rize, fundada en 1978 por Tim O'Brien, Pete Wernick, Charles Sawtelle y Mike Scap, aunque este último fue reemplazado muy pronto por Nick Forster. Además, tenían un divertido “alter ego” llamado Red Knuckles & The Trailblazers. En su álbum Shades In The Past incluyeron su particular versión de “Nowhere Man”, que también pertenece a Rubber Soul, el sexto álbum de los Beatles y que parece definir en un principio el carácter del propio John Lennon. Tras admitir posteriormente que consumía drogas, el personaje de esta canción fue analizado desde todos los puntos de vista posibles por los expertos. Como conclusión, aquél “hombre de ninguna parte” podía ser desde un “camello” al capitán del Submarino Amarillo. Rhett Miller, el nombre artístico de Stewart Ransom Miller II, siempre ha estado asociado a la banda Old 97’s como su líder y cantante solista. The Dreamer es el quinto álbum de estudio que graba al margen de su banda y un disco en el que se marca un cambio en sus exposiciones personales. Resultaba curioso que cuando Rhett Miller grababa en solitario tenía ciertas inclinaciones hacia el pop con cierto acento británico, mientras que con Old 97’s se manifestaba mucho más inclinado a las raíces. En 2005 se realizó un álbum dedicado al álbum Rubber Soul con motivo de su cumpleaños número 40, This Bird Has Flown – A 40th Anniversary Tribute to the Beatles' Rubber Soul, y en él participó el músico tejano con esta versión de “Girl”. El siglo XXI comenzó con una película llamada I Am Sam que protagonizaron Sean Penn y Michelle Pfeiffer. Los productores pretendieron que su banda sonora estuviera compuesta de grabaciones originales de los Beatles, pero ante su imposibilidad, optaron por reunir toda una serie de versiones de la banda de Liverpool realizadas por nombres tan sonoros como Rufus Wainwright, los Wallflowers, Sheryl Crow, Nick Cave, Ben Harper o los Black Crowes, entre otros. Poco antes de su disolución en 2002, la banda de los hermanos Robinson grabó “Lucy In The Sky With Diamonds”, una de las composiciones de Lennon siempre controvertida que formó parte en 1967 de Sgt. Pepper's Lonely Hearts Club Band, el disco que lo cambió todo. El tema de apertura del último álbum grabado por los Beatles, Abbey Road, aunque se publicara en 1969, antes que Let It Be, es uno de los más musculosos del grupo. En parte tiene que ver con la veneración de John Lennon por Chuck Berry y su entrega a las campañas en favor de la paz en las que estaba muy implicado por entonces. El tejano Delbert McClinton escogió “Come Together” para el álbum Come Together - America Salutes The Beatles de 1995, en el que participaron varios de los grandes nombres de la country music. Espléndido con la armónica, en una gira por Gran Bretaña a comienzos de los 60 con Bruce Channel, al que había acompañado en su clásico "Hey! Baby", enseñó a John Lennon algunos trucos con la armónica. Se notó mucho en “Love Me Do”. Cuando Rosanne Cash dejó el sello Columbia en 1965, la compañía publicó un recopilatorio titulado Retrospective, al que se añadió esta versión de “I’m Only Sleeping”, que John Lennon compuso para Revolver en 1966 en el reverso de una carta. Refleja a la perfección su estado de ánimo de entonces cuando no estaba de gira con los Beatles. Se pasaba el día en la cama bajo los efectos de las drogas durmiendo, escribiendo o leyendo… hasta que McCartney venía a interrumpirle para trabajar sobre las canciones. Los Beatles impulsaron el comienzo de diversas bandas del Merseybeat. Varias de sus composiciones sirvieron para que aquellos grupos empezaran a despuntar. En 1963 John Lennon entregó uno de esos temas a Billy J. Kramer & The Dakotas. Era “I Call Your Name”, que él mismo había escrito antes incluso de que se formaran los Beatles en casa de su tía Mimi, con la que se crió. Billy J. Kramer & The Dakotas la utilizaron como B de “Bad To Me”, otra composición del binomio Lennon/McCartney, pero no acabó de convencerlos, de tal forma que los Beatles hicieron su propia versión, apareciendo primeramente en Estados Unidos dentro del llamado Second Album y en 1964 en Gran Bretaña formando parte del EP Long Tall Sally. En 1966, The Mamas And The Papas, “la familia real de Laurel Canyon”, hicieron su debut con el álbum If You Can Believe Your Eyes and Ears y la dieron a conocer a nivel popular en Estados Unidos. “In My Life” se incluyó originalmente en un Lp tan imponente como Rubber Soul de los Beatles. En el texto, aunque la autoría fue compartida con McCartney, un John Lennon que acababa de cumplir 25 años recordaba con nostalgia a la gente y los lugares donde pasó una parte muy importante de sus años jóvenes. La canción tiene claras reminiscencias de “Penny Lane” y “Strawberry Fields Forever” y el músico exploraría la misma temática en los siguientes momentos de su carrera, de forma muy especial en el doble álbum del cuarteto, bien conocido como el Álbum Blanco. En 1994, Crosby, Stills & Nash editaron su álbum After The Storm coincidiendo con el 25º aniversario de su disco de debut, tras haber estado dedicados a ampliar su discografía en solitario, con dos nuevos álbumes por parte de Stills y Crosby, además de un recopilatorio de Nash. Todas las canciones de este disco que les llevó a hacer una larga gira, incluyendo el Woodstock ’94, pertenecían a los tres músicos, excepto una versión de “In My Life”.  John Lennon siempre admitió las más variadas experiencias, que se fueron ampliando con el paso de los años. El rock and roll de sus comienzos dio paso a una cierta fijación por figuras como las de Elvis, los Everly Brothers o Bob Dylan y su forma de crear canciones. Si ellos podían hacerlo, Lennon también. “You've Got To Hide Your Love Away” fue una de sus primeras reflexiones sobre su manera de escribir, que había comenzado con temas como "I'm a Loser" en el verano del 64. Lennon la compuso en casa, buscando un nuevo tema para la película Help!. Jackson Browne, que al versionar a los Beatles siempre se ha inclinado por las creaciones de John Lennon, la cantó así en uno de sus homenajes. Jonathan Edwards es un veterano artista de Aitkin, Minnesota, que empezó su carrera abriendo los conciertos de B.B. King y la Allman Brothers Band, fichando por Capricorn Records y lanzando su disco de debut hace 47 años. En 2011, Jonathan Edwards publicaba su álbum My Love Will Keep incluyendo una versión de “She Loves You”, muy alejada de como conocíamos aquella canción de los Beatles que a mediados de septiembre de 1963 se editaba como single en Estados Unidos en un pequeño sello discográfico llamado Swan Records. En este caso, “She Loves You” tiene que ver con una cierta fijación de Paul McCartney con una canción de Bobby Rydell titulada “Forget Him” (“Olvídale”) y pensó en crear una dónde preguntar “¿Ella te quiere?” y que los demás contestaran “Si”. Lo comentó con Lennon y la idea quedó flotando en el ambiente. Empezaron a trastear con las guitarras en el hotel mientras estaban de gira con Roy Orbison y Gerry and the Pacemakers y terminaron aquella composición en casa de Paul al día siguiente. Jim Lauderdale también se fijó en el álbum Rubber Soul del cuarteto de Liverpool y eligió “I’m Looking Through You”, llevándose el tema hasta el sonido de Bakersfield y las influencias de Buck Owens. Producido por Phil Madeira y grabado en la Music City, Nueva York y San Francisco, el álbum Let Us In Americana contaba entre los invitados con Buddy Miller, Will Hoge, Rodney Crowell, Ketch Secor de Old Crow Medicine Show, Steve Earle y Allison Moorer. Escuchar audio

The whole band gathers 'round to discuss the pending release of their newest EP, The Shelter Sessions! They talk about what life was like during the isolated recording process, their favorite tracks, and more exciting band news! Follow us on Spotify for all of our podcasts and music! Our newest record, The Shelter Sessions will be released September 4th on streaming services everywhere. In the meantime you can find it on our BandCamp page! VINYL RECORDS OF OUR DEBUT, SELF-TITLED ALBUM ARE NOW AVAILABLE! CLICK HER FOR A PURCHASE LINK Featured Music: (intro) “Stumblin'” by Radiokeys "I'm Only Sleeping" by Radiokeys (The Beatles) "Sex And Candy" by Radiokeys (Marcy Playground) “Polar Opposites” by Radiokeys (Modest Mouse) If you like the podcast, please lend us a 5 Star Review on iTunes or the Apple Podcast App (the algorithms seem to like that!), tell a friend, and please subscribe, it'd mean the world to us!  Radiokeys' Information: RadiokeysMusic.com Instagram: @RadiokeysMusic Youtube: Radiokeys Twitter: @Radiokeys Facebook: Facebook.com/radiokeysmusic

10 impactful albums challenge! Actually I did like 15... The top albums that shaped me, PLUS I debut another brand new Mayer Hawthorne song! Tracklist: LL Cool J "I'm Bad" (Bigger And Deffer) Mobb Deep "Up North Trip" (The Infamous) Prince "When You Were Mine" (Dirty Mind) The Cars "Bye Bye Love" (The Cars) Kraftwerk "Computer World 2" (Computer World) The Beatles "I'm Only Sleeping" (Revolver) Smashing Pumpkins "Spaceboy" (Siamese Dream) Slum Village "Untitled" (Fantastic Vol. 2) Barry White "Playing Your Game" (Barry White Sings For Someone You Love) Parliament "Dr. Funkenstein" (The Clones of Dr. Funkenstein) Marvin Gaye "After The Dance (Instr)" (I Want You) The Moments "Next Time I See You" (Those Sexy Moments) Bob Marley "All Day All Night" (Catch A Fire) Steely Dan "The Caves of Altamira" (The Royal Scam) The Three Sounds "It's Nice" (Introducing The Three Sounds) Mayer Hawthorne "Healing"

10 impactful albums challenge! Actually I did like 15... The top albums that shaped me, PLUS I debut another brand new Mayer Hawthorne song! Tracklist: LL Cool J "I'm Bad" (Bigger And Deffer) Mobb Deep "Up North Trip" (The Infamous) Prince "When You Were Mine" (Dirty Mind) The Cars "Bye Bye Love" (The Cars) Kraftwerk "Computer World 2" (Computer World) The Beatles "I'm Only Sleeping" (Revolver) Smashing Pumpkins "Spaceboy" (Siamese Dream) Slum Village "Untitled" (Fantastic Vol. 2) Barry White "Playing Your Game" (Barry White Sings For Someone You Love) Parliament "Dr. Funkenstein" (The Clones of Dr. Funkenstein) Marvin Gaye "After The Dance (Instr)" (I Want You) The Moments "Next Time I See You" (Those Sexy Moments) Bob Marley "All Day All Night" (Catch A Fire) Steely Dan "The Caves of Altamira" (The Royal Scam) The Three Sounds "It's Nice" (Introducing The Three Sounds) Mayer Hawthorne "Healing"

A tribute to the recording engineer whose in-studio innovations helped shape The Beatles’ sound—and alter the course of popular music. Geoffrey Emerick (born 5th December 1945, died 2nd October 2018) was just 16-years-old when, on 6th June 1962, he joined the EMI Studios on Abbey Road as a tape operator. Two days later, he attended the group’s first recording session with Ringo Starr on drums. He subsequently assisted on a number of sessions, including those for ‘She Loves You’ and ‘I Want to Hold Your Hand’, before replacing Norman Smith as The Beatles’ chief engineer in early 1966 and diving straight into the deep end with the first track committed to tape for their landmark ‘Revolver’ LP: the revolutionary, now-legendary ‘Tomorrow Never Knows’. The following year, ‘Sgt. Pepper’s Lonely Hearts Club Band’ won him his first of four Grammy Awards. In this episode, Richard, Erik, Allan and Craig examine how, together with producer George Martin, Geoff helped realize The Beatles’ most far-flung creative ambitions. And there is also an enlightening interview with multi-award-winning engineer John Kurlander, who assisted Geoff on the group’s final album, ‘Abbey Road’. Featured Tracks Tomorrow Never Knows (STTS remix) Yer Blues Good Day Sunshine Good Morning Good Morning Golden Slumbers/Carry That Weight/The End (STTS remix) I’m Only Sleeping A Day in the Life (STTS remix)

Back in the 1960s, courtesy of Capitol Records executive Dave Dexter, Jr., American Beatles fans bought different records and often heard very different mixes to those enjoyed by their British counterparts: ones bathed in reverb and converted into fake stereo “with the assistance” of Mr. Dexter. Those mixes have long since been eliminated from the catalogue, but they’re back with a vengeance in this show—and subjected to the scrutiny of Messrs. Taros, Buskin, Bartock and Kozinn as they discuss the pros, cons, and marketing strategies behind these alternately popular and egregious alterations to The Beatles’ music. What emerges is information that will enlighten listeners on both sides of the Atlantic—while jolting them with juxtaposed U.S. and U.K. mixes of some legendary tracks. The music: ‘Thank You Girl’ ‘I’ll Get You’ ‘I Call Your Name’ ‘You Can’t Do That’ ‘The Word’ ‘I’m Looking Through You’ ‘And I Love Her’ ‘She Loves You’ ‘Help!’ ‘She’s a Woman’ ‘I Feel Fine’ ‘I’m Only Sleeping’ ‘And Your Bird Can Sing’ ‘Doctor Robert’ ‘That Means a Lot’ ‘Long Tall Sally’ ‘Roll Over Beethoven’

F Afzelius, Cosmic Blues, Pop Spectrum (Volume 3) Midnight Runners, Daddy Standby, Nusantara Funk Breaks Two Band Aid, L'Invincibile Armada, Due Andy Rantzen, Will I Dream?, Oz Waves Wolf Muller, Pflanzentanz (Kontan Chok Mix), Balztanz Lichtblick, Meuterei Auf Dem Immenhof (Psychemagik edit) The Beatnigs, Television (On-U Sound Dance Mix), Television information Society, Disco's Not Dead (It's Only Sleeping), Apocryphon DJ Bett & Eagle, I Am Your Master / Import, I Am Your Master / Import Gökçen Kaynatan, Evren (Extended Version), Gökçen Kaynatan Solid Space, Destination Moon, Space Museum From Nursery To Misery, Dreaming Of You, Pixies In The Woods Jo Squillo Eletrix, Avventurieri (Remix Dance Version), Avventurieri ? The Rimshooters, Deep Electric, Dimensione Volume Uno Santiago Salazar, Sara Rivera, Aspirations For Young Xol Moderna Y Theus Mago, Asesino Psicótico, Lumière Noire 03 Whodamanny, Neuter Gyrum, Primaria Industria Francisco, Disco Wizard (Dub Version), Dimensione Volume Uno Use No Hooks, Do The Job (Psychemagik edit), Psychemagik Archive 2009-2017 B. Cohen & H. Mahmoud, Cap York, Australian Beat Connection Laurice Hudson, Feel My Love (Instrumental), Feel My Love Albion, Fire Dance (Albion edit), Disco Ritual EP The Mystic Jungle Tribe, Vespro, Qvisisana Sound On Sound, Depression, Uneven Paths: Deviant Pop From Europe 1980-1991 Erkin Koray, Cemalim (Timboletti Edit), Erkin Koray Edits Daniele Baldelli, Electrodub, Cosmic Sound Wolf Müller & Niklas Wandt, Lockerina, Instrumentalmusik Von Der Mitte Der World, Michal Turtle, Rainwater Fijit, Phantoms Of Dreamland E Ruscha V & Woo, Who Are You (Woo Dub), Woo Are You

John Gourley and Eric Howk from the band Portugal. The Man explain how "I'm Only Sleeping" by the Beatles and the Woodstock documentary and soundtrack changed the way they saw music and inspired the making of their latest record Woodstock.

New Mike Nesmith Interview! Butch Patrick speaks about his MONKEES role! Butch portrayed snooty "Melvin," on the famed 1967 MONKEES "Christmas Episode!" Butch talks about his interest in the band, how each Monkee affected him personally, and his many memories of filming that episode! Hear a rare re-mix of "Love is Only Sleeping!" Super-psychedelic! And: Micky's very early recorded singing, in a 1958 CIRCUS BOY audio clip! Much more!

On the second part of the Never Gets Old Podcast's first episode we continue getting to know Mac and Nick. First up: Mac's Favorite Superheroes. Next up, the boys share their diverse musical tastes. Then we get to hear who would make the cut on their League of Extraordinary Gentlemen on the Hero and Villian side. Finally, we get the the guys current reading picks. The song pick for this episode is: "Love is Only Sleeping" by The Monkees. Please share these episodes with friends and look for us on Facebook for the latest updates. Comments and Questions are always welcome. Thanks for listening:)

Never Gets Old is an exciting podcast about the hobbies we keep and love our whole life. Join Mac Jackson and Nick Naro as they share their passion for everything they love in the areas of Comics, TV, Movies and Music. Discover how a childhood toy can change your whole world and how a song or character can inspire you to be more. Listen to Mac and Nick as they learn about each other's interests with the help of occasional guests, survey questions, top five lists, questions from listeners and more. From light hearted chit chat to thought provoking debates, this podcast has it all! In this first half, get to meet your hosts Mac and Nick as they touch upon what got them into Indiana Jones which somehow leads into religion and faith. Find out who their personal heroes are. What makes a successful TV show and movie and what movies are great despite not scoring big at the box office. Tune in for part two to hear their musical and comic favs as well as who would be in their League of Extraodinary Gentlemen.Look for us on YouTube and Facebook. Questions and comments are always welcome:) Thanks for listening and sorry for the audio issue. It has since been fixed:) The intro song for this episode is: "Love is Only Sleeping" by The Monkees.

1. Fairest One of All - The Spin Room2. The Escapist - Second Hand Lions3. Triceratops - They Sent Us Here4. Shame - We're Not Friends Anymore5. Sleeping at Last - Porcelain6. Only Sleeping for Ryan - The Humdrum Rebellion7. The Marathon Runner - The Ethnographers8. Change the World - The Cave Boys9. Untitled - Beautiful Lies10. Alligator Bop - A Great Pile of Leaves11. High Ride - Cheap Seats12. Saturday Night Fever Dreams - Hailey It Happens13. The Times - Rilez14. On My Wings of Sin - One Glimpse away. 15. ... And Seasons Still Prevail/Middle Man - Second Hand Lionsemail Vivian @ vvn.duong@gmail.com if you want to request songs to play on the show.

I'm Only Sleeping is one of Lennon's most Lennonesque songs: the chords keep meandering up and down, the lyrics look simple at first, but become more mysterious as you try to interpret them. The theme is a well-known Lennon view: Lennon is right and the world is wrong. In this case, he contrasts his own relaxed approach to life, to the senseless business of the rest of us. (as in Strawberry Fields, "Nothing is real, nothing to get hung about....") Lennon seems to have a thing with sleeping and waking up: I'm So Tired is also about a sleep/wake state, then there's the Bed-In ritual with Yoko, no. 9 Dream etc. There's A Place can also be seen in this light ('there's a place where I can go, and it's my mind'). Sleeping/lying in bed is then for Lennon a 'safe place' where the Bad World can't touch him. A typcially childish feeling, but we know Lennon was abit mixed-up...... This version combines an early take (from Anthology) with the Revolver Lyrics, and a George Martin backing track. The lossless version is available on the compilation 'Beatle Blends".