Podcasts about Plastic Ono Band

## Record Rumble: Beatle Battle – John Lennon vs. Paul & Linda McCartneyIt's the ultimate post-Beatles showdown! In the grand finale of our Record Rumbles series, we pit two landmark solo albums head-to-head: John Lennon's raw, confessional Plastic Ono Band (1970) versus Paul & Linda McCartney's whimsical, genre-bending Ram (1971). We break down standout tracks, production styles, and the personal and musical jabs traded between these legendary ex-bandmates. Which album delivers the knockout punch—Lennon's primal honesty or McCartney's melodic inventiveness? Join us as we debate which post-breakup statement resonates most deeply today.Diggin':- Young Gun Silver Fox – Pleasure (2025)- Luke Combs – This One's For You (2017)- Broncho – Natural Pleasure (2025)- Grant-Lee Phillips – In the Hour of Dust (2025)Which solo Beatle takes the crown? Join the conversation on Instagram, Facebook, BlueSky, and Threads @albumnerds or email us at podcast@albumnerds.com. Thanks for listening!

Look, some “Beatles podcasts” don't have the

Best of John Lennon 1962-1980 DELUXE EDITION (sans mes commentaires) P.McCartney-Rockestra theme-Back to the egg (79)-GénériqueBeatles-Twist and shout-Please please me (63)Beatles-You've got to hide your love away-Help! (65)Beatles-Girl-Rubber Soul (65)Beatles-Norwegian Wood-Rubber Soul (65)Beatles-I'm only sleeping-Revolver (66)Beatles-Tomorrow never knows-Revolver (66)Beatles-Lucy in the sky with Diamonds-Sgt Pepper's Lonely Hearts Club Band (67)Beatles-A day in the life-Sgt Pepper's Lonely Hearts Club Band (67)Beatles-Strawberry fields forever-Magical Mystery Tour (67)Beatles-I am the walrus-Magical Mystery Tour (67)Beatles-Happiness is a warm gun-White Album (68)Beatles-Sexy Sadie-White Album (68)Beatles-I want you (She's so heavy)-Abbey Road (69)Beatles-Because-Abbey Road (69)J.Lennon-Give peace a chance-"Single" (juil. 1969)J.Lennon-Working class hero-Plastic Ono Band (70)J.Lennon-Imagine-Imagine (71)J.Lennon-Jealous guy-Imagine (71)J.Lennon-New York City-Some time in New York City (72)J.Lennon-Mind games-Mind Games (73)J.Lennon-Intuition-Mind Games (73)J.Lennon-#9 dream-Walls and bridges (74)J.Lennon-You can't catch me-Rock'n'roll (75)J.Lennon-Slippin' and Sliddin'-Rock'n'roll (75)J.Lennon-Woman-Double fantasy (80)Beatles-Free as a bird-Single (95)Beatles-Real love-Single (96)Beatles-Now and then-Single (23)P.McCartney-Rockestra theme-Back to the egg (79)-Générique

Best of John Lennon (1962-1980) Beatles-Twist and shout-Please please me (63)Beatles-You've got to hide your love away-Help! (65)Beatles-Girl-Rubber Soul (65)Beatles-Norwegian Wood-Rubber Soul (65)Beatles-I'm only sleeping -Revolver (66)Beatles-Tomorrow never knows-Revolver (66)Beatles-Lucy in the sky with Diamonds-Sgt Pepper's Lonely Hearts Club Band (67)Beatles-A day in the life-Sgt Pepper's Lonely Hearts Club Band (67)Beatles-Strawberry fields forever-Magical Mystery Tour (67)Beatles-I am the walrus-Magical Mystery Tour (67)Beatles-Happiness is a warm gun-White Album (68)Beatles-Sexy Sadie-White Album (68)Beatles-I want you (She's so heavy)-Abbey Road (69)Beatles-Because-Abbey Road (69)J.Lennon-Give peace a chance-"Single" (juil. 1969)J.Lennon-Working class hero-Plastic Ono Band (70)J.Lennon-Imagine-Imagine (71)J.Lennon-Jealous guy-Imagine (71)J.Lennon-New York City-Some time in New York City (72)J.Lennon-Mind games-Mind Games (73)J.Lennon-Intuition-Mind Games (73)J.Lennon-#9 dream-Walls and bridges (74)J.Lennon-You can't catch me-Rock'n'roll (75)J.Lennon-Slippin' and Sliddin'-Rock'n'roll (75)J.Lennon-Woman-Double fantasy (80)Beatles-Free as a bird-Single (95)Beatles-Real love-Single (96)Beatles-Now and then-Single (23)

Album de la semaine: "Somewhere in England" (George Harrison 1981) G.Harrison-Blood from a clone-Somewhere in England (81)J.Lennon-I found out-Plastic Ono Band (70)P.McCartney-Dear boy-Ram (71)R.Starr-Beaucoups of blues-Beaucoups of blues (70)Beatles-Tell me why-A hard day's night (64)G.Harrison-Unconsciouness rules-Somewhere in England (81)Beatles-What goes on-Rubber Soul (65)Beatles-Eleanor Rigby-Revolver (66)P.McCartney-One of these days-McCartney II (80)Beatles-A beginning (take 4)/Don't pass me by (take 7)-White album (Super Deluxe Edition) (18-68)G.Harrison-Life itself-Somewhere in England (81)R.Starr-Photograph-Ringo (73)J.Lennon-Out the blue-Mind games (73)J.Lennon-Going down on love-Walls and bridges (74)P.McCartney-Band on the run-Band on the run (73)G.Harrison-All those years ago-Somewhere in England (81)Robert Cassard-Across the universe (cover)-Single (24)Rutles-Love life (almost "all you need is love")-All you need is cash (78)P.McCartney-Wanderlust-Tug of war (82)Beatles-Blue Jay Way-Magical Mystery Tour (67)G.Harrison-Writing's on the wall-Somewhere in England (81)Beatles-Strawberry fields forever (2015 mix)-"Penny Lane" double side A single (67)P.McCartney-The other me-Pipes of peace (83)R.Starr-What goes around-Time takes time (92)Beatles-I've got a feeling-Let it be (Super Deluxe) (21-70)G.Harrison-Baltimore Oriole-Somewhere in England (81)

In an attempt to escape from the long shadow of their big breakthrough hit, Creep, Radiohead turned for inspiration to the music of John Lennon and Jeff Buckley. The result was the brilliant album, The Bends -- one of the best albums of the 90's. Randy Renaud has the whole story on this week's edition of the Chronicles of Rock.

In the 2nd episode of ROTY 1970, Chris and Steve discuss and score the 3 biggest albums of the year according to Spotify streaming data using their tried and true ROTY rubric:1. Production2. Vocals & Lyrics3. Musical Prowess4. Average Song Score5. Listenability & LegacyAfter that, they score their first "One for Chrissy" album pick of the season. Tune in next week for Part 2 as they round out the top 6 albums of the year and tackle their inaugural "One for Stevie" selection.Our Spotify 1970 Playlist https://open.spotify.com/playlist/4wh5TDngA4VGroLf04Ouw5?si=a1c9404181bf4babE-mail:RecordOfTheYearPod@gmail.comInstagram:@recordoftheyear_podcast

Send us a textThe Plastic Ono Car (and Other Terrifying Tales)This week on The Wednesday Night Podcast, we're channeling the spirit of John Lennon and his Plastic Ono Band album…but with a decidedly less musical and significantly more terrifying twist. Craig regales us with a chilling tale of automotive possession, where a rogue piece of plastic wreaks havoc on his unsuspecting vehicle. Was it a ghost? A poltergeist? Or just a really annoying piece of trim? Only our listeners know.Prepare for a story of but crack, rattling panels, and the creeping suspicion that your car might be trying to kill you. We'll explore the psychological implications of being tormented by inanimate objects and question the true meaning of "plastic." Is it friend? Is it foe? Or is it just a figment of Craig's overactive imagination?So, grab your keys (and maybe an exorcist), buckle up, and join us for a ride into the twilight zone of automotive horror. Just try not to get too spooked…it could be lurking in your car…waiting…website: actonmusicproject.comemail: music@actonmusicproject.comCraig's phone number: ‪(978) 310-1613‬

Album de la semaine: "Band on the run" (Paul McCartney 1973) P.McCartney-Band on the run-Band on the run (73)J.Lennon-Oh Yoko !-Imagine (71)G.Harrison-What is life-All things must pass (70)R.Starr-I'm the greatest-Ringo (73)Beatles-Ask me why-Please please me (63)P.McCartney-Jet-Band on the run (73)G.Harrison-Give me love (give me peace on Earth)-Living in the Material World (73)Beatles-I'll follow the sun-For sale (64)Beatles-I feel fine-Single (64)J.Lennon-Working class hero-Plastic Ono Band (70)P.McCartney-Bluebird-Band on the run (73)Beatles-And I love her-A hard day's night (64)Beatles-Ticket to ride-Help ! (65)Traveling Wilburys -Heading for the light-Traveling wilburys, vol. 1 (88)Beatles-You've got to hide your love away-Help ! (65)P.McCartney-Let me roll it-Band on the run (73)Sean Connery-In my life-George Martin's "In my life" (98)R.Starr-Wrong all the time-Choose love (05)Tom Petty-Learning to Fly-Into the great wide open (91)G.Harrison-Brainwashed-Brainwashed (02)P.McCartney-Picasso's last words (drink to me)-Band on the run (73)J.Lennon-Rock & roll people-Menlove Ave. (86)J.Lennon-Medley: Bring it on home to me/Send me some loving-Rock'n'roll (75)Beatles-We can work it out-Double A side "Day tripper" single (65)R.Starr-We're on the road again (feat. P.McCartney)-Give more love (17)P.McCartney-Nineteen hundred and eighty five-Band on the run (73)P.McCartney-Kicked around no more-B side "Hope of delivrance" single (93)R.Starr-Gonna need someone-Crooked boy (24)

The Reverend Dr. Martin Luther King Jr. once described the freedom songs of the civil rights movement as “the soul of the movement.” What would the civil rights movement, the anti-war movement, the Black Lives Matter movement be like without iconic songs like “We Shall Overcome,” the Plastic Ono Band's “Give Peace A Chance” and Kendrick Lamar's “Alright”? In celebration of Martin Luther King Jr. Day, we're diving into the history of protest music in America.

Jean-Louis Aubert, chanteur de Telephone, est annoncé au Ronquières Festival cet été, le vendredi 1er août. C'est le brouillon d'une lettre très intéressante, écrite par John Lennon le 29 septembre 1971 et adressée à son ami Eric Clapton, est mise en vente aux enchères. Limp Bizkit et son leader Fred Durst ont intenté une action en justice au mois d'octobre contre Universal Music pour 200 millions de dollars de royalties qui ont été retenues de manière abusive, mais UMG cherche à rejeter le procès. Peggy Caserta, auteure d'une biographie sur Janis Joplin parue en 1973, dans laquelle elle révélait sa relation amoureuse avec la chanteuse, est décédée de causes naturelles le 21 novembre 2025, dans l'Oregon. Tout sourit à Linkin Park en ce moment : après le nouvel album, les dates de tournée ( sold out à Rock Werchter), sa nouvelle chanteuse Emily Armstrong, un concert-film sur la réalisation de From Zero, leur album est n°1 dans les charts de dix pays. Marilyn Manson a abandonné ses poursuites en diffamation contre l'actrice Evan Rachel Wood et a accepté de payer près de 327.000 dollars de frais d'avocat. Mots-Clés : retour, PAFINI, nom , allusion, nouvelles salves, affiche, Clara Luciani, Julien Doré, The Libertines, billetterie ; ouvert, note, pages, séparation officielle, Beatles, Plastic Ono Band, 1969, période, sombre, vie, accro, héroïne, public, Klaus Voormann, Jim Keltner, Nicky Hopkins, Phil Spector, refus, offre, Billboard, redevance, impayé, procès, annuler, contrat, enregistrement, restituer, droits d'auteur, dommages et intérêts, violation, des droits d'auteur, affaire, allégations, mensonge, plaignants, dissimulation, fiction, livre, Going Down With Janis, polémique, sortie, 1970, Los Angeles, overdose, relation, personne, sexe, mémoires, relations homosexuelles, monde de l'édition, place, USA, Angleterre, pole position, Allemagne, France, Italie, Hollande, Suisse, Autriche, Australie, Nouvelle-Zélande, Belgique, publiquement, agresseur, ancien fiancé, agression sexuelle, abus psychologique, coercition, violence, intimidation, Brian Warner, plainte, appel, décision, Rolling Stone, rapport, poursuites, intégralité, frais d'avocat. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, en direct chaque jour à 7h30 et 18h30 sur votre radio rock'n'pop. Merci pour votre écoute Plus de contenus de Classic 21 sur www.rtbf.be/classic21 Ecoutez-nous en live ici: https://www.rtbf.be/radio/liveradio/classic21 ou sur l'app Radioplayer BelgiqueRetrouvez l'ensemble des contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Découvrez nos autres podcasts : Le journal du Rock : https://audmns.com/VCRYfsPComic Street (BD) https://audmns.com/oIcpwibLa chronique économique : https://audmns.com/NXWNCrAHey Teacher : https://audmns.com/CIeSInQHistoires sombres du rock : https://audmns.com/ebcGgvkCollection 21 : https://audmns.com/AUdgDqHMystères et Rock'n Roll : https://audmns.com/pCrZihuLa mauvaise oreille de Freddy Tougaux : https://audmns.com/PlXQOEJRock&Sciences : https://audmns.com/lQLdKWRCook as You Are: https://audmns.com/MrmqALPNobody Knows : https://audmns.com/pnuJUlDPlein Ecran : https://audmns.com/gEmXiKzRadio Caroline : https://audmns.com/WccemSkAinsi que nos séries :Rock Icons : https://audmns.com/pcmKXZHRock'n Roll Heroes: https://audmns.com/bXtHJucFever (Erotique) : https://audmns.com/MEWEOLpEt découvrez nos animateurs dans cette série Close to You : https://audmns.com/QfFankx

The definitive exploration-told in revelatory detail-of the writing, recording, and release of John Lennon's celebrated and magical fourth solo album Mind Games, and the era that inspired it.Described by Yoko Ono as "ahead of its time," Mind Games is a breakthrough album from John Lennon in which he employs a Plastic Ono Band comprising the cream of the crop of New York session musicians-a fan favorite that remains a cult classic ever since its first release on October 29, 1973. This insightful and beautiful book presents handwritten lyrics, letters, artworks by Lennon and Ono, and previously unseen photography alongside their firsthand commentary about the lyrics, songs, and album artwork, as well as contributions from the musicians, friends, engineers, and key figures involved in the making of this landmark album. Mind Games was the product of an exceptionally turbulent time for the Lennons. While Nixon and Hoover were attempting to have Lennon deported, John and Yoko endured endless litigations and as the popular press turned on them once again, they bravely rose above it all, continuing their campaigns for non-violent peaceful protest to end the war in Vietnam and for equal rights for women. It was also an exciting time when they both re-embraced mysticism and magical thinking. In this sumptuous volume, text and images from the key players are woven together to reveal not only the details behind the creation, recording, and release of this groundbreaking commercial and skillfully crafted recording, but also to shed new light on a period of transformation and experimentation for Lennon and Ono. The original album will be re-released to coincide with the book, a completely remixed and reissued 6 x CD / 2 x BluRay digital edition of Mind Games, together with two deluxe Mind Games boxsets, bringing the album to a new generation of listeners. "Lavishly illustrated. The most interesting aspect of the book to students of Lennon's music is undoubtedly the inclusion of lyrics from his songs of the era, usually accompanied on facing pages by the former Beatle's handwritten drafts, with guitar chords indicated and his comments on the song's inspiration. A detailed look at an important chapter in the life of one of the iconic artists of the late 20th century.- Kirkus ReviewsBecome a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

Album de la semaine: "Rubber Soul" (Beatles 1965) Beatles-Norwegian wood (with 2 false starts)-Rubber Soul sessions (65)P.McCartney-Junk-McCartney (70)G.Harrison-Be here now (2024 mix)-Living in the Material World (50th anniversary) (24-73)J.Lennon-You can't catch me -Rock'n'roll (75)R.Starr-Love is a many splendoured thing-Sentimental journey (70)Beatles-Drive my car-Rubber Soul (65)Beatles-I me mine (2021 mix)-Let it be (Super Deluxe) (21-70)Beatles-The long and winding road (1969 Glyn Johns mix)-Let it be (Super Deluxe) (21-70)P.McCartney-Dear Friend (2018 remaster)-Wild life (special edition) (18-71)G.Harrison-The hottest gong in town-Songs by George Harrison (92)Beatles-In my life-Rubber Soul (65)P.McCartney-Let me roll it-Band on the run (73)P.McCartney-My carnival-B side "Spie like us" (85)/Venus and Mars (75)J.Lennon-Oh my love-Imagine (71)J.Lennon-My mummy' dead-Plastic Ono Band (70)Beatles-Girl-Rubber Soul (65)Queatles and Been-Revolution (cover)-USBMark Hudson-Forget you two-The artist (14)G.Harrison-I live for you-All things must pass sessions (70)R.Starr-You don't know me at all-Rotogravure (76)R.Starr-Time on my hands-From the forthcoming album "Look up" (25)Beatles-Nowhere man-Rubber Soul (65)J.Lennon-Ya ya (Julian Lennon on drums)-Rock'n'roll (75)Beatles-Revolution -Single (68)R.Starr-I've changed my mind-The Memphis demos-Unreleased (87)P.McCartney-Walking in the park with Eloïse (written by Jim McCartney)-B side "Junior's farm" (74)/At the speed of sound (76)Beatles-What goes on-Rubber Soul (65)Beatles-Old brown shoe-Single (69)Beatles-The ballad of John and Yoko-B side "Old brown shoe" single (69)P.McCartney-Morse moose and the grey goose-London town (78)R.Starr-Gonna need someone-Crooked boy (24)

Album de la semaine: "Rubber Soul" (Beatles 1965) Beatles-Norwegian wood (with 2 false starts)-Rubber Soul sessions (65)P.McCartney-Junk-McCartney (70)G.Harrison-Be here now (2024 mix)-Living in the Material World (50th anniversary) (24-73)J.Lennon-You can't catch me-Rock'n'roll (75)R.Starr-Love is a many splendoured thing-Sentimental journey (70)Beatles-Drive my car-Rubber Soul (65)Beatles-I me mine (2021 mix)-Let it be (Super Deluxe) (21-70)Beatles-The long and winding road (1969 Glyn Johns mix)-Let it be (Super Deluxe) (21-70)P.McCartney-Dear Friend (2018 remaster)-Wild life (special edition) (18-71)G.Harrison-The hottest gong in town-Songs by George Harrison (92)Beatles-In my life-Rubber Soul (65)P.McCartney-Let me roll it-Band on the run (73)P.McCartney-My carnival-B side "Spie like us" (85)/Venus and Mars (75)J.Lennon-Oh my love-Imagine (71)J.Lennon-My mummy' dead-Plastic Ono Band (70)Beatles-Girl-Rubber Soul (65)Queatles and Been-Revolution (cover)-USBMark Hudson-Forget you two-The artist (14)G.Harrison-I live for you-All things must pass sessions (70)R.Starr-You don't know me at all-Rotogravure (76)R.Starr-Time on my hands-From the forthcoming album "Look up" (25)Beatles-Nowhere man-Rubber Soul (65)J.Lennon-Ya ya (Julian Lennon on drums)-Rock'n'roll (75)Beatles-Revolution-Single (68)R.Starr-I've changed my mind-The Memphis demos-Unreleased (87)P.McCartney-Walking in the park with Eloïse (written by Jim McCartney)-B side "Junior's farm" (74)/At the speed of sound (76)Beatles-What goes on-Rubber Soul (65)Beatles-Old brown shoe-Single (69)Beatles-The ballad of John and Yoko-B side "Old brown shoe" single (69)P.McCartney-Morse moose and the grey goose-London town (78)R.Starr-Gonna need someone-Crooked boy (24)

Album de la semaine: "Ringo" (Ringo Starr 1973) R.Starr-I'm the greatest-Ringo (73)P.McCartney-Tomorrow-Wild life (71)J.Lennon-Hold on-Plastic Ono Band (71)G.Harrison-True love-Thirty three and 1/3 (76)Beatles-One after 909-Let it be (70)R.Starr-Sunshine life for me (Sail away Raymond)-Ringo (73)Beatles-Sgt Pepper's Lonely Hearts Club Band-Sgt Pepper's Lonely Hearts Club Band (67)Beatles-With a little help from my friends-Sgt Pepper's Lonely Hearts Club Band (67)P.McCartney-I've had enough-London town (78)J.Lennon-Bring on the Lucie (Freda people)-Mind games (73)R.Starr-You're sixteen (you're beautiful and you're mine)-Ringo (73)Beatles-We can work it out-Double A side "Day tripper" (65)Beatles-Nowhere man-Rubber soul (65)J.Lennon-Surprise surprise (sweet bird of paradox)-Walls and bridges (74)G.Harrison-Unconciousness rules-Somewhere in England (81)R.Starr-Have you seen my baby ?-Ringo (73)Jeff Lynne-While my guitar gently weeps (feat. D.Harrison & Prince)-George Harrison's Hall of fame induction 2004 (04)Freiheit-Keeping the dream alive-Fantasy (88)P.McCartney-Despite repeated warnings-Egypt station (18)P.McCartney-I can bet-New (13)R.Starr-Six o'clock-Ringo (73)G.Harrison-Between the Devil and the Deep Blue Sea-Brainwashed (02)Beatles-And I love her-A hard day's night (64)Beatles-Got to get you into my life-Revolver (66)R.Starr-Photograph-Give more love (17)Beatles-Goodnight-White album (68)Beatles-Helter skelter-White album (68)Beatles-Here comes the sun/Because-Abbey Road (69)

Album de la semaine: "Ringo" (Ringo Starr 1973) R.Starr-I'm the greatest-Ringo (73)P.McCartney-Tomorrow-Wild life (71)J.Lennon-Hold on-Plastic Ono Band (71)G.Harrison-True love-Thirty three and 1/3 (76)Beatles-One after 909-Let it be (70)R.Starr-Sunshine life for me (Sail away Raymond)-Ringo (73)Beatles-Sgt Pepper's Lonely Hearts Club Band-Sgt Pepper's Lonely Hearts Club Band (67)Beatles-With a little help from my friends-Sgt Pepper's Lonely Hearts Club Band (67)P.McCartney-I've had enough-London town (78)J.Lennon-Bring on the Lucie (Freda people)-Mind games (73)R.Starr-You're sixteen (you're beautiful and you're mine)-Ringo (73)Beatles-We can work it out-Double A side "Day tripper" (65)Beatles-Nowhere man-Rubber soul (65)J.Lennon-Surprise surprise (sweet bird of paradox)-Walls and bridges (74)G.Harrison-Unconciousness rules-Somewhere in England (81)R.Starr-Have you seen my baby ?-Ringo (73)Jeff Lynne-While my guitar gently weeps (feat. D.Harrison & Prince)-G.H.'s Hall of fame induction 2004 (04)Freiheit-Keeping the dream alive-Fantasy (88)P.McCartney-Despite repeated warnings-Egypt station (18)P.McCartney-I can bet-New (13)R.Starr-Six o'clock-Ringo (73)G.Harrison-Between the Devil and the Deep Blue Sea-Brainwashed (02)Beatles-And I love her-A hard day's night (64)Beatles-Got to get you into my life-Revolver (66)R.Starr-Photograph-Give more love (17)Beatles-Goodnight-White album (68)Beatles-Helter skelter-White album (68)Beatles-Here comes the sun/Because-Abbey Road (69)

The definitive exploration-told in revelatory detail-of the writing, recording, and release of John Lennon's celebrated and magical fourth solo album Mind Games, and the era that inspired it.Described by Yoko Ono as "ahead of its time," Mind Games is a breakthrough album from John Lennon in which he employs a Plastic Ono Band comprising the cream of the crop of New York session musicians-a fan favorite that remains a cult classic ever since its first release on October 29, 1973. This insightful and beautiful book presents handwritten lyrics, letters, artworks by Lennon and Ono, and previously unseen photography alongside their firsthand commentary about the lyrics, songs, and album artwork, as well as contributions from the musicians, friends, engineers, and key figures involved in the making of this landmark album. Mind Games was the product of an exceptionally turbulent time for the Lennons. While Nixon and Hoover were attempting to have Lennon deported, John and Yoko endured endless litigations and as the popular press turned on them once again, they bravely rose above it all, continuing their campaigns for non-violent peaceful protest to end the war in Vietnam and for equal rights for women. It was also an exciting time when they both re-embraced mysticism and magical thinking. In this sumptuous volume, text and images from the key players are woven together to reveal not only the details behind the creation, recording, and release of this groundbreaking commercial and skillfully crafted recording, but also to shed new light on a period of transformation and experimentation for Lennon and Ono. Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

Album de la semaine: "Traveling Wilburys, vol. 3"-George Harrison 1990 Beatles-Twist and shout-Please please me (63)-Hommage au restaurant "Twist'n'crêpes"Traveling Wilburys-She's my baby-Traveling Wilburys, vol. 3 (90)R.Starr-Only you (and you alone)-Goodnight Vienna (74)J.Lennon-Look at me-Plastic Ono Band (70)P.McCartney-Call me back again-Venus and Mars (75)Beatles-Here comes the sun-Abbey Road (69)Traveling Wilburys-Where were you last night-Traveling Wilburys, vol. 3 (90)G.Harrison-Give me love (give me peace on Earth) (take 18)-Living in the Material World (50th anniversary edition) (24-73)P.McCartney-Same time next year-Rejected from the movie "Same time, next year" (78)Beatles-Sgt Pepper's Lonely Hearts Club Band (reprise)-Sgt Pepper's Lonely Hearts Club Band (67)Beatles-A day in the life-Sgt Pepper's Lonely Hearts Club Band (67)Traveling Wilburys-You took my breath away-Traveling Wilburys, vol. 3 (90)Beatles-This boy (laughing version)-"Free as a bird" single (95)P.McCartney-Waterspout-From the "London town" sessions (77-78)J.Lennon-I know (I know)-Mind games (73)Traveling Wilburys-Inside out-Traveling Wilburys, vol. 3 (90)The platters-Only you (and you alone)-Only you (59)Julian Lennon -Because-From the musical "Time" (86)P.McCartney-Did we meet somewhere before ?-From the movie score "Heaven can wait" (78)R.Starr-February sky-Crooked boy (24)Traveling Wilburys-Wilbury twist-Traveling Wilburys, vol. 3 (90)R.Starr-Feeling the sun (feat. P.McCartney)-Rewind forward (23)P.McCartney-Brown eyed handsome man-Run Devil run (99)Beatles-Here, there and everywhere -"Real love" single (96)Beatles-Gimme some truth (rehearsal)-Let it be (Super Deluxe) (21-70)Traveling Wilburys-New blue moon-Traveling Wilburys, vol. 3 (90)Beatles-Across the Universe (2021 remix)-Blue Album (21-73)Beatles-Hello, goodbye-Magical Mystery Tour (67)P.McCartney-Station II/Hunt you down/Naked/C-link-Egypt Station (18)R.Starr-What's my name-What's my name (19)

This week on Classic Vinyl Podcast, Justin and Tyler listen to and give their thoughts on John Lennon's 1969 solo single Cold Turkey. Recorded during his time with the Beatles, the rest of the band did not want to record the song under The Beatles name because of the obvious drug reference. Give it a listen and let us know what you think.

Singles Going Around- Saturday Comes In Colors The Beatles- "Drive My Car"Van Morrison- "Jackie Wilson Said"The Standells-"Sometimes Good Guys Don't Wear White"The Grateful Dead- "Cumberland Blues"The Monkees- "Let's Dance On"The Sex Pistols- "C'mon Everybody"Otis Redding- "Love Man"Plastic Ono Band- "Remember"Simon & Garfunkel- "The Big Bright Green Pleasure Machine"Lightnin' Slim- "Rooster Blues"The Yardirds- "Heart Full Of Soul"Nirvana- "Molly's Lips"Led Zeppelin- "Hey, Hey What Can I Do"Love- "Hey Joe"Captain Beefheart & The Magic Band- "Lick My Decals Off Baby"The White Stripes- "Lafayette Blues"The Doors- "Roadhouse Blues"13th Floor Elevators- "You Gonna Miss Me"Cream- "I'm So Glad"*all selections taken from the original records.

☕️Buy me a coffee: https://www.everyonelovesguitar.com/support

Merry Christmas to all of our Classic Vinyl Podcast listeners. This episode, Justin and Tyler review John Lennon and The Plastic Ono Band's 1971 Christmas song release of Happy XMAS (War Is Over). Both a Merry Christmas and Happy New Year song along with an anti-war song all in one, give it a listen and let us know what you think, If You Want It! Merry Christmas and A Happy New Year from Justin and Tyler! Support our podcast and buy us a beer https://www.buymeacoffee.com/classicvinylpod

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

Bienvenidísima queridísima fauna de la noche que se atreve a sobar los botones de la radiola o las teclas del ordenador hasta estrellarse con la señal de Política y RockandRoll Radio en la 106.7 de la FM y empezar nuestro Ritual de lo VIRTUAL eclectomeiroland Sedición #515 les saluda su servilleta Juan Eltomeiro Jackson en la operación, producción, conducción e invocación de entidades baquetonas que en esta ocasión se manifiestan en la forma del 53 aniversario del John Lennon/Plastic Ono Band que es el álbum debut de John Lennon cómo solista, lanzado tras tres producciones experimentales editados junto a su pareja Yoko Ono; y el Live Peace in Toronto 1969 cómo la Plastic Ono Band.

Vor rund 50 Jahren ist im Dezember 1973 mit "Band on the Run" das dritte Studioalbum von Paul McCartney & Wings und das fünfte Studioalbum von Paul Mc Cartney nach der Trennung der Beatles erschienen. Paul McCartney hat die Band Paul McCartney & Wings im Jahr 1971 zusammen mit seiner Frau Linda McCartney gegründet — ein Jahr nach der Trennung der Beatles. Linda hat die Beatles zuvor schon als Fotografin begleitet und teilweise auch Vocals bei verschiedenen Alben hinzugesteuert. John Lennon hat einige Jahre zuvor bereits mit seiner Frau Yoko Ono die Plastic Ono Band gegründet. "Band on the Run" kann für Paul McCartney als eine Art Befreiungsschlag von seiner musikalischen Vergangenheit gesehen werden, den Beatles. Paul McCartney zeigt auf diesem Album, dass er es noch draufhat, losgelöst von seinem kongenialen Partner John Lennon als Songwriter, als Bassist und als Sänger zu arbeiten. Turbulente Produktionsbedingungen "Band on the Run" wurde in Afrika, in Nigeria, genau genommen in Lagos produziert. Für Paul McCartney klang das nach Sonne, nach Entspannung, das klingt danach, als könnte man hier ganz entspannt in wunderschöner afrikanischer Umgebung ein tolles Album aufnehmen. McCartney hatte die Koffer bereits gepackt, Demos und Songideen im Gepäck. Gitarrist Henry McCullough und Schlagzeuger Denny Seiwell sollen schon länger nach einem Grund für den Ausstieg gesucht haben. McCartney hat sie ihrer Meinung nach zu schlecht bezahlt und sie konnten sich künstlerisch nicht in dem Maße einbringen, wie sie das gerne wollten. Bis zum Tag des Abfluges am 9. August 1973 hatten beide gekündigt. Denny Laine war als einziger von den ursprünglichen Wings neben Paul und Lina McCartney mit nach Lagos geflogen. Was ein Glück — er war nämlich auch Multiinstrumentalist und konnte somit McCartney kräftig unterstützen. Trotzdem konnte er sich nicht so mit einbringen, wie er es gerne getan hätte. Dennoch — die drei waren produktiv und haben sich durchaus auch von Afrika musikalisch inspirieren lassen, zumindest rhythmisch. Ursprünglich wollte McCartney das Album sogar mit afrikanischen Musikern aufnehmen, hat sich dann aber dagegen entschieden, weil er viel Gegenwind bekommen hat. Zurück zum Tag der Ankunft in Lagos, Paul McCartney & Wings werden auf offener Straße überfallen. Alle Tapes und Ideen, die Paul bisher in irgendeiner Form für "Band on the Run" gesammelt hatte, waren also weg. Sie standen mit leeren Händen da und mussten alles aus ihrem Gedächtnis rekonstruieren. Auch eine gewisse Angst nach dem Überfall begleitete die McCartneys, die sie versucht haben mit Gras zu bekämpfen. Paul McCartney erlitt — vermutlich infolge übermäßigem Konsums — eine Panikattacke und musste ins dortige Krankenhaus. Zu den Aufnahmen war er zurück und hat gemeinsam mit Linda im Studio gearbeitet. Seine Frau war von Beruf aus Fotografin und hat während der Albumaufnahmen intensiv gelernt, die Instrumente zu spielen, vor allem das Klavier. Unter diesen katastrophalen Produktionsbedingungen, an denen andere Musiker und Musikerinnen womöglich verzweifelt wären, erschafft McCartney in diesem Kosmos ein großartiges Album und er schafft es wieder geliebt zu werden, so Fahrig weiter. Durchbruch von "Band on the Run" Es war nicht leicht für Paul McCartney nach der Trennung der Beatles. Nicht nur John Lennon sondern auch George Harrison sollten ihm musikalisch ernsthafte Konkurrenz machen. Seine beiden ersten Soloalben verkaufen sich zwar gut und sind erfolgreich, doch die Kritiker lassen ihn durchfallen und das soll noch schlimmer werden bei Paul McCartney and Wings. Trotzdem gab es 1973 eine große Auftragskomposition für James Bond 007 — der Durchbruch für Paul McCartney & Wings. "Band on the Run" ist der Welthit für Paul McCartney & Wings. Die Bande auf der Flucht, textlich wie musikalisch teilt sich dieser Song auf in 3 Teile. Ein dramaturgies, durchkomponiertes Meisterwerk. Diese Aufteilung und Strukturierung erinnerten stark an die Beatles-Ära, in der Paul diese Technik bereits perfektioniert hat. Musikalischer Scheidungskrieg zwischen McCartney und Lennon Im Jahr 1967 haben sich Linda Eastman und Paul McCartney das erste Mal getroffen, haben sich ineinander verliebt und dann 1969 geheiratet. Noch in einer Zeit, in der Paul McCartney aktives Mitglied der Beatles war. Sie hat alle Hochs und Tiefs der Band an der Seite ihres Mannes erlebt, und da gab es einige, gerade in den Endjahren der Beatles. Nach der offiziellen Trennung im April 1970 haben Paul McCartney und John Lennon einen Art offenen musikalischen Scheidungskrieg über Songs geführt. Den Anfang macht Paul McCartney 1971, er singt in "Too Many People" darüber, dass Lennon seine Glückssträhne zerbrechen hat lassen. Dieser antwortet darauf in seinem Album "Imagine" 1971 mit dem Song "How Do You Sleep?" mit den Worten "Das einzige, was du je geschafft hast, war "Yesterday". Wie kannst du schlafen?". McCartney antwortet seinerseits in "Band on the Run" mit dem Song "Let Me Roll It". Ein Song, wie John ihn selbst schreiben könnte, so Fahrig. "Let Me Roll It" ist ursprünglich eine Textzeile aus einem George Harrison-Song "I'd Have You Anytime" aus dem Album "All Things Must Pass" von 1970. McCartney und Lennon haben sich bald getroffen und sich einigen können. John Lennon bezeichnete seinerseits das Album "Band on the Run" sogar als fantastisches Werk. Paul McCartney – Lyrics Im November 2021 erschienenen Buch von PaulMcCartney "Lyrics" betrachtet er sein Leben und Werk intensiv im Prisma von 154 eigenen Songs. "Band on the Run" – Ein Meilenstein der Musikgeschichte Die Gruppe, die Band, die Bande auf der Flucht. Was genau hinter dem Albumtitel steckt, wieso die Band tatsächlich irgendwie auf der Flucht war und wie es Picasso auf dieses Album geschafft hat, warum Lagos vermeintlich kein guter Ort war, um eine Platte aufzunehmen und viel mehr, wird in dieser Episode besprochen. __________ Über diese Songs vom Album "Band on the Run" wird im Podcast gesprochen (15:50) – "Bluebird"(25:24) – "Jet"(29:49) – "Band on the Run"(48:33) – "Let Me Roll It"(52:27) – "Picasso's Last Words (Drink to Me)"__________ Über diese Songs wird außerdem im Podcast gesprochen (47:31) – "Too Many People" von Paul McCartney und Lina McCartney(49:14) – "I'd Have You Anytime" von George Harrison __________ Paul Mc Cartney & Wings Rockshow Live: https://youtu.be/BiCboZoKOcw?si=xPYLZJiAC3KyKQyh Rolling Stone: Paul McCartney & Wings veröffentlichen "Band on the Run": https://www.rollingstone.de/rewind-today-1973-paul-mccartney-wings-veroeffentlichen-band-on-the-run-362018/ Musik-Sammler Release: "Band on the Run": https://www.musik-sammler.de/release/paul-mccartney-wings-band-on-the-run-2-cd-358897/ YouTube Paul McCartney "Band on the Run": https://youtu.be/LulVVED_93c?si=ZU0uORCdXgIEfFq8 John Lennon singt das Album "Band on the Run": https://youtu.be/FPkC54xEEnU?si=JEzTPGiD4fno63oa Paul McCartney & Wings "Band on the Run" BBC-Doku: https://www.youtube.com/watch?v=Z9dEqN-dQtY __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Schreibt uns an: meilensteine@swr.de

Singles Going Around- Harvey Wallbanger's BluesLed Zepplin- "The Ocean"Faces- "Stay With Me"Paul McCartney- "3 Legs"Pretty Things- "She's A Lover"T. Rex- "20th Century Boy"The Band- "Ophelia"The Doors- "Touch Me"David Bowie- "Oh You Pretty Things"The Rolling Stones- "Respectable"Plastic Ono Band- "Dizzy Miss Lizzie"Bob Dylan- "One More Weekend"Jimi Hendrix- "Ezy Rider"Pink Floyd- "Sheep" (2018 mix)Rod Stewart- "Every Picture Tells A Story"*All selections from the original Lp's.

(10/09/23) - On what would've been his 83rd birthday, a ranking of his songs, from The Beatles to Plastic Ono Band and more

¿Què Pasa, New York? Mornings, on WXTV, Univision 41, Nueva York! But also, that's a refrain from arguably the most commercially viable song from John & Yoko/Plastic Ono Band's “Some Time In New York City”. So why wasn't the semi-title track a single? Why didn't it lead off the album; not enough racial epithets in the title? And who in the love of Danza decided “Angela” - a heart-wrenching tribute to Judith Light - belongs on ANY Lennon comp? So many preguntas! Què Pasa, indeed! Fortunately/Maybe (#Oasisish) it's time for part two of the highly anticipated CHICAGO STYLE deep-dish of one of the most derided solo Beatles albums this side of “The Family Way” soundtrack! And as if this 2LP set isn't long enough - the Giles Martin deluxe remix is slated to include the full 117 minute version of “Au” - the UBP's very own Cap'n Jamrag and Lt. Scumbag (#PossibleForestGumpReference), to answer these, and more!

All four solo Fabs released legendary albums in their lives. But among the critical darlings (“Gone Troppo”), chart topping smash hits (“Ringo Rama”, 5.1 edition) and absolutely despised, forgotten about, piles of doggie poo poo doo doo (“Band On The Run”), there are some solo albums that remain quite difficult to categorize. Like this week's Deep Dish Part 1 (CALORIE ALERT!) on the ever-controversial John & Yoko “Some Time In New York City”. Is this a terrible record? Is it actually brilliant? Has it aged better than expected in the 50 years since its release? What do you think this is, pal, “Sound Opinions?” Sure, you come here for us to answer those fab questions, but you also may be wondering:

The heat is (dun-dun-dun-dun-dun-dun-dun-dun) ON! Ending summer with a bang, the award-winning Lickers are discussing what they consider to be some of the most trusted record labels of all time. Even in the digital hellscape that is 2023, a reputable record label can be an important point of interest when discovering new bands, or music that may have been around a while but is new to you. Join the dysfunctional duo in a conversation built around the business entities that bring our favorite music onto our turntables and into our ears. Sonic contributors to the thirty-second episode of Lightnin' Licks Radio include:  Brothers Johnson, Lee Moses, Holland-Dozier-Holland, James Todd Smith, Height Keech, Drizabone, Kavinski, Khruangbin, Mark Mothersbaugh, Brian K., Paul Rubens, Chris Kline, Anthony Fantano, Damien Keyes, Joeski Love, Def Jeff, Dust Brothers, Tone Loc, Young MC, Masters of Reality, The Brand New Heavies, Nadia Davenport, Jimi Hendrix, The Pharcyde, De La Soul, The Strangeloves, The Music Machine, The Ramones, Yaz, Madonna, Echo & The Bunnymen, The Ruzillos, The Human League, Pavement, H.P. Zinker, Beck, Helium, Liz Phair, Peach Kelli Pop, Death Valley Girls, Ty Segall, Habibi, The Summer Twins, Cherry Glazerr, Easy Love, Cursive, Bright Eyes, The Faint, Desaparecidos, Tomberlin, 764-HERO, Modest Mouse, The Paranoyds, The Gun Club, Peanut Butter Wolf, madlib, Jay Dilla, OH NO, Homeboy Sandman, Jonwayne the producer, and John Wayne the famous actor, Georgia Muldrow, Pheobe Bridgers, Stella Donnelly, Faye Webster, Yoko Ono, John Lennon, Plastic Ono Band, Pale Jay, Kendra Morris, Black Market Brass, Durand Jones, Say She She, Monophonics, The Jive Turkeys, Okonski, Jacko Gardner, Alvvays, American Football, Xiu Xiu, Painted Palms, STRFKR, Adrian Quesada, Ikebe Showdown, robot Biden and The Clockers. Labels We Trust mixtape [SIDE ONE] (1) Painted Palms – Here It Comes [Polyvinyl Records] (2) Pale Jay – By the Lake [Karma Chief c/o Colemine Records] (3) Easy Love – I'll Be Fine [Burger Records] (4) Yoko Ono – Hirake [Secretly Canadian] (5) Homeboy Sandman – America the Beautiful [Stones Throw Records] [SIDE TWO] (1) The Coathangers – Sex Beat [Suicide Squeeze Records] (2) Liz Phair – Mesmerizing [Matador Records] (3) The Pharcyde – She Said [Delicious Vinyl] (4) The Rezillos – (My Baby Does) Good Sculptures [Sire Records] (5) Tomberlin – stoned [Saddle Creek Records] R.I.P. PWH For Ollie.

Len and Beave go through the results of the fast food bracket on Facebook. Beave is inspired to eat a BK chicken sandwich as a result, and immediately regrets it. Beave and Len discuss the Cubs' signing of Cody Bellinger, and where it ranks on the franchise's all-time list of free agent signings. Beave bemoans the Guardians' horrific loss to Tampa while expressing hope for Tanner Bibee and Gavin Williams. Len goes through the Chicago Sky's recent rough patch, as well as the Bears' promise for the coming year. Plus Beave recommends a jazz album, to Len's horror! Finally Len gives his review of "Teenage Mutant Ninja Turtles". Plus Rolling Stone's Top 500 Albums and Len's Favorite 500 Albums! Tune in for pop culture!

Here are 2 very different albums released at the end of 1970. John Lennon is coming to terms with no longer being one of the four lads who shook the world while four other lads are starting to shake it themselves with their big Brummie riffs.

This week on Classic Vinyl Podcast, Justin and Tyler review John Lennon's debut solo album after The Beatles breakup Plastic Ono Band. As an album that Lennon touches on many personal issues, this is a very good look at his psychological suffering of the time. Critical reception of the album was mixed at the time of the release, but over time some have regarded it as Lennon's best solo album. With great songs like Working Class Hero, Well Well Well, God, Hold On and many others, you should certainly give this one a try if you haven't already.

John Lennon/Plastic Ono Band is the debut solo album by John Lennon after the Beatles breakup. It was released by Apple Records in December of 1970 in tandem with the similarly titled album by his wife, Yoko Ono. At the time of its issue, John Lennon/Plastic Ono Band received mixed reviews overall, but later came to be widely regarded as Lennon's best solo album...Enjoy

Filmmaker Jon Lefkovitz has just released his 2014 SXSW film "Rubber Soul" on YouTube.    Jon and I review.    Quoting his description: "In December 1970, John Lennon and Yoko Ono were interviewed for "Rolling Stone" prior to the release of their "Plastic Ono Band" albums. Ten years later, in September 1980, the couple granted their first in-depth interview in five years to "Playboy" while they were in the process of recording "Double Fantasy". RUBBER SOUL reconstructs portions of these two historical interviews based on available transcripts and audio, juxtaposing them in order to explore the dynamic nature of identity over time."

In 1969 the Plastic Ono Band were set to release a mysterious track called 'Rock Peace' that never saw the light of day...or did it? I am joined by Axel Korinth to discuss how Antonio Caroselli solved a 50-year-old mystery in the second volume of their fabulous A Is For Apple book series, the history of The Beatles' multimedia corporation.  You can find out more about Apcor and all the brilliant things they do at: http://www.apcor.net/

Author John Kruth is a returning guest to talk about his new book Lunacy: The Curious Phenomenon of Pink Floyd's Dark Side of the Moon, 50 Years On. This month marks the 50th anniversary of Pink Floyd's Dark Side of the Moon, one of the biggest selling albums of all time with over 40 millions copies sold to date. It topped Billboard and was on the charts for a total of over 700 weeks. Award-winning music biographer John Kruth delves into the making of this iconic record and considers why it continues to speak to generation after generation of music lovers around the world. From avante-garde electronic to jazz to classical, it is all part of the music of Dark Side of the Moon and Kruth explores all of it and more in detail with behind-the-scenes reveals and unexpected insights. In-depth interviews with musicians, artists, DJs and many who have developed deeply personal relationships with this record including a passionate astrophysicist and a leading brain surgeon's nurse who literally performed surgery while the track “Brain Damage” was being played. I ask John about all of this and more in the interview. This is one of my personal favorite albums. It's easily my favorite Floyd album and arguably the most universally relatable album of all time. Let's find out what John thinks! Purchase a copy of Lunacy: The Curious Phenomenon of Pink Floyd's Dark Side of the Moon, 50 Years On through Backbeat Books HERE Listen to Pink Floyd's Dark Side of the Moon HERE Listen to John Kruth's previous appearance on Booked On Rock - "Hold On World: The Lasting Impact of John Lennon & Yoko Ono's Plastic Ono Band, Fifty Years On"/John Kruth [Episode 8] HERE Follow John Kruth:FACEBOOK INSTAGRAM Visit the Booked On Rock Website HERE Watch exclusive video segments from the Booked On Rock podcast HERE Follow The Booked On Rock with Eric Senich:FACEBOOK TWITTER INSTAGRAM TIKTOK Support Your Local Bookstore! Find your nearest independent bookstore HERE Contact The Booked On Rock Podcast: thebookedonrockpodcast@gmail.com The Booked On Rock Music: “Whoosh” by Crowander / “Last Train North” by TrackTribe

We're revisiting an old friend this week, as we return to John Lennon/Plastic Ono Band! We originally reviewed this one as part of the 2012 list all the way back in September of 2019. Join us as we reflect on how this album fits with the Beatles sound, how Yoko fits in with all this, and so much more about the album that 2020 Rolling Stone list dropped from #23 all the way down to #85 on their list of the 500 greatest albums. As a reminder, you can find our favorite songs from the RS500 on our Spotify playlist right here - we'll be updating it as we go with our favorite songs from each album! You can check out Rolling Stone's 2020 list right here. We'd love it if you would review us in your favorite podcast app, and while you're at it, give us a like on our Facebook Page or Instagram, follow us on Twitter, and send us a message if you have any comments or questions. --- Send in a voice message: https://anchor.fm/soundlogic/message Support this podcast: https://anchor.fm/soundlogic/support

Eels are touring the UK in March/April and E talks here about what he's learnt about live performance from being onstage or in the audience. And this includes … … a valuable lesson from watching Leon Russell's deserted matinee at a racetrack in Maryland. … his mum's reaction to him singing Plastic Ono Band songs in the car when he was 10.   … seeing George Harrison (aged 11) with his sister. … the fascination of formerly big bands now quietly on the way back down (like Steppenwolf). … playing drums at his son's school concert.   … the “crazy and theatrical spectacle” of Neil Young's Rust Never Sleeps tour. … and what fan footage on YouTube can tell you. Eels tour dates …https://www.ents24.com/uk/tour-dates/eelsSubscribe to Word In Your Ear on Patreon for early access to every future Word Podcast!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Eels are touring the UK in March/April and E talks here about what he's learnt about live performance from being onstage or in the audience. And this includes … … a valuable lesson from watching Leon Russell's deserted matinee at a racetrack in Maryland. … his mum's reaction to him singing Plastic Ono Band songs in the car when he was 10.   … seeing George Harrison (aged 11) with his sister. … the fascination of formerly big bands now quietly on the way back down (like Steppenwolf). … playing drums at his son's school concert.   … the “crazy and theatrical spectacle” of Neil Young's Rust Never Sleeps tour. … and what fan footage on YouTube can tell you. Eels tour dates …https://www.ents24.com/uk/tour-dates/eelsSubscribe to Word In Your Ear on Patreon for early access to every future Word Podcast!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

A spirited discussion and comparison of Paul McCartney's RAM (1971), John Lennon's Plastic Ono Band (1970), and George Harrison's All Things Must Pass (1970).

Does what goes around always come around? And is instant karma gonna get you? In the first episode of a season devoted to Sanskrit-to-English loanwords, we'll examine how three groups of Indian philosophers understand karma: Jains, Buddhists, and Naiyayikas (or Nyaya philosophers). Sounds and Music All music excerpts and soundbites used with an understanding of fair use modification for educational purposes. Drake featuring Bryson Tiller, “Bad Karma” Alicia Keys, “Karma” John Lennon and Yoko Ono with The Plastic Ono Band, “Instant Karma! (We all Shine On)” Taylor Swift, “Karma” Indigo Girls, “Galileo” Culture Club, “Karma Chameleon” Fox News clips: Joey Jones, July 2021 Sean Hannity, August 2017 Theme music by­ https://incompetech.filmmusic.io Kevin MacLeod's music Bibliography and Further Reading My YouTube lecture on Milinda's Questions: https://www.youtube.com/watch?v=_rBqC43PK8Q Bronkhorst, Johannes. Karma. Honolulu: University of Hawai'i Press, 2011. http://muse.jhu.edu/pub/5/monograph/book/1739. Finnegan, Bronwyn. “Karma, Responsibility, and Buddhist Ethics.” In The Oxford Handbook of Moral Psychology, by Manuel Vargas and John Doris, 7–23. Oxford University Press, 2022. McDermott, James. “Kamma in the Milindapañha.” Journal of the American Oriental Society 97, no. 4 (October - December 1977): 460-468. Hermann Jacobi's translation of the Ācāraṅgasūtrahttps://www.wisdomlib.org/jainism/book/acaranga-sutra --- Send in a voice message: https://anchor.fm/malcolm-keating/message Support this podcast: https://anchor.fm/malcolm-keating/support

The Santa Hits Podcast continues, as we discuss a variety of Christmas themed pop songs leading up to the holidays. And if you're a John Lennon fan, you may not like this episode. However, there's no denying that this is a Christmas classic. Hosted by @sliiiiip and @megamixdotcom, the Super Hits Podcast reviews a different retro single each episode! We're on all of the usual podcast platforms, so come find us. Come and give us a 5-star review! We're back to twice-a-week episodes, at least for the time being! To correct us if we miss a fact or get something wrong, to request a single, or to just say hello, hit us up at superhitspodcast@gmail.com Here's the song: https://open.spotify.com/track/27RYrbL6S02LNVhDWVl38b?si=1ae8282c6d4448e6 Here's our website: https://megamixdotcom.com/super-hits/ Here's our Twitter: @SuperHitsCast Here's our Instagram: @SuperHitsPodcast You can also find playlists for all of the songs we've covered on Spotify and Apple Music. Just search for Super Hits Podcast Playlist! --- Send in a voice message: https://podcasters.spotify.com/pod/show/superhitspodcast/message

 Direct DownloadBing walks through a 48-hours-old arrangement of “Happy Christmas (War is Over)” by John Lennon and the Plastic Ono Band. Download the free tablature from Patreon at: https://patreon.com/posts/74740469 Bing Futch is endorsed by Folkcraft Instruments, V-Picks and Zither Stands.Enjoy "Dulcimerica"? Consider supporting the program by becoming a patron!

Beatles fans all over the globe celebrate John Lennon's birthday the same way: eating a tasty Filet-O-Shaved Phish sammy while listening to the Untitled Beatles Podcast. In honor of what would have been Lennon's 82nd birthday (woah), we break down the first solo-Beatles hits comp, and along the way ponder(osa):  

Yoko haters f**k off: Marc and John put the needle down on Plastic Ono Band's 1969 single, featuring "some of the best guitar [John Lennon] ever played—bone rattling, Flipper-esque" and proto-Krautrock boogies. About The Spindle: The 7-inch record isn't just a format—it's an art form. On each episode of The Spindle podcast, music writer Marc Masters (Pitchfork, The Wire, Bandcamp) and music historian (and music maker) John Howarddive into a great 7-inch, dissecting its background, impact, and the reasons why it stands out as a small plastic piece of music history. What's your favorite 7″? Call us at 1-877-WASTOIDS and weigh in!

“Alan White Remembered: You've Got To Be Spot-On” In memory of Alan White (1949-2022), we're re-airing our chat with him from 2020. Being spot-on is what drummer Alan White says you have to be when it comes to being behind the kit for a band like Yes. One of the most technically proficient outfits in rock and roll history, Yes are musically precise and that's why White has been behind the kit with them since 1973. One of the most formidable drummers in rock and roll for the last 50 years, the British born White started playing in bands when he was 13. And over the course of his career he played on records by George Harrison, Ginger Baker, Joe Cocker, Terry Reid and John Lennon. He played live with Lennon as part of the Plastic Ono Band at the Toronto Rock and Roll Revival Festival in 1969 and he also had a stint playing live with Steve Linwood. When he joined Yes he also had two other job offers at the same time with Jethro Tull and America. But White said no to them and yes to Yes. Pretty good move. He played on 17 Yes records, and established himself as one of the most innovative, intuitive and muscular drummers around. His playing is a deft combo of finesse and power, that's as athletic as it is stylistic. Recorded live at the Las Vegas Hard Rock Hotel, back in July of 2019, Yes's newest effort is called THE ROYAL AFFAIR TOUR, LIVE FROM LAS VEGAS and it's a beast. A sterling collection that showcases not only the depth and scope of the band's winning songbook, it features Mr. White tearing it up. In this chat he talks about the magic of Charlie Watts, whether or not you can master the drums and why you've got to be spot-on to be onstage with Yes.

Plastic Ono Band by Yoko Ono Click here to join our Discord! (https://discord.gg/5vpqXaS) We typically livestream the recordings around 8:30pm Pacific Time on Wednesdays. Learnin' Links: You're Wrong About podcast on Yoko Ono and the Beatles (https://podcasts.apple.com/us/podcast/yoko-ono-broke-up-the-beatles/id1380008439?i=1000465289885) Tatsuya Nakatani (https://www.tatsuyanakatani.com/) Listen along to Plastic Ono Band here! (https://open.spotify.com/album/3zjgk5rbgVWwWkrvWfEoE6?si=xjZyFXSRTIOqPA6qP4MtEw) You can support us in several ways: Kick us a few bux on Patreon! (https://www.patreon.com/boxset) By becoming a supporting member, you'll gain access to special bonus episodes, including a weekly mini-show, What's in the Box Weekly! Buy T-shirts, sweatshirts, and more at our merch page! (https://boxset.threadless.com/)

This week you're in a lucky seat and you're in for a lucky treat. This episode is great for lunch, great for dinner, you'll be a podcast listener winner! No you're not in the Hormel Row of Fame. But yes, you do get to listen to us become the best John Lennon podcast and cover John Lennon/Plastic Ono Band.   Before we get into the album we're talking homemade yogurt kits and re-watching old wedding DVDs. Aaron's got an all time music recommendation, from a super famous musician you've all heard of....Doug. Matt is sharing his experience of seeing Tool live in concert from a suite with the rest of the prosperous jam band fans. Russ is looking for advice on dating during the NCAA basketball tournament. And Rob's life's in shambles and he's eating handfuls of random stuff because his wife is out of town.   Then at (46:00) we talk about John Lennon's first solo album after leaving The Beatles, John Lennon/Plastic Ono Band. We discuss how this album would be different if Sir Paul McCartney was involved, the influence Lennon had on other bands, and the best hammond organ songs ever. You could argue that this episode qualifies as the best podcast about The Beatles.   Call or text 802 277 BECK.  Don't be a brat! You can email us at beckdiditbetter@gmail.com follow us on our twitter and instagram @beckdiditbetter and feel free to leave a review on your favorite podcast app. Please mention feet if you do. If we can get "Aaron loves feet" to be something that is searchable online, I feel like this will all be worth it.    Finally, we prove that we don't believe in Zimmerman, and we don't believe in Beatles, but we do believe in primal scream jokes....and Yoko.         Next week, the podcast will break on through to the other side as we become the best podcast about The Doors and talk about their eponymous debut studio album, The Doors.