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When you explore the music of The Yardbirds you are really observing the evolution of what would become hard rock.  This group started in 1963 and over its time would engage the talents of three of the greatest guitarists of the rock world:  Eric Clapton, Jeff Beck, and Jimmy Page.  Additional musicians in the group through 1968 were Keith Relf on vocals and harmonica, Jim McCarty on drums, Chris Dreja on rhythm guitar, and Paul Samwell-Smith on bass.  The group was founded in the blues, but over time would explore psychedelic rock, pop rock, and hard rock, with instrumental jams being a signature sound throughout their tenure.Having a Rave Up, also known as "Having a Rave Up with the Yardbirds," is their second American album, and showcases two of their virtuoso guitarists.  The album has one side of studio recordings in which Jeff Beck is the guitarist.  Side two is a compilation of live performances featuring Eric Clapton on guitar.  During a time when most songs were expected to run about three minutes, the Yardbirds would extend these out in live performances to six or seven minutes with instrumental jams known as "rave ups."  The combination of studio and live work is an excellent introduction to The Yardbirds, as the band's strength was in their live performances.  Their studio efforts would improve with the experimentation of Jeff Beck.Jimmy Page would become their guitarist in mid-1966 until their split-up in mid-1968.  He would form a group as "The New Yardbirds" shortly thereafter, which would be renamed shortly thereafter to Led Zeppelin.Rob brings us this study in the origins of rock for this week's podcast. Heart Full of SoulThis song was the first single released by The Yardbirds after Jeff Beck joined the group.  It was written by Graham Gouldman, who would later be the co-lead singer and bassist of 10cc.  The band wanted to include a sitar in the instrumentation for this song, but when things didn't work out for that, Beck experimented with his guitar to duplicate the eastern sound of the sitar instead.You're a Better Man than IThe opening song from the album is also known as "Mister, You're a Better Man than I."  It was written by brothers Mike and Brian Hugg, and is an attempt at a more folk rock song.  The socially conscious lyrics take aim at the hypocrisy of society and politics, stating that you shouldn't judge a person based on superficial appearances or education.Smokestack LightningThe live opener to side two is a cover of an old blues song recorded by American blues artist Howlin' Wolf in 1956.  The inspiration for the title came from watching trains go by at night and seeing the sparks come out of the smokestack.The Train Kept a-Rollin'While Aerosmith's cover may be more famous, this jump blues piece was originally performed by Tiny Bradshaw in 1951.  The Yardbirds played this song during their first American tour in 1965, and Sam Phillips recorded it for them in Memphis later that year.  It closes out side 1 of the album. ENTERTAINMENT TRACK:Main theme from the television action comedy "Batman"This campy superhero show premiered this month. STAFF PICKS:Don't Think Twice, It's Alright by The Wonder Who?Bruce begins the staff picks with a disguise group.  The Four Seasons used the name "The Wonder Who?" for four records released from 1965 to 1967, including this one.  Frankie Valli wasn't happy with his vocals on this song, and he recorded it with a "joke" falsetto voice while trying to break the tension in the studio.  All Your Love by John Mayall & the BluesbreakersLynch brings us a blues song originally recorded by American blues musician Otis Rush in 1958.  Multi-instrumentalist singer-songwriter John Mayall led this group, which included Eric Clapton on guitar and John McVie on bass.  This single is the lead-off track to the debut album "Blues Breakers with Eric Clapton," also known as "The Beano Album" because Clapton is reading a children's comic called "The Beano" on the front cover.My Generation by the WhoWayne's staff pick is the hit that started the trajectory for the Who.  Guitarist Pete Townshend wrote this song about young rebellion.  Roger Daltrey incorporates a stutter in his vocals to sound like a British mod on speed.  While this song would reach number 2 on the UK charts, it topped out at number 74 on the US charts.Day Tripper by the BeatlesRob features a well known song from the Beatles, recorded during the "Rubber Soul" album sessions but not included on the album itself.  It was released as a double A-side single along with "We Can Work it Out" during a time when the Beatles were under pressure to release a single in time for the 1965 Christmas season.   COMEDY TRACK:The Lurch by Ted CassidyTed Cassidy played Lurch on "The Addams Family," and also performed this novelty song.   Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

It's The Night Before the Open Championship, and the LLG gang is ready to Get Back to it. It's been a busy couple of weeks in pro golf, and The Things We Said Today include a discussion of the return of Jay Monahan to his job as the nominal head of the PGA Tour. But the Nowhere Man has yet to be seen in Merseyside this week.Duffer, OTP Lefty, and JScore touch on the performance of The Fools on the (Capitol) Hill sent in Jay's place, Jimmy Dunne and and Ron Price. Dick Blumenthal's main line of inquiry: Tell Me Why the deal had to be with the Saudis. The obvious answer, of course, is Money (That's What They Want). Jimmy and Ron had little to say about the terms of the deal before the deal, other than We Can Work it Out later. The DOJ will certainly have its say about What Goes On, as will the Taxman when it comes to dealing with the 501(c)(6) issues.As for the Open, as usual, everybody's talking about Little Lord McIlroy, who's fresh off his win at the Scottish Open. But I've Got a Feeling you know what the gang thinks of Rory's chances of winning. Baby You're a Rich Man, but you won't be a winner at Hoylake, Not a Second Time. He and his many media fanboys will just have to Wait until next year, just like they've been doing for 8+ years now.The End. 

In this episode Kalen leaves the comfort of his home studio and joins the band Papal Visit front men Pierre and Adam, as well as John and Chris from the live band, at their jam spot after a killer show for the Quality Block Party. They discuss their history together as well as their home town's rich rock and roll past. Be sure to check out their Bandcamp, you can also find them on Facebook The tracks from this episode are: What Makes Him Win, The Heaviness, Sparkling Blue Depression, bonus yet to be released track, Pagan Place, Cut Me Out, I Wanna Part in a Play, We Can Work it Off Since there are a few honourable mentions in this episode here are a few other links for those that might be curious about the bands and artists mentioned in this spisode. Ermine - You can hear them on the BBQ Records YouTube page Wooden Wives and The Organizers - You can check them both out at the Wooden Wives Bandcamp Page Thanks to Buddy from Pension Clothing for the shout out and a sweet hat. You should check out their Site for some sweet duds Also, thanks to Adrian the Intern and Frank James.. Find us wherever you get your podcasts and follow us on Facebook and Instagram. Intro track: Coldsnap by Well Well Well.

AKOM welcomes Dr. Christine Feldman-Barrett, author of A Women's History of the Beatles. Phoebe, Daphne and Christine discuss: how the Beatles have inspired generations of women, effective labor, fandom, diversity in Beatles scholarship, Living History v. critical distance, and being (v. being WITH the Beatles).  SOURCES Ehrenreich, Barbara, Elizabeth Hess, and Gloria Jacobs. "Beatlemania: Girls Just Want to Have Fun." In The Adoring Audience: Fan Culture and Popular Media, edited by Lisa A. Lewis, 84-106. 1992. Reprint, New York: Routledge, 2001.  Whiteley, Sheila. Space Between the Notes: Rock and the Counter-Culture. London: Routledge, 1992. Collins, Marcus. "We Can Work it Out: Popular and Academic Writing on the Beatles." Popular Music History 9, no. 1 (2014): 79-101. http://www.meetthebeatlesforreal.com Mary Ann Seighart. “The Authority Gap: Why women are still taken less seriously than men, and what we can do about it.” Doubleday, July 1, 2021 Candy Leonard. “Beatleness: How the Beatles and Their Fans Remade the World”   Arcade; Reprint edition (July 5, 2016)   PLAYLIST She Said She Said THE BEATLES (1966) I Don't Want to Spoil the Party THE BEATLES (1964) Drive My CarTHE BEATLES (1965) Rain THE BEATLES (1965) She's a Woman THE BEATLES (1965)  

Podcast del programa Submarino Amarillo 2.0, emitido en Radio Círculo el 18 de Noviembre de 2022. En el Submarino de hoy descubrimos tesoros de Lathums, Wunderhorse, Nic Cester, Phoenix, Arctic Monkeys, Alabama Shakes y Fino Oyonarte. En nuestra segunda parte del recorrido rescatamos canciones de Emitt Rhodes, Arthur Alexander y Moby Grape. Y como siempre llegamos a Liverpool para escuchar la historia detrás de una de las canciones de los Beatles. Hoy una canción optimista escrita por Paul McCartney con colaboración especial de John Lennon para la parte central: We Can Work it Out. No nos faltéis, viajeros del rock and roll

Welcome my BMS listeners to another episode of Black Magic Sounds!Today we celebrate our 10th year anniversary in bringing you the best in music with groove and soul.It has been an absolute pleasure sharing my love of music with all of you and hope to continue this adventure as long as time allows.During this time BMS has shared multiple themes and reflections via carefully selected playlists.More than 3000 songs later we are still going strong!Thank you all for giving me your time while I give you a piece of me.  Remember when music was Music!Welcome to the BMS Family where DJ Rhythm Dee spins the rhythms and beats into elements that open new dimensions into the music of your life. For all of us who love music, it dances back to memories one note at a time. And if the jam is new to you, it creates what you need now. Think about the good times and we will be there with you. We will bring to you artists you want to catch up with or learn something new. DJ Rhythm Dee is the heart of vinyl as he truly spins on the table. And when he is not spinning he brings out the beat by any means necessary. Enjoy the groove…You won't be disappointed. Remember when music was Music! rhythmdee@outlook.com https://www.facebook.com/djrhythmdeeThis episode features Rene & Angela, Change, The B.B.Q. Band, Frederick, Brass Construction, and many more!PLAYLIST1. I'll Be Good /Rene & Angela2. Goldmine/S.O.S. BAND3. Fake/Alexander O'Neal4. Paradise/Change5. Stand Up/Howard Johnson6. Outside In The Rain/Gwen Guthrie7. Do Me Right/Dynasty8. I Can Make You Feel Good/Shalamar9. Everything I Miss at Home/Cherrelle10. (I Could Never Say) It's Over/The B.B.Q. Band11. Gentle/Frederick f/Janice Dowlin12. Make Up Your Mind/Aurra13. Just Another Lover/Johnny Kemp14. Feel My Love Tonight/Stacy Lattisaw15. We Can Work it Out/Brass Construction16. Straight to The Bank/Bill Summers & Summer Heat17. I Hear Music/Unlimited Touch

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

IAN HEARS THE BEATLES Episode #4!    This week Joel and Ian are joined by their FIRST EVER guest and it's the incredible singer/songwriter Stephanie Lambring!   They chat about The Beatles' 6th studio album Rubber Soul, as well as both sides of the We Can Work it Out/Day Tripper Single.    Hear all about why "Nowhere Man" is the perfect canvas for any listener's life story and also about the time that Ian almost didn't graduate high school because of how punk rock he was.   Also, please listen to Stephanie's music: https://music.apple.com/us/album/autonomy/1604262250

This week's episode looks at “Tomorrow Never Knows”, the making of Revolver by the Beatles, and the influence of Timothy Leary on the burgeoning psychedelic movement. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Keep on Running" by the Spencer Davis Group. 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 A few things -- I say "Fairfield" at one point when I mean "Fairchild". While Timothy Leary was imprisoned in 1970 he wasn't actually placed in the cell next to Charles Manson until 1973. Sources differ on when Geoff Emerick started at EMI, and he *may* not have worked on "Sun Arise", though I've seen enough reliable sources saying he did that I think it's likely. And I've been told that Maureen Cleave denied having an affair with Lennon -- though note that I said it was "strongly rumoured" rather than something definite. Resources As usual, a mix of all the songs excerpted in this episode is available at Mixcloud.com. 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. For information on Timothy Leary I used a variety of sources including The Most Dangerous Man in America by Bill Minutaglio and Steven L. Davis; Timothy Leary: Outside Looking In by Robert Forte; The Starseed Signals by Robert Anton Wilson; and especially The Harvard Psychedelic Club by Don Lattin. I also referred to both The Tibetan Book of the Dead and to The Psychedelic Experience. Leary's much-abridged audiobook version of The Psychedelic Experience can be purchased from Folkways Records. Sadly the first mono mix of "Tomorrow Never Knows" has been out of print since it was first issued. The only way to get the second mono mix is on this ludicrously-expensive out-of-print box set, but the stereo mix is easily available on Revolver. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start this episode, I'd like to note that it deals with a number of subjects some listeners might find upsetting, most notably psychedelic drug use, mental illness, and suicide. I think I've dealt with those subjects fairly respectfully, but you still may want to check the transcript if you have worries about these subjects. Also, we're now entering a period of music history with the start of the psychedelic era where many of the songs we're looking at are influenced by non-mainstream religious traditions, mysticism, and also increasingly by political ideas which may seem strange with nearly sixty years' hindsight. I'd just like to emphasise that when I talk about these ideas, I'm trying as best I can to present the thinking of the people I'm talking about, in an accurate and unbiased way, rather than talking about my own beliefs. We're going to head into some strange places in some of these episodes, and my intention is neither to mock the people I'm talking about nor to endorse their ideas, but to present those ideas to you the listener so you can understand the music, the history, and the mindset of the people involved, Is that clear? Then lets' turn on, tune in, and drop out back to 1955... [Opening excerpt from The Psychedelic Experience] There is a phenomenon in many mystical traditions, which goes by many names, including the dark night of the soul and the abyss. It's an experience that happens to mystics of many types, in which they go through unimaginable pain near the beginning of their journey towards greater spiritual knowledge. That pain usually involves a mixture of internal and external events -- some terrible tragedy happens to them, giving them a new awareness of the world's pain, at the same time they're going through an intellectual crisis about their understanding of the world, and it can last several years. It's very similar to the more common experience of the mid-life crisis, except that rather than buying a sports car and leaving their spouse, mystics going through this are more likely to found a new religion. At least, those who survive the crushing despair intact. Those who come out of the experience the other end often find themselves on a totally new path, almost like they're a different person. In 1955, when Dr. Timothy Leary's dark night of the soul started, he was a respected academic psychologist, a serious scientist who had already made several substantial contributions to his field, and was considered a rising star. By 1970, he would be a confirmed mystic, sentenced to twenty years in prison, in a cell next to Charles Manson, and claiming to different people that he was the reincarnation of Gurdjieff, Aleister Crowley, and Jesus Christ. In the fifties, Leary and his wife had an open relationship, in which they were both allowed to sleep with other people, but weren't allowed to form emotional attachments to them. Unfortunately, Leary *had* formed an emotional attachment to another woman, and had started spending so much time with her that his wife was convinced he was going to leave her. On top of that, Leary was an alcoholic, and was prone to get into drunken rows with his wife. He woke up on the morning of his thirty-fifth birthday, hung over after one of those rows, to find that she had died by suicide while he slept, leaving a note saying that she knew he was going to leave her and that her life would be meaningless without him. This was only months after Leary had realised that the field he was working in, to which he had devoted his academic career, was seriously broken. Along with a colleague, Frank Barron, he published a paper on the results of clinical psychotherapy, "Changes in psychoneurotic patients with and without psychotherapy" which analysed the mental health of a group of people who had been through psychotherapy, and found that a third of them improved, a third stayed the same, and a third got worse. The problem was that there was a control group, of people with the same conditions who were put on a waiting list and told to wait the length of time that the therapy patients were being treated. A third of them improved, a third stayed the same, and a third got worse. In other words, psychotherapy as it was currently practised had no measurable effect at all on patients' health. This devastated Leary, as you might imagine. But more through inertia than anything else, he continued working in the field, and in 1957 he published what was regarded as a masterwork -- his book Interpersonal Diagnosis of Personality: A Functional Theory and Methodology for Personality Evaluation. Leary's book was a challenge to the then-dominant idea in psychology, behaviourism, which claimed that it made no sense to talk about anyone's internal thoughts or feelings -- all that mattered was what could be measured, stimuli and responses, and that in a very real sense the unmeasurable thoughts people had didn't exist at all. Behaviourism looked at every human being as a mechanical black box, like a series of levers. Leary, by contrast, analysed human interactions as games, in which people took on usual roles, but were able, if they realised this, to change the role or even the game itself. It was very similar to the work that Eric Berne was doing at the same time, and which would later be popularised in Berne's book Games People Play. Berne's work was so popular that it led to the late-sixties hit record "Games People Play" by Joe South: [Excerpt: Joe South: "Games People Play"] But in 1957, between Leary and Berne, Leary was considered the more important thinker among his peers -- though some thought of him as more of a showman, enthralled by his own ideas about how he was going to change psychology, than a scientist, and some thought that he was unfairly taking credit for the work of lesser-known but better researchers. But by 1958, the effects of the traumas Leary had gone through a couple of years earlier were at their worst. He was starting to become seriously ill -- from the descriptions, probably from something stress-related and psychosomatic -- and he took his kids off to Europe, where he was going to write the great American novel. But he rapidly ran through his money, and hadn't got very far with the novel. He was broke, and ill, and depressed, and desperate, but then in 1959 his old colleague Frank Barron, who was on holiday in the area, showed up, and the two had a conversation that changed Leary's life forever in multiple ways. The first of the conversational topics would have the more profound effect, though that wouldn't be apparent at first. Barron talked to Leary about his previous holiday, when he'd visited Mexico and taken psilocybin mushrooms. These had been used by Mexicans for centuries, but the first publication about them in English had only been in 1955 -- the same year when Leary had had other things on his mind -- and they were hardly known at all outside Mexico. Barron talked about the experience as being the most profound, revelatory, experience of his life. Leary thought his friend sounded like a madman, but he humoured him for the moment. But Barron also mentioned that another colleague was on holiday in the same area. David McClelland, head of the Harvard Center for Personality Research, had mentioned to Barron that he had just read Diagnosis of Personality and thought it a work of genius. McClelland hired Leary to work for him at Harvard, and that was where Leary met Ram Dass. [Excerpt from "The Psychedelic Experience"] Ram Dass was not the name that Dass was going by at the time -- he was going by his birth name, and only changed his name a few years later, after the events we're talking about -- but as always, on this podcast we don't use people's deadnames, though his is particularly easy to find as it's still the name on the cover of his most famous book, which we'll be talking about shortly. Dass was another psychologist at the Centre for Personality Research, and he would be Leary's closest collaborator for the next several years. The two men would become so close that at several points Leary would go travelling and leave his children in Dass' care for extended periods of time. The two were determined to revolutionise academic psychology. The start of that revolution didn't come until summer 1960. While Leary was on holiday in Cuernavaca in Mexico, a linguist and anthropologist he knew, Lothar Knauth, mentioned that one of the old women in the area collected those magic mushrooms that Barron had been talking about. Leary decided that that might be a fun thing to do on his holiday, and took a few psilocybin mushrooms. The effect was extraordinary. Leary called this, which had been intended only as a bit of fun, "the deepest religious experience of my life". [Excerpt from "The Psychedelic Experience"] He returned to Harvard after his summer holiday and started what became the Harvard Psilocybin Project. Leary and various other experimenters took controlled doses of psilocybin and wrote down their experiences, and Leary believed this would end up revolutionising psychology, giving them insights unattainable by other methods. The experimenters included lecturers, grad students, and people like authors Allen Ginsberg and William Burroughs, jazz trumpeter Maynard Ferguson, and Alan Watts, who popularised Zen Buddhism in the West. Dass didn't join the project until early 1961 -- he'd actually been on the holiday with Leary, but had arrived a few days after the mushroom experiment, and nobody had been able to get hold of the old woman who knew where to find the mushrooms, so he'd just had to deal with Leary telling him about how great it was rather than try it himself. He then spent a semester as a visiting scholar at Berkeley, so he didn't get to try his first trip until February 1961. Dass, on his first trip, first had a revelation about the nature of his own true soul, then decided at three in the morning that he needed to go and see his parents, who lived nearby, and tell them the good news. But there was several feet of snow, and so he decided he must save his parents from the snow, and shovel the path to their house. At three in the morning. Then he saw them looking out the window at him, he waved, and then started dancing around the shovel. He later said “Until that moment I was always trying to be the good boy, looking at myself through other people's eyes. What did the mothers, fathers, teachers, colleagues want me to be? That night, for the first time, I felt good inside. It was OK to be me.” The Harvard Psilocybin Project soon became the Harvard Psychedelic Project. The term "psychedelic", meaning "soul revealing", was coined by the British psychiatrist Humphrey Osmond, who had been experimenting with hallucinogens for years, and had guided Aldous Huxley on the mescaline trip described in The Doors of Perception. Osmond and Huxley had agreed that the term "psychotomimetic", in use at the time, which meant "mimicking psychosis", wasn't right -- it was too negative. They started writing letters to each other, suggesting alternative terms. Huxley came up with "phanerothyme", the Greek for "soul revealing", and wrote a little couplet to Osmond: To make this trivial world sublime Take half a gramme of phanerothyme. Osmond countered with the Latin equivalent: To fathom hell or soar angelic Just take a pinch of psychedelic Osmond also inspired Leary's most important experimental work of the early sixties. Osmond had got to know Bill W., the founder of Alcoholics Anonymous, and had introduced W. to LSD. W. had become sober after experiencing a profound spiritual awakening and a vision of white light while being treated for his alcoholism using the so-called "belladonna cure" -- a mixture of various hallucinogenic and toxic substances that was meant to cure alcoholism. When W. tried LSD, he found it replicated his previous spiritual experience and became very evangelistic about its use by alcoholics, thinking it could give them the same kind of awakening he'd had. Leary became convinced that if LSD could work on alcoholics, it could also be used to help reshape the personalities of habitual criminals and lead them away from reoffending. His idea for how to treat people was based, in part, on the ideas of transactional analysis. There is always a hierarchical relationship between a therapist and their patient, and that hierarchical relationship itself, in Leary's opinion, forced people into particular game roles and made it impossible for them to relate as equals, and thus impossible for the therapist to truly help the patient. So his idea was that there needed to be a shared bonding experience between patient and doctor. So in his prison experiments, he and the other people involved, including Ralph Metzner, one of his grad students, would take psilocybin *with* the patients. In short-term follow-ups the patients who went through this treatment process were less depressed, felt better, and were only half as likely to reoffend as normal prisoners. But critics pointed out that the prisoners had been getting a lot of individual attention and support, and there was no control group getting that support without the psychedelics. [Excerpt: The Psychedelic Experience] As the experiments progressed, though, things were becoming tense within Harvard. There was concern that some of the students who were being given psilocybin were psychologically vulnerable and were being put at real risk. There was also worry about the way that Leary and Dass were emphasising experience over analysis, which was felt to be against the whole of academia. Increasingly it looked like there was a clique forming as well, with those who had taken part in their experiments on the inside and looking down on those outside, and it looked to many people like this was turning into an actual cult. This was simply not what the Harvard psychology department was meant to be doing. And one Harvard student was out to shut them down for good, and his name was Andrew Weil. Weil is now best known as one of the leading lights in alternative health, and has made appearances on Oprah and Larry King Live, but for many years his research interest was in mind-altering chemicals -- his undergraduate thesis was on the use of nutmeg to induce different states of consciousness. At this point Weil was an undergraduate, and he and his friend Ronnie Winston had both tried to get involved in the Harvard Psilocybin Project, but had been turned down -- while they were enthusiastic about it, they were also undergraduates, and Leary and Dass had agreed with the university that they wouldn't be using undergraduates in their project, and that only graduate students, faculty, and outsiders would be involved. So Weil and Winston had started their own series of experiments, using mescaline after they'd been unable to get any psilocybin -- they'd contacted Aldous Huxley, the author of The Doors of Perception and an influence on Leary and Dass' experiments, and asked him where they could get mescaline, and he'd pointed them in the right direction. But then Winston and Dass had become friends, and Dass had given Winston some psilocybin -- not as part of his experiments, so Dass didn't think he was crossing a line, but just socially. Weil saw this as a betrayal by Winston, who stopped hanging round with him once he became close to Dass, and also as a rejection of him by Dass and Leary. If they'd give Winston psilocybin, why wouldn't they give it to him? Weil was a writer for the Harvard Crimson, Harvard's newspaper, and he wrote a series of exposes on Leary and Dass for the Crimson. He went to his former friend Winston's father and told him "Your son is getting drugs from a faculty member. If your son will admit to that charge, we'll cut out your son's name. We won't use it in the article."  Winston did admit to the charge, under pressure from his father, and was brought to tell the Dean, saying to the Dean “Yes, sir, I did, and it was the most educational experience I've had at Harvard.” Weil wrote about this for the Crimson, and the story was picked up by the national media. Weil eventually wrote about Leary and Dass for Look magazine, where he wrote “There were stories of students and others using hallucinogens for seductions, both heterosexual and homosexual.” And this seems actually to have been a big part of Weil's motivation. While Dass and Winston always said that their relationship was purely platonic, Dass was bisexual, and Weil seems to have assumed his friend had been led astray by an evil seducer. This was at a time when homophobia and biphobia were even more prevalent in society than they are now, and part of the reason Leary and Dass fell out in the late sixties is that Leary started to see Dass' sexuality as evil and perverted and something they should be trying to use LSD to cure. The experiments became a national scandal, and one of the reasons that LSD was criminalised a few years later. Dass was sacked for giving drugs to undergraduates; Leary had gone off to Mexico to get away from the stress, leaving his kids with Dass. He would be sacked for going off without permission and leaving his classes untaught. As Leary and Dass were out of Harvard, they had to look for other sources of funding. Luckily, Dass turned William Mellon Hitchcock, the heir to the Mellon oil fortune, on to acid, and he and his brother Tommy and sister Peggy gave them the run of a sixty-four room mansion, named Millbrook. When they started there, they were still trying to be academics, but over the five years they were at Millbrook it became steadily less about research and more of a hippie commune, with regular visitors and long-term residents including Alan Ginsberg, William Burroughs, and the jazz musician Maynard Ferguson, who would later get a small amount of fame with jazz-rock records like his version of "MacArthur Park": [Excerpt: Maynard Ferguson, "MacArthur Park"] It was at Millbrook that Leary, Dass, and Metzner would write the book that became The Psychedelic Experience. This book was inspired by the Bardo Thödol, a book allegedly written by Padmasambhava, the man who introduced Buddhism to Tibet in the eighth century, though no copies of it are known to have existed before the fourteenth century, when it was supposedly discovered by Karma Lingpa. Its title translates as Liberation Through Hearing During the Intermediate State, but it was translated into English under the name The Tibetan Book of the Dead, as Walter Evans-Wentz, who compiled and edited the first English translation was, like many Westerners who studied Buddhism in the early part of the twentieth century, doing so because he was an occultist and a member of the Theosophical Society, which believes the secret occult masters of the world live in Tibet, but which also considered the Egyptian Book of the Dead -- a book which bears little relationship to the Bardo Thödol, and which was written thousands of years earlier on a different continent -- to be a major religious document. So it was through that lens that Evans-Wentz was viewing the Bardo Thödol, and he renamed the book to emphasise what he perceived as its similarities. Part of the Bardo Thödol is a description of what happens to someone between death and rebirth -- the process by which the dead person becomes aware of true reality, and then either transcends it or is dragged back into it by their lesser impulses -- and a series of meditations that can be used to help with that transcendence. In the version published as The Tibetan Book of the Dead, this is accompanied by commentary from Evans-Wentz, who while he was interested in Buddhism didn't actually know that much about Tibetan Buddhism, and was looking at the text through a Theosophical lens, and mostly interpreting it using Hindu concepts. Later editions of Evans-Wentz's version added further commentary by Carl Jung, which looked at Evans-Wentz's version of the book through Jung's own lens, seeing it as a book about psychological states, not about anything more supernatural (although Jung's version of psychology was always a supernaturalist one, of course). His Westernised, psychologised, version of the book's message became part of the third edition. Metzner later said "At the suggestion of Aldous Huxley and Gerald Heard we began using the Bardo Thödol ( Tibetan Book of the Dead) as a guide to psychedelic sessions. The Tibetan Buddhists talked about the three phases of experience on the “intermediate planes” ( bardos) between death and rebirth. We translated this to refer to the death and the rebirth of the ego, or ordinary personality. Stripped of the elaborate Tibetan symbolism and transposed into Western concepts, the text provided a remarkable parallel to our findings." Leary, Dass, and Metzner rewrote the book into a form that could be used to guide a reader through a psychedelic trip, through the death of their ego and its rebirth. Later, Leary would record an abridged audiobook version, and it's this that we've been hearing excerpts of during this podcast so far: [Excerpt: The Psychedelic Experience "Turn off your mind, relax, float downstream" about 04:15] When we left the Beatles, they were at the absolute height of their fame, though in retrospect the cracks had already begun to show.  Their second film had been released, and the soundtrack had contained some of their best work, but the title track, "Help!", had been a worrying insight into John Lennon's current mental state. Immediately after making the film and album, of course, they went back out touring, first a European tour, then an American one, which probably counts as the first true stadium tour. There had been other stadium shows before the Beatles 1965 tour -- we talked way back in the first episodes of the series about how Sister Rosetta Tharpe had a *wedding* that was a stadium gig. But of course there are stadiums and stadiums, and the Beatles' 1965 tour had them playing the kind of venues that no other musician, and certainly no other rock band, had ever played. Most famously, of course, there was the opening concert of the tour at Shea Stadium, where they played to an audience of fifty-five thousand people -- the largest audience a rock band had ever played for, and one which would remain a record for many years. Most of those people, of course, couldn't actually hear much of anything -- the band weren't playing through a public address system designed for music, just playing through the loudspeakers that were designed for commentating on baseball games. But even if they had been playing through the kind of modern sound systems used today, it's unlikely that the audience would have heard much due to the overwhelming noise coming from the crowd. Similarly, there were no live video feeds of the show or any of the other things that nowadays make it at least possible for the audience to have some idea what is going on on stage. The difference between this and anything that anyone had experienced before was so great that the group became overwhelmed. There's video footage of the show -- a heavily-edited version, with quite a few overdubs and rerecordings of some tracks was broadcast on TV, and it's also been shown in cinemas more recently as part of promotion for an underwhelming documentary about the Beatles' tours -- and you can see Lennon in particular becoming actually hysterical during the performance of "I'm Down", where he's playing the organ with his elbows. Sadly the audio nature of this podcast doesn't allow me to show Lennon's facial expression, but you can hear something of the exuberance in the performance. This is from what is labelled as a copy of the raw audio of the show -- the version broadcast on TV had a fair bit of additional sweetening work done on it: [Excerpt: The Beatles, "I'm Down (Live at Shea Stadium)"] After their American tour they had almost six weeks off work to write new material before going back into the studio to record their second album of the year, and one which would be a major turning point for the group. The first day of the recording sessions for this new album, Rubber Soul, started with two songs of Lennon's. The first of these was "Run For Your Life", a song Lennon never later had much good to say about, and which is widely regarded as the worst song on the album. That song was written off a line from Elvis Presley's version of "Baby Let's Play House", and while Lennon never stated this, it's likely that it was brought to mind by the Beatles having met with Elvis during their US tour. But the second song was more interesting. Starting with "Help!", Lennon had been trying to write more interesting lyrics. This had been inspired by two conversations with British journalists -- Kenneth Allsop had told Lennon that while he liked Lennon's poetry, the lyrics to his songs were banal in comparison and he found them unlistenable as a result, while Maureen Cleave, a journalist who was a close friend with Lennon, had told him that she hadn't noticed a single word in any of his lyrics with more than two syllables, so he made more of an effort with "Help!", putting in words like "independence" and "insecure". As he said in one of his last interviews, "I was insecure then, and things like that happened more than once. I never considered it before. So after that I put a few words with three syllables in, but she didn't think much of them when I played it for her, anyway.” Cleave may have been an inspiration for "Norwegian Wood (This Bird Has Flown)". There are very strong rumours that Lennon had an affair with Cleave in the mid-sixties, and if that's true it would definitely fit into a pattern. Lennon had many, many, affairs during his first marriage, both brief one-night stands and deeper emotional attachments, and those emotional attachments were generally with women who were slightly older, intellectual, somewhat exotic looking by the standards of 1960s Britain, and in the arts. Lennon later claimed to have had an affair with Eleanor Bron, the Beatles' co-star in Help!, though she always denied this, and it's fairly widely established that he did have an affair with Alma Cogan, a singer who he'd mocked during her peak of popularity in the fifties, but who would later become one of his closest friends: [Excerpt: Alma Cogan, "Why Do Fools Fall in Love?"] And "Norwegian Wood", the second song recorded for Rubber Soul, started out as a confession to one of these affairs, a way of Lennon admitting it to his wife without really admitting it. The figure in the song is a slightly aloof, distant woman, and the title refers to the taste among Bohemian British people at the time for minimalist decor made of Scandinavian pine -- something that would have been a very obvious class signifier at the time. [Excerpt: The Beatles, "Norwegian Wood (This Bird Has Flown)"] Lennon and McCartney had different stories about who wrote what in the song, and Lennon's own story seems to have changed at various times. What seems to have happened is that Lennon wrote the first couple of verses while on holiday with George Martin, and finished it off later with McCartney's help. McCartney seems to have come up with the middle eight melody -- which is in Dorian mode rather than the Mixolydian mode of the verses -- and to have come up with the twist ending, where the woman refuses to sleep with the protagonist and laughs at him, he goes to sleep in the bath rather than her bed, wakes up alone, and sets fire to the house in revenge. This in some ways makes "Norwegian Wood" the thematic centrepiece of the album that was to result, combining several of the themes its two songwriters came back to throughout the album and the single recorded alongside it. Like Lennon's "Run For Your Life" it has a misogynistic edge to it, and deals with taking revenge against a woman, but like his song "Girl", it deals with a distant, unattainable, woman, who the singer sees as above him but who has a slightly cruel edge -- the kind of girl who puts you down when friends are there,  you feel a fool, is very similar to the woman who tells you to sit down but has no chairs in her minimalist flat. A big teaser who takes you half the way there is likely to laugh at you as you crawl off to sleep in the bath while she goes off to bed alone. Meanwhile, McCartney's two most popular contributions to the album, "Michelle" and "Drive My Car", also feature unattainable women, but are essentially comedy songs -- "Michelle" is a pastiche French song which McCartney used to play as a teenager while pretending to be foreign to impress girls, dug up and finished for the album, while "Drive My Car" is a comedy song with a twist in the punchline, just like "Norwegian Wood", though "Norwegian Wood"s twist is darker. But "Norwegian Wood" is even more famous for its music than for its lyric. The basis of the song is Lennon imitating Dylan's style -- something that Dylan saw, and countered with "Fourth Time Around", a song which people have interpreted multiple ways, but one of those interpretations has always been that it's a fairly vicious parody of "Norwegian Wood": [Excerpt: Bob Dylan, "Fourth Time Around"] Certainly Lennon thought that at first, saying a few years later "I was very paranoid about that. I remember he played it to me when he was in London. He said, what do you think? I said, I don't like it. I didn't like it. I was very paranoid. I just didn't like what I felt I was feeling – I thought it was an out and out skit, you know, but it wasn't. It was great. I mean he wasn't playing any tricks on me. I was just going through the bit." But the aspect of "Norwegian Wood" that has had more comment over the years has been the sitar part, played by George Harrison: [Excerpt: The Beatles, "Norwegian Wood"] This has often been called the first sitar to be used on a rock record, and that may be the case, but it's difficult to say for sure. Indian music was very much in the air among British groups in September 1965, when the Beatles recorded the track. That spring, two records had almost simultaneously introduced Indian-influenced music into the pop charts. The first had been the Yardbirds' "Heart Full of Soul", released in June and recorded in April. In fact, the Yardbirds had actually used a sitar on their first attempt at recording the song, which if it had been released would have been an earlier example than the Beatles: [Excerpt: The Yardbirds, "Heart Full of Soul (first version)"] But in the finished recording they had replaced that with Jeff Beck playing a guitar in a way that made it sound vaguely like a sitar, rather than using a real one: [Excerpt: The Yardbirds, "Heart Full of Soul (single)"] Meanwhile, after the Yardbirds had recorded that but before they'd released it, and apparently without any discussion between the two groups, the Kinks had done something similar on their "See My Friends", which came out a few weeks after the Yardbirds record: [Excerpt: The Kinks, "See My Friends"] (Incidentally, that track is sometimes titled "See My Friend" rather than "See My Friends", but that's apparently down to a misprint on initial pressings rather than that being the intended title). As part of this general flowering of interest in Indian music, George Harrison had become fascinated with the sound of the sitar while recording scenes in Help! which featured some Indian musicians. He'd then, as we discussed in the episode on "Eight Miles High" been introduced by David Crosby on the Beatles' summer US tour to the music of Ravi Shankar. "Norwegian Wood" likely reminded Harrison of Shankar's work for a couple of reasons. The first is that the melody is very modal -- as I said before, the verses are in Mixolydian mode, while the middle eights are in Dorian -- and as we saw in the "Eight Miles High" episode Indian music is very modal. The second is that for the most part, the verse is all on one chord -- a D chord as Lennon originally played it, though in the final take it's capoed on the second fret so it sounds in E. The only time the chord changes at all is on the words "once had" in the phrase “she once had me” where for one beat each Lennon plays a C9 and a G (sounding as a D9 and A). Both these chords, in the fingering Lennon is using, feel to a guitarist more like "playing a D chord and lifting some fingers up or putting some down" rather than playing new chords, and this is a fairly common way of thinking about stuff particularly when talking about folk and folk-rock music -- you'll tend to get people talking about the "Needles and Pins" riff as being "an A chord where you twiddle your finger about on the D string" rather than changing between A, Asus2, and Asus4. So while there are chord changes, they're minimal and of a kind that can be thought of as "not really" chord changes, and so that may well have reminded Harrison of the drone that's so fundamental to Indian classical music. Either way, he brought in his sitar, and they used it on the track, both the version they cut on the first day of recording and the remake a week later which became the album track: [Excerpt: The Beatles, "Norwegian Wood (This Bird Has Flown)"] At the same time as the group were recording Rubber Soul, they were also working on two tracks that would become their next single -- released as a double A-side because the group couldn't agree which of the two to promote. Both of these songs were actual Lennon/McCartney collaborations, something that was increasingly rare at this point. One, "We Can Work it Out" was initiated by McCartney, and like many of his songs of this period was inspired by tensions in his relationship with his girlfriend Jane Asher -- two of his other songs for Rubber Soul were "I'm Looking Through You" and "You Won't See Me".  The other, "Day Tripper",  was initiated by Lennon, and had other inspirations: [Excerpt: The Beatles, "Day Tripper"] John Lennon and George Harrison's first acid trip had been in spring of 1965, around the time they were recording Help! The fullest version of how they came to try it I've read was in an interview George Harrison gave to Creem magazine in 1987, which I'll quote a bit of: "I had a dentist who invited me and John and our ex-wives to dinner, and he had this acid he'd got off the guy who ran Playboy in London. And the Playboy guy had gotten it off, you know, the people who had it in America. What's his name, Tim Leary. And this guy had never had it himself, didn't know anything about it, but he thought it was an aphrodisiac and he had this girlfriend with huge breasts. He invited us down there with our blonde wives and I think he thought he was gonna have a scene. And he put it in our coffee without telling us—he didn't take any himself. We didn't know we had it, and we'd made an arrangement earlier—after we had dinner we were gonna go to this nightclub to see some friends of ours who were playing in a band. And I was saying, "OK, let's go, we've got to go," and this guy kept saying, "No, don't go, finish your coffee. Then, 20 minutes later or something, I'm saying, "C'mon John, we'd better go now. We're gonna miss the show." And he says we shouldn't go 'cause we've had LSD." They did leave anyway, and they had an experience they later remembered as being both profound and terrifying -- nobody involved had any idea what the effects of LSD actually were, and they didn't realise it was any different from cannabis or amphetamines. Harrison later described feelings of universal love, but also utter terror -- believing himself to be in hell, and that world war III was starting. As he said later "We'd heard of it, but we never knew what it was about and it was put in our coffee maliciously. So it really wasn't us turning each other or the world or anything—we were the victims of silly people." But both men decided it was an experience they needed to have again, and one they wanted to share with their friends. Their next acid trip was the one that we talked about in the episode on "Eight Miles High", with Roger McGuinn, David Crosby, and Peter Fonda. That time Neil Aspinall and Ringo took part as well, but at this point Paul was still unsure about taking it -- he would later say that he was being told by everyone that it changed your worldview so radically you'd never be the same again, and he was understandably cautious about this. Certainly it had a profound effect on Lennon and Harrison -- Starr has never really talked in detail about his own experiences. Harrison would later talk about how prior to taking acid he had been an atheist, but his experiences on the drug gave him an unshakeable conviction in the existence of God -- something he would spend the rest of his life exploring. Lennon didn't change his opinions that drastically, but he did become very evangelistic about the effects of LSD. And "Day Tripper" started out as a dig at what he later described as weekend hippies, who took acid but didn't change the rest of their lives -- which shows a certain level of ego in a man who had at that point only taken acid twice himself -- though in collaboration with McCartney it turned into another of the rather angry songs about unavailable women they were writing at this point. The line "she's a big teaser, she took me half the way there" apparently started as "she's a prick teaser": [Excerpt: The Beatles, "Day Tripper"] In the middle of the recording of Rubber Soul, the group took a break to receive their MBEs from the Queen. Officially the group were awarded these because they had contributed so much to British exports. In actual fact, they received them because the Prime Minister, Harold Wilson, had a government with a majority of only four MPs and was thinking about calling an election to boost his majority. He represented a Liverpool constituency, and wanted to associate his Government and the Labour Party with the most popular entertainers in the UK. "Day Tripper" and "We Can Work it Out" got their TV premiere on a show recorded for Granada TV,  The Music of Lennon and McCartney, and fans of British TV trivia will be pleased to note that the harmonium Lennon plays while the group mimed "We Can Work it Out" in that show is the same one that was played in Coronation Street by Ena Sharples -- the character we heard last episode being Davy Jones' grandmother. As well as the Beatles themselves, that show included other Brian Epstein artists like Cilla Black and Billy J Kramer singing songs that Lennon and McCartney had given to them, plus Peter Sellers, the Beatles' comedy idol, performing "A Hard Day's Night" in the style of Laurence Olivier as Richard III: [Excerpt: Peter Sellers, "A Hard Day's Night"] Another performance on the show was by Peter and Gordon, performing a hit that Paul had given to them, one of his earliest songs: [Excerpt: Peter and Gordon, "A World Without Love"] Peter Asher, of Peter and Gordon, was the brother of Paul McCartney's girlfriend, the actor Jane Asher. And while the other three Beatles were living married lives in mansions in suburbia, McCartney at this point was living with the Asher family in London, and being introduced by them to a far more Bohemian, artistic, hip crowd of people than he had ever before experienced. They were introducing him to types of art and culture of which he had previously been ignorant, and while McCartney was the only Beatle so far who hadn't taken LSD, this kind of mind expansion was far more appealing to him. He was being introduced to art film, to electronic composers like Stockhausen, and to ideas about philosophy and art that he had never considered. Peter Asher was a friend of John Dunbar, who at the time was Marianne Faithfull's husband, though Faithfull had left him and taken up with Mick Jagger, and of Barry Miles, a writer, and in September 1965 the three men had formed a company, Miles, Asher and Dunbar Limited, or MAD for short, which had opened up a bookshop and art gallery, the Indica Gallery, which was one of the first places in London to sell alternative or hippie books and paraphernalia, and which also hosted art events by people like members of the Fluxus art movement. McCartney was a frequent customer, as you might imagine, and he also encouraged the other Beatles to go along, and the Indica Gallery would play an immense role in the group's history, which we'll look at in a future episode. But the first impact it had on the group was when John and Paul went to the shop in late 1965, just after the recording and release of Rubber Soul and the "Day Tripper"/"We Can Work It Out" single, and John bought a copy of The Psychedelic Experience by Leary, Dass, and Metzner. He read the book on a plane journey while going on holiday -- reportedly while taking his third acid trip -- and was inspired. When he returned, he wrote a song which became the first track to be recorded for the group's next album, Revolver: [Excerpt: The Beatles, "Tomorrow Never Knows"] The lyrics were inspired by the parts of The Psychedelic Experience which were in turn inspired by the Tibetan Book of the Dead. Now, it's important to put it this way because most people who talk about this record have apparently never read the book which inspired it. I've read many, many, books on the Beatles which claim that The Psychedelic Experience simply *is* the Tibetan Book of the Dead, slightly paraphrased. In fact, while the authors use the Tibetan Book of the Dead as a structure on which to base their book, much of the book is detailed descriptions of Leary, Dass, and Metzner's hypotheses about what is actually happening during a psychedelic trip, and their notes on the book -- in particular they provide commentaries to the commentaries, giving their view of what Carl Jung meant when he talked about it, and of Evans-Wentz's opinions, and especially of a commentary by Anagarika Govinda, a Westerner who had taken up Tibetan Buddhism seriously and become a monk and one of its most well-known exponents in the West. By the time it's been filtered through so many different viewpoints and perspectives, each rewriting and reinterpreting it to suit their own preconceived ideas, they could have started with a book on the habitat of the Canada goose and ended with much the same result. Much of this is the kind of mixture between religious syncretism and pseudoscience that will be very familiar to anyone who has encountered New Age culture in any way, statements like "The Vedic sages knew the secret; the Eleusinian Initiates knew it; the Tantrics knew it. In all their esoteric writings they whisper the message: It is possible to cut beyond ego-consciousness, to tune in on neurological processes which flash by at the speed of light, and to become aware of the enormous treasury of ancient racial knowledge welded into the nucleus of every cell in your body". This kind of viewpoint is one that has been around in one form or another since the nineteenth century religious revivals in America that led to Mormonism, Christian Science, and the New Thought. It's found today in books and documentaries like The Secret and the writings of people like Deepak Chopra, and the idea is always the same one -- people thousands of years ago had a lost wisdom that has only now been rediscovered through the miracle of modern science. This always involves a complete misrepresentation of both the lost wisdom and of the modern science. In particular, Leary, Dass, and Metzner's book freely mixes between phrases that sound vaguely scientific, like "There are no longer things and persons but only the direct flow of particles", things that are elements of Tibetan Buddhism, and references to ego games and "game-existence" which come from Leary's particular ideas of psychology as game interactions. All of this is intermingled, and so the claims that some have made that Lennon based the lyrics on the Tibetan Book of the Dead itself are very wrong. Rather the song, which he initially called "The Void", is very much based on Timothy Leary. The song itself was very influenced by Indian music. The melody line consists of only four notes -- E, G, C, and B flat, over a space of an octave: [Demonstrates] This sparse use of notes is very similar to the pentatonic scales in a lot of folk music, but that B-flat makes it the Mixolydian mode, rather than the E minor pentatonic scale our ears at first make it feel like. The B-flat also implies a harmony change -- Lennon originally sang the whole song over one chord, a C, which has the notes C, E, and G in it, but a B-flat note implies instead a chord of C7 -- this is another one of those occasions where you just put one finger down to change the chord while playing, and I suspect that's what Lennon did: [Demonstrates] Lennon's song was inspired by Indian music, but what he wanted was to replicate the psychedelic experience, and this is where McCartney came in. McCartney was, as I said earlier, listening to a lot of electronic composers as part of his general drive to broaden his mind, and in particular he had been listening to quite a bit of Karlheinz Stockhausen. Stockhausen was a composer who had studied with Olivier Messiaen in the 1940s, and had then become attached to the Groupe de Recherche de Musique Concrète along with Messiaen, Pierre Boulez, Edgard Varese and others, notably Pierre Schaeffer and Pierre Henry. These composers were interested in a specific style of music called musique concrète, a style that had been pioneered by Schaeffer. Musique concrète is music that is created from, or at least using, prerecorded sounds that have been electronically altered, rather than with live instruments. Often this would involve found sound -- music made not by instruments at all, but by combining recorded sounds of objects, like with the first major work of musique concrète, Pierre Schaeffer's Cinq études de bruits: [Excerpt: Pierre Schaeffer, "Etude aux Chemins de faire" (from Cinq études de bruits)] Early on, musique concrète composers worked in much the same way that people use turntables to create dance music today -- they would have multiple record players, playing shellac discs, and a mixing desk, and they would drop the needle on the record players to various points, play the records backwards, and so forth. One technique that Schaeffer had come up with was to create records with a closed groove, so that when the record finished, the groove would go back to the start -- the record would just keep playing the same thing over and over and over. Later, when magnetic tape had come into use, Schaeffer had discovered you could get the same effect much more easily by making an actual loop of tape, and had started making loops of tape whose beginnings were stuck to their ending -- again creating something that could keep going over and over. Stockhausen had taken up the practice of using tape loops, most notably in a piece that McCartney was a big admirer of, Gesang der Jeunglinge: [Excerpt: Karlheinz Stockhausen, "Gesang der Jeunglinge"] McCartney suggested using tape loops on Lennon's new song, and everyone was in agreement. And this is the point where George Martin really starts coming into his own as a producer for the group. Martin had always been a good producer, but his being a good producer had up to this point mostly consisted of doing little bits of tidying up and being rather hands-off. He'd scored the strings on "Yesterday", played piano parts, and made suggestions like speeding up "Please Please Me" or putting the hook of "Can't Buy Me Love" at the beginning. Important contributions, contributions that turned good songs into great records, but nothing that Tony Hatch or Norrie Paramor or whoever couldn't have done. Indeed, his biggest contribution had largely been *not* being a Hatch or Paramor, and not imposing his own songs on the group, letting their own artistic voices flourish. But at this point Martin's unique skillset came into play. Martin had specialised in comedy records before his work with the Beatles, and he had worked with Peter Sellers and Spike Milligan of the Goons, making records that required a far odder range of sounds than the normal pop record: [Excerpt: The Goons, "Unchained Melody"] The Goons' radio show had used a lot of sound effects created by the BBC Radiophonic Workshop, a department of the BBC that specialised in creating musique concrète, and Martin had also had some interactions with the Radiophonic Workshop. In particular, he had worked with Maddalena Fagandini of the Workshop on an experimental single combining looped sounds and live instruments, under the pseudonym "Ray Cathode": [Excerpt: Ray Cathode, "Time Beat"] He had also worked on a record that is if anything even more relevant to "Tomorrow Never Knows". Unfortunately, that record is by someone who has been convicted of very serious sex offences. In this case, Rolf Harris, the man in question, was so well-known in Britain before his arrest, so beloved, and so much a part of many people's childhoods, that it may actually be traumatic for people to hear his voice knowing about his crimes. So while I know that showing the slightest consideration for my listeners' feelings will lead to a barrage of comments from angry old men calling me a "woke snowflake" for daring to not want to retraumatise vulnerable listeners, I'll give a little warning before I play the first of two segments of his recordings in a minute. When I do, if you skip forward approximately ninety seconds, you'll miss that section out. Harris was an Australian all-round entertainer, known in Britain for his novelty records, like the unfortunately racist "Tie Me Kangaroo Down Sport" -- which the Beatles later recorded with him in a non-racist version for a BBC session. But he had also, in 1960, recorded and released in Australia a song he'd written based on his understanding of Aboriginal Australian religious beliefs, and backed by Aboriginal musicians on didgeridoo. And we're going to hear that clip now: [Excerpt. Rolf Harris, "Sun Arise" original] EMI, his British label, had not wanted to release that as it was, so he'd got together with George Martin and they'd put together a new version, for British release. That had included a new middle-eight, giving the song a tiny bit of harmonic movement, and Martin had replaced the didgeridoos with eight cellos, playing a drone: [Excerpt: Rolf Harris, "Sun Arise", 1962 version ] OK, we'll just wait a few seconds for anyone who skipped that to catch up... Now, there are some interesting things about that track. That is a track based on a non-Western religious belief, based around a single drone -- the version that Martin produced had a chord change for the middle eight, but the verses were still on the drone -- using the recording studio to make the singer's voice sound different, with a deep, pulsating, drum sound, and using a melody with only a handful of notes, which doesn't start on the tonic but descends to it. Sound familiar? Oh, and a young assistant engineer had worked with George Martin on that session in 1962, in what several sources say was their first session together, and all sources say was one of their first. That young assistant engineer was Geoff Emerick, who had now been promoted to the main engineer role, and was working his first Beatles session in that role on “Tomorrow Never Knows”. Emerick was young and eager to experiment, and he would become a major part of the Beatles' team for the next few years, acting as engineer on all their recordings in 1966 and 67, and returning in 1969 for their last album. To start with, the group recorded a loop of guitar and drums, heavily treated: [Excerpt: "Tomorrow Never Knows", loop] That loop was slowed down to half its speed, and played throughout: [Excerpt: "Tomorrow Never Knows", loop] Onto that the group overdubbed a second set of live drums and Lennon's vocal. Lennon wanted his voice to sound like the Dalai Lama singing from a mountaintop, or like thousands of Tibetan monks. Obviously the group weren't going to fly to Tibet and persuade monks to sing for them, so they wanted some unusual vocal effect. This was quite normal for Lennon, actually. One of the odd things about Lennon is that while he's often regarded as one of the greatest rock vocalists of all time, he always hated his own voice and wanted to change it in the studio. After the Beatles' first album there's barely a dry Lennon solo vocal anywhere on any record he ever made. Either he would be harmonising with someone else, or he'd double-track his vocal, or he'd have it drenched in reverb, or some other effect -- anything to stop it sounding quite so much like him. And Geoff Emerick had the perfect idea. There's a type of speaker called a Leslie speaker, which was originally used to give Hammond organs their swirling sound, but which can be used with other instruments as well. It has two rotating speakers inside it, a bass one and a treble one, and it's the rotation that gives the swirling sound. Ken Townsend, the electrical engineer working on the record, hooked up the speaker from Abbey Road's Hammond organ to Lennon's mic, and Lennon was ecstatic with the sound: [Excerpt: The Beatles, "Tomorrow Never Knows", take one] At least, he was ecstatic with the sound of his vocal, though he did wonder if it might be more interesting to get the same swirling effect by tying himself to a rope and being swung round the microphone The rest of the track wasn't quite working, though, and they decided to have a second attempt. But Lennon had been impressed enough by Emerick that he decided to have a chat with him about music -- his way of showing that Emerick had been accepted. He asked if Emerick had heard the new Tiny Tim record -- which shows how much attention Lennon was actually paying to music at this point. This was two years before Tim's breakthrough with "Tiptoe Through the Tulips", and his first single (unless you count a release from 1963 that was only released as a 78, in the sixties equivalent of a hipster cassette-only release), a version of "April Showers" backed with "Little Girl" -- the old folk song also known as "In the Pines" or "Where Did You Sleep Last Night?": [Excerpt: Tiny Tim, "Little Girl"] Unfortunately for Emerick, he hadn't heard the record, and rather than just say so he tried bluffing, saying "Yes, they're great". Lennon laughed at his attempt to sound like he knew what he was talking about, before explaining that Tiny Tim was a solo artist, though he did say "Nobody's really sure if it's actually a guy or some drag queen". For the second attempt, they decided to cut the whole backing track live rather than play to a loop. Lennon had had trouble staying in sync with the loop, but they had liked the thunderous sound that had been got from slowing the tape down. As Paul talked with Ringo about his drum part, suggesting a new pattern for him to play, Emerick went down into the studio from the control room and made some adjustments. He first deadened the sound of the bass drum by sticking a sweater in it -- it was actually a promotional sweater with eight arms, made when the film Help! had been provisionally titled Eight Arms to Hold You, which Mal Evans had been using as packing material. He then moved the mics much, much closer to the drums that EMI studio rules allowed -- mics can be damaged by loud noises, and EMI had very strict rules about distance, not allowing them within two feet of the drum kit. Emerick decided to risk his job by moving the mics mere inches from the drums, reasoning that he would probably have Lennon's support if he did this. He then put the drum signal through an overloaded Fairfield limiter, giving it a punchier sound than anything that had been recorded in a British studio up to that point: [Excerpt: The Beatles, "Tomorrow Never Knows", isolated drums] That wasn't the only thing they did to make the record sound different though.  As well as Emerick's idea for the Leslie speaker, Ken Townsend had his own idea of how to make Lennon's voice sound different. Lennon had often complained about the difficulty of double-tracking his voice, and so Townsend had had an idea -- if you took a normal recording, fed it to another tape machine a few milliseconds out of sync with the first, and then fed it back into the first, you could create a double-tracked effect without having to actually double-track the vocal. Townsend suggested this, and it was used for the first time on the first half of "Tomorrow Never Knows", before the Leslie speaker takes over. The technique is now known as "artificial double-tracking" or ADT, but the session actually gave rise to another term, commonly used for a similar but slightly different tape-manipulation effect that had already been used by Les Paul among others. Lennon asked how they'd got the effect and George Martin started to explain, but then realised Lennon wasn't really interested in the technical details, and said "we take the original image and we split it through a double-bifurcated sploshing flange". From that point on, Lennon referred to ADT as "flanging", and the term spread, though being applied to the other technique. (Just as a quick aside, some people have claimed other origins for the term "flanging", and they may be right, but I think this is the correct story). Over the backing track they added tambourine and organ overdubs -- with the organ changing to a B flat chord when the vocal hits the B-flat note, even though the rest of the band stays on C -- and then a series of tape loops, mostly recorded by McCartney. There's a recording that circulates which has each of these loops isolated, played first forwards and then backwards at the speed they were recorded, and then going through at the speed they were used on the record, so let's go through these. There's what people call the "seagull" sound, which is apparently McCartney laughing, very distorted: [Excerpt: Tomorrow Never Knows loop] Then there's an orchestral chord: [Excerpt: Tomorrow Never Knows loop] A mellotron on its flute setting: [Excerpt: Tomorrow Never Knows loop] And on its string setting: [Excerpt: Tomorrow Never Knows loop] And a much longer loop of sitar music supplied by George: [Excerpt: Tomorrow Never Knows loop] Each of these loops were played on a different tape machine in a different part of Abbey Road -- they commandeered the entire studio complex, and got engineers to sit with the tapes looped round pencils and wine-glasses, while the Beatles supervised Emerick and Martin in mixing the loops into a single track. They then added a loop of a tamboura drone played by George, and the result was one of the strangest records ever released by a major pop group: [Excerpt: The Beatles, "Tomorrow Never Knows"] While Paul did add some backwards guitar -- some sources say that this is a cut-up version of his solo from George's song "Taxman", but it's actually a different recording, though very much in the same style -- they decided that they were going to have a tape-loop solo rather than a guitar solo: [Excerpt: The Beatles, "Tomorrow Never Knows"] And finally, at the end, there's some tack piano playing from McCartney, inspired by the kind of joke piano parts that used to turn up on the Goon Show. This was just McCartney messing about in the studio, but it was caught on tape, and they asked for it to be included at the end of the track. It's only faintly audible on the standard mixes of the track, but there was actually an alternative mono mix which was only released on British pressings of the album pressed on the first day of its release, before George Martin changed his mind about which mix should have been used, and that has a much longer excerpt of the piano on it. I have to say that I personally like that mix more, and the extra piano at the end does a wonderful job of undercutting what could otherwise be an overly-serious track, in much the same way as the laughter at the end of "Within You, Without You", which they recorded the next year. The same goes for the title -- the track was originally called "The Void", and the tape boxes were labelled "Mark One", but Lennon decided to name the track after one of Starr's malapropisms, the same way they had with "A Hard Day's Night", to avoid the track being too pompous. [Excerpt: Beatles interview] A track like that, of course, had to end the album. Now all they needed to do was to record another thirteen tracks to go before it. But that -- and what they did afterwards, is a story for another time. [Excerpt, "Tomorrow Never Knows (alternate mono mix)" piano tag into theme music]

Episode one hundred and thirty-five of A History of Rock Music in Five Hundred Songs looks at “The Sound of Silence" by Simon and Garfunkel, and the many records they made, together and apart, before their success. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Blues Run the Game" by Jackson C. Frank. 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 I talk about a tour of Lancashire towns, but some of the towns I mention were in Cheshire at the time, and some are in Greater Manchester or Merseyside now. They're all very close together though. I say Mose Rager was Black. I was misremembering, confusing Mose Rager, a white player in the Muhlenberg style, with Arnold Schultz, a Black player who invented it. I got this right in the episode on "Bye Bye Love". Also, I couldn't track down a copy of the Paul Kane single version of “He Was My Brother” in decent quality, so I used the version on The Paul Simon Songbook instead, as they're basically identical performances. Resources As usual, I've created a Mixcloud playlist of the music excerpted here. This compilation collects all Simon and Garfunkel's studio albums, with bonus tracks, plus a DVD of their reunion concert. There are many collections of the pre-S&G recordings by the two, as these are now largely in the public domain. This one contains a good selection. I've referred to several books for this episode: Simon and Garfunkel: Together Alone by Spencer Leigh is a breezy, well-researched, biography of the duo. Paul Simon: The Life by Robert Hilburn is the closest thing there is to an authorised biography of Simon. And What is it All But Luminous? is Art Garfunkel's memoir. It's not particularly detailed, being more a collection of thoughts and poetry than a structured narrative, but gives a good idea of Garfunkel's attitude to people and events in his life. Roots, Radicals, and Rockers: How Skiffle Changed the World by Billy Bragg has some great information on the British folk scene of the fifties and sixties. And Singing From the Floor is an oral history of British folk clubs, including a chapter on Dylan's 1962 visit to London. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we're going to take a look at a hit record that almost never happened -- a record by a duo who had already split up, twice, by the time it became a hit, and who didn't know it was going to come out. We're going to look at how a duo who started off as an Everly Brothers knockoff, before becoming unsuccessful Greenwich Village folkies, were turned into one of the biggest acts of the sixties by their producer. We're going to look at Simon and Garfunkel, and at "The Sound of Silence": [Excerpt: Simon and Garfunkel, "The Sound of Silence"] The story of Simon and Garfunkel starts with two children in a school play.  Neither Paul Simon or Art Garfunkel had many friends when they met in a school performance of Alice in Wonderland, where Simon was playing the White Rabbit and Garfunkel the Cheshire Cat. Simon was well-enough liked, by all accounts, but he'd been put on an accelerated programme for gifted students which meant he was progressing through school faster than his peers. He had a small social group, mostly based around playing baseball, but wasn't one of the popular kids. Art Garfunkel, another gifted student, had no friends at all until he got to know Simon, who he described later as his "one and only friend" in this time period. One passage in Garfunkel's autobiography seems to me to sum up everything about Garfunkel's personality as a child -- and indeed a large part of his personality as it comes across in interviews to this day. He talks about the pleasure he got from listening to the chart rundown on the radio -- "It was the numbers that got me. I kept meticulous lists—when a new singer like Tony Bennett came onto the charts with “Rags to Riches,” I watched the record jump from, say, #23 to #14 in a week. The mathematics of the jumps went to my sense of fun." Garfunkel is, to this day, a meticulous person -- on his website he has a list of every book he's read since June 1968, which is currently up to one thousand three hundred and ten books, and he has always had a habit of starting elaborate projects and ticking off every aspect of them as he goes. Both Simon and Garfunkel were outsiders at this point, other than their interests in sport, but Garfunkel was by far the more introverted of the two, and as a result he seems to have needed their friendship more than Simon did. But the two boys developed an intense, close, friendship, initially based around their shared sense of humour. Both of them were avid readers of Mad magazine, which had just started publishing when the two of them had met up, and both could make each other laugh easily. But they soon developed a new interest, when Martin Block on the middle-of-the-road radio show Make Believe Ballroom announced that he was going to play the worst record he'd ever heard. That record was "Gee" by the Crows: [Excerpt: The Crows, "Gee"] Paul Simon later said that that record was the first thing he'd ever heard on that programme that he liked, and soon he and Garfunkel had become regular listeners to Alan Freed's show on WINS, loving the new rock and roll music they were discovering. Art had already been singing in public from an early age -- his first public performance had been singing Nat "King" Cole's hit "Too Young" in a school talent contest when he was nine -- but the two started singing together. The first performance by Simon and Garfunkel was at a high school dance and, depending on which source you read, was a performance either of "Sh'Boom" or of Big Joe Turner's "Flip, Flop, and Fly": [Excerpt: Big Joe Turner, "Flip, Flop, and Fly"] The duo also wrote at least one song together as early as 1955 -- or at least Garfunkel says they wrote it together. Paul Simon describes it as one he wrote. They tried to get a record deal with the song, but it was never recorded at the time -- but Simon has later performed it: [Excerpt: Paul Simon, "The Girl For Me"] Even at this point, though, while Art Garfunkel was putting all his emotional energy into the partnership with Simon, Simon was interested in performing with other people. Al Kooper was another friend of Simon's at the time, and apparently Simon and Kooper would also perform together. Once Elvis came on to Paul's radar, he also bought a guitar, but it was when the two of them first heard the Everly Brothers that they realised what it was that they could do together. Simon fell in love with the Everly Brothers as soon as he heard "Bye Bye Love": [Excerpt: The Everly Brothers, "Bye Bye Love"] Up to this point, Paul hadn't bought many records -- he spent his money on baseball cards and comic books, and records just weren't good value. A pack of baseball cards was five cents, a comic book was ten cents, but a record was a dollar. Why buy records when you could hear music on the radio for free? But he needed that record, he couldn't just wait around to hear it on the radio. He made an hour-long two-bus journey to a record shop in Queens, bought the record, took it home, played it... and almost immediately scratched it. So he got back on the bus, travelled for another hour, bought another copy, took it home, and made sure he didn't scratch that one. Simon and Garfunkel started copying the Everlys' harmonies, and would spend hours together, singing close together watching each other's mouths and copying the way they formed words, eventually managing to achieve a vocal blend through sheer effort which would normally only come from familial closeness. Paul became so obsessed with music that he sold his baseball card collection and bought a tape recorder for two hundred dollars. They would record themselves singing, and then sing back along with it, multitracking themselves, but also critiquing the tape, refining their performances. Paul's father was a bass player -- "the family bassman", as he would later sing -- and encouraged his son in his music, even as he couldn't see the appeal in this new rock and roll music. He would critique Paul's songs, saying things like "you went from four-four to a bar of nine-eight, you can't do that" -- to which his son would say "I just did" -- but this wasn't hostile criticism, rather it was giving his son a basic grounding in song construction which would prove invaluable. But the duo's first notable original song -- and first hit -- came about more or less by accident. In early 1956, the doo-wop group the Clovers had released the hit single "Devil or Angel". Its B-side had a version of "Hey Doll Baby", a song written by the blues singer Titus Turner, and which sounds to me very inspired by Hank Williams' "Hey, Good Lookin'": [Excerpt: The Clovers, "Hey, Doll Baby"] That song was picked up by the Everly Brothers, who recorded it for their first album: [Excerpt: The Everly Brothers, "Hey Doll Baby"] Here is where the timeline gets a little confused for me, because that album wasn't released until early 1958, although the recording session for that track was in August 1957. Yet that track definitely influenced Paul Simon and Art Garfunkel to record a song that they released in November 1957. All I can imagine is that they heard the brothers perform it live, or maybe a radio station had an acetate copy. Because the way everyone has consistently told the story is that at the end of summer 1957, Simon and Garfunkel had both heard the Everly Brothers perform "Hey Doll Baby", but couldn't remember how it went. The two of them tried to remember it, and to work a version of it out together, and their hazy memories combined to reconstruct something that was completely different, and which owed at least as much to "Wake Up Little Suzie" as to "Hey Doll Baby". Their new song, "Hey Schoolgirl", was catchy enough that they thought if they recorded a demo of it, maybe the Everly Brothers themselves would record the song. At the demo studio they happened to encounter Sid Prosen, who owned a small record label named Big Records. He heard the duo perform and realised he might have his own Everly Brothers here. He signed the duo to a contract, and they went into a professional studio to rerecord "Hey Schoolgirl", this time with Paul's father on bass, and a couple of other musicians to fill out the sound: [Excerpt: Tom and Jerry, "Hey Schoolgirl"] Of course, the record couldn't be released under their real names -- there was no way anyone was going to buy a record by Simon and Garfunkel. So instead they became Tom and Jerry. Paul Simon was Jerry Landis -- a surname he chose because he had a crush on a girl named Sue Landis. Art became Tom Graff, because he liked drawing graphs. "Hey Schoolgirl" became a local hit. The two were thrilled to hear it played on Alan Freed's show (after Sid Prosen gave Freed two hundred dollars), and were even more thrilled when they got to perform on American Bandstand, on the same show as Jerry Lee Lewis. When Dick Clark asked them where they were from, Simon decided to claim he was from Macon, Georgia, where Little Richard came from, because all his favourite rock and roll singers were from the South. "Hey Schoolgirl" only made number forty-nine nationally, because the label didn't have good national distribution, but it sold over a hundred thousand copies, mostly in the New York area. And Sid Prosen seems to have been one of a very small number of independent label owners who wasn't a crook -- the two boys got about two thousand dollars each from their hit record. But while Tom and Jerry seemed like they might have a successful career, Simon and Garfunkel were soon to split up, and the reason for their split was named True Taylor. Paul had been playing some of his songs for Sid Prosen, to see what the duo's next single should be, and Prosen had noticed that while some of them were Everly Brothers soundalikes, others were Elvis soundalikes. Would Paul be interested in recording some of those, too? Obviously Art couldn't sing on those, so they'd use a different name, True Taylor. The single was released around the same time as the second Tom and Jerry record, and featured an Elvis-style ballad by Paul on one side, and a rockabilly song written by his father on the other: [Excerpt: True Taylor, "True or False"] But Paul hadn't discussed that record with Art before doing it, and the two had vastly different ideas about their relationship. Paul was Art's only friend, and Art thought they had an indissoluble bond and that they would always work together. Paul, on the other hand, thought of Art as one of his friends and someone he made music with, but he could play at being Elvis if he wanted, as well as playing at being an Everly brother. Garfunkel, in his memoir published in 2017, says "the friendship was shattered for life" -- he decided then and there that Paul Simon was a "base" person, a betrayer. But on the other hand, he still refers to Simon, over and over again, in that book as still being his friend, even as Simon has largely been disdainful of him since their last performance together in 2010. Friendships are complicated. Tom and Jerry struggled on for a couple more singles, which weren't as successful as "Hey Schoolgirl" had been, with material like "Two Teenagers", written by Rose Marie McCoy: [Excerpt: Tom and Jerry, "Two Teenagers"] But as they'd stopped being friends, and they weren't selling records, they drifted apart and didn't really speak for five years, though they would occasionally run into one another. They both went off to university, and Garfunkel basically gave up on the idea of having a career in music, though he did record a couple of singles, under the name "Artie Garr": [Excerpt: Artie Garr, "Beat Love"] But for the most part, Garfunkel concentrated on his studies, planning to become either an architect or maybe an academic. Paul Simon, on the other hand, while he was technically studying at university too, was only paying minimal attention to his studies. Instead, he was learning the music business. Every afternoon, after university had finished, he'd go around the Brill Building and its neighbouring buildings, offering his services both as a songwriter and as a demo performer. As Simon was competent on guitar, bass, and drums, could sing harmonies, and could play a bit of piano if it was in the key of C, he could use primitive multitracking to play and sing all the parts on a demo, and do it well: [Excerpt: Paul Simon, "Boys Were Made For Girls"] That's an excerpt from a demo Simon recorded for Burt Bacharach, who has said that he tried to get Simon to record as many of his demos as possible, though only a couple of them have surfaced publicly. Simon would also sometimes record demos with his friend Carole Klein, sometimes under the name The Cosines: [Excerpt: The Cosines, "Just to Be With You"] As we heard back in the episode on "Will You Love Me Tomorrow?", Carole Klein went on to change her name to Carole King, and become one of the most successful songwriters of the era -- something which spurred Paul Simon on, as he wanted to emulate her success. Simon tried to get signed up by Don Kirshner, who was publishing Goffin and King, but Kirshner turned Simon down -- an expensive mistake for Kirshner, but one that would end up benefiting Simon, who eventually figured out that he should own his own publishing. Simon was also getting occasional work as a session player, and played lead guitar on "The Shape I'm In" by Johnny Restivo, which made the lower reaches of the Hot One Hundred: [Excerpt: Johnny Restivo, "The Shape I'm In"] Between 1959 and 1963 Simon recorded a whole string of unsuccessful pop singles. including as a member of the Mystics: [Excerpt: The Mystics, "All Through the Night"] He even had a couple of very minor chart hits -- he got to number 99 as Tico and the Triumphs: [Excerpt: Tico and the Triumphs, "Motorcycle"] and number ninety-seven as Jerry Landis: [Excerpt: Jerry Landis, "The Lone Teen Ranger"] But he was jumping around, hopping onto every fad as it passed, and not getting anywhere. And then he started to believe that he could do something more interesting in music. He first became aware that the boundaries of what could be done in music extended further than "ooh-bop-a-loochy-ba" when he took a class on modern music at university, which included a trip to Carnegie Hall to hear a performance of music by the avant-garde composer Edgard Varese: [Excerpt: Edgard Varese, "Ionisation"] Simon got to meet Varese after the performance, and while he would take his own music in a very different, and much more commercial, direction than Varese's, he was nonetheless influenced by what Varese's music showed about the possibilities that existed in music. The other big influence on Simon at this time was when he heard The Freewheelin' Bob Dylan: [Excerpt: Bob Dylan, "Girl From the North Country"] Simon immediately decided to reinvent himself as a folkie, despite at this point knowing very little about folk music other than the Everly Brothers' Songs Our Daddy Taught Us album. He tried playing around Greenwich Village, but found it an uncongenial atmosphere, and inspired by the liner notes to the Dylan album, which talked about Dylan's time in England, he made what would be the first of several trips to the UK, where he was given a rapturous reception simply on the grounds of being an American and owning a better acoustic guitar -- a Martin -- than most British people owned. He had the showmanship that he'd learned from watching his father on stage and sometimes playing with him, and from his time in Tom and Jerry and working round the studios, and so he was able to impress the British folk-club audiences, who were used to rather earnest, scholarly, people, not to someone like Simon who was clearly ambitious and very showbiz. His repertoire at this point consisted mostly of songs from the first two Dylan albums, a Joan Baez record, Little Willie John's "Fever", and one song he'd written himself, an attempt at a protest song called "He Was My Brother", which he would release on his return to the US under yet another stage name, Paul Kane: [Excerpt: Paul Kane, "He Was My Brother"] Simon has always stated that that song was written about a friend of his who was murdered when he went down to Mississippi with the Freedom Riders -- but while Simon's friend was indeed murdered, it wasn't until about a year after he wrote the song, and Simon has confused the timelines in his subsequent recollections. At the time he recorded that, when he had returned to New York at the end of the summer, Simon had a job as a song plugger for a publishing company, and he gave the publishing company the rights to that song and its B-side, which led to that B-side getting promoted by the publisher, and ending up covered on one of the biggest British albums of 1964, which went to number two in the UK charts: [Excerpt: Val Doonican, "Carlos Dominguez"] Oddly, that may not end up being the only time we feature a Val Doonican track on this podcast. Simon continued his attempts to be a folkie, even teaming up again with Art Garfunkel, with whom he'd re-established contact, to perform in Greenwich Village as Kane and Garr, but they went down no better as a duo than Simon had as a solo artist. Simon went back to the UK again over Christmas 1963, and while he was there he continued work on a song that would become such a touchstone for him that of the first six albums he would be involved in, four would feature the song while a fifth would include a snippet of it. "The Sound of Silence" was apparently started in November 1963, but not finished until February 1964, by which time he was once again back in the USA, and back working as a song plugger. It was while working as a song plugger that Simon first met Tom Wilson, Bob Dylan's producer at Columbia. Simon met up with Wilson trying to persuade him to use some of the songs that the publishing company were putting out. When Wilson wasn't interested, Simon played him a couple of his own songs. Wilson took one of them, "He Was My Brother", for the Pilgrims, a group he was producing who were supposed to be the Black answer to Peter, Paul, and Mary: [Excerpt: The Pilgrims, "He Was My Brother"] Wilson was also interested in "The Sound of Silence", but Simon was more interested in getting signed as a performer than in having other acts perform his songs. Wilson was cautious, though -- he was already producing one folkie singer-songwriter, and he didn't really need a second one. But he *could* probably do with a vocal group... Simon mentioned that he had actually made a couple of records before, as part of a duo. Would Wilson be at all interested in a vocal *duo*? Wilson would be interested. Simon and Garfunkel auditioned for him, and a few days later were in the Columbia Records studio on Seventh Avenue recording their first album as a duo, which was also the first time either of them would record under their own name. Wednesday Morning, 3AM, the duo's first album, was a simple acoustic album, and the only instrumentation was Simon and Barry Kornfeld, a Greenwich Village folkie, on guitars, and Bill Lee, the double bass player who'd played with Dylan and others, on bass. Tom Wilson guided the duo in their song selection, and the eventual album contained six cover versions and six originals written by Simon. The cover versions were a mixture of hootenanny staples like "Go Tell it on the Mountain", plus Dylan's "The Times They Are A-Changin'", included to cross-promote Dylan's new album and to try to link the duo with the more famous writer, and one unusual one, "The Sun is Burning", written by Ian Campbell, a Scottish folk singer who Simon had got to know on his trips to the UK: [Excerpt: Simon and Garfunkel, "The Sun is Burning"] But the song that everyone was keenest on was "The Sound of Silence", the first song that Simon had written that he thought would stand up in comparison with the sort of song that Dylan was writing: [Excerpt: Simon and Garfunkel, "The Sound of Silence (Wednesday Morning 3AM version)"] In between sessions for the album, Simon and Garfunkel also played a high-profile gig at Gerde's Folk City in the Village, and a couple of shows at the Gaslight Cafe. The audiences there, though, regarded them as a complete joke -- Dave Van Ronk would later relate that for weeks afterwards, all anyone had to do was sing "Hello darkness, my old friend", for everyone around to break into laughter. Bob Dylan was one of those who laughed at the performance -- though Robert Shelton later said that Dylan hadn't been laughing at them, specifically, he'd just had a fit of the giggles -- and this had led to a certain amount of anger from Simon towards Dylan. The album was recorded in March 1964, and was scheduled for release  in October. In the meantime, they both made plans to continue with their studies and their travels. Garfunkel was starting to do postgraduate work towards his doctorate in mathematics, while Simon was now enrolled in Brooklyn Law School, but was still spending most of his time travelling, and would drop out after one semester. He would spend much of the next eighteen months in the UK. While he was occasionally in the US between June 1964 and November 1965, Simon now considered himself based in England, where he made several acquaintances that would affect his life deeply. Among them were a young woman called Kathy Chitty, with whom he would fall in love and who would inspire many of his songs, and an older woman called Judith Piepe (and I apologise if I'm mispronouncing her name, which I've only ever seen written down, never heard) who many people believed had an unrequited crush on Simon. Piepe ran her London flat as something of a commune for folk musicians, and Simon lived there for months at a time while in the UK. Among the other musicians who stayed there for a time were Sandy Denny, Cat Stevens, and Al Stewart, whose bedroom was next door to Simon's. Piepe became Simon's de facto unpaid manager and publicist, and started promoting him around the British folk scene. Simon also at this point became particularly interested in improving his guitar playing. He was spending a lot of time at Les Cousins, the London club that had become the centre of British acoustic guitar. There are, roughly, three styles of acoustic folk guitar -- to be clear, I'm talking about very broad-brush categorisations here, and there are people who would disagree and say there are more, but these are the main ones. Two of these are American styles -- there's the simple style known as Carter scratching, popularised by Mother Maybelle Carter of the Carter family, and for this all you do is alternate bass notes with your thumb while scratching the chord on the treble strings with one finger, like this: [Excerpt: Carter picking] That's the style played by a lot of country and folk players who were primarily singers accompanying themselves. In the late forties and fifties, though, another style had become popularised -- Travis picking. This is named after Merle Travis, the most well-known player in the style, but he always called it Muhlenberg picking, after Muhlenberg County, where he'd learned the style from Ike Everly -- the Everly Brothers' father -- and Mose Rager, a Black guitarist. In Travis picking, the thumb alternates between two bass notes, but rather than strumming a chord, the index and middle fingers play simple patterns on the treble strings, like this: [Excerpt: Travis picking] That's, again, a style primarily used for accompaniment, but it can also be used to play instrumentals by oneself. As well as Travis and Ike Everly, it's also the style played by Donovan, Chet Atkins, James Taylor, and more. But there's a third style, British baroque folk guitar, which was largely the invention of Davey Graham. Graham, you might remember, was a folk guitarist who had lived in the same squat as Lionel Bart when Bart started working with Tommy Steele, and who had formed a blues duo with Alexis Korner. Graham is now best known for one of his simpler pieces, “Anji”, which became the song that every British guitarist tried to learn: [Excerpt: Davey Graham, "Anji"] Dozens of people, including Paul Simon, would record versions of that. Graham invented an entirely new style of guitar playing, influenced by ragtime players like Blind Blake, but also by Bach, by Moroccan oud music, and by Celtic bagpipe music. While it was fairly common for players to retune their guitar to an open major chord, allowing them to play slide guitar, Graham retuned his to a suspended fourth chord -- D-A-D-G-A-D -- which allowed him to keep a drone going on some strings while playing complex modal counterpoints on others. While I demonstrated the previous two styles myself, I'm nowhere near a good enough guitarist to demonstrate British folk baroque, so here's an excerpt of Davey Graham playing his own arrangement of the traditional ballad "She Moved Through the Fair", recast as a raga and retitled "She Moved Thru' the Bizarre": [Excerpt: Davey Graham, "She Moved Thru' the Bizarre"] Graham's style was hugely influential on an entire generation of British guitarists, people who incorporated world music and jazz influences into folk and blues styles, and that generation of guitarists was coming up at the time and playing at Les Cousins. People who started playing in this style included Jimmy Page, Bert Jansch, Roy Harper, John Renbourn, Richard Thompson, Nick Drake, and John Martyn, and it also had a substantial influence on North American players like Joni Mitchell, Tim Buckley, and of course Paul Simon. Simon was especially influenced at this time by Martin Carthy, the young British guitarist whose style was very influenced by Graham -- but while Graham applied his style to music ranging from Dave Brubeck to Lutheran hymns to Big Bill Broonzy songs, Carthy mostly concentrated on traditional English folk songs. Carthy had a habit of taking American folk singers under his wing, and he taught Simon several songs, including Carthy's own arrangement of the traditional "Scarborough Fair": [Excerpt: Martin Carthy, "Scarborough Fair"] Simon would later record that arrangement, without crediting Carthy, and this would lead to several decades of bad blood between them, though Carthy forgave him in the 1990s, and the two performed the song together at least once after that. Indeed, Simon seems to have made a distinctly negative impression on quite a few of the musicians he knew in Britain at this time, who seem to, at least in retrospect, regard him as having rather used and discarded them as soon as his career became successful. Roy Harper has talked in liner notes to CD reissues of his work from this period about how Simon used to regularly be a guest in his home, and how he has memories of Simon playing with Harper's baby son Nick (now himself one of the greats of British guitar) but how as soon as he became successful he never spoke to Harper again. Similarly, in 1965 Simon started a writing partnership with Bruce Woodley of the Seekers, an Australian folk-pop band based in the UK, best known for "Georgy Girl". The two wrote "Red Rubber Ball", which became a hit for the Cyrkle: [Excerpt: The Cyrke, "Red Rubber Ball"] and also "Cloudy", which the Seekers recorded as an album track: [Excerpt: The Seekers, "Cloudy"] When that was recorded by Simon and Garfunkel, Woodley's name was removed from the writing credits, though Woodley still apparently received royalties for it. But at this point there *was* no Simon and Garfunkel. Paul Simon was a solo artist working the folk clubs in Britain, and Simon and Garfunkel's one album had sold a minuscule number of copies. They did, when Simon briefly returned to the US in March, record two tracks for a prospective single, this time with an electric backing band. One was a rewrite of the title track of their first album, now titled "Somewhere They Can't Find Me" and with a new chorus and some guitar parts nicked from Davey Graham's "Anji"; the other a Twist-beat song that could almost be Manfred Mann or Georgie Fame -- "We Got a Groovy Thing Goin'". That was also influenced by “Anji”, though by Bert Jansch's version rather than Graham's original. Jansch rearranged the song and stuck in this phrase: [Excerpt: Bert Jansch, “Anji”] Which became the chorus to “We Got a Groovy Thing Goin'”: [Excerpt: Simon and Garfunkel, "We Got a Groovy Thing Goin'"] But that single was never released, and as far as Columbia were concerned, Simon and Garfunkel were a defunct act, especially as Tom Wilson, who had signed them, was looking to move away from Columbia. Art Garfunkel did come to visit Simon in the UK a couple of times, and they'd even sing together occasionally, but it was on the basis of Paul Simon the successful club act occasionally inviting his friend on stage during the encore, rather than as a duo, and Garfunkel was still seeing music only as a sideline while Simon was now utterly committed to it. He was encouraged in this commitment by Judith Piepe, who considered him to be the greatest songwriter of his generation, and who started a letter-writing campaign to that effect, telling the BBC they needed to put him on the radio. Eventually, after a lot of pressure, they agreed -- though they weren't exactly sure what to do with him, as he didn't fit into any of the pop formats they had. He was given his own radio show -- a five-minute show in a religious programming slot. Simon would perform a song, and there would be an introduction tying the song into some religious theme or other. Two series of four episodes of this were broadcast, in a plum slot right after Housewives' Choice, which got twenty million listeners, and the BBC were amazed to find that a lot of people phoned in asking where they could get hold of the records by this Paul Simon fellow. Obviously he didn't have any out yet, and even the Simon and Garfunkel album, which had been released in the US, hadn't come out in Britain. After a little bit of negotiation, CBS, the British arm of Columbia Records, had Simon come in and record an album of his songs, titled The Paul Simon Songbook. The album, unlike the Simon and Garfunkel album, was made up entirely of Paul Simon originals. Two of them were songs that had previously been recorded for Wednesday Morning 3AM -- "He Was My Brother" and a new version of "The Sound of Silence": [Excerpt: Paul Simon, "The Sound of Silence"] The other ten songs were newly-written pieces like "April Come She Will", "Kathy's Song", a parody of Bob Dylan entitled "A Simple Desultory Philippic", and the song that was chosen as the single, "I am a Rock": [Excerpt: Paul Simon, "I am a Rock"] That song was also the one that was chosen for Simon's first TV appearance since Tom and Jerry had appeared on Bandstand eight years earlier. The appearance on Ready, Steady, Go, though, was not one that anyone was happy with. Simon had been booked to appear on  a small folk music series, Heartsong, but that series was cancelled before he could appear. Rediffusion, the company that made the series, also made Ready, Steady, Go, and since they'd already paid Simon they decided they might as well stick him on that show and get something for their money. Unfortunately, the episode in question was already running long, and it wasn't really suited for introspective singer-songwriter performances -- the show was geared to guitar bands and American soul singers. Michael Lindsay-Hogg, the director, insisted that if Simon was going to do his song, he had to cut at least one verse, while Simon was insistent that he needed to perform the whole thing because "it's a story". Lindsay-Hogg got his way, but nobody was happy with the performance. Simon's album was surprisingly unsuccessful, given the number of people who'd called the BBC asking about it -- the joke went round that the calls had all been Judith Piepe doing different voices -- and Simon continued his round of folk clubs, pubs, and birthday parties, sometimes performing with Garfunkel, when he visited for the summer, but mostly performing on his own. One time he did perform with a full band, singing “Johnny B Goode” at a birthday party, backed by a band called Joker's Wild who a couple of weeks later went into the studio to record their only privately-pressed five-song record, of them performing recent hits: [Excerpt: Joker's Wild, "Walk Like a Man"] The guitarist from Joker's Wild would later join the other band who'd played at that party, but the story of David Gilmour joining Pink Floyd is for another episode. During this time, Simon also produced his first record for someone else, when he was responsible for producing the only album by his friend Jackson C Frank, though there wasn't much production involved as like Simon's own album it was just one man and his guitar. Al Stewart and Art Garfunkel were also in the control room for the recording, but the notoriously shy Frank insisted on hiding behind a screen so they couldn't see him while he recorded: [Excerpt: Jackson C Frank, "Blues Run the Game"] It seemed like Paul Simon was on his way to becoming a respected mid-level figure on the British folk scene, releasing occasional albums and maybe having one or two minor hits, but making a steady living. Someone who would be spoken of in the same breath as Ralph McTell perhaps. Meanwhile, Art Garfunkel would be going on to be a lecturer in mathematics whose students might be surprised to know he'd had a minor rock and roll hit as a kid. But then something happened that changed everything. Wednesday Morning 3AM hadn't sold at all, and Columbia hadn't promoted it in the slightest. It was too collegiate and polite for the Greenwich Village folkies, and too intellectual for the pop audience that had been buying Peter, Paul, and Mary, and it had come out just at the point that the folk boom had imploded. But one DJ in Boston, Dick Summer, had started playing one song from it, "The Sound of Silence", and it had caught on with the college students, who loved the song. And then came spring break 1965. All those students went on holiday, and suddenly DJs in places like Cocoa Beach, Florida, were getting phone calls requesting "The Sound of Silence" by Simon and Garfunkel. Some of them with contacts at Columbia got in touch with the label, and Tom Wilson had an idea. On the first day of what turned out to be his last session with Dylan, the session for "Like a Rolling Stone", Wilson asked the musicians to stay behind and work on something. He'd already experimented with overdubbing new instruments on an acoustic recording with his new version of Dylan's "House of the Rising Sun", now he was going to try it with "The Sound of Silence". He didn't bother asking the duo what they thought -- record labels messed with people's records all the time. So "The Sound of Silence" was released as an electric folk-rock single: [Excerpt: Simon and Garfunkel, "The Sound of Silence"] This is always presented as Wilson massively changing the sound of the duo without their permission or knowledge, but the fact is that they had *already* gone folk-rock, back in March, so they were already thinking that way. The track was released as a single with “We Got a Groovy Thing Going” on the B-side, and was promoted first in the Boston market, and it did very well. Roy Harper later talked about Simon's attitude at this time, saying "I can remember going into the gents in The Three Horseshoes in Hempstead during a gig, and we're having a pee together. He was very excited, and he turns round to me and and says, “Guess what, man? We're number sixteen in Boston with The Sound of Silence'”. A few days later I was doing another gig with him and he made a beeline for me. “Guess what?” I said “You're No. 15 in Boston”. He said, “No man, we're No. 1 in Boston”. I thought, “Wow. No. 1 in Boston, eh?” It was almost a joke, because I really had no idea what that sort of stuff meant at all." Simon was even more excited when the record started creeping up the national charts, though he was less enthused when his copy of the single arrived from America. He listened to it, and thought the arrangement was a Byrds rip-off, and cringed at the way the rhythm section had to slow down and speed up in order to stay in time with the acoustic recording: [Excerpt: Simon and Garfunkel, "The Sound of Silence"] I have to say that, while the tempo fluctuations are noticeable once you know to look for them, it's a remarkably tight performance given the circumstances. As the record went up the charts, Simon was called back to America, to record an album to go along with it. The Paul Simon Songbook hadn't been released in the US,  and they needed an album *now*, and Simon was a slow songwriter, so the duo took six songs from that album and rerecorded them in folk-rock versions with their new producer Bob Johnston, who was also working with Dylan now, since Tom Wilson had moved on to Verve records. They filled out the album with "The Sound of Silence", the two electric tracks from March, one new song, "Blessed", and a version of "Anji", which came straight after "Somewhere They Can't Find Me", presumably to acknowledge Simon lifting bits of it. That version of “Anji” also followed Jansch's arrangement, and so included the bit that Simon had taken for “We Got a Groovy Thing Going” as well. They also recorded their next single, which was released on the British version of the album but not the American one, a song that Simon had written during a thoroughly depressing tour of Lancashire towns (he wrote it in Widnes, but a friend of Simon's who lived in Widnes later said that while it was written in Widnes it was written *about* Birkenhead. Simon has also sometimes said it was about Warrington or Wigan, both of which are so close to Widnes and so similar in both name and atmosphere that it would be the easiest thing in the world to mix them up.) [Excerpt: Simon and Garfunkel, "Homeward Bound"] These tracks were all recorded in December 1965, and they featured the Wrecking Crew -- Bob Johnston wanted the best, and didn't rate the New York players that Wilson had used, and so they were recorded in LA with Glen Campbell, Joe South, Hal Blaine, Larry Knechtel, and Joe Osborne. I've also seen in some sources that there were sessions in Nashville with A-team players Fred Carter and Charlie McCoy. By January, "The Sound of Silence" had reached number one, knocking "We Can Work it Out" by the Beatles off the top spot for two weeks, before the Beatles record went back to the top. They'd achieved what they'd been trying for for nearly a decade, and I'll give the last word here to Paul Simon, who said of the achievement: "I had come back to New York, and I was staying in my old room at my parents' house. Artie was living at his parents' house, too. I remember Artie and I were sitting there in my car one night, parked on a street in Queens, and the announcer said, "Number one, Simon & Garfunkel." And Artie said to me, "That Simon & Garfunkel, they must be having a great time.""

Our review and analysis of "We Can Work it Out" by the Beatles.

Link to the original video: https://youtu.be/KJ2t31RuRn0 In this lesson to help you better learn English, I discuss a few songs by the Beatles, so you will feel more comfortable with English phrasal verbs and terms. Some of the songs I talk about are: "Don't Let Me Down," "We Can Work it Out," "I am the Walrus," and "Paperback writer. Some of the English phrasal verbs that I cover are: let down, pick up, work out, taken down, bring home, get back, work out, let down, picking up. Some of the English terms I explain are: paperback book, hardcover book, E-book, flimsy, sturdier, steady, I need a break, their big break, broke, fully vaccinated, a pain in the neck, making faces, out of the corner of his eye, improvised, "in real time," getting buff, getting swol, fussing and fighting, fussy, only time with tell, talking behind your back. Other teachers on YouTube who have done English lessons with the Beatles: @Learn English with Bob the Canadian https://youtu.be/4TDgJ3flDiY @English Like A Native https://youtu.be/pc2rdmIcXFY

Welcome to the Big Beatles Sort Out, a show in which I, author and musician Garry Abbott, attempt to finally decide my favourite Beatles recordings by scoring each and every one for lyrical content, musicality and production. I am assisted in this venture by my brother and resident Beatles expert, Paul Abbott, with a deep knowledge of the Beatles and the wider context in which they operated. Each episode we explore and score 5 songs from the Beatles full recording catalogue. The songs are drawn at random to try and avoid any album or era prejudices skewing the results. So please join us as we try and sort out, The Beatles. Episode 20 Songs: Dear Prudence, Taxman, Happiness is a Warm Gun, We Can Work it Out, Honey Don't PLUS RUTLES BONUS! Let's Be Natural. Please let anyone know about this podcast who might be interested! You can contact me on Twitter @big_sort or @Garry_Abbott, or via my website www.garryabbott.co.uk. Please listen out for Paul's other Podcasts, 'The Head Ballet' - all about novelty music, and 'Hark! 87th Precinct Podcast' - all about Ed McBain's seminal police procedural novel series. You can listen along to the songs featured in this episode on this handy spotify playlist: https://open.spotify.com/playlist/721DoSYkwNZA009X5DcQmy Keep up with the scoring charts, or start your own using the blank-master, with this handy google sheet: https://docs.google.com/spreadsheets/d/1Qc7mHMeBBM9LSPUV0L6zrYrF2Rib9eX-Xssua-Wox3g/edit?usp=sharing

Welcome my BMS listeners, we have a great mix of funk, grooves and old school gems for you today. This musical journey will be accented with a special feature on Brass Construction’s Randy Muller! So c’mon and let’s take this ride together. PLAYLIST 1. Make Me (Go Crazy)/Change 2. Love on Hold (Birdee Remix)/Aeroplane f/Tawatha Agee 3. I Found Lovin' (Liam Keegan)/Fatback Band 4. Love Medley (Love is Gonna Be by Your Side/Glow of Love)/Firefly 5. All Night Long/John Reid (Night Crawlers) 6. We Can Work it Out/Brass Construction 7. Sunshine/Skyy 8. This Time/Funk Deluxe 9. Funtown/U.S.A. Raphael Cameron 10. Together (Right Now) - Tribute Randy Muller/Lakeshore Commission 11. You're My Latest, My Greatest Inspiration/Jasper St. Co. 12. Portuguese Love/Teena Marie 13. Work That Sucka…/Xvavier 14. I Wouldn't Lie to You/Yarborough & Peoples 15. Funky Be Bop/Vin Zee 16. Give Into Love/Birdee

Chris Husong is a market expert in the hemp industry. Accounting for the challenges of public perception, legal challenges, and the burdens of science to prove the claims for hemp benefits have all shaped the climate in which hemp is used today. Born in Texas, Chris moved with his parents a few times throughout the country, studied theology in California, worked in finance and telecom, and after confronting his own biases, discovered that the hemp industry needed legitimatization. Teaching the skeptics, directing messaging for correct use, and ultimately using education as the chosen tool for sales, Chris shared with GCP why the truth behind hemp is the only way to properly build its acceptance.https://elixinol.comFacebook: @Elixinol https://www.facebook.com/elixinol/LinkedIn: @Elixinol https://www.linkedin.com/company/elixinol/Twitter: @ElixinolCBD https://twitter.com/ElixinolCBD?lang=enInstagram: @Elixinol https://www.instagram.com/elixinol/KBMD CBDhttps://kbmdhealth.comhttps://gutcheckproject.comKBMD CBDhttps://kbmdhealth.comhttps://gutcheckproject.comWhy should you buy a $0.99 now the bag because it's no ordinary bag can save you 20% of three or more items you can fit inside some call that magic others say it's the eighth wonder of the world but whatever it is this the best way to save you 20% outbreaks filters wipers and more quality parts helpful people that snap a no no dissipating up auto parts store's loss was last minimum three exclusions apply conference 10 3119 well it's a gut check project this is episode number eight project we check our egos at the door and they get your health in check I'm here with your host Dr. Kenneth Brown I'm Eric Rieger Doug Brown I doing today I'm doing fantastic episode number eight holy cow I feel like we have the words flying through these episodes every time we come always a better guess today is no exception at all this is gonna be really exciting now is to be very exciting is your mind when you said episode number eight remember that show it is enough I don't want that to be the theme as well as Rabbi and it won't be today she was incredibly excited we have on today Christian song long term market experience within the hemp industry and he has me setting it is getting an incredible tale of coming from a world of high regulation in telecom and in banking and basically what the hemp industry means to America he's got lots of interaction stories and what it takes to make people understand the importance of hemp and how to accept the message of me what did you can you gather out of that amine Christmas we met at first two years ago yeah so my my initial meeting of Christmas two years ago that's we told the story before will repel your facts right and I walked by the lexical booth and another salesperson other than marketing person Christine Thiel grab me and the thing I remember most about that is Dave Christine and Chris all super tall like this is a really tall child apparently hip will make you taller I know you call me someone will be involved with that company so we could do some real basketball or something you know join the election all basketball team what you honestly if you're in listening to get your project today if you've ever wondered about hey look at him is new to me and I'm not really sure what to think that's that's okay today's episode is really kind incredible as Chris can walk through what it's like to to not just look at Hampton say minutes taboo that's taboo it's okay so many people started there and he's got a lot of experience in helping people understand the benefits behind him and what he can do to change their lives for what I love about this is that he comes from these industries are so regulated and she had to transform that into an industry that is so misunderstood you know when you look at that you look at his bio he only looks on website it says it is skilled in helping people and companies overcome their psychological creative and strategic barriers so that they can achieve the professional personal and creative goals so more than just be the chief marketing officer this guys can be my life coach break through all those barriers yet when Ken and Chris Chris's got a lot of a lot of expense he actually went to theological theology school in not in California but were to talk about that for sure yes that means because just think about the transition nearly everything he's gone through in and of course and he's either great guy can't wait from to join the show hit the bottom of the hour course that they were have KPD KB MD's corner where basically Dr. Brown will die do like he's been doing the last seven shows in address some recent research topics and get tiny previews about what to talk about your two minutes yeah so what we always like to do is try to have a bootable format here so everyone knows what to get it into the show so we know we have a fantastic guest I also want to talk about some recent science it's out there so we have forcefully graduate student that helps us out and she sent a really cool article about ALS or Lou Gehrig's disease the same disease that killed Stephen Hawking right I have a very personal tide of this because when my good friends Dr. Russell Veronica in San Antonio a gastroenterologist that I've trained with and with medical school with his father unfortunately passed away of this so I saw this article which to my knowledge the first one that actually looks at ALS and CBD ties in perfectly because we have Christmas song near chief marketing officer now we can't make disease claims what we can say is look it may help some of these different diseases where there really is no treatment and this is a really cool study that I wanted didn't and it's also even said that because today shows can be so incredible and that the way we learn how to balance real information and what we can legally say as a marketing person and then what the consumer can do with both of these angles to kind of piece these puzzles together much like the episode we had last time in stem cell oh yeah you know this fascinating cool stuff you like why don't more people know about this will Chris has to deal with that every day is like no we can say this we can't say this oh my goodness yes is be fantastic if we did this but we have to do it this way because his background I think is a perfect background coming from the super regulated industry to an area that is so gray that you really need somebody very disciplined like him to sort of take the reins and that's why think election all such unique company yet without question let's get some of the paying the bills out of the way and first off the bat love my tummy.com/spoony what could that be in reference to well I believe you're talking about my baby trying to I am trying to so we talk about how our transit was initially developed for bloating and digestive issues change in bowel habits abdominal discomfort what I am seeing a whole lot of which is really cool really getting into this practice of just coming up in the next few weeks that are professional triathletes we have different bodybuilders and things like that that we have slated to come in one of the things we do realize is that the polyphenols in trying to actually increase blood flow to the muscles so that you can have better performance in just about everything so the polyphenols go to your: where your own colonic archer will break them down into anti-inflammatory and basically antioxidant species so that you can recover from workouts and you can actually increase blood flow so not only is it good for bloating but I encourage everyone to go to love my Tommy.com/spoony put in the spooning code SP 00 NY and get 10% off I just answered you did bring up athlete hotrod teal is the only NSF certified for sport product out there indicated for bloating what is it me so if something is NSF certified for sport specifically it means that 1/3 party the NSF foundation has taken the product and they made certain that everything you mark on your package is truthful date they can be backed up that the claims that you have for your studies are verified and that every single product it makes up the composite award the product itself is clean if you're an athlete you don't have to worry that something you and a girl you're going to take with the NSF certified for sport moniker on it might contaminate a sample or might not do exactly what the ad the labeling says so NSF certified for sport is the same thing that Richard dietitians there with MLB NFL NCAA Olympics Olympics they look for that little mark to make certain that when they recommend a supplement or an over-the-counter supplement or aid to their athletes that it's on there so they know that it's a it's a clean product and John Teal features that endorsement that's also because a lot of companies don't have that we pay to play for that eventually I think that what we should have is a KB MD endorsement over here was just means that we like the product to say absolutely right some quick follow-up from from my last week show one of the coolest things as people began to take in Dr. Wade McCann as if he didn't check out episode seven go back and listen last week if you have any questions about stem cells the future stem cells what it's like to market stem cells in this FDA over regulating environment even know you have truth in your hands go back and listen episode seven but once Wade McKenna finished his his episode all week we received email I even got texts stem cells are good for hair growth stem cells can actually help me with my sciatica that I've been dealing with for a few years it's amazing what people don't know about stem cells and then how many people said I thought whenever I used quote unquote cord blood that I was using stem cells and it turns out that you're just not so anyway last week's feedback to getting feedback from last week I got a ton of feedback I actually got a ton of feedback people were I got a lot of calls people wanted to go I think a lot of people actually call me how to actually get into Dr. Wade McKenna's practice of which I think is also because when we have some real like that they can make it make a difference I mean when I sit there and think about this we are completely under utilizing everybody with analysts on the show so far photo bio modulation stem cells once you get into the science you like wow the site speaks for itself much like CBD yes science much like outrun to the science hold its own yeah and that's a cool sinks within a marketing gimmick it's none of this and that's what Chris is going talk about how do you how to stay above how do you stay above the bar where everybody else is trying to play a marketing game and usually want to get out there and help people that's remarkable whenever you look back and you does mention it photo by modulation with James Carroll and talking about stem cells last week with the Dr. McKennitt the parallels that were running here with the CBD industry or hemp industry and what the FDA basically is doing because the FDA is it it it playing all three of those we got truth and results so true and you just can't cannot see it's crazy but anyhow if and you can always go back and check any of our previous episodes you can always go to iTunes and search for gut check project so be sure to subscribe and share with the print so speaking of share with a friend sought a shout out and we need a little help from our audience here only give a shout out to my friend John Demoss who texted me and said while really liking your show when you do your Instagram post make sure that you have closed caption and Eric and I stared each other like great idea and we are complete newbies to this kind of thing so like how do we do that if you know how to do that please hit us up so that though we can start put in the closed caption or whatever it is on history now do you want even better if you're interested in sharing with us you would like to I guess audition to be our Instagram helper let us now go to KPMG health.com find connect shoot us an email in the form and I will holla back at you I promise we don't know what were doing with Instagram really want to know before next week because we've got the basically an Instagram start coming on the show and so we've got we had a really cool show next week also but today is the one that were focusing on so please iTunes you to YouTube you can also do the gut check project channel you can subscribe and share there as well that we are always here in the Sony studio you can always listen live it spoony.com so smutty.com iTunes get check project YouTube gadget project thank you so much subscribe and share so Dr. Brown let's head into KPMG corner what's on the corner today well let's talk a little bit about some personal stuff start this is kind of interesting I'm a little bit embarrassed about this what you know how when sometimes it's too close to you and you don't know what's going on well my mom unfortunately she fell hurt her shoulder about three months ago and she's been rehabbing Kent and I was just talking to her and I just went oh my gosh did I not send you CBD that are not and she owes no I don't know you know I tried something like that some hemp oil what she tried screws that endure anything else like okay let me send you something so I sent her some bottles with some vitamin D and sufficient oil because I believe in using these fatty acids to really help brain information in such large Dr. couple days ago and she was post be doing three more months of rehab and she goes okay and it's so exciting I don't have to go to rehab anymore my shoulder feels great it actually back to normal this is after you sent everything this is after center about two weeks of using the CBD and so she's Artie on trunk Hill always has been for quite a while but so after sending the CBD and now embarrassed because I'm like oh my gosh my own mom herself and that would be something owed to the patient immediately you just forget when it's too close and then my sister who's actually black belt in aikido and she's always been yourself open to students rose to banged up my mom gave her a bottle and she just texted me this morning said oh my gosh that works so well the key to this Morgan talk about this with Chris that there are differences in different types of CBD and what is out there how you market so my personal story is sorry mama should be given to to three months ago just was too close to it we got so much stuff going on and you know fortunately better late than never she's doing great yeah I know that's a it's of these brothers, interesting so you said in another we can touch on Chris but when James was on James Carroll from outdoor laser he talked about imitators right and then last week with the with Dr. Wade mechanically talked about imitators or people that don't administer stem cells appropriately or may not actually even be utilizing stem cells but saying that they are or putting in chemicals that will destroy destroy those that are not probably not to their own fault I just don't know enough about it because the reality is we talked about this is CBD industry and I'm I tell my patients this I said I would get into a loop of the science would explain a little bit we have this new brochure that explains a little bit and we get into the fact of what your end or cannabinoid system is how it links the nervous system and the immune system put you back in balance that is so simplistic because the reality is were going to see a field of medicine called Endo Kanab analogy and your Genesee specialist called Endo Canavan allergist's share I'm convinced of it sure any of you have a hepatology ST have the endocrinologists there is actually no reason why you would have an Indo Campanella just as we begin to learn more that CBD absolutely totally agree right it's about you anything going on in the personal life personal life at the boys I mean honestly the boys are doing great. During off-season basketball who ended up I know that seems like add the theme but that's that's really what they're into but I did go shoot with my youngest earlier this week and I learned that dad dad is the worst basketball player in the household now Matt can drain from all points of the court I'm just I'm no match anymore there faster than I am and now that he's basically 6 foot tall and 15 and gauges about 61 now in 1730 I just not much I can do with with either one of them so very much dominate brain I headed down to Kaleo FX this week though oh that's right you want one of my favorite conferences to be great conference it's a chemist think that immediate which is so busy just to go this week will unfortunately I have to go to Newark New Jersey and film a national commercial for archer until Roger entails time to take out her until the next level were to be doing some national commercial so I would love it really affects would love to be helping out at the election all booth pate BMD CBD booth trash and talk about trying to learn the on the entourage effect without an CBD but I don't fly up to New York in the true commercial which I'm a little bit nervous about the Wilson estate bowing on the head Keith Michelle Noris tune into your commercial as soon as it airs big shot today and they are the one to put on file with X they do a great job if you never been that appealing effects in Austin Texas it is what's your time you going to be introduced to a bunch of different things that could probably change her health and that's how we found CBD out and say I'm very partial to pill effects last year I give a talk and one over really well talked a lot of people had to be able to get their books it was really exciting you just it just fun to see a like-minded community I did the mojo 50 show this morning we're talking about sugar and the paler community does not really eat M&Ms those guys do M&M tasting Delphi lot M&Ms of failure effect listen if you have M&Ms you to balance it out with much until Fisher 100% totally so yeah you just have a great time hello effects I will make you feel better about you not been know to beat your sons because the only person that can warm Lucas up is my daughter Carla because both my wife and I are incapable of even even hit the ball back against those guys don't know probably know why it's super humiliating I I feel memo Mike is it embarrassing that the youngest person in the family is the only person I can warm Osama before matches and vice versa they want each other up it's really cool that's get down so I'd have any hits on the on the corner before Chris joins us will I do want to bring up one thing here I will bring up an article I was try to bring up one article to talk about just now woman talk about marketing Christmas songs it's about marketing a lot of people look at the big deal I want to tell everyone about this and so on I really like to look at disease specific states And the article that we can achieve that in the beginning here is an article related to the meta-analysis was published in the Journal of neurochemistry here this year just couple months ago and what it looked at is it did a meta-analysis which is a compilation of studies usually meta-analysis I have in the scientific literature are considered to be more robust picture taking a lot of studies putting them together and this is looking at ALS known as anti-atrophic lateral sclerosis Lou Gehrig's disease is a devastating disease and as I had mentioned earlier it actually took the life of my good friend Dr. Russ of Ron Ike whose guesser Alderson San Antonio and we actually saw his dad his father correct we actually saw this progressive disease and that's the deal about ALS eight what it does is if you're unaware of it I find it to be one of the most devastating diseases out there there's a book called Tuesdays with Maury that I read back many years ago they commit a movie about it also censures about the progress the progression of ALS and somebody that where there is a caregiver helping them out and you get a feeling about how it just slowly chips away and what it does this damages the nerves that control muscles so over time all of your muscles weaken to the point where they cannot contract eventually hitting the diaphragm so you can't read you lose the ability to speak because you can't control your tongue you lose the ability fine motor movement changes first because the small muscles go and you can't button things and it is just a debilitating but you keep your mind eventually you have some mind changes and they don't really understand why it is they believe there's a small genetic component but really what it is it's an excitatory issue with the nerves releasing too many of certain chemicals that eventually do not allow the do not allow the muscle to contract on the words and try to sting like muscle doesn't work so this was quite a while ago I've been in practice for 17 years Russ and I with both med school and fellowship together it was during residency so were talking 27 years ago 25 years ago I do know anything about CBD fat I know they must be in touch two years ago so this study came out red actually showed that they looked at mice and they looked at their ability to travel distance they looked at their grip strength that she put them through some sort of little American ninja course where they had them hang upside down on the net so like a Jacob's ladder, it was it was it was really it was fascinating that I made a run a wheel what they did is they they actually looked at those that had that were given CBD and those that were the control group and what they showed across the board in this meta-analysis is that those mice I'm sorry let me preface that the mice were genetically predisposed to have ALS so they all had a lot okay okay and what they did is that they showed that the mice that were on CBD could actually run further the mice could cling long-running that they actually increase the grip strength running real activity and they had improved survival and they did not have weight loss when they looked at all the studies something stood out to me that was very interesting they were all given CBD one particular study that they look that used a Madrigal inhibitor now what Maggio is is that's the enzyme that breaks down to AG one of your Dodgers and of cannabinoids in one of these days were to get into the deep science about the inner cannabinoid system gets all complex that's a drug it's in study and it's called KM L 29 so it's fascinating that the FDA's over here try to regulate right and in the background you've got drug companies try to develop drugs to manipulate the system if they can figure out that's awesome but is really interesting because the macro inhibitor was not as good as the traditional CBD and so what they found is that CD1 and CB to agonists in other words CBD significantly delayed the decline of motor function when compared to the control group and they showed a consistent 12 to 25 days longer of normal motor function in the mouse world what you doing is really improving that so right now there's no treatment for this they've got a couple drugs available one called real you tech and one called red Dick Reddick Have Not Even Sure That That Was around When Ross's Dad Was Sick They Said That It Could Potentially Slow down the Progression by a Month or Two While the Superexpensive Month or Two That's It I Member at the Time When We Went outside and Rushes Flying All over the Country Thing Is That Everywhere There Were Trying Everything They're Looking at Using Creatine and Different Things like That so Here We Have This Deal Where We've Got Eight Now You Can't Just Translate Mouse Models to Humans But It's Really One of the First Step in Trying to Figure Some Stuff out My Deal Is That We Know That CBD Helps in Many Different Ways and I'm Not Saying That This Is a Disease Claim I'm Not Saying That This Is Functioning and Will Help but It Certainly Can't Hurt and Might Help Right so When You Have a Very Specific Disease Group like ALS to Desperate Group with No Significant Treatment I Think It's Fascinating That These Guys Went to the Trouble of Putting Together This Mouse Data to Actually Try and Figure This out so Here We Have Grip Strength Upside down Running All of It Which Means That There Is Some Potential That This Could Actually Help This Very Devastating Disease and Is Very Small Group of People Because It's Rare but When It Does Affect You It Affects Everybody It May Affect One Person so the Number the Thing We'll Talk about Is When We Say Disease Oh This Is the Incidence of This Disease This Is the Prevalence of This Disease As Somebody Who Lost My Dad at a Young Age It Affects More Than Just the Person That Dies Share the Prevalence or the Incidence of the Disease Affects Everyone Around Them Right so I Think That If We Can Help Those People with ALS If You Know Anybody with ALS or Lou Gehrig's Disease This Is Something That May Be Showmen We Can Certainly Forward This Article to Anybody That Would like to so Include Any of the Studies That Utilize a Mouse AMI All All of the Drugs They Began and and and Started There to Try to Find out If This Is a Workable Model and Unfortunately with Today's Highly Regulated Environment He Can't Just Keep Going Forward but Were Trying to Help People Connect the Dots This That CBD Is Safe to Take and You Shouldn't Have Any Serious Side Effects Certainly by Consuming CBD It Just so Happens That in This Mouse Model We Saw These Improvements Draw from the Conclusions What You Will But This Is What I've Seen and I Mean I Think That Were Hinting In the in the Correct Direction I Just Think That It's You Know This Is Work Were Offering Hope Church When Scientists like This Do This You Just Offer Little Bit of Hope And It Is a Devastating Disease and We Just Want to See People and Just Offer Them Something an Alternative Right And If They Can Even If They Feel a Bit Better Well We Got 20 Seconds Left Here in Just a Moment We Are Going to Be Joined by Chris Who Song the Vice President of Marketing Communications Analytics and off a Hemp Industry Marketing Expert Is Going to Be Incredibly Silly Very Exciting and Super Excited Let's Do the Seal Here in about Two Minutes Dr. Kim Brown Here a Host of Check Project with Lycos Eric Rieger Eric Regency and Mojo Guys over There and Overhears Really Talk about Our 20 over Bloating I've Seen in My Practice That I'm Trying to Is a Whole Lot More Than Just a Floating Product Yes It Does a Whole Lot More Than Just Exploding Because of the Polyphenols That You Find Keen on Trying to Get Your Exactly Right the Polyphenols Are Those Molecules That We Find in the Mediterranean Diet It Makes Vegetables and Fruit Very Colorful What Are Some of the Things These Polyphenols Do Eric These Polyphenols Can Actually Stop and Nation Help You Have More Energy Thinking Have You Antiaging and Polyphenols Are Great Athletes It Sounds like It's Your Health: More People Than Just Loading Tell Me How It Is Taking out Front If You Want to Go so 2002 Capsules Three Times A Day Facing Me with You Aren't Bloated and Just Want to Polyphenol Intake Everyday Three Chances of a War for You to Love My Tummy.com/Are You Tired of High Cable TV Rates Sign up for Dish Today and Get a $500 Bonus Offer While Supplies Last Loss Locking Your Price for Two Years Guaranteed Call American – Your Dish Authorized Retailer Now 800-570-6630 800-570-6630 – 800-570-6630 Authors Required Critical Negation 24 Month Commitment Early Termination Fee Any Automakers Friction Supply Call for It Looks like You're Losing I Am I Losing Weight I Am Losing My Lost about 10 Pounds How Are You Doing It Funny Name but I Done It with Review Zone RAD Use Zone.com and the Stuff Works It's Unique It and All That the Molecule Bissonnette Found in That I Can Tell You Is It It so It Makes You Feel Full and He Keeps Your Mind Off of Wanting to Overeat and Also Boost Your Metabolism If You're Done and More Guy Try It Today It's Gonna Work for You like His Work for Brad and Countless Other People Read You Zone.com Are IDUs Zone.com Okay Welcome Back to the Second Half Hour Episode Eight of the Gut Check Project I Married Grigor Joined by Your Host Dr. Kent Brown and Now We Have the Vice President of Marketing Communications at Alexa and All Mr. Chrissy Song Chris Welcome to the Show Thanks for Having Me Absolutely Absolutely Better Radio Voice Than You and I Both Well Yeah Well You Guys Have a Better Face for One of the First Things He Chris Asked Where He Sat down and Said Do You Guys Do One Headphone or Two and Then Can Analogize That We Do We Do to Because We Didn't Know How to Do That so Anyhow I Just a Quick Reset Thank You for Joining the Show Thank You Again for Having Me Actually Catch a Project Is Brought to You by Arch on Teal As Well As KB MD CBD You Can findkbmdcbd@kbmdhealth.com and it just so happens that Chris may happen to know a little bit about KB MD CBD As Well Please Think Our Dialects and the Power Power by Licks and All so Chris You We Are Now in Dallas That's Where Our Studio Is Siam in Dallas Here with You Guys Thanks for Having Me I Grew up in Plano Just down the Road Just I Know That That's Also That's Where I Live Right Now Sam Right on Teakwood Okay All Right in the Middle Was Back When There Was Still Some Farmland in That Region Roads That Were Definitely Not Paved Back That Well While You Have Made Your Journey All the Way to Being a Market Expert but It Was You Got Zero Stress Remember I Was Told about Russ and His Dad yet Will He's Just Call Me Right Here Is Try to Call Him to Let Me Describe a Little Bit about about His Experience Home on Such a Crazy Timing to Rent a Van Fantastic What Will Look at That Set up Well in the Meantime While Were Getting the Call Set up Which This Be Our First Time We've Ever Had Live Taller All for You Chris That's Awesome Though Our Weight Much to Say Go Wildcats for Plano West Guy While Nice Nice Sticky Big Absolutely so from Plano You Are You Hello When You Plan to Graduate High School There No so I Was Born in the Fort Stockton Texas Home Right Now Where Judge Judge Roy Bean the Hanging Judge a Hanging Judge Meant to Write Also the Largest Groundhog Population in Texas That at the Time Did I Know That I Seconds Probably Pretty Pretty Have Been Doing down There but No I Moved to All over Texas with My Dad Is an Engineer for General Electric Okay so We Were All over the Place and Then Moved to California Right and I Graduated College out There and Jumped around All Sorts of Places since Then Is Your Degree in Theology Theology Yeah That's Right This Is Great for What I'm Doing Preaching about Hemp and CBD What May Think That I in All Honesty When You Find That There Is Actually Quite a Bit of Similarity and There's Going to Be A Lot of Congruent Messaging Well There There Is A Lot Of Congruent Messaging and and We Can Get Super Deep on It If You'd like but Overall Community, Theology or CVD Will Get the Loan Both of Them Get Real Deep on Both but That Because I Think Are Highly Connected I Think One of Them I Don't Know How Far You Want to Get into This Right Now but CBD Itself I Think It's Is One of the Main Things in the Unit Can Have Annoyed Systems and Allows All That Better Empathy Sure Which Is What Is Causing so Much Disregard and Disconnection in Our Society Right Now Right and If We Can All Take a Significant Amount of Quality CB and Improve Our Ability For Our Brain to Connect with People and and Not Have Social Anxiety And Connect to People Then Were Going to Actually Build Improve Our Culture and and Not Not Have All These Great Divides so I Would Assume That Probably Whenever You Are Studying Theology That That May Not Have Been Your Attitude Towards CBD or Hemp Products or That Was Even on Your Radar Though My Gosh Cannabis in CBD and Hemp Was Bad Sure You Know the Devils We Write Back Then and That It's Definitely Not Something That I Supported I Told My Kids Said No Don't Do Dumb Stuff Listen to Dad and Don't Do Drugs and Cannabis Was Definitely One of Those Things and I Had to Change My Tune Much Later in Life and My Mom Actually Group Cannabis and Marijuana While She Was Raising Us in Texas and Oklahoma and Back What Was Illegal She Was like One of the Original Member That Was – She Is Original OGE That so and You Know I I Being the Rebellious Teenager Decide I'm to Put Our Three-Piece Suit and Go Learn Religion and You Look down from My Port Perch on People and Obviously I Had to Humble Myself and Admit Mom Was Right the Whole Time That Is so Fascinating I Don't Want to Break the Story Whatsoever but I Think We Have Our First Because This Is Going All Dr. Russell Running San Antonio He Is Patched in And Russ Can Hear Us Morning Man This Is Also My Was That Obvious He Heard the Show This Morning Was Talk about You and Your Dad I Appreciate That That Means A Lot It Does so Russ Whenever You Found out That Your Dad Had ALS When When You Look at the Options That Were on the Table What and in You Being Physician What Did You Think of the Landscape and What Did You Think the Options Would Be For Him and Then Now Looking Back to What What Cans Talking about in Terms of CBD and ALS What I Mean I Lost My Dad You've Lost Your Dad Can Lost His Dad and You Know It's It's No Fun for Anyone Any Always Wish That You Had the Experiences of Technology Later What What Do You Wish You Could Take Back to in Time from What We Learn Now She Mentioned That My Dad Started Get Sick with ALS Back When Can Our Medical School Diseases Just Initiated This Really Is and They're Just Just Seated Man Who Was Pillar of Strength and It Just Wait, Wait Enough and Where They Couldn't Hold a Hammer He Could Climb a Ladder and the Most Devastating Part of That for Us Was When He Studied the Single Ball Ballparks in Ankeny and Carry on a Conversation and Eat Well Anymore Back Then There Was Nothing for Writers One of Those Diseases like Pancreatic Cancer You Got It Sorry I Just Not Then We Can Do and Then I Moved down Here to San Antonio Started Launching Residency and Fellowship and Hooked up with Carding Jackson Was a Neurologist down Here Amazing Woman Who Runs a Big ALS Clinic Here in South Texas and I Started Flying My Dad down Twice a Year and She'd See Him in an Even In Her Clinic It Was the Experimental Things of This Kind of False Hope Was Some Anti-Inflammatories There Wasn't Anything That Worked and There Are Days When It Looked like It May Be a Little Stronger and Days When He Wouldn't Now 15 Years Looking Back You Know That He's Been Gone There's Been so Much Advancement in so Many of These Neurologic Diseases and It's These Natural Types of Things That Seem to Keep Coming up As Potential Cures for This and Have Even Had an Opportunity to Have Him Try Something like This Back Then I Did My Right Arm for Combat and I Would Believe That You Don't Get Back That's I Think When You Talk about Suitable Were What Is Referring to Is the Ability to Swallow the Ability to Form Wet so I Remember When Your Dad Would Come Visit and We Would All Go to Your We Would Gather His Residence Would Go to the Pool And She Would Mumble Words That Only a Wife of 30 Years Could Understand and She Would Translate so He Was Still Completely with It Couldn't Communicate but That Kinda Shows Also the Bond That Husband and Wife Can Have Watching Your Mom Be Able to Understand What Your Dad Was Trying to Say Was Very Touching to All of Us In Talking with Him and That's the Part He Hated the Most You Got Your French Don't You Go out Yes and Cocktails Have a Dinner You Care Phone Conversation When You're like That Friends Don't Want to Hang out with You Anymore Because It's Hard and Embarrassing to to Say I Don't Know What You're Saying so There Were Times When My Dad Loved to Drink Beer I like to Drink Beer I Were Small-Town Nebraska I Would Grow up up There so When He Got to That Point in His Disease And He We Had the Decision to Finally A Peg Tube Feeding Put Two But into His Stomach to Swallow Much Anymore When You Come down Here and I Cannot Would Sit around and We Drink Beer and Dad Would Set Some up in Achieving Stringent Squared Together and It Was Awesome and and One of the Greatest Things I Remember Doing with My Dad Back and When He Got to Where He Couldn't Talk Was I Flew up and Picked Him up and Took Him up to Minnesota Went Fishing and Camping for Weekend We Sat around the Campfire We Just Drank until I Can Really Talk Either Loved It but That's What That Disease Did Nothing We Tried Were I Think That What Were Seeing Now with This Is That We Can Talk on the Mode of How Potentially the End of Cannabinoid System Works in These Neurotransmitters No Rust We Have Christmas Song on the Show Today Is the Marketing Director of Licks and All and He Was Just Tell yet He Was Talking about How His Mom Actually Was The Original OG Is Raising Her She Was Growing Marijuana and He Went to Theology School, Rebelled The Opposite Way like If You Are a Pastor You Really Grow Weed If You're Growing We Bellied Theology School You Find out You Know What You Go Back to the Things Parents. It Worked and It Made Sense Mom Was Right I Long Yeah Yeah I Mean I Joke That All the Time. I Grew up My Dad Was Yellow Country Music and Bud Light Not Solid to Rock 'n' Roll and Drink Out Of Date Now 50 and I Listen to Country Music Drink Bud Light Back Here at That Time That Often Did That Because You Find Those Things Were We Did Know Hey Rossiter – Neurology Practice Are You Incorporating Type of Natural Alternative Anything like That Big and Real High Population of People That Are Educated on the Younger Patient Population That I Have an Initial Internet Savvy and A Lot Of Them Come to Me Already Knowing A Lot about These Things and Having Read A Lot about These Things It's All out There When You Look Which Having Awesome so I Do I Have Acrobatic Doctors That I Work with I Have A Lot Of Patients on CD Oils Not Just for Things like This That Were Talking about but My Miles to Christ in Crohn's Patients with Chronic Nausea Patients My Chronic Pain Patients like Everything It Works for Some and It Does Percent Doesn't. Well I Want to See How It Was with What You Can Find Is That and What I Found Is That Not All CBD Is Created Equal And so with Some Things and so We Have Chris on Right Here and That I I'm Very I Think I Have a Similar Mantra Have A Lot Of Patience to Come into Being There Already Though I'd Artie Tried to Be like My Mom Tried Hemp Oil Which Probably Was Hemp Seed Oil Now That I Think about It in the Will and so It's like All Things You Know Not All Seabees Created Equal That's Working to Get into Today for the Rest of the Show Talk about This How Do You Market That How You Get the Word out That Just Because You Tried This Blanket Term CBD You Know You Gotta Really Make Sure That They Got a Certificate of Analysis and All That so I Want to Do If You Had Patients and It Didn't Work on Listing the Rest of the Show Because It May Be That the Power Dialects All Brand Is What You Really Need That's Exactly What We Need to Hear Some I'm Glad You Get Thanks for Involving Me and Bring Back Member My Dad and Mandalay Castle Being Vulnerable and Talking about That I Think It's Important for You Know I'm the Same Way Love Talk about My Dad It's Been You Many Years Now 30 Years since He Died so I'm Lucky Enough Still Have My Dad but My Fondest Memories Are Him Drinking Coors Light on the Boat Name for Court like Nebraska State Aire's Stepdaughter Russ I Was Met Together and That Means That We We with Some Real Lean Years Were We Were Broke Ass Med Student and Your Dad Will Visit And We Would Purposely Go to Bars with a Wood Offers like Specials like in This Bar It Will and You Don't Medical Whatever I'm Agreed As I Am Still a Bud Light like You Have but You Know Such Such Beers like 50% Was like I Was like Yeah Yeah Johnny Jerilyn $4.55 Dollars to Run I Got My Recall and in This Is Awesome That Your First Call Every Now and Certainly I Deftly Appreciated I Appreciate You Guys and Will Keep with the Man Thanks for All You Do Appreciate It I See Russ Well Chris to Talk about Beer Similar Talk about Boys You Know What I'll Say This I Remember Listening to a Podcast Were One of the Reasons Why Beer May Be so Popular Is Because the Hops and Actually Have a End of – You Have a Cannabinoid -like Molecule so My Understanding Is That That Was All Made up All Really Got Some Some Marketing Guy Used His Powers for Evil Instead of Good and That the Two Companies That Are And It Kinda Leaves What You're Talking about Not All Seabees Made Same Two Companies That Were behind Those Actually Had to Admit That There Was Those Studies Were Completely Phone No Kidding Yeah That Is Fascinating I Was Feeling and Have Chris Consider Just Burst Bubble to Be Dropping Some Truth Bombs Now That's Awesome What We Were Just Wrapping up so You To Get into the Hemp Industry Because Krista Talked about His Trek from from Fort Stockton to Plano out to out to California and Then You Spend a Little Time in Germany Germany Where I Did Learn A Lot about Beer Dealer Lot Is Three and Half Years on the High School There and Going to Prom and Castles and All Sorts of Fun Stuff That's a Little Different Doing for like We Did Were in Plano Where I Would've Would've Done It Sure Sure so Then after School You Then Get into Some Regulatory I Figured out This Beeper and Pager and Wireless Things Can Be a Big Deal so I Started Selling Cell Phones and Pagers and You Know Five Dollar Minute Type Technology in and Got into the Technology World and Got into When Sprint Was in One Market You Can Only Use Her Cell Phone in Fresno Okay and Then the Only Been Growing since Then Moved from There into the Finance World and Helped with A Lot Of Regulatory World and There and Open Market under A Lot Of Rules and Regulations and While I Was There I Met a Guy Who Is Doing Documentary on Campus and He Was Put Together All These Different Case Studies and All These Different Videos and Clips of These People That Have Been Healed by Campus and at That Time I Was like No Bunch of Stoners and You Just Want You with the with the Theology Background You Carry a Bias with These Going into These Other Careers Are More Open-Minded at This Point What Based on My Initial Upbringing by My Mom Who Is Very Open Minded I Was I Was Always Questioning Authority and Questioning Things and through That Entire Process Even Going through Theology School I Was Questioning Everything around Me You Know the Minute That and Again I Don't Know How Deep You Want to Get into Religion Here but the Minute That I Heard about Their Profit Care and Oh How They the Canonization of All of the Books and How They Got into the Bible I Started to Start Questioning A Lot More and You Know They Trying Teach You That the Bible Is 100% the Word of God and Then You Decide to Figure out That Is about 15 White Guys in a Room to Decide Which Books Are in the Bible and You Only but Little Doubt in Your Head Sure I Don't I Don't Know That 15 Guys Can Agree about Anything and Deftly When Trust Something like That That's Guiding so Many People's Lives Divided 15 Guys in Room so It's It's Definitely No Been Something I'm Always Open-Minded and Looking at Things and Questioning Things I'm Click to Decide and Slow to Change My Mind so I See Something That's Right and Usually Jump Right in and Stick with It May Be Too Long and Then Dismantled That up but I Learned My Lesson Sooner or Later Click to Decide Slow to Change My Mind That Is a That Is a Great Line This It's like You Make a Decision but You Don't Have To Make the Right Decision to Make Your Decision Right That A Lot Of Times I Mean We've Already It's That Little Cliché but Sure Enough Perfect Is Sometimes the Enemy of Good Brian and I like to Move Fast and Make the Decisions What I What I Believe in My Gut I Think That If More People Moved That Way Things to Get Done A Lot Faster in Love Things I Think Doubt Self-Doubt Challenges A Lot Of Us and from a Marketer And I like to Empower People to Make the Right Decisions and Given the Right Information That I Learned Early on in My Sales Careers That When People Tell You Know It's It's Primarily Because They Don't Have Enough Information to Say Yes the More Information We Can Give Them the More Education We Can Give Them Then They Can Move Forward So It's Just That Self-Doubt That Little Gut Thing That We Need to Move Them on Let Me Answer Question Measured Market Are One of the Things That I Have Run into with My Colleagues to Coworkers and Things Is That When Somebody Is so Entrenched in Their Belief They Get This Cognitive Dissonance Where It's Almost like There Is a Logical From Then on Transits and Religion Parallels That Tremendously If There's Anything That Has Cognitive Dissonance Is When Somebody Has the Religion and You like Look Just Saying That This Is like You Said It's 15 White Dudes in a Room You Know Maybe It's Not Everything I You Know There's A Lot Of Things I Grew up Catholic so I'm I'm I'm a Recovering Catholic and We Do Know There's There's A Lot Of Things I Look Back on Them like Ha Knows A Lot Of Things Were Really Good about It Right Discipline You Know Learning Empathy Learning These Different Things Learning to Be Held Accountable for What You Do There's Higher Good Buyer Doing All This of the Stall That There's Times That I Took Away from Theology and Take Away from Christianity and Many of the Religions That I've Studied but Absolutely One of the Things That Jesus Did Many Other of the of the Profits They Questioned Authority May Question Things and so It's Really Important That We Teach Our Kids Only Teach People to Question You Know Why Is CBD Bad by Wise Cannabis Bad You Know That Doesn't Make Any Sense and You Know If You Really Want to Get Deep on Some of the the Conspiracy Theories of How This All Got Legally Illegal We Could Get down That Road to Because It Is Crazy Will It Tell You What First of All Is Not All Right Thought Would Be Going off Right into A Lot Of Parallels That with This so What I Want to Ask You Is a Marketer How Do You Was a Marketer Overcome This Cognitive Dissonance so Primarily It's Education Right What What Sit in Front of Me and What Changed My Mind Is Facts I When You Look at Some Kid Or Some Mom or Some Dad That His Life Has Been Changed Because They're Taking CBD on a Regular Basis They Went from Not Being Able to Talk To Being Able to Talk No They Went from 300 Seizures a Day Two No Seizures but Those Type of Things You Can't Deny Right Something Is Working so If You're Able Then to Dig into Why Is That Not like Rafael Mitchell and Started Right He Went to Discover the Why We Get High Right Many Found in a Can-Am Annoyed System and Then He's Figured out There's More Than One Cabinet to New There's A Lot Of People Don't Know Who That Is Identical I've Read A Lot about Him Please Explain Who He Is Sort of the Godfather Godfather in the Can-Am Annoyed System and He's the One That in an Israel Went to Go Does Study Why THC Affects People And He Threw His Studies Found the Indo Cannabinoid System and the CD1 and CB to Receptors and Why We Get High and Started Been Digging into the Plant In Finding That There's Many More Cannabinoids and Found CB Juan and CBN and CBG and All These Things and He's Really the One That It Brought This to the Forefront for Everyone and Only Because Return for Why People Get Hot and Move Forward from There A True Scientist and Also Somebody Who Discovered Something That I Did Learn about Med School No Is 9% of Medical Schools Now Teach about That Night I'm Surprised It's Not Really I Think That's Higher Than What I Would've Said I Would've Said 0% It Said to Me It Still Shocking That Is That Low That It's Ever I Mean I Understand Coming from Medical Field Where You Were Taught about It so That Makes Sense Right but Even 9% of Sure All the Doctors out There How Much Impact Just This One Camp Mind Is Made Can You Imagine If 20% of Our Doctors Knew about How This Mean the Doctors That That I Talk to Every Day You Know They Run the Gamut Summerlike Yes All Day In Summer like Crazy I Lose My License Right and That's the Education Back to What Your Talk about How You Change the Minds What a Link Small Has Done and Work with People like You Is to Make Sure That Those Influencers of the Health and Wellness World Those Health Professionals out There Those Doctors Are Equipped with Education Because There to Make the Biggest Impact You Know I Can Go Sell a Bunch of This Online and All Search Ads up There and Click Send It There but What We've Decided to Is Focused Primarily on Helping Health Professionals to Learn about Our Product Because There Can Make Big Impact in the Community so That I Think That That Is All I'm Sorry about That I Think That's Paul Paul W Are Found When Joy Was Here She Was Describing Your You Paul Gabe Your Etiology Is Not so Much Just to Move Product It's to Educate the World so That This All Become Something Bigger Hundred Percent Hundred Percent Our Founder Paulino Is Pre-Much a Citizen of the World Now He Considers Himself One of Those Guys That That Doesn't Belong Any One Country That Belongs to the All of the World and He's Trying to Make Big Changes CDs Just One of Them You Know He's Been a Hen Pioneer since the 90s Right and Made the Very First Hemp Bar Because It Had so Many Omega-3's and Omega Sixes and Nobody Was Getting Those Essential Fats Right Now You Have To Get Them from Meat Is What They Were Trying so Need to Know You Can Get It from the Plants and You Can Start Getting Those Things Because You Could Lit so Many People Implant Diets Were Deficient And There Is No Reason Because We Had Hemp Constantly When I Met You and Chrissy Feel They Will Affect Two Years Ago I Knew Nothing Was in Two or Three Working up on the Third One Now Is at Three Bad Is Probably through Your Probably Right Because I Give a Lecture Last Year Yes Is Your Go to the Third Value about so What Happened to Me Was I Just Walked by the Booth and I Was Just That Christie Just Said You Discredited Love You Bunches That Happens When Everyone Christie Just Brought Everybody and She Such a Great Evangelist Shoot She Has but It Was Literally It's like I Don't Know What You're Talking about What I Did Your Enthusiasm Send a Case to My Office Area and I Gave Away the Whole Case You Can Take Any Blog I Talk about I Did Well but One Bottle and What I Found Is That I Guess Maybe Got to Get to 24 I Think I Had 22 People Come Back after the Bottle Run out the Big Bottle of 3600 It's I Want More Know It Okay Run Something And I Gave It to I Didn't of Insiders Ate the Cost and Elect Someone to See Unbiased Just Predicate Event Just Tell Me What You Think and a True Scientist but True yet so I Had like 22 of 24 People Come Back to What Okay Were on to Something Now I Need to Start Teaching Myself Now I Need to Really Start Educating Myself And It All Starts with That Starts with Just the Domino Effect And That's What's That's What I'm Doing Right Now Working to Be Talking A Lot about the Actual Science of Stuff and Disease States That I'm Helping Not Claiming But Supporting Supporting Exactly Just so You We Kind of Hit A Lot Of Different Topics Here but Said Some Things That We Can Carry over into the Next Hour That I Think the Listeners Are Really Liking at Your Approach Chris Which Is Basically You Said You'd You Should Become Double Challenging Dogma You and You Really Should If You're Going to Find Something That Doesn't Just Mean Looking at Hemp and Saying I Think It's Taboo but I Need to Find out More about It to See If I Can Change My Mind There's Also Incidents We May Say Hemp Is Everything but I Need to Make Sure That It's Everything That Everybody Says That It Is Absolutely and Then Then We Also Need to Talk about the Environment That Allows Us to Foster This Kind Growth Because There's a Reason If I Remember the Story Correctly That the Discoveries Made in Israel It Wasn't I Wasn't Able Only One Able to Have Those Kinds of Experiments Here to Find Indo Cannabinoid System in a Stateside Because Our Government Prevented That from Happening so the Fact There Were 9% of Med Schools It's Surprising That It's Grown That Much of the Same Time It Should Be Hundred Percent so We Can Get into Some Really Deep Topics in Terms of How Do We Carry This Message Forward How Do We Make It Available to More People How We Present the Facts of the People Know That You're Not Selling Them Snake Oil That You're Not Telling That You Know It It Fixes Broken Bones and Lowers Your Gas Bill Because It Doesn't Do Those Things Really Get Bored but Actually I Think Fixing Broken Bones Lowering Gas-Filled FDA and FTC Has No Problem with Those Claims but It Is That You and I Could Probably Make a Correlation to the Lower Gospel If I Wanted Regulator System Brings a Homeostasis You Don't Need to Turn up the Heater Comes to the Practical Application of a CBD Is Really Where Your Expertise Is Because You've Made This Journey Right You Made This Journey of I Don't Believe in It to This Is Incredible I Gotta Spread This News in the Right Way to Do so Would You Are Much More Well-Rounded Than I Was Anticipating This Is Really Cool You Got One of the Things You Get a Very Calm Nature but I Would Have This Nervous Energy about My Gosh I'm Sitting on This Just Amazing Thing Wire but As Everybody Get It But You Seem Very Meth Methodical about It I Should Say Well I Have I Do Have What Is Known As Very Laid-Back Nature People Been Thinking I Was High My Whole Life When I Want to Buy Weed from Me When I Didn't Have It so It's Just in My Nature but Absolutely I'm Very Thoughtful about How We Communicate This Because It's Important You Know There Is A Lot Of Weight To What Were Doing This Is a You Know Even Bigger Than the Internet Boom in the 90s and Skin to Change A Lot Of Things Now If You Think about It CBD And Him Could Replace the Entire Johnson & Johnson Catalog So That Hits on Something That We Can Deftly Take the Next Hour to Think That That the Listeners Have Got to Email about It Already That Specifically Want to Know How Can We Put Facts and Research behind Were Going to Do in the Next Hour We Can Deftly Talk about What It Is That a Medical Practitioner Can Do What It Is That a Consumer Can Do What Is in Allied Health Professional Can Do so They Can Better Spread The Message to Allow People That Are Suffering or Just Sibley Want to Improve Their Quality of Life and Him and Him Products to To Their Rather Daily Routine to See If They Can Basically Get a Better Balance so Homeostasis Homeostasis Act about Getting Back in Balance Well That Is Going to Wrap up This First Half-Hour with Chris He Saw Will Be Back Here about Four and Half Minutes Thank You Seems to This Is the Only 24 Hour Take Anywhere Platforms Dedicated to Food and Fun Clear Spoony If Our Townhall.com, or VP Biden 20th Democrat to Announce His Candidacy for the Parties Residential Nominating Widens One of the Most Recognizable Names in Politics the Most Experienced Candidate in This Field and at 76 Seats Second Oldest Face Questions about Whether His Age and More Moderate Record Are Out Of Touch with the Democratic Party Featuring the Younger and More Liberal Contenders Correspondence Agar Magali American University Political Science Professor James Thurber Says If He Hopes to Win Biden Will Have To Find a Way to Connect with Younger Voters He's Really Running against His Own Record to a Certain Age and He Has To Persuade a New Generation That He's Got the Right Ideas Help America and Them President from Writing on Twitter This Morning Welcome to the Race Sleepy Joe Russian Pres. Putin Says She'll Be Briefing Both Beijing and Washington on His Summit with North Korean Leader Kim Jong June Says Cam Expresses a Willingness to Give up His Nuclear Weapons If He Can Secure an Ironclad Security Guarantee First A Woman and Her Two Young Children Died on the Family Car Was Caught up in Floodwaters Rolling Plains of West Texas about 75 Miles Southwest of Fort Worth Storm Prediction Center Meteorologist Matt Mosher Says One of 21 to 2 Inches of Rain Is Falling in West Texas Although Some Areas Did See a Bit More Not That Normal Rainfall Amount over It Adds up over over Dating Week so It's Been a Pretty Wet Winter In That Area and so That's What Caused The Flooding Issues to Homes in the City Hall Office of Baltimore Mayor Catherine Pugh Been Rated by FBI and IRS Agents No Word on Exactly What They're Looking for Stocks Are Mixed on Wall Street This Morning Right Now the Dow down Sharply It's off 203 Points on the NASDAQ Is up 38 Points One of the stories@townhall.com Fast-Track Student Loans Can Get Your Student Loans Out Of the Vault Stop Any Wage Garnishments Stop Collection Calls and Stop Seizure of Your Tax Refund Give Yourself a Break to Stop the Stress and Get Your Student Loan Payments down to As Little As $25 a Month Based on What You Can Afford to Pay 800-709-4395 800-709-4395 800-709-4395 800-709-4395 Use the Expenses Blue or Yellow Pills to Charge Your Sex Life Are You Thinking about What We Can Promise You the Same Results from 3 PM If You Paying $20 a Pair for the Other Parents You're Getting Taken to the Cleaners Same Results for Less Than Three Dollars More Than $16 Account for the Same Restaurants Right Now We Will Get 44 Blue or Yellow Pills 23 Discrete Shipping You Can Save More Than Hundred Dollars Our Pharmacy Prices Right Now Your 44 Pounds over 700 and Qualify for Free Shipping over Pain, Right Now 218-647-3800 21864738 Henry 186473 That's 800-218-6473 Now You Can Fly Anywhere in the World and Paid Discount Prices on Your Airline Tickets Flight to Date Alignment Harassment to Read or Anywhere Else You Want to Go and Pay A Lot Less Guarantee Quality International Travel Department Right Now Low-Cost Airlines 800 452 1075 800-452-1075 That's 800-452-1075 Okay Welcome Back Project Is Going to Be in Second Hour of Episode Number Eight I Married Grigor Join with Your Host Ken Brown Ducked Him around after All Just Here in Dallas or Plano Texas As Well As Song the Vice President of Marketing and Communication for Election All Will That Last Half-Hour Was Very Light Very in Writing Those Funds All Inroads Lead to the Truth but Everything Good Starts with a Peer Conversation of Beer in God Patient While I Have for All of Our Listeners If You Ever Listen to the Spinning Network Which Is the Host Network of Gut Check Project Be Sure and Check out Mojo 50.com and You Can Also Find the Morse Code Brenda Morse Hosts a Great Show on Their It Starts Every Day 1 PM Eastern That Is Brandon Morse of the Morse Code You Just Talk to Brandon Not Even 20 Seconds Ago in the Hallways You Return Back to the Shed I Did and I Was on Their Show This Morning at Say What Whatever He Is on I Want That Energy Just Truckloads of Energy He Does Tons of Writing Is a Copywriters Got Several Shows That Guy's Got a Good Beard Punishing My M&Ms Right Yeah Yeah I've Been You Know What I Got Beard and Good for Everybody I Think I'm on to 1/2 Years Growing This One Right Now in the Is All I Can Do I Went down to Skin Yesterday Does Not Back up What I'm Really 40 Years and One More Mention Here in Our Live at Reduced Going to Be KB MD CBD Minima Right Works for the Company Licks and All the Powers This and There's a Reason behind That the KB MD CBD You Can Find a KPMG Health.com Is Physician Recommended by the Physician and Sit across the Table for Me Right Now So We Can Get into Some Really Neat Topics in Terms of the CBD with This Man to My Right Mr. Chris Her Song and We Just Finished the Last Half Hour Talking about Essentially Finding the Truth and It Doesn't Have To Be All One Direction or All Another Direction It's Okay to Question Even Your Own Your Own New Revelations in Terms of What You Think of Him or What You Think Driving a Car Everything Should Always Be Open for Question Would You Say Chris Yeah I Think I Think Absolutely That to You to Find Your Truth and and Search for and Find out What Works for You I Mean We Were Just Talking Earlier How You When You First Met Us Got 24 Bottles of Our Product 22 People Came Back to Get It A Couple People Cited Didn't Report Being CBD Itself High-Quality CBD Is an Amazing Product I Think Everybody Should Be Taken Every Day but Some People Decide That You Don't Not Work for Them and That's That's Okay Well It's Really Interesting Because One of Things We Talked about Though Let's Get into from a Marketing Standpoint We Purposely Our Brochure What I Wanted to Address Was a Couple Things That My Patients Always Talk about Number One Why Did I Get Involved with That Number Two What Is Your and a Cannabinoid System Get Back in Balance One of the Things He Can Help and More Importantly Which Is My Favorite Panel Here Is Why Is the Powered by Alexa and All Brand Different from Other Brands That's in There Is so Many Good Reasons to to Work with Alex on Work Find a Quality CBD and There's Other Quality CD Companies out There but I Say I'm Partial to Alexa Now but It Is Important That You Know You're Mine and That's the Truth for Just about Everybody Mean I Became Vegan about Two Years Ago and Note the Reason I Did That Was A Lot Of the Same Reasons That You Guys of Been Talk about Your Fathers in Your Your Your Parents Is I Looked at My Dad and I Looked at My Mom and I Said I Don't Have Healthy Genes I Make a Change and in a Questioning What's Going on but I Needed to Make a Change in That's White and That's I Got into the Hemp Industry and I Need to Make a Change so I Had to Do Some Health Conversations and What That Did for Me It Got Me More Connected to What I Eat But I Get More Connected to What I Put My Body so I Look at the Labels Right I Look at What's Going on That's Why to Begin I Absolutely Think That That's What You Need to Do You Doing When You're Looking at CBD Where Did It Come from Who Made It Now Is It Organic What Country Did It Come from Doesn't Have a Certificate of Analysis Can You See That It's Clean Mean We Get to the Point Where Were Controlling the Grow Where We Control the Water Rights We Know Where the Water Came around Really so We Go Way All the Way down to Temps an Amazing Plant Right Yeah It It Basically Filters the Soil It Actually Is Good for the Environment but Let's Start from the Very Beginning Here so This This KB MD Health CBD Tell Me Where This Came from So Beginning to End so It Came Out Of Your Hair It Came Out Of Your Head Right. That's Right Then and What We Found Is You Coming to Us and Just Going Hey This Is Amazing This Is Working for RFR My Patients Is Working for My Client And I Need To Be Able to Provided in a Form Factor That Fits Your Protocols and We Were Just Excited about Beating to Partner with You on That Because We Want to Be Able to like We Talked about Earlier Is Educate People Right and You're Doing Such a Phenomenal Job of Educating People How to Better Run Their Lives and Heal Their Lives and Give Their Body Information to Heal Itself And What We Really Love Is That That CBD That You Work on Is Our 3600 Format It and We Been Using That Formulation for a Long Time and You You Put Some Formulation Changes to It That the Size Form Factor and Allowed It to Even Be Better and We Love That That Model We Go to Trade Shows All the Time Going to One This Week Pay the Effects Will Go to Autism One We Go You Guys Are Doing Autism 10 Yeah We Go Every Year Fantastic We Love Is Only I've Got Just for You so in the Future with Probably One Is Autism Autism Is Mid-May Mid-May Fortune Will Be Able to Do the Surgery A Lot Of Travel Coming up but Let Me Tell You What Working to Be Publishing Probably the Most Comprehensive and Scientific Review It Geeks Out I Mean to a Level That I Have To I Mean I'm Trying to Figure out How to Make It a Little Bit Easier but You Almost Can't Dance to the Point Where It's like You Need This Science That's the to Show the Most Educated Group of People That I Go and See Most of the Time Is Autism Group Right It's It Scientist Date Those Moms and Those Parents That Are Dealing with That Are More Educator and Cannabis and Diet and and Looking at the Details of What I'm Putting in My Body Than Anybody That I've Met and As Such and More Interesting No Group of People and What's My Favorite Part Is They Won't Let Us Leave Right We Get There Early We Leave Late Every Day Because They're Just Coming up and Saying I Need This Is Working for Me I Need This Is Working for Me What I Guess Was Two Weeks Ago When I Brought up the so like I Said Every Single Show We Do Some Sort of Science And One of the Articles That I Brought up Was Out Of Israel Where They Actually Looked at the Ananda Biden to AG Level Specifically Nana Might Be the One That's Always There Which Is an Endo Cannabinoid and They Showed In Autism Spectrum Disorder Almost Unequivocally Their Lower So the Deck Stacked against Him Right There You Need to Raise It up to Get Them to This Point so It's Almost like It Is a Essential Nutrient If You Are on the Autism Spectrum Disorder so I'm Very Passionate about That Myself Yeah and and I Am to Have in It It's Very Similar to Some of the

Part 2: In this episode Kalen leaves the comfort of his home studio and joins the band Papal Visit front men Pierre and Adam, as well as John and Chris from the live band, at their jam spot after a killer show for the Quality Block Party.They discuss their history together as well as their home town's rich rock and roll past. All the music you heard on this Episode was provided by Papal Visit. Be sure to check out their Bandcamp, you can also find them on Facebook The tracks from this episode are: Pagan Place, Cut Me Out, I Wanna Part in a Play, We Can Work it Off Since there are a few honourable mentions in this episode here are a few other links for those that might be curious about the bands and artists mentioned in this spisode. Ermine - You can hear them on the BBQ Records YouTube page Wooden Wives and The Organizers - You can check them both out at the Wooden Wives Bandcamp Page Quality Block Party - Check out their Facebook Page for their events and festivals Thanks to Buddy from Pension Clothing for the shout out and a sweet hat. You should check out their Site for some sweet duds

This week's episode is brought to you by Gunstreet Wiring Shop. Gunstreet is made of a small team of folks that focus on quality and community. This episode was also sponsored by Sinasoid. The Slate is Sinasoid's signature cable. It's super beefy and slightly tacky for a feel love by industry pros and touring musicians. Lastly this episode was sponsored by Chase Bliss Audio. CBA just put out the Thermae Analog Delay, a completely different approach to the analog delay. Check out Ryan's demo on YouTube. This week Ryan talks about getting back into the flip game. Steve talks about seeing Hanson again, and the fact that he has to ship more crap for Ryan. Pictures 1. Matchless amps 2. Ryan and Steve discuss their nightmare rigs 3. Is this a good Gibson deal? 4. Steve and Ryan talk about their dream rigs 5. Fender Combo Tape Player? This week's song was sent by Rob Nordvik. He's in a band called Help Project, a Beatles tribute band. This is their take on "We Can Work it Out". 

We are to live in and among the world system. But we have never been required or asked by God to be a part of this system. In the midst of the world system there is hope. That hope lies within us. It is Jesus. We are light to this darkness. We are salt to this world, to preserve the souls of our brothers and sisters caught in sin. It is our theology that WE CAN WORK in this system, and not be of this system. We believe that you can work in acting, music, finance, arts, government, etc and never compromise and be a light to your place of employment.

For the latest news and releases go to www.deepliferecords.com Follow us on Twitter: twitter.com/deepliferecords Like us on Facebook: facebook.com/deepliferecords Subscribe on iTunes: goo.gl/equH3u --- DEEPLIFE PRESENTS - EPISODE 016 This month we feature tracks from Kyle Walker, Sonny Fodera, Shiba San, Kevin Aleksander, DJ Dan, Just Kiddin' and a classic track from Hardrive. Our guest mix comes from Steve Wade. Check Steve Wade's upcoming release "We Can Work", coming soon on Deeplife Records. Deeplife Presents airs the first Wednesday of each month on Digitally Imported DJ MIXES Channel (di.fm/djmixes) at 12P (MDT) / 2P (EST) / 7P (UK) - TRACK LISTING - Kyle Walker - Memories Sonny Fodera, Cervendos - Let's Go Shiba San - Okay (Dave Winnel Mix) -NEW MUSIC SPOTLIGHT- Kevin Aleksander - Movin DJ Dan - Conjunction Funktion Just Kiddin - Thinking About It (Tom Ferry Remix) -FROM THE VAULT- Hardrive - Deep Inside - GUEST MIX: Steve Wade - HNNY - Apricots (Original Mix) Kyodai - So Special (Original Mix) Sasse - Pino (Original Mix) Tommy Rawson - In All My Days (Original Mix) Tommy Rawson - Don't Lose It (Original Mix)

Today’s guest is Dr. Jamie Turndorf. Known to millions as “Dr. Love” through her website AskDrLove.com — the web's first and immensely popular relationship advice site since 1995, Jamie’s been delighting readers and audiences for three decades with her engaging blend of professional expertise, humor and ability to turn clinical psychobabble into easy-to-understand concepts that transform lives and heal relationships. Jamie’s methods have been featured on all the national networks, including CNN (who recently dubbed her their "Resident Love Doctor") NBC, CBS, VH1, Fox, and on websites like WebMD, iVillage, Discovery.com, MSNBC.com, and in Cosmopolitan, Men's Health, Glamour, American Woman, Modern Bride, and Marie Claire, to name only a few. Jamie also writes a column called “We Can Work it Out” for Psychology Today online. Her “Ask Dr. Love” radio show can be heard in Seattle on KKNW and on TalkZone, which broadcasts in 80 countries worldwide. Jamie is the author of the new Hay House book, Love Never Dies: How to Reconnect and Make Peace with the Deceased. In it, she shares the amazing true story of her spiritual reconnection with her deceased husband and the emotional healing that transformed her life. You can find out more about Jamie at www.askdrlove.com. Want to learn more about Michael’s concepts and teaching? Listen to him being interviewed on Profit Pathway and Dear Friends & Family this week! Get to know two very different aspects of the same guy. Also, be sure to sign up for your Podcasting Mentorship Discovery Call today; and to learn more about Sponsorship Opportunities, send an email to Admin@MichaelNeeley.com.  Thanks! And don’t forget to subscribe to Consciously Speaking so that you don’t miss a single episode. While you’re at it, won’t you take a moment to write a short review and rate our show? It would be greatly appreciated! To learn more about our previous guests, listen to past episodes, and get to know your host, go to www.MichaelNeeley.com and follow us on Facebook and Twitter.

Episode 13 nk – “Wonderwall” Sybil – “Let Yourself Go” Amy Winehouse – “Tears Dry on their Own” Big Daddy Kane – “Ain’t No Stoppin'” Stevie Wonder – “We Can Work it Out” Maxwell – “Sumthin’ Sumthin'” Shirley Ellis – “Hand Clapping Song” Debbie Malone – “Rescue Me” Blood, Sweat and Tears – “Spinnin’ Wheel” […] The post Have I Got Heat For You 22nd Dec 2012 appeared first on SSRadio.