Podcasts about With the Beatles

In recent years, the quality of Beatles scholarship has risen considerably, and the old days of accepting and repeating any old data (even coming from sources that should be credible) – without examining it deeper to see if it really stands up – are long gone. With The Beatles, music is always at the heart of their story, and in particular, what they did in the studio. Examining how their recordings were produced tells us a ton about how the group operated, and therefore getting it right is pretty important to understanding what we're hearing. My two guests – Marcus Phelan and Andrew Shakespeare – are 2nd-gen fans, hailing from Australia. Both are musicians who've been playing for decades and have been studying The Beatles' music for just about as long. We selected a group of songs that have been disputed as to who is playing what and how the recordings were constructed for this first installment of Contentious Credits.  Here's the episode's playlist:https://youtube.com/playlist?list=PLWJwXBl8_fsfe9Nu1Z1HqZgRAXcu4kb7G&si=_b46MSAyw8VcipS4 Plus Marcus Phelan's Guitar Videos: https://youtube.com/playlist?list=PLsvcWjz7Ghh6byDBitzvVHeB9IKzRKth3&si=MdIaGZZaznwUW4kQ And: youtube.com/@RBStems2

Anden del af "Toppermost" om "With The Beatles" fra 1963 er klar. Med andre ord: Pickuppen, nålen eller stiften er tilbage i pladen fra november 1963 og Søren Koch er igen sprængfyldt med anekdoter, musikeksempler, begejstring, hovedrysten og bare ren kærlighed til The Beatles. Episoden åbner hvor første del slap. Midt på side 1 og med George Harrisons første udgivne rigtige sang ( ja ja; han var medkomponist på Cry For A Shadow), og midt i en træt forkølelsesrus ryger George ind på en legendarisk plade med "Don´t Bother Me"! Og der er mange spørgsmål der kalder på svar i denne episode. Eksempelvis: Kan man godt synge om en "Little Child" i 2025? Kan man tillade sig at gå ind på et teenageværelse for at høre Paul McCartney? Løftede The Beatles "Please Mr. Postman"? Hvorfor blev George mindre og mindre synlig i den vokale forgrund? Er der virkelig dødt løb mellem to Beatles-sange? Og kan både The Beatles og Rolling Stones være i een taxa? Søren Koch kan du høre meget mere om i første episode som du bør høre før denne.

  Beatlernes andet album “With The Beatles” udkom I slutningen af 1963, hvor de havde lagt Storbritannien ned. Alle talte om The Beatles, hitlisterne var fulde af dem, og bandet turnerede de britiske landeveje tynde. Mere og mere populære, mere og mere og mere eftertragtede, og da Daily Mail den 21. oktober døbte fænomæenet ”Beatlemania”, var det fastslået at en stor og voldsom musikalsk epidemi havde spredt sig. ”With The Beatles” blev udsendt den 22. November i tid til julesalget og med over 300.000 forudbestillinger var det naturligt at LP´en skubbede ”Please Please Me” af førstepladsen på hitlisten. Coveret blev en klassiker, flere sange fik samme status og i virkeligheden var pladen med til at manifistere at næste mål for The Beatles var USA og resten af verden. I denne ”Toppermost” - epsiode dykker Søren Koch og Niels Harild sammen ned i albummet. Dets forhistorie, dens hyppigt dobbelt-trackede produktion, dens spændende instrumentering – og selvfølgelig alle sangene. Som altid er ”Toppermost” - formatet delt i to episoder, for der er nok at snakke om. Og så er selskabet godt! Søren Koch har heldigvis været med i podcasten før – og også i to tidligere "Toppermost" og så har han et stærkt CV når det kommer til selv at spille musikken. The Zombies, Colin Blunstone Tim Christensen, Michael Falck, Marie Frank, Boatman Love og Nikolaj Muldkjær har blandt mange andre nydt godt af Sørens evner som guitarist, bassist og sanger  - lige som at Beatophonics selvfølgelig skal med på listen – et band der er fuldstændig uundgåeligt, hvis man elsker The Beatles og er fan af Sørens sang og sangskriving. I episoden kan du høre mere om Sørens planer for den nærmeste fremtid på scenerne i Danmark, Europa og såmænd også i USA. Og husk også lige Sørens "Pigtråd og blomsterpistoler - not to be missed:https://foredragsportalen.dk/foredrag/pigtraad-og-blomsterpistoler/  

The Blottos start by getting back to their theater roots with an update on the Blotto Beatles: The Musical. From there we welcome guest and comedian Julie Klausner as we discuss if “Marmalade Full of Botulism” is the best Warren Zevon record; if Ringo has actually ever had pizza;  opinions on Bill Burr, Billy Corgan, and Ben Franklin; if the Blottos are cats or dogs; if birds ever wing; and the Broadway cover “Til There Was You.”As always, you can find Team Blotto Beatles on Instagram (@blottobeatles) and Twitter / X (@blottobeatles), by emailing us (blottobeatles@gmail.com), or on the web (blottobeatles.com).  We want to hear from you!Please also take the time to rate and review us on Apple podcasts or wherever you get your podcasts.We have a shop!  Grab some merch.  You can always drunk dial us at 1.857.233.9793 to share your thoughts, feedback, confessions, and concerns to be featured in an upcoming episode. Enjoying the show? Buy us a beer via the tip jar (don't forget to include a message telling us what we should drink with the money).You know we're making a list of it, see the canonical, argument-ending list of Beatles songs we are assembling here: http://www.blottobeatles.com & listen to it on Spotify here.Please remember to always enjoy Blotto Beatles responsibly.Peace and Love.Hosts: Becker and TommyGuest: Julie Klausner (@julieklausner)Executive Producer: Scotty C.Senior Director of Sonic Strategies: RBAssociate Musical Supervision: Tim Clark (@nodisassemble)IArtist-in-Residence: Colin Driscoll (@theroyal.we)

This week we hear from the eminent rock music author and biographer Patrick Humphries whose new book With The Beatles is a complete history of the group from childhood to the breaking up of the band in 1970. Patrick's personal encounters with three of the band (George, Paul, Ringo) and his extensive research about their career and the long and often litigious after life of the group gives a new an unique perspective.If you would like to order a signed copy of the With The Beatles, you can purchase it through this link direct from the publisher. Help the podcast to continue bringing you history each weekIf you enjoy the Explaining History podcast and its many years of content and would like to help the show continue, please consider supporting it in the following ways:If you want to go ad-free, you can take out a membership hereOrYou can support the podcast via Patreon hereOr you can just say some nice things about it here Become a member at https://plus.acast.com/s/explaininghistory. Hosted on Acast. See acast.com/privacy for more information.

With The Beatles' film debut turning 60 this summer, the time was right for a deep dive into the cultural and cinematic significance of it all. Joining the conversation are two new guests: Sarah Pleydell and Moya Luckett. Both were born in the UK, one's a first-gen fan, and both are authors and academics with … 289: A Hard Day's Night At 60 Read More »

Hello Friends! It's Beatle time here on the show again, as we finally round out our look at all the catalog LPs in the Beatles canon with a look at 1963's With the Beatles. Originally issued in mono and stereo, this twin-track recording seems like a simple comparison on the surface - and yes, many of the tracks are - but there's some real hidden secrets in these mixes that demand your attention, including unique overdubs in each mix, alternate edit pieces used, and a couple of odd balance moments independent of each other. We also have a couple of curious international variations, one with some extraneous session sounds, and the other the fault of a tape machine. Of course, MONEY makes a completely worthy climax to this knock-out programme. Hope it doesn't leave you too breathless to flip back to Side One for a repeat-play session WITH THE BEATLES. Happy Listening, Frederick Patreon Email Instagram - @hypnoticfred  

We break open episode 72 with news of our prestige TV sitcom, an early mystery word, our guest Huw Thomas, more on Smokey Robinson's GASMS, Huw's encyclopedic knowledge of pre-Beatles pop, The Wombles, the Zoobilee Zoo/Wombles venn diagram, Beatles Rock Band memories, British terms for being drunk, RB blowing minds once again, some early George Martin music, an Ergs! appearance, and the early gloom of John's aeolian "Not a Second Time." As always, you can find Team Blotto Beatles on Instagram (@blottobeatles) and Twitter (@blottobeatles), by emailing us (blottobeatles@gmail.com), or on the web (blottobeatles.com).  We want to hear from you!Please also take the time to rate and review us on Apple podcasts or wherever you get your podcasts.We have a shop!  Grab some merch.  You can always drunk dial us at 1.857.233.9793 to share your thoughts, feedback, confessions, and concerns and to be featured in an upcoming episode. Enjoying the show? Buy us a beer via the tip jar (don't forget to include a message telling us what we should drink with the money).You know we're making a list of it, see the canonical, argument-ending list of Beatles songs we are assembling here: https://www.blottobeatles.com/list & listen to it on Spotify here.Please remember to always enjoy Blotto Beatles responsibly.Peace and Love.Hosts: Becker and TommyGuest: Huw ThomasExecutive Producer: Scotty C.Musical Supervisor: RB (@ryanobrooks)Associate Musical Supervision: Tim Clark (@nodisassemble)#PeteBestGetThatCheck

The song “I'm in Love” is attributed to Lennon–McCartney. John Lennon may have written it himself. He gave the song to the Fourmost, another band from Liverpool, who recorded it in 1963 with George Martin as the producer. Lennon claimed that he wrote the song for them in 1971, but he was not sure about it in 1980. Paul McCartney's biographer, Barry Miles, suggested that the song was a joint work by Lennon and McCartney . Billy J. Kramer also made a recording of the song, but the Fourmost's version was released and reached number 17 in the UK charts.The Beatles never recorded the song - until now. Using the latest techniques, it is possible to upgrade Lennon's demo (on piano) to a full song. Wouldn't it have fitted nicely on Beatles for Sale, With The Beatles?

On the morning of Thursday, November 21st, 1963 President Kennedy had breakfast with his children. He said goodbye to his daughter Caroline when she left for school at 9:15. President Kennedy arrived at his office for the last time at 9:55. The President left the White House for the last time at 10:50AM. He flew to Andrews Air Force Base where he and the First Lady departed for San Antonio Texas. John Jr accompanied them to the airport. Once in Texas, he was at the dedication of the Aerospace Medical Health Center, Brooks Air Force Base. He then went to Houston. There he made brief remarks to the League of United Latin American Citizens at the Rice Hotel. He then addressed a dinner in honor of Representative Albert Thomas. Some of that speech was just heard. The President and First Lady then traveled to Fort Worth where they stayed at the Texas Hotel. He had speeches set for Fort Worth and Dallas the next day. In world news, Robert Stroud, “the birdman of Alcatraz” died while incarcerated in Springfield, Missouri. In Japan's general election, the Liberal Democratic Party retained a majority in the Shugiin (SHOO GEEN), or House of Representatives. While India began its space program with the launching of a rocket at the far south end of the Indian subcontinent. And by the time the President went to sleep, it was the 22nd in the UK. That day, The Beatles released their second studio album, With The Beatles. Produced by George Martin, it featured eight original compositions and six covers. The famous black and white portrait on the cover, with Ringo underneath John, George, and Paul, was widely copied afterwards.

November 63 - Part TwoAs the Beatles move through the month, beyond the Royal Variety Performance they continue to pack houses up and down the UK. What recordings are waiting in the wings? I Want To Hold Your Hand and With The Beatles. Not too shabby. Live on tape from Dublin, it's Nothing Is Real. Website: nothingisrealpod.comX: @BeatlesPodFacebook Group: tiny.cc/NIRFBGMastodon: @nothingisreal@mastodon.ieInstagram: instagram.com/beatlespod/YouTube: tiny.cc/NIRYTSupport: tiny.cc/NIRsupportSupport this show http://supporter.acast.com/nothing-is-real-a-beatles-podcast. Become a member at https://plus.acast.com/s/nothing-is-real-a-beatles-podcast. Hosted on Acast. See acast.com/privacy for more information.

You get two album reviews for the price of one in this episode! We examine the Beatles' second UK album With The Beatles, and compare it to their first US Capitol album, Meet The Beatles. Which one did Dave and Chris start with? What are the differences between the two? Which one do they like better?  We also talk about the upcoming EP release from Ringo. Enjoy the discussion! Complete episodes can be found at https://ivegotabeatlespodcast.podbean.com. Email: ivegotabeatlespodcast@hotmail.com Twitter: @ivegotabeatles Facebook: I've Got A Beatles Podcast Our video venture: "Song Album Career!" https://www.youtube.com/channel/UClqNdoDpQxpj6QMNDmXYYog

Sara and Robert discuss the Beatles' second studio album, With The Beatles. Spotify Apple Music

There's a couple of updated remakes, covers, classics and plenty of new tracks on the latest Catching A Wave! The Wheel of Fun, Fun, Fun returns as we play 3 randomly selected covers of The Beach Boys (The Surfaris, Danny Gatton and Ramouns). Beth Riley has a deep track from them too in her Surf's Up: Beth's Beach Boys Break. We spin a tune from The Beatles in our Good Times segment from an album celebrating it's 60th anniversary and we drop a coin in the Jammin' James Jukebox to hear our selection of the week! Both Davie Allan & The Arrows and The Explorers Club have new versions of a couple of tunes from their past. We also spin tunes from Danny B. Harvey, Walter Egan, The Beths, Perry Dear & The Deerstalkers, The Chantays, Thomas Lauderdale & Satan's Pilgrims, The Golliwogs, The Coppertones and The Beyonderers!   Intro music bed: "Catch A Wave"- The Beach Boys   Davie Allan & The Arrows- "Blues Theme" The Beyonderers- "Besieged By Orbs" The Beths- "Watching The Credits" Perry Dear & The Deerstalkers- "Our Man Flint" The Chantays- "Sentimental Guitar"   "Good Time" segment: The Beatles 60th Anniversary of With The Beatles (1963) The Beatles- "Hold Me Tight"   Danny B. Harvey- "Movin' On" The Explorers Club- "Forever" (2023 version)   Surf's Up: Beth's Beach Boys Break: The Beach Boys- "Where Is She" Follow "Surf's Up: Beth's Beach Boys Break" HERE   The Golliwogs- "Instrumental #1" Thomas Lauderdale & Satan's Pilgrims- "Night and Day" Walter Egan- "Surfin' & Drivin'"   Wheel Of Fun, Fun, Fun: Ramouns- "Help Me Rhonda" Danny Gatton- "In My Room" The Surfaris- "Dance, Dance, Dance"   Jammin' James Jukebox selection of the week: Henry Gross- "Shannon"   The Coppertones- "Surf Dog"   Outro music bed: Eddie Angel- "Deuces Wild"

Matt Whipkey, “Gummi Soul: Another Rubber” album release show!The Beatles classic “Rubber Soul” reimagined.Featuring a special performance alongside The Movies , Stephen Sheehan and Kristen Buell Two performances , 6:30 and 8:30, $15, The Jewell Omaha , Sat. May 13TicketsTwenty years burning down the road of original compositions, Omaha-based songwriter Matt Whipkey turns his eye to one of his all-time influences : The Beatles. Previously presenting a version of the fabs' classic “Drive My Car” on his 2018 album “Driver”, Whipkey's come full circle: reimagining and interpreting The Beatles entire 1965 landmark, “Rubber Soul”. “Gummi Soul: Another Rubber” is the culmination of one of the most inspired years of Whipkey's restless musical journey. With The Beatles as his muse and “Rubber Soul” as his map, Whipkey plows fertile new musical ground with more than just a little help from his friends. At times enlisting the melodic bombast of his classic early aughts quartet, The Movies, Whipkey hands over lead vocal duties on several numbers to both veteran Omaha vocalist Stephen Sheehan (Digital Sex) and a revelatory newcomer in Kristen Buell. Not limited to landlocked Omaha, “Gummi Soul: Another Rubber” proudly features the mixing work and co-production (“Michelle”) of legendary European-based,  Grammy award- winning  producer Stephen Hague (Pet Shop Boys, New Order, Peter Gabriel) Throughout “Gummi Soul…” Ian Aeillo and J. Scott Gaeta also assist Whipkey in this reimagined production of the gospel according to John, Paul, George and Ringo.Covering all US and UK “Rubber Soul” album tracks along with the singles , “Gummi Soul : Another Rubber” reveals the Shakespearean nature of The Beatles songcraft. Able to withstand at times radical reworkings with melodic integrity seemingly intact: The Beatles always shine through.  Alongside his signature American folk rock, Whipkey ventures into the previously unexplored waters of electronic production (Girl, I've Just Seen a Face, We Can Work It Out) even embracing elements of baroque and French pop (Michelle). Across the 19 tracks, Whipkey's fearlessness in the shadows of our Liverpool heroes is equal parts irreverence and honor. Joining Whipkey on the Jewell stage for this long in the works release celebration is his most all-star iteration to date. Do not miss your chance to catch a truly memorable evening of music presented by Matt Whipkey featuring the actual recording cast of “Gummi Soul: Another Rubber”.J. Scott Gaeta - keyboards, drumsCorey Weber - guitar Mike Friedman - guitarBob Carrig - bass guitar , bass synthDoug Kabourek- drums Scott “Zip” Zimmerman - vibraphone Kristen Buell - vocals Stephen "Boingo" Sheehan - vocals Ian Aeillo - magicMatt Whipkey is an award-winning, Omaha- based songwriter and performer. Over the last 25 years, Whipkey has released 15 albums both as a solo artist and member of Anonymous American, The Whipkey Three and The Movies. Recently, Whipkey has served as a national touring support act for such luminaries as Dwight Yoakam, America and Heart. Drive My Car -  https://youtu.be/xiorDnOFudkOverboard  - https://youtu.be/IPznXa4hxlA

Join me as I put the first two Beatles albums PleasePlease Me and With the Beatles up against each other.I'll be comparing them song by song, I Saw Her Standing There vs It Won't Be Long will be first and the final head to head will be Twist and Shout vs Money (That's What I Want). Going to be hard.

For the first time, RB starts us off before Tommy recounts a harrowing tale of a recent unmitigated disaster.  From there we get right into the important work of discussing bomb pops, boringness (but not in regards to RB), the Ocean State Job Lot, people surprised that Scotty C is the Dancing Blotto, the Beatles gothic phase, if goths can eat ice cream cones, the Ticketmaster debacle and who has the power to change it, a surprise call from Fans on the Run's Ethan Alexanian, a Tommy vs. Ethan head-to-head battle, the Concentration 64 game, octogenarians with jet black hair, Masons, and the clap-infused "Hold Me Tight." As always, you can find Team Blotto Beatles on Instagram (@blottobeatles) and Twitter (@blottobeatles), by emailing us (blottobeatles@gmail.com), or on the web (blottobeatles.com).  We want to hear from you!Please also take the time to rate and review us on Apple podcasts or wherever you get your podcasts.We have a shop!  Grab some merch.  You can always drunk dial us at 1.857.233.9793 to share your thoughts, feedback, confessions, and concerns and to be featured in an upcoming episode. Enjoying the show? Buy us a beer via the tip jar (don't forget to include a message telling us what we should drink with the money).You know we're making a list of it, see the canonical, argument-ending list of Beatles songs we are assembling here: https://www.blottobeatles.com/list & listen to it on Spotify here.Please remember to always enjoy Blotto Beatles responsibly.Peace and Love.Hosts: Becker and TommyExecutive Producer: Scotty C.Additional Musical Supervision: RB (@ryanobrooks)Associate Musical Supervision: Tim Clark (@nodisassemble)#PeteBestGetThatCheck

Another in the pop culture website, PlanetLudwig.com's BEATLES ALBUMS COVER SONGS series ~ This one is WITH THE BEATLES, with each song covered by various artists (Playlist compiled by Steve Ludwig of Planet Ludwig). Enjoy!It Won't Be Long - The PunklesAll I've Got To Do - Susanna HoffsAll My Loving - Arctic MonkeysDon't Bother Me - PerynnLittle Child - Dr. FeelgoodTill There Was You - MonaLisa TwinsPlease Mr. Postman - The BlueJaysRoll Over Beethoven - MountainHold Me Tight - Evan Rachel WoodYou Really Got a Hold on Me - John NilssonI Wanna be Your Man - The Beat-HellsDevil in Her Heart - Yu-RanNot a second Time - Robert PalmerMoney (That's What I Want) - Flying Lizards

The Beatles' love of r&b, Motown, and especially Smokey Robinson are no secret. They were such fans, their 2nd album, 1963's With The Beatles featured 3 motown covers, including "Please Mr. Postman," originally by the Marvellettes, and the first chart topping single for the Motown label. While it wasn't as big a hit in the UK, it was a hit with the Beatles, who added it to their set as early as December 1961. By the time they were working on their second album, they had turned it into a scorching, passionate tune, with one of John's finest early vocals, great backing vocals from Paul and George, and as always, rock solid support from Ringo. Their love of the material shines through, making for one of my favorite Beatles cover songs of the early era. It's just got...that thing. We're excited to team up with our OG podpals for this episode! Those boys from Beantown are back, Becker, Tommy, Scotty C., and RB, the crew behind Blotto Beatles, the best ranking-while-drinking-Beatles podcast around! We love hanging and chatting with this crew, it's always a blast. We finally meet RB, the newest Blotto, and talk about his Beatle journey, Motown songs, Beatle covers good and bad, Blotto episode titles, and so much more! Be sure to listen to Blotto Beatles anywhere you get podcasts, on Twitter, Facebook, or Instagram, and at blottobeatles.com for all things Blotto (incl. great merch!) What do you think? Too high? Too low? Or just right? Let us know in the comments on ⁠Facebook⁠, ⁠Instagram ⁠@rankingthebeatles, or ⁠Twitter ⁠@rankingbeatles! Be sure to visit ⁠rankingthebeatles.com⁠! Wanna show your support? Buy Us A Coffee! --- Send in a voice message: https://anchor.fm/rankingthebeatles/message Support this podcast: https://anchor.fm/rankingthebeatles/support

From the moment he joined the band, Ringo's popularity meant he'd have a song or two to sing each night. This was a practice for The Beatles even when Pete Best was in the band, but once things really took off, and Lennon and McCartney were becoming more solidified songwriters, they knew it'd be good to have an original for Ringo to sing. "I Wanna Be Your Man" was written while the band was working on their second album, and according to some tellings, was written on the spot for a young, upstart band called The Rolling Stones, who were looking for a song that might be a hit. Whether it was written specifically for the Stones or for Ringo, it turned into Ringo's vocal turn on the With The Beatles album, and also provided the Stones with their first chart hit. It's a simple but effective rocker, a glimpse to what the band might've sounded like bashing it out in the Cavern, and it stuck in the band's live set all the way through the end of their touring days in 1966. It swings, it's fun, it's got a really cool turn around, and Ringo really goes for it vocally, which isn't what he usually does. Joining us this week is Narada Wise, an Ohio-based drummer who plays with New Orleans-based kirtan band Sean Johnson & The Wild Lotus Band. We talk about just what kirtan music is, how Ringo influences Narada's playing even in a genre that's very different from the Beatles, the brilliance of Ringo, rock & roll lazers, and much more! Follow Narada and the band at www.seanjohnsonandthewildlotusband.com, check out their music, and see when they're coming to your town! What do you think? Too high? Too low? Or just right? Let us know in the comments on Facebook, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to visit rankingthebeatles.com! Wanna show your support? Buy Us A Coffee! --- Send in a voice message: https://anchor.fm/rankingthebeatles/message Support this podcast: https://anchor.fm/rankingthebeatles/support

In this episode of The Walrus Was Paul, one of Canada's most talented and respected singer/songwriter/arrangers on the indy scene, Jose Contreras, talks with host Paul Romanuk about the 1963 Beatles record With The Beatles. Jose also talks about his band, By Divine Right, and their great new album Otto Motto.You can find out loads about By Divine Right by visiting their website or, better yet, their bandcamp page.Content Notes:At one point in the episode we talk about the cover By Divine Right did of the Depeche Mode album Speak and Spell, including their homage to the cover art. Here is the original cover art. Here is By Divine Right's version.We also refer to the cover of their newest album. Here is what it looks like. We also talk about the iconic cover art of With The Beatles, photographed by Robert Freeman.

We step aside from tracks for this episode to instead talk about the album With The Beatles in its entirety. How enthusiastic can one set of liner notes be? How does the album stack up as a coherent piece of art? What else was it up against in the charts? And, most importantly (well, "importantly") of all, what score does it get?   Rankings: Track-by-track Ranking eMail: beatlesstuffology@gmail.com Twitter: @beatles_ology JG's Blog: Judgementally Reviews...   Produced by: JG McQuarrie

With The Beatles draws to a close with the mighty "Money (That's What I Want)", a good excuse to see what John Lennon can do on vocals. Does the Beatles version still stand up to scrutiny when compared with the original? How do other cover versions fare? And why do the Decca tapes get brought up?   Rankings: Track-by-track Ranking eMail: beatlesstuffology@gmail.com Twitter: @beatles_ology JG's Blog: Judgementally Reviews...   Produced by: JG McQuarrie

It's happening, everyone!!! We are finally tackling one of our heftiest subjects yet: The Beatles! Join us as we discuss their first 3 studio albums--Please Please Me, With The Beatles, A Hard Day's Night. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

We start Side 2 of With The Beatles with one of the most well-known songs of all-time, Roll Over Beethoven. Can the Beatles do the Chuck Berry classic justice? Why are there sidesteps into Superman movies? And what does a completely forgotten sitcom have to do with anything?   Rankings: Track-by-track Ranking eMail: beatlesstuffology@gmail.com Twitter: @beatles_ology JG's Writing: Judgementally Reviews...  

We approach our half century mark with an early mystery word, some Game of Thrones/Beatles talk, Becker's best Robin Williams, a little more shilling to Powers Irish Whiskey, that Beatles documentary where John wore a huge suit the whole time, our commitment to no longer saying "the pyick," infantilizing your partner, the return of our segment "Becker Offers Dating Advice," old dudes figuring out what BAE means, and our pumped take on "Little Child."As always, you can find Team Blotto Beatles on Instagram (@blottobeatles) and Twitter (@blottobeatles), by emailing us (blottobeatles@gmail.com), or on the web (blottobeatles.com).  We want to hear from you!Please also take the time to rate and review us on Apple podcasts or wherever you get your podcasts.We have a shop!  Grab some merch.  You can also drunk dial us (tel:+18572339793)  or leave us a tip in our new tip jar (don't forget to include a message telling us what drinks we should drink with the money).See the canonical, argument-ending list of Beatles songs we are assembling here: https://www.blottobeatles.com/list; listen to it on Spotify here.Please remember to enjoy Blotto Beatles responsibly.Peace and Love.Hosts: Becker and TommyExecutive Producer: Scotty C.Additional Musical Supervision: RB (@ryanobrooks)Associate Musical Supervision: Tim Clark (@nodisassemble)#PeteBestGetThatCheck

Till There Was You is up for discussion this week, as JG and Andrew delve into another one of the cover versions on With The Beatles. Is the track as chintzy as its reputation? Do the band make a good fist of a complicated number? Plus we return to one of the podcast's favourite subjects - The Rutles and Neil Innes - and excitement ahoy! We delve into the postbag for the first time to cover a listener's email.   Rankings: Track-by-track Ranking eMail: beatlesstuffology@gmail.com Twitter: @beatles_ology JG's Writing: Judgementally Reviews...

The second song on With The Beatles goes under the JG/Andrew microscope today with All I've Got To Do. Does it continue the album's run of quality after the terrific opener? How go Lennon's vocals? And for how long can two people prevaricate over picking a score for the song while essentially working out format points on the fly?    Rankings: Track-by-track Ranking eMail: beatlesstuffology@gmail.com Twitter: @beatles_ology JG's Writing: Judgementally Comments...  

“If you tried to give rock and roll a different name, you might call it ‘Chuck Berry." - John Lennon To say Chuck Berry was influential on the Beatles would be an understatement. They covered more of his songs during their career than any other artist, and "Roll Over Beethoven" was in their live set all the way back in 1957. So when recording their 2nd album, With The Beatles, in 1963, and having a bit more say on what songs they would record, it's not surprising they went with paying tribute to one of their heroes with a song that, by this time, was in their DNA. It's an exciting, if a bit controlled, rock & roll rave up, with George in the forefront, handling the classic intro riff with skill and finesse. He gives what might be his best and most energetic sounding vocal of the Beatles early output (he does tend to sometimes sound a bit non-plussed in his vocal delivery), and plays a great solo (even if he kind of muffs a note or two at the end). The band are cooking behind him, especially Ringo, who absolutely drives the track. Chuck's original served notice to the establishment that rock and roll was here to stay, and for a while that was true. Following the late 50's/early 60's more mellow, crooner boom though, when the Beatles brough rock and roll back to the forefront, their cover of "Roll Over Beethoven" serves much the same purpose....a statement piece informing the establishment that, again, rock and roll was here, youth culture was here, and the days of old were gone. Joining us this week is author, PhD, lifelong Beatles fan (and retired professor) Tim Hatfield. What began during the pandemic as Tim's daily, Beatles-themed inspirational email chain to cheer up friends and family, is now a book, "When We Find Ourselves in Times of Trouble - The Beatles: All Their Songs with Encouraging Words for Challenging Times." It's a fantastic read, finding uplifting and inspirational ideas from all the songs in the band's catalog! We had a great time chatting with Tim, talking about the Beatles' influence on his teaching career and style, passing the torch of a Beatle-influenced world to students, learning his own tenacity in working on the book, faithful cover songs, and what produces an energy in a song that some people hear, while others (looking at you, Julia) may not. Pick up Tim's book on Amazon at https://www.amazon.com/Beatles-their-songs-encouraging-challenging-ebook/dp/B0974LRBYV. It's a beautiful read. What do you think? Too high? Too low? Just right? Let us know in the comments on Facebook https://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's official website, www.rankingthebeatles.com and our brand new webstore!! RANK YOUR OWN BEATLES with our new RTB poster! Pick up a tshirt, coffee cup, tote bag, and more! Enjoying the show, and wanna show your support? Buy Us A Coffee! --- Send in a voice message: https://anchor.fm/rankingthebeatles/message Support this podcast: https://anchor.fm/rankingthebeatles/support

Veteran drummer Barry Keane - on the drum stool for over 40 years with Gordon Lightfoot and his band - talks to Paul Romanuk about The Beatles' 1963 album With The Beatles. This is Part Two of their conversation, which centres around Side Two of the album. Aside from lots of Beatles talk and lots of Ringo drumming talk, Barry also tells the story of the recording session for one of Lightfoot's greatest songs: https://en.wikipedia.org/wiki/The_Wreck_of_the_Edmund_Fitzgerald (The Wreck Of The Edmund Fitzgerald.) The song was a North American number one record in 1976 and Barry's tom-tom fills are a masterclass in doing exactly what was perfect for the song. Here's a link to https://www.discogs.com/artist/363917-Barry-Keane (Barry's Discogs page). It shows a few of the hundreds of tracks he's played on.

Veteran session drummer and the man on the drum kit for over 40 years with The Gordon Lightfoot Band - Barry Keane - talks to Paul Romanuk about The Beatles second album, With The Beatles. Like millions of others, those early Beatles albums turned something on in Barry's mind and made him want to become a musician. Barry has played on hundreds of albums but is best known for his great work with Gordon Lightfoot (Listen to those brilliantly understated tom fills on The Wreck Of The Edmund Fitzgerald and you'll know, immediately, how Barry likes to approach a track). Lots of talk in this episode, not surprisingly, about Ringo's drumming. Barry also shares some great stories from his early days in the Canadian recording business as an A&R guy (there's a good one about Rick James jumping up and down on his desk, declaring "I'm gonna be a star!") before he decided that his place was behind a drum kit and not a desk. Here's Barry's profile on https://www.discogs.com/artist/363917-Barry-Keane (discogs.com)

Episode 40 begins with a remembrance of the first Apple project; loose episodes; tons of guest mail (most of it not complimentary); our new guest and good bud, Kenji; an early Magical Mystery Word; the Beatles prog work; astounding McCartney conspiracy theories; Mal Evans seeking out transportation posters; Tommy backtracking on people pulling lyrics from posters; vertical toast; the thorough script for the Magical Mystery Tour film; Mal Evans buying socks; musical double tonguing; and your nerd can sing; and the bus-themed "Magical Mystery Tour."As always, you can find Team Blotto Beatles on Instagram (@blottobeatles) and Twitter (@blottobeatles), by emailing us (blottobeatles@gmail.com), or on the web (blottobeatles.com).  We want to hear from you!Please also take the time to rate and review us on Apple podcasts or wherever you get your podcasts.We have a shop!  Grab some merch.  You can also drunk dial us (tel:+18572339793)  or leave us a tip in our new tip jar (don't forget to include a message telling us what drinks we should drink with the money).See the canonical, argument-ending list of Beatles songs we are assembling here: https://www.blottobeatles.com/list; listen to it on Spotify here.Please remember to enjoy Blotto Beatles responsibly.Peace and Love.Hosts: Becker and TommyGuest: Kenji (You can't find him)Executive Producer: Scotty C.Additional Musical Supervision: RB (@ryanobrooks)Associate Musical Supervision: Tim Clark (@nodisassemble)#PeteBestGetThatCheck

I've always been a big Beatles fan so I thought its about time I putout a Beatles episode.What set The Beatles apart from most other bands is having threegreat songwriters in John Lennon, Paul McCartney and George Harrison.But in the early years they also recorded over twenty cover versions.It is these covers, written by legends like Chuck Berry, Carl Perkins andBuddy Holly I will be discussing and ranking.

We release the string on episode 39 with a deep dive on sequels by discussing LOVE TOO, New Year's resolutions in pandi times, a new A-Paul-ogy,  Vacation Becker poppin'' a flop, the Beatles gourd hatred, Billy Corgan on a roller coaster, and the circus-themed "Being for the Benefit of Mr. Kite."As always, you can find Team Blotto Beatles on Instagram (@blottobeatles) and Twitter (@blottobeatles), by emailing us (blottobeatles@gmail.com), or on the web (blottobeatles.com).  We want to hear from you!Please also take the time to rate and review us on Apple podcasts or wherever you get your podcasts.We have a shop!  Grab some merch.  You can also drunk dial us (tel:+18572339793)  or leave us a tip in our new tip jar (don't forget to include a message telling us what drinks we should drink with the money).See the canonical, argument-ending list of Beatles songs we are assembling here: https://www.blottobeatles.com/list; listen to it on Spotify here.Please remember to enjoy Blotto Beatles responsibly.Peace and Love.Hosts: Becker and TommyExecutive Producer: Scotty C.Additional Musical Supervision: RB (@ryanobrooks)Associate Musical Supervision: Tim Clark (@nodisassemble)#PeteBestGetThatCheck

The Beatles fjerde album, "Beatles For Sale" fra 1964, deler vandene blandt fans. Mange rangerer LP´en i den tunge ende af kataloget.   Derfor er denne udgave af "Toppermost", hvor vi taler om albummet fra start til slut en modig, sjov og anderledes rejse ind i pladen med det blandede ry. For her er der god tid til at tale om albummet en, der vender tilbage til det formatet fra "Please Please Me" og "With The Beatles", med seks cover-versioner og otte originale sange.     Mange af gæsten Claus Pilegaards meninger om skæringerne på "Beatles For Sale", er måske mere positive end de flestes. Men det er velargumenteret og velovervejede pointer der leveres om pladen, der har fået ry for at være "lidt træt".   Episoden her giver dig tidslinjen omkring pladen, meninger om coveret og en gennemgang af side 1, hvor du bl.a. kan høre hvor de tre covers på pladens første side stammer fra. Næste episode, om side 2 på "Beatles For Sale" udkommer lørdag den 15.januar.   Claus Pilegaard er til daglig skolelærer og har, som livslang Beatles fan været med i podcasten før, primært med fokus på John Lennons solokarriere, men her kaster han sig altså over "Beatles For Sale". Tidligere i "Topppermost"-serien har der været fokus på "A Hard Day´s Night", "Rubber Soul", "Revolver" og "Let It Be".        

Clearly, we are all about The Beatles, but episode 37 begins with one of our other passions -- true crime podcasts -- as we listen to the trailer for "The Sacred Harp."  From there we bring back Musical Supervisor RB and  get into our normal Beatles fare as we discuss pies and nuts, the fantastic Deer Tick, some more Get Back doc-talk, the Bad Beatles of Boston, one more piece of evidence to show that Paul McCartney loves Razor Ramon, more nut talk, Becker ditching the rest of us for Elon Musk, some regional Rhode Island work,  and the very easy tune "All I've Got to Do."As always, you can find Team Blotto Beatles on Instagram (@blottobeatles) and Twitter (@blottobeatles), by emailing us (blottobeatles@gmail.com), or on the web (blottobeatles.com).  We want to hear from you!Please also take the time to rate and review us on Apple podcasts or wherever you get your podcasts.We have a shop!  Grab some merch.  You can also drunk dial us (tel:+18572339793)  or leave us a tip in our new tip jar (don't forget to include a message telling us what drinks we should drink with the money).See the canonical, argument-ending list of Beatles songs we are assembling here: https://www.blottobeatles.com/list; listen to it on Spotify here.Please remember to enjoy Blotto Beatles responsibly.Peace and Love.Hosts: Becker and TommyExecutive Producer: Scotty C.Guest and Additional Musical Supervisior: RB (@ryanobrooks)#PeteBestGetThatCheck

Daniel, Shahbaz, & Anthony review THE BEATLES: GET BACK, a Disney+ original docuseries directed by Peter Jackson. It is produced by Paul McCartney, Ringo Starr, Yoko Ono Lennon, Olivia Harrison, Jonathan Clyde, Clare Olssen and Peter Jackson, with Apple Corps' Jeff Jones and Ken Kamins serving as executive producers. The docuseries will debut exclusively on Disney+ November 25, 26, and 27, 2021.Listen now on all podcast feeds and on TheMoviePodcast.caContact: hello@themoviepodcast.ca“The Beatles: Get Back” takes audiences back in time to the band's January 1969 recording sessions, which became a pivotal moment in music history. The docuseries showcases The Beatles' creative process as they attempt to write 14 new songs in preparation for their first live concert in over two years. Faced with a nearly impossible deadline, the strong bonds of friendship shared by John Lennon, Paul McCartney, George Harrison, and Ringo Starr are put to the test. The docuseries is compiled from nearly 60 hours of unseen footage shot over 21 days, directed by Michael Lindsay-Hogg in 1969, and from more than 150 hours of unheard audio, most of which has been locked in a vault for over half a century. Jackson is the only person in 50 years to have been given access to this Beatles treasure trove, all of which has now been brilliantly restored. What emerges is an unbelievably intimate portrait of The Beatles, showing how, with their backs against the wall, they could still rely on their friendship, good humor, and creative geniusFOLLOW USDaniel on Twitter, Instagram, and LetterboxdShahbaz on Twitter, Instagram, and LetterboxdAnthony on Twitter, Instagram, and LetterboxdThe Movie Podcast on Twitter, Instagram, TikTok, Discord, and YouTubeThe Movie Podcast is on a mission to hit 200 Apple Podcast reviews, click here to head over to our show page on APPLE PODCASTS and leave us a 5 STAR review!ABOUTThe Movie Podcast is one of Canada's top film and review podcasts. Every week you'll hear film lovers Daniel, Shahbaz, and Anthony discuss the biggest movie news, talk trailers, what's coming soon, ponder a unique topic of show, and speak to special guests from across the film industry. Catch a new episode of The Movie Podcast every Monday and watch out for Review episodes on all the latest movies and series.

With The Beatles … das ist eines der vielleicht meistunterschätzten Alben der Beatles. Aber es ist das Album, das nicht nur ihren Status als Nummer 1 in Großbritannien untermauerte, sondern die Musik der Beatles auch für die Intellektuellen akzeptabel gemacht hatte. Und damit starteten die Beatles so richtig durch - auch dank des legendären Covers der LP. Das war bahnbrechend neu und stilprägend für ein ganzes Jahrzehnt. Es wurde oft kopiert, aber - wie die Musik der Beatles auch - natürlich nie erreicht.

This 1963 John song often gets overlooked these days as album filler. However, this With The Beatles track can be seen as one of the songs responsible for writers and critics viewing The Beatles as actual artists. In a 1963 article, critic William Mann called John and Paul the greatest British songwriters of the year, but also heaped praise upon the band's "lugubrious" music and "pandiatonic clusters, and "the Aeolian cadence of 'Not A Second Time.'" John viewed this as nonsense, but the result was the validation of them not just as pop stars of the moment, but as writers of real serious art. It brought to light the unusual quality of work the band was doing from the onset, and one could argue is indirectly responsible for not just this podcast, but all Beatles podcasts, books, documentaries, etc. And even though it's tacked on the end of the record, it's better than people give it credit for. It's part of a handful that mark the beginning of John's dominant period in the band, where his confidence is at an all time high, and his material is top notch, a period that would reach its apex on A Hard Day's Night. Kicking off Season 3 with us is Andrew Sandoval. Andrew's the producer behind some of the most landmark reissues in recent history from artists like The Kinks, The Monkees, The Zombies, The Beach Boys, The Bee Gees, Elton John, Big Star, The Left Banke, Nilsson, The Turtles and more. As a concert producer/manager, he's been behind the brilliant late-career resurgence of The Monkees, handling all their tours since 2011, in addition to handling A&R duties and additional production on their 2015 comeback album Good Times. His upcoming book The Monkees: The Day-By-Day Story is the most in-depth and important dive into the one-of-a-kind, fascinating career and story of the Monkees, and is available for pre-order now at beatlandbooks.com. We discuss the relationship between the Beatles and the Monkees, creating reissue packages from a fan's perspective, John's not playing by the rules as a writer, and so much more. We could've picked his brain for many more hours, so hopefully, we can do this again. You can catch Andrew this fall running the show with Michael Nesmith and Micky Dolenz on the Monkees' farewell tour, hitting US cities September through November. Trust us, you'll want to see this show. What do you think? Too high? Too low? Just right? Let us know in the comments on Facebook https://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's new official website, www.rankingthebeatles.com! Enjoying the show, and wanna show your support? Buy Us A Coffee! --- Send in a voice message: https://anchor.fm/rankingthebeatles/message Support this podcast: https://anchor.fm/rankingthebeatles/support

Episode 42: Are you a Beatles fan? If so, this episode is for you!Tune in this week for discussions on The Fab 4, the music and history of the band, and discover which albums we feel are the best (and worst).#TheBeatles #Ranking #Podcast0:00 - Intro (Lee Michaels)1:18 - Welcome John 2:24 - Getting Into The Beatles8:48 - The Greatest Albums Overview9:57 - Please Please Me (1963)15:50 - With The Beatles (1963)21:41 - A Hard Day's Night (1964)29:59 - Beatles For Sale (1964)36:20 - Help! (1965)44:08 - Rubber Soul (1965)52:24 - Revolver (1966)1:01:45 - Sg. Pepper's Lonely Hearts Club Band (1967)1:15:43 - Magical Mystery Tour (1967)1:18:59 - The Beatles (The White Album) (1968)1:25:51 - Yellow Submarine (1969)1:30:06 - Abbey Road (1969)1:37:05 - Let It Be (1970)1:43:33 - Runner-Ups1:47:00 - #3 Selections1:48:34 - #2 Selections1:53:00 - #1 Selections1:59:20 - Outro / Close

Album de la semaine: "With The Beatles" (Beatles 1963) Beatles-It won't be long-With the Beatles (63)P.McCartney-Maybe I'm amazed (from "One hand clapping")-McCartney (70)J.Lennon-Slippin' and slidin'-Rock'n'roll (75)G.Harrison-My sweet Lord-All things must pass (70)R.Starr-Oh my my-Ringo (73)Beatles-All my loving-With the Beatles (63)P.McCartney-Nineteen hundred and eighty five (from "One hand clapping")-Band on the fun (73)R.Starr-(It's all down to) Goodnight Vienna (single version)-Photograph (07-73)Beatles-Nowhere man-Rubber soul (65)J.Lennon-It 's so hard-Imagine (71)Beatles-Don't bother me-With the Beatles (63)Beatles-Eleanor Rigby-Revolver (66)Beatles-She's leaving home-Sgt Pepper's Lonely Hearts Club Band (67)J.Lennon-New York City-Sometime in New York City (72)P.McCartney-Magneto and Titanium man (live)-Over America (76)Beatles-I wanna be your man-With the Beatles (63)Rolling Stones-I wanna be your man-Around and around (64)Julian Lennon-Because-Single (86) (from the musical "Time")P.McCartney-Ebony and ivory (feat. S.Wonder)-Tug of war (83)R.Starr-Speed of sound-Give more love (17)Beatles-Till there was you-With the Beatles (63)G.Harrison-Living in the Material World-Living in the Material World (73)Beatles-Blue Jay way-Magical Mystery Tour (67)J.Lennon-Beef Jerky (intrumental)-Walls and bridges (74)J.Lennon-Since my baby left me-Menlove Ave. (86)Beatles-Money (that's what I want)-With the Beatles (63)P.McCartney-Mull of Kintyre-Single (77)G.Harrison-Beautiful girl-Thirty three & 1/3 (76)R.Starr-Not enough love in the world-Zoom in (21)

With The Beatles saw the lads growing in confidence. Fewer cover versions, and George’s first credit. Once again, the world […]

This week's episode looks at "She Loves You", the Beatles in 1963, and the start of Beatlemania in the UK. 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 "Glad All Over" by the Dave Clark Five. 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/ ----more---- Resources As usual, I have created a Mixcloud playlist containing every song heard in this episode (except for the excerpt of a Beatles audience screaming, and the recording of me singing, because nobody needs those.) While there are many books on the Beatles, and I have read dozens of them,  All These Years Vol 1: Tune In by Mark Lewisohn is simply the *only* book worth reading on the Beatles' career up to the end of 1962. It is the most detailed, most accurate, biography imaginable, and the gold standard by which all other biographies of musicians should be measured. I only wish volumes two and three were available already so I could not expect my future episodes on the Beatles to be obsolete when they do come out. There are two versions of the book -- a nine-hundred page mass-market version and a 1700-page expanded edition. I recommend the latter.  I have read literally dozens of books on the Beatles, and used bits of information from many of them, but the ones I specifically referred to while writing this episode, other than Tune In, were: 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.   "She Loves You" can be found on Past Masters, a 2-CD compilation of the Beatles' non-album tracks that includes the majority of their singles and B-sides.    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 look at a record that is one of the most crucial turning points in the history of rock music, and of popular culture as a whole, a record that took the Beatles from being a very popular pop group to being the biggest band in Britain -- and soon to be the world. We're going to look at "She Loves You" by the Beatles: [Excerpt: The Beatles, "She Loves You"] When we left the Beatles, they had just released their first single, and seen it make the top twenty -- though we have, of course, seen them pop up in other people's stories in the course of our narrative, and we've seen how Lennon and McCartney wrote a hit for the Rolling Stones. But while we've been looking the other way, the Beatles had become the biggest band in Britain. Even before "Love Me Do" had been released, George Martin had realised that the Beatles had more potential than he had initially thought. He knew "Love Me Do" would be only a minor hit, but he didn't mind that -- over the sessions at which he'd worked with the group, he'd come to realise that they had real talent, and more than that, they had real charisma.  The Beatles' second single was to be their real breakthrough. "Please Please Me" was a song that had largely been written by John, and which had two very different musical inspirations. The first was a song originally made famous by Bing Crosby in 1932, "Please": [Excerpt: Bing Crosby, "Please"] Lennon had always been fascinated by the pun in the opening line -- the play on the word "please" -- and wanted to do something similar himself. The other influence is less obvious in the finished record, but makes sense once you realise it. A lot of Roy Orbison's records have a slow build up with a leap into falsetto, like "Crying": [Excerpt: Roy Orbison, "Crying"] Now, I'm going to have to do something I'm a little uncomfortable with here, and which I've honestly been dreading since the start of this project two years ago -- to demonstrate the similarity between "Please Please Me" and an Orbison song, I'm going to have to actually sing. I have a terrible voice and appalling pitch, and I could easily win an award for "person who has the least vocal resemblance to Roy Orbison of anyone in existence", so this will not be a pleasant sound, but it will hopefully give you some idea of how Lennon was thinking when he was writing "Please Please Me": [Excerpt: Me singing "Please Please Me"] I'm sorry you had to hear that, and I hope we can all move past it together. I promise that won't be a regular feature of the podcast. But I hope it gets the basic idea across, of how the song that's so familiar now could have easily been inspired by Orbison. Lennon had played that to George Martin very early on, but Martin had been unimpressed, thinking it a dirge. At Martin's suggestion, they took the song at a much faster tempo, and they rearranged the song so that instead of Lennon singing it solo, he and McCartney sang it as a duo with Everly Brothers style harmonies. They also changed the ascending "come on" section to be a call and response, like many of the Black vocal groups the Beatles were so influenced by, and by taking elements from a variety of sources they changed what had been a derivative piece into something totally original. For good measure, they overdubbed some harmonica from Lennon, to provide some sonic continuity with their earlier single. The result was a very obvious hit: [Excerpt: The Beatles, "Please Please Me"] After they'd finished recording that, George Martin said to them, "Gentlemen, you've just made your first number one" -- there are a number of slight variations of the wording depending on when Martin was telling the story, but it was something very close to that. Now that the Beatles had recorded something that really displayed their talents, they were clearly on their way to becoming very big, and it was at this point that George Martin brought in the final part of the team that would lead to that success; someone who would work closely with himself, the Beatles, and Brian Epstein. Dick James was someone who had himself had been a successful performer -- he's most famous now for having recorded the theme tune for the 1950s Robin Hood TV series: [Excerpt: Dick James, "Robin Hood"] That record had been produced by George Martin, as had several of James' other records, but James had recently retired from singing -- in part because he had gone prematurely bald, and didn't look right -- and had set up his own publishing company. George Martin had no great love for the people at Ardmore and Beechwood -- despite them having been the ones who had brought the Beatles to him -- and so he suggested to Brian Epstein that rather than continue with Ardmore and Beechwood, the group's next single should be published by Dick James. In particular, he owed James a favour, because James had passed him "How Do You Do It?", and Martin hadn't yet been able to get that recorded, and he thought that giving him the publishing for another guaranteed hit would possibly make up for that, though he still intended to get "How Do You Do It?" recorded by someone. Epstein had been unsure about this at first -- Epstein was a man who put a lot of stock in loyalty, but he ended up believing that Ardmore and Beechwood had done nothing to promote "Love Me Do" -- he possibly never realised that in fact it was them who were responsible for the record having come out at all, and that they'd had a great deal to do with its chart success. He ended up having a meeting with James, who was enthused by "Please Please Me", and wanted the song. Epstein told him he could have it, if he could prove he would be more effective at promoting the song than Ardmore and Beechwood had been with "Love Me Do". James picked up the telephone and called the producer of Thank Your Lucky Stars, one of the most popular music programmes on TV, and got the group booked for the show. He had the publishing rights. "Please Please Me" and its B-side "Ask Me Why" were published by Dick James Music, but after that point, any songs written by the Beatles for the next few years were published by a new company, Northern Songs. The business arrangements behind this have come in for some unfair criticism over the years, because Lennon and McCartney have later said that they were under the impression that they owned the company outright, but in fact they owned forty percent of the company, with Epstein owning ten percent, and the remaining fifty percent owned by Dick James and his business partner Charles Silver.  Obviously it's impossible to know what Lennon and McCartney were told about Northern Songs, and whether they were misled, but at the time this was very far from a bad deal. Most songwriters, even those with far more hits under their belt at the time, wrote for publishing companies owned by other people -- it was almost unheard of for them to even have a share in their own company. And at this time, it was still normal for publishing companies to actually have to work for their money, to push songs and get cover versions of them from established artists. Obviously the Beatles would change all that, and after them the job of a publisher became almost nonexistent, but nobody could have predicted how much the entire world of music was about to change, and so the deal that Lennon and McCartney got was an astonishingly good one for the time. This is something that's also true of a lot of the business decisions that Epstein made for the group early on. The Beatles earned incalculably less than they would have if they'd got the kind of contracts that people who started even a year or so after them got -- but their contracts were still vastly superior to anything that other performers in British music at the time were getting. Remember that Larry Parnes' teen idols were on a fixed salary, as were, for example, all the members of the Dave Clark Five except Clark himself, and you can see that the assumptions that apply when you look at later acts don't apply here. Either way, Dick James now had the publishing of what became the Beatles' first number one: [Excerpt: The Beatles, "Please Please Me"] At least, it became the Beatles' first number one as far as anyone paying attention in 1963 was concerned. But it's not their first number one according to any modern reference. These days, the British charts are compiled by a company called the Official Charts Company. That company started, under another name, in 1969, and is run by a consortium of record companies and retailers. If you see anywhere referring to "the UK charts" after 1969, that's always what they're referring to. In 1963, though, there were multiple singles charts in Britain, published by different magazines, and no single standard music-industry one. "Please Please Me" went to number one in the charts published by the NME and Melody Maker, two general-interest magazines whose charts were regarded by most people at the time as "the real charts", and which had huge audiences. However, it only made number two in the chart published by Record Retailer, a smaller magazine aimed at music industry professionals and the trade, rather than at the wider public. However, because the Official Charts Company is an industry body, the people who ran it were the people Record Retailer was aimed at, and so when they provide lists of historical charts, they use the Record Retailer one for the period from 1960 through 69 (they use the NME chart for 1952 through 59). So retroactively, "Please Please Me" does not appear as a number one in the history books, but as far as anyone at the time was concerned, it was. The record that kept "Please Please Me" off the top on the Record Retailer charts was "The Wayward Wind" by Frank Ifield: [Excerpt: Frank Ifield, "The Wayward "Wind"] Oddly, Ifield would himself record a version of "Please", the song that had inspired "Please Please Me", the next year: [Excerpt: Frank Ifield, "Please"] As a result of the success of "Please Please Me", the group were quickly brought into the studio to record an album. George Martin had originally intended to make that a live album, recorded at the Cavern, but having visited it he decided that possibly the huge amounts of condensation dripping from the ceiling might not be a good idea to mix with EMI's expensive electronic equipment. So instead, as we talked about briefly a couple of months back, the group came into Abbey Road on a rare day off from a package tour they were on, and recorded ten more songs that would, with the A- and B-sides of their first two singles, round out an album. Those tracks were a mixture of six songs that they performed regularly as part of their normal set -- covers of songs by the Cookies, the Shirelles, and Arthur Alexander, plus "Twist and Shout" and the soft pop ballad "A Taste of Honey", all of which they'd performed often enough that they could turn out creditable performances even though they all had colds, and Lennon especially was definitely the worse for wear (you can hear this in some of his vocals -- his nose is particularly congested on "There's a Place"), plus four more  recent Lennon and McCartney originals. By the time that first album came out, Lennon and McCartney had also started expanding their songwriting ambitions, offering songs to other performers. This had always been something that McCartney, in particular, had considered as part of their long-term career path -- he knew that the average pop act only had a very small time in the spotlight, and he would talk in interviews about Lennon and McCartney becoming a songwriting team after that point. That said, the first two Lennon/McCartney songs to be released as singles by other acts -- if you don't count a version of "Love Me Do" put out by a group of anonymous session players on a budget EP of covers of hits of the day, anyway -- were both primarily Lennon songs, and were both included on the Please Please Me album. "Misery" was written by Lennon and McCartney on a tour they were on in the early part of the year. That tour was headlined by Helen Shapiro, a sixteen-year-old whose biggest hits had been two years earlier, when she was fourteen: [Excerpt: Helen Shapiro, "Walking Back to Happiness"] Shapiro had also, in 1962, appeared in the film It's Trad, Dad!, which we've mentioned before, and which was  the first feature film directed by Richard Lester, who would later play a big part in the Beatles' career. Lennon and McCartney wrote "Misery" for Shapiro, but it was turned down by her producer, Norrie Paramor, without Shapiro ever hearing it -- it's interesting to wonder if that might have been, in part, because of the strained relationship between Paramor and George Martin. In the event, the song was picked up by one of the other artists on the tour, Kenny Lynch, who recorded a version of it as a single, though it didn't have any chart success: [Excerpt: Kenny Lynch, "Misery"] Lennon apparently disliked that record, and would mock Lynch for having employed Bert Weedon as the session guitarist for the track, as he regarded Weedon as a laughable figure. The other non-Beatles single of Lennon/McCartney songs that came out in early 1963 was rather more successful. Billy J Kramer and the Dakotas were another act that Brian Epstein managed and who George Martin produced. Their first single, "Do You Want To Know A Secret?" was a cover of a song mostly written by Lennon, which had been an album track on Please Please Me. Kramer's version went to number two on the charts (or number one on some charts): [Excerpt: Billy J. Kramer and the Dakotas, "Do You Want To Know A Secret?"] They also gave a song to Kramer for the B-side -- "I'll Be On My Way", which the group never recorded in the studio themselves, though they did do a version of it on a radio show, which was later released on the Live at the BBC set. In 1963 and 64 Lennon and McCartney would write a further three singles for Kramer, "I'll Keep You Satisfied", "Bad to Me", and "From a Window", all of which also became top ten hits for him. and none of which were ever recorded by the Beatles. They also gave him "I Call Your Name" as a B-side, but they later recorded that song themselves. As well as the Rolling Stones, who we've obviously looked at a few weeks back, Lennon and McCartney also wrote hits in 1963 and early 64 for The Fourmost: [Excerpt: The Fourmost, "I'm In Love"] Cilla Black: [Excerpt: Cilla Black, "It's For You"] And Peter & Gordon: [Excerpt: Peter & Gordon, "World Without Love"] As well as a flop for Tommy Quickly: [Excerpt: Tommy Quickly, "Tip of My Tongue"] Kramer, the Fourmost, and Black were all managed by Epstein and produced by Martin, while Quickly was also managed by Epstein, and they were part of a massive shift in British music that started with "Please Please Me", and then shifted into gear with Gerry and the Pacemakers, another act managed by Epstein, who Martin also produced. Their first single was a version of "How Do You Do It?", the song that Dick James had published and that Martin had tried to get the Beatles to record: [Excerpt: Gerry and the Pacemakes, "How Do You Do It?"] "How Do You Do It?" went to number one, and when it dropped off the top of the charts, it was replaced by the Beatles' next single. "From Me to You" was a song they wrote on the tour bus of that Helen Shapiro tour, and lyrically it was inspired by the NME's letter column, which had the header "From You To Us": [Excerpt: The Beatles, "From Me To You"] "From Me To You" often gets dismissed when talking about the Beatles' early hits, but it has a few points worth noticing. Firstly, it's the first Beatles single to be written as a true collaboration. Both sides of the "Love Me Do" single had been written by McCartney, with Lennon helping him fix up a song he'd started and largely finished on his own. And in turn, both "Please Please Me" and its B-side were Lennon ideas, which McCartney helped him finish. "From Me to You" and its B-side "Thank You Girl" were written together, "one on one, eyeball to eyeball", to use Lennon's famous phrase, and that would be the case for the next two singles. It's also an interesting stepping stone. The song retains the harmonica from the first two singles, which would be dropped by the next single, and it also has the octave leap into falsetto that "Please Please Me" has, on the line "If there's anything I can do", but it also has the "ooh" at the end of the middle eight leading back into the verse, a trick they'd picked up from "Twist and Shout", and an opportunity for Lennon and McCartney to shake their heads while making a high-pitched noise, a bit of stagecraft that set the audiences screaming and which turned up again in the next single. The other notable aspect is that the song is more harmonically sophisticated than their previous work. McCartney always singles out the change to the minor of the dominant at the start of the middle eight (on the word  "arms") as being interesting: [Excerpt: The Beatles, "From Me To You"] And that is an interesting change, and it sets up an unexpected key change to F, but I'd also note the change from G to G augmented at the end of the middle eight, on the "fied" of "satisfied". That's a very, very, Lennon chord change -- Lennon liked augmented chords in general, and he'd already used one in "Ask Me Why", but the G augmented chord in particular is one he would use over and over again. For those who don't understand that -- chords are normally made up of three notes, the first, third, and fifth of the scale for a major chord, and the flrst, flattened third, and fifth of a scale for a minor chord. But you can get other chords that have unexpected notes in them, and those can be particularly useful if you want to change key or move between two chords that don't normally go together. All the Beatles had particular favourite odd chords they would use in this way -- Paul would often use a minor fourth instead of a major one, and John would use it occasionally too, so much so that some people refer to a minor fourth as "the Beatle chord". George, meanwhile, would often use a diminished seventh in his songwriting, especially a D diminished seventh. And John's chord was G augmented. An augmented chord is one where the fifth note is raised a semitone, so instead of the first, third and fifth: [demonstrates] it's the first, third, and sharpened fifth: [demonstrates] In this case, John moves from G to G augmented right as they're going into the climax of the middle eight, so the top note of the chord goes higher than you'd normally expect, giving an impression of being so excited you just can't stop going up. "From Me To You" knocked "How Do You Do It" off the top of the charts, and at this point, the British music scene had been changed irrevocably. While we've seen that, according to the Official Charts Company, the number one records in the UK for eleven of the first fourteen weeks of 1963 were by either Cliff Richard, the Shadows, or ex-members of the Shadows, with only Frank Ifield breaking their dominance, between the eleventh of April 1963 and the sixteenth of January 1964, thirty-two out of forty weeks at the top were taken up by the Beatles, Gerry and the Pacemakers, and Billy J Kramer and the Dakotas -- all acts from Liverpool, managed by Brian Epstein and produced by George Martin. And two of the other acts to hit number one in that period were Brian Poole and the Tremeloes, who were a London band, but doing a Motown cover, "Do You Love Me?", in a style clearly inspired by the Beatles' version of "Twist and Shout", and The Searchers, another band from Liverpool who rose to prominence as a result of the sudden dominance of Liverpudlian acts, and who we'll be looking at next week. The only pre-April acts to go to number one for the rest of 1963 were Frank Ifield and Elvis. In 1964 there was only Roy Orbison. There would be occasional number one hits by older acts after that -- Cliff Richard would have several more over his career -- but looking at the charts from this time it's almost as if there's a switch thrown, as if when people heard "Please Please Me", they decided "that's what we want now, that's what music should be", and as soon as there was more supply of stuff like that, as soon as the next Merseybeat single came out, they decided they were going to get that in preference to all other kinds of music. And of course, they were choosing the Beatles over every other Merseybeat act. The Beatles were, of course, a great band, and they are still nearly sixty years later the most commercially successful band ever, but so much has focused on what happened once they hit America, and so much time has passed, that it becomes almost impossible to see clearly just how huge they became how quickly in Britain. But they dominated 1963 culturally in the UK in a way that nothing else has before or since.  And the song that cemented that dominance was their next single, "She Loves You": [Excerpt: The Beatles, "She Loves You"] "She Loves You" was another step forward in the group's songwriting, and in the technical aspects of their recording. The group were, at this point, still only recording on two-track machines, but Norman Smith, the engineer, and his assistant Geoff Emerick, came up with a few techniques to make the sound more interesting. In particular, Emerick decided to use separate compressors on the drums and bass, rather than putting them both through the same compressor, and to use an overhead mic on Ringo's drums, which he'd never previously used.  But it was the songwriting itself that was, once again, of most interest. The idea for "She Loves You" came from McCartney, who was particularly inspired by a hit by one of the interchangeable Bobbies, Bobby Rydell, who was in the charts at the time with "Forget Him": [Excerpt: Bobby Rydell, "Forget Him"] McCartney took the idea of having a song be one side of a conversation with someone about their relationship, and decided that it would be an interesting idea to have the song be telling someone else "she loves you", rather than be about the singer's own relationships, as their previous singles had been. Everything up to that point had been centred around the first person addressing the second -- "Love ME Do", "PS I Love You", "Please Please ME", "Ask ME Why", "From ME to You", "Thank You Girl". This would be about addressing the second person about a third. While the song was McCartney's idea, he and Lennon wrote it together, but it was Harrison who added a crucial suggestion -- he came up with the idea that the final "Yeah" at the end of the chorus should be a major sixth instead of a normal chord, and that they should end with that as well: [Excerpt: The Beatles, "She Loves You"] George Martin was not keen on that -- while the Beatles saw it as something exciting and new, something they'd not done before, to Martin it was reminiscent of the 1940s -- both the Andrews Sisters and Glenn Miller would use similar tricks, and it was quite dated even then, being a standard technique of barbershop harmony. But to the Beatles, on the other hand, it didn't matter if other people had done it before, *they'd* not done it before, and while they agreed to try it both ways, Martin eventually agreed that it did sound better the way they were doing it. "She Loves You" took, by the standards of the Beatles in 1963, an inordinately long time to record -- though by today's standards it was ridiculously quick. While they had recorded ten tracks in ten hours for the Please Please Me album, they took six hours in total to record just "She Loves You" and its B-side "I'll Get You". This is partly explained by the fact that Please Please Me consisted of songs they'd been playing every night for years, while John and Paul finished writing "She Loves You" only four days before they went into the studio to record it. The arrangement had to be shaped in the studio -- apparently it was George Martin's idea to start with the chorus -- and there are clear edits in the final version, most audibly just before and after the line "you know it's up to you/I think it's only fair" [Excerpt: The Beatles, "She Loves You"] For those of you who want to see if you can spot the edits, they're most audible on the original CD issue of Past Masters vol. 1 from the eighties -- the later CD versions I have (the 2009 Mono Masters CD and the 2015 reissue of the 1 compilation) have been mastered in a way that makes the edits less obvious. As far as I can tell, there are six audible edit points in the song, even though it's only two minutes twenty-one -- a clear sign that they had to do a lot of studio work to get the song into a releasable shape. That work paid off, though. The single sold half a million advance copies before being released, quickly sold over a million, and became the biggest-selling single in British history -- there wouldn't be another single that sold more until fourteen years later, when Paul McCartney's solo single "Mull of Kintyre" overtook it. While "Please Please Me" and "From Me To You" had been big hits, it was "She Loves You" that caught the cultural moment in the UK. The "Yeah Yeah Yeah" chorus, in particular, caught on in a way few if any cultural phenomena ever had before. The phenomenon known as Beatlemania had, by this point, started in earnest. As the Beatles started their first national tour as headliners, their audiences could no longer hear them playing -- every girl in the audience was screaming at the top of her lungs for the entire performance.  Beatlemania is something that's impossible to explain in conventional terms. While I'm sure everyone listening to this episode has seen at least some of the footage, but for those who haven't, the only way to explain it is to hear the level of the screaming compared to the music. This is from some newsreel footage of the Beatles playing what was then the ABC in Ardwick. It's fascinating because most of the footage of Beatlemania shows gigs in the US at places like Shea Stadium or the Hollywood Bowl -- places where you get enough people that you can understand how they made that much noise. But this is a medium-sized theatre, and having been there many times myself (it's now the Manchester Apollo) I actually can't imagine how a crowd in that venue could make this much noise: [Excerpt: The Beatles, "Twist and Shout", Ardwick ABC] I won't be including that on the Mixcloud, by the way, as the noise makes it unlistenable, but the footage can easily be found on YouTube and is worth watching.  After "She Loves You" came their second album, With The Beatles, another album very much along the same lines as the first -- a mixture of Lennon/McCartney songs and covers of records by Black American artists, this time dominated by Motown artists, with versions of "Money", "Please Mr Postman", and the Miracles' "You Really Got A Hold On Me", all with Lennon lead vocals. That went to number one on the album charts, knocking Please Please Me down to number two. "She Loves You", meanwhile, remained at number one for a month, then dropped down into the top three, giving Brian Poole and the Tremeloes and Gerry and the Pacemakers a chance at the top spot, before it returned to number one for a couple of weeks -- the last time a record would go back to number one after dropping off the top until "Bohemian Rhapsody" went back to number one after Freddie Mercury died, nearly thirty years later. But while all this had been going on in Britain, the Beatles had had no success at all in the USA. Capitol, the label that had the right of first refusal for EMI records in the US, had a consistent pattern of turning down almost every British record, on the grounds that there was no market in the US for foreign records. This also meant that any record that EMI tried to license to any other label, that label knew had been turned down by Capitol. So the Beatles' first singles and album were licensed by a small label, VeeJay, who mostly put out soul records but also licensed Frank Ifield's material and had a hit act in The Four Seasons. VeeJay was close to bankruptcy, though, and didn't do any promotion of the Beatles' music. "She Loves You" was put out by an even smaller label, Swan, whose biggest hit act was Freddie "Boom Boom" Cannon. But Brian Epstein and George Martin were convinced that the Beatles could break America, and the group's next single was written specifically with the American audience in mind, and recorded using the unbelievably advanced technology of four-track tape machines -- the first time they'd used anything other than two-track: [Excerpt: The Beatles, "I Want To Hold Your Hand"] "I Want To Hold Your Hand" went to number one in the UK, of course, replacing "She Loves You" -- the only time that an artist would knock themselves off the number one spot until 1981, when John Lennon did it as a solo artist in far more tragic circumstances. At this point, the Beatles had the number one and two spots on the singles chart, the number one and two positions on the album charts, and were at numbers one, two and three on the EP chart.  It would also be the start of Beatlemania in the USA. After the Beatles' famous appearance on the Royal Variety Performance, at the time the most prestigious booking an entertainer could get in the UK, Brian Epstein flew to New York, with a few aims in mind. He brought Billy J. Kramer with him, as he thought that Kramer had some potential as a lounge singer and could maybe get some club work in the US, but mostly he was there to try to persuade Capitol to release "I Want to Hold Your Hand", using the news coverage of Beatlemania as a reason they should pick up on it. By this time, Capitol were running out of excuses. Given the group's popularity was at a different level from any other British artist ever, they had no reason not to release "I Want to Hold Your Hand". They agreed they would put it out on January the thirteenth 1964. [Excerpt: The Beatles, “I Want to Hold Your Hand”] Epstein also had two more meetings while he was in New York. One was with the makers of the Ed Sullivan Show -- Sullivan had been in London and been at the airport when the Beatles had arrived back from a trip abroad, and had seen the response of the crowds there. He was mildly interested in having the group on his show, and he agreed to book them. The other meeting was with Sid Bernstein, a promoter who had been in the UK and was willing to take a gamble on putting the group on at Carnegie Hall. Both of these were major, major bookings for a group who had so far had no commercial success whatsoever in the US, but by this point the Beatles were *so* big in the UK that people were willing to take a chance on them. But it turned out that they weren't taking a chance at all. In November, a CBS journalist had done a quick "look at those wacky Brits" piece to use as a filler in the evening news, including some footage of the Beatles performing "She Loves You". That had originally been intended to be shown on November the 22nd, but with President Kennedy's murder, the news had more important things to cover. It was eventually shown, introduced by Walter Cronkite, on December the tenth. Cronkite's broadcast got the attention of his friend Ed Sullivan, who had already more or less forgotten that he'd booked this British group whose name he couldn't even remember. He phoned Cronkite and asked him about these "Bugs, or whatever they call themselves", and started actually promoting their appearance on his show. At the same time, a fifteen-year-old girl named Marsha Albert in Maryland was very impressed with "She Loves You", after seeing the news report and wrote to a DJ called Carroll James, asking "Why can't we have this music in America?" James got a friend who worked as a flight attendant to bring him a copy of "I Want to Hold Your Hand" on her next return from the UK, and started playing it on December the seventeenth. He played it a *lot*, because the audience loved it and kept calling in for more. Capitol tried to get him to stop playing the record -- they weren't planning on releasing it for another month yet! What was he doing, actually promoting this record?!  Unfortunately for Capitol, by the time they got round to this, DJs at a couple of other stations had heard about the reaction the record was getting, and started playing their own copies as well. Capitol changed the release date, and put the record out early, on December the twenty-sixth. It sold a quarter of a million copies in the first three days. By the week of its originally scheduled release date, it was at number one on the Cashbox chart, and it would hit the same position on Billboard soon after. By the time the Beatles arrived in America for their Ed Sullivan show, it was half-way through a seven-week run at the top of the charts, and only got knocked off the top spot by "She Loves You", which was in its turn knocked off by "Can't Buy Me Love". The Beatles had hit America, and the world of music would never be the same again.

Discussion Notes: With The Beatles This week’s story: With the Beatles by Haruki Murakami  Next week’s story: Zero Meter Diving by Jim Shepard  Rated: Clean Gerald, Andy and Anais discuss “With the Beatles” by Haruki Murakami. This melancholy story is about a man who remembers two young women from his younger days. Our hosts grappled... The post Ep 181: With The Beatles by Haruki Murakami appeared first on Literary Roadhouse.

Discussion Notes: With The Beatles This week’s story: With the Beatles by Haruki Murakami  Next week’s story: Zero Meter Diving by Jim Shepard  Rated: Clean Gerald, Andy and Anais discuss “With the Beatles” by Haruki Murakami. This melancholy story is about a man who remembers two young women from his younger days. Our hosts grappled... The post Ep 181: With The Beatles by Haruki Murakami appeared first on Literary Roadhouse.

Episode 16 is here and we kick things off by discussing Disney's newest IP purchase, Becker's disappointment with being nerdy about more than one thing, the first installment of "You Never Give Us Beer Money," a generous donation from listener Simon K, our first Black Velvets, why the Beatles were once called "the only band that matters," why Pilgrims were so small, if they made Ringo crouch down during the shoot for "With the Beatles," grumpy George Harrison, just a smattering of Michael J. Fox talk, a comparison between the bass innovation of McCartney and Mike Watt, Les is More Claypool, and the original George Harrison original "Don't Bother Me."As always, you can find Team Blotto Beatles on Instagram (@blottobeatles) and Twitter (@blottobeatles), by emailing us (blottobeatles@gmail.com), or on the web (blottobeatles.com). We want to hear from you!Please also take the time to rate and review us on Apple podcasts or wherever you get your podcasts.We have a shop! Grab some merch. You can also drunk dial us here or leave us a tip in our new tip jar (don't forget to include a message telling us what drinks we should drink with the money).See the canonical, argument-ending list of Beatles songs we are assembling here: https://www.blottobeatles.com/list; listen to it on Spotify here.Please remember to enjoy Blotto Beatles responsibly.Peace and Love.Hosts: Becker and TommyExecutive Producer: Scotty C.Additional Musical Supervision: RB (@ryanobrooks)#PeteBestGetThatCheck

John & Paul often talk about some songs as being "work songs"....tunes they knocked out for other artists, or George and Ringo, or tracks to fill out the album. They often referred to #188, "Little Child," as one of those songs. It's a fairly simple, uptempo rocker intended for Ringo's vocal spotlight on With The Beatles, though John eventually handles the vocal on it. Simple as it may be, it's part of a period where the band starts realizing they're not beholden to the standard pop song arrangement or instrumentation, starting to spread their wings while maintaining a foot steadily in their beat group phase. It's also a remnant of that strange time in music where women are always referred to like young children, which is...yeah, kinda weird. A rocking track though that does it's job on the record. It takes a certain level of love for a band to devote oneself to a podcast, and we're kicking off season 2 by talking to James C., the host of one of our favs, The Oasis Podcast. Since 2017, James has been chatting with ex-Oasis members, musicians who worked with the band, art directors, video directors, a whole slew of of people who worked with the Britpop giants, while also discussing the on-going solo careers of the Gallaghers and co., giving a much-deserved spotlight to music that, whether we in the states realize or not, was an influential, cultural JUGGERNAUT. There's so much more than just "Wonderwall," folks! We touch of the perfect storm of Oasis coming to the alongside the Beatles Anthology, the joys of a shimmering coda, the pride and love of having YOUR band, and our half-hearted attempts to reach out to the brains behind the music that fuels our respective shows. Be sure to listen and subscribe to The Oasis Podcast at any podcast provider of your choice, and follow along with James on Twitter @oasispodcast. Additionally, he hosts the 1001 Albums podcast, based on the book "1001 Albums You Must Hear Before You Die." Check them out! Be sure to follow along, leave your comments, and join in on the discussion on the rankings at Facebook (facebook.com/rankingthebeatles) and on Instagram @rankingthebeatles. You can also now follow us on Twitter at @rankingbeatles! Enjoying the show and want to show your support? Check out https://anchor.fm/rankingthebeatles/support! --- Send in a voice message: https://anchor.fm/rankingthebeatles/message Support this podcast: https://anchor.fm/rankingthebeatles/support

Em nosso primeiro podcast sobre discografias, vamos falar da maior banda da história: Os Beatles. Nesse episódio, falamos dos 6 primeiros álbuns da banda: Please Please Me, With The Beatles, A Hard Days Night, Beatles For Sale, Help e Rubber Soul. Deixamos os 6 últimos álbuns para a semana que vem! Não se esqueça de seguir o remasterizados em todas as nossas redes sociais! Instagram:https://www.instagram.com/remasterizadospodcast/ Twitter:https://twitter.com/remasterizadoss Facebook:https://web.facebook.com/remasterizadospodcast?_rdc=1&_rdr

"Ladies and gentlemen...The Beertles!"In this, our inaugural episode, we introduce you -- fair listeners -- to Blotto Beatles in the same way they were introduced to the United States, through the song "All My Loving."Who are we? Why are we here? Can we recap the history of the Beatles in 60 seconds? How good is All My Loving? What does the Queen think of the Beatles' black turtlenecks? All questions will be answered in this episode.You can find Team Blotto Beatles on Instagram (@blottobeatles) and Twitter (@blottobeatles), by emailing us (blottobeatles@gmail.com), or on the web (blottobeatles.com). We want to hear from you!Please remember to enjoy Blotto Beatles responsibly.Peace and Love.Hosts: Becker and TommyExecutive Producer: Scotty C.Music Supervision: RB (@ryanobrooks)

We discuss Closed On Sunday for song of the week and continue with The Beatles discography with With The Beatles.

Neste episódio vamos falar do segundo álbum do grupo, intitulado “With The Beatles”.

Season 2 starts with the in-depth story behind The Beatles song "I Want To Hold Your Hand" which is the first track on the "Meet The Beatles" album or "With The Beatles" for the UK listeners.

The boys continue their journey through The Beatles recording catalog with their second LP! This album has some of the best cover songs of their career; which is why The Paper Shakers stole 8 of them for their live shows. WARNING: This episode contains a pointless Rise of Skywalker discussion. Skip to 9:40 to avoid it.ENJOY music on BandcampSOCIALize on Facebook or InstagramSupport the show (https://www.patreon.com/thepapershakers)

Part 2' of the podcast series… Mark, Desiree and myself look back at the creations of Robert Freeman, the English photographer who died this year aged 82, and who'd shot many of The Beatles' earliest album-covers, two of which have caught the attention of occult-clue watchers, those being 1963's ‘With The Beatles' (what with its ‘one-eye / black-white duality'), and 1965's soundtrack to the movie of the same name, ‘Help!', featuring all four Beatles dressed in skiing gear and standing with their arms positioned in Aleister Crowley-esque fashion, you might think. Recorded and released in December 2019, ‘edition 2' of this Magical Mystery Talk podcast comes to you twenty years to the month since an attempt on George Harrison's life was made when a ‘crazed' intruder came into his stately home in Friar Park, England, and stabbed the ex-Beatle repeatedly in the lung. As you'll hear during my chat with Mark and Desiree, this was by no means the first time he'd been the focus of threats of violent intent – and as recently de-classified FBI files will attest to. We also discuss the idea that the attacker, Michael Abram – who is said to have been suffering from delusions that The Beatles were witches when he invaded Harrison's home – was yet another mind-controlled puppet same as Lennon's assassin, Mark David Chapman. Other timely topics discussed during the second edition of this podcast include the 52nd anniversary of the screening on British TV of The Beatles' film, ‘Magical Mystery Tour,' the 39th of John's shooting, and the 50th of the ‘Abbey Road' album which was re-issued this year as a box-set to mark this, and that was named after the road where it was recorded, situated in St. John's Wood, a West London district with Freemasonic connections. This podcast was recorded, December 2nd 2019… The Help! / Crowley-esque cover can be seen here: https://theoccultbeatles.files.wordpress.com/2019/12/92gdp7v25tby_640x360.jpg My site, The Occult Beatles: https://theoccultbeatles.wordpress.com/ Check out Desiree's blog here: https://thenumbernineblog.wordpress.com/ More from Mark Devlin here: https://djmarkdevlin.blogspot.com/?m=1

Part 2' of the podcast series… Mark, Desiree and myself look back at the creations of Robert Freeman, the English photographer who died this year aged 82, and who'd shot many of The Beatles' earliest album-covers, two of which have caught the attention of occult-clue watchers, those being 1963's ‘With The Beatles' (what with its ‘one-eye / black-white duality'), and 1965's soundtrack to the movie of the same name, ‘Help!', featuring all four Beatles dressed in skiing gear and standing with their arms positioned in Aleister Crowley-esque fashion, you might think. Recorded and released in December 2019, ‘edition 2' of this Magical Mystery Talk podcast comes to you twenty years to the month since an attempt on George Harrison's life was made when a ‘crazed' intruder came into his stately home in Friar Park, England, and stabbed the ex-Beatle repeatedly in the lung. As you'll hear during my chat with Mark and Desiree, this was by no means the first time he'd been the focus of threats of violent intent – and as recently de-classified FBI files will attest to. We also discuss the idea that the attacker, Michael Abram – who is said to have been suffering from delusions that The Beatles were witches when he invaded Harrison's home – was yet another mind-controlled puppet same as Lennon's assassin, Mark David Chapman. Other timely topics discussed during the second edition of this podcast include the 52nd anniversary of the screening on British TV of The Beatles' film, ‘Magical Mystery Tour,' the 39th of John's shooting, and the 50th of the ‘Abbey Road' album which was re-issued this year as a box-set to mark this, and that was named after the road where it was recorded, situated in St. John's Wood, a West London district with Freemasonic connections. This podcast was recorded, December 2nd 2019… The Help! / Crowley-esque cover can be seen here: https://theoccultbeatles.files.wordpress.com/2019/12/92gdp7v25tby_640x360.jpg My site, The Occult Beatles: https://theoccultbeatles.wordpress.com/ Check out Desiree's blog here: https://thenumbernineblog.wordpress.com/ More from Mark Devlin here: https://djmarkdevlin.blogspot.com/?m=1

Esta semana el tema elegido fue "All I´ve got to do" uno de John  Lennon inlcuido en el album "With The Beatles" Smokey Robinson, The tempations, George Harrison, The Everly Brothers, The Zombies, Flamin Groovies, The Used, Litto Nebbia, Juana La Loca, Seru Giran, Moon Martin fueron algunos de los artistas que sonaron. El especial fue para la 6ta entrega de la historia de los Beach Boys.

QuizmasterQuizmaster Lee recounts a tumultuous trivia night he hosted recently before trading the week’s favorite trivia questions with Quizmaster Marc. This week’s categories include Star Trek, Australian Animals, U.S. History, Current Events, World Geography, Classic TV, Movie Box Office Records & Release Dates and more! Introduction STAR TREK - Who played George Kirk in 2009’s Star Trek? STAR TREK - Who played Worf on Star Trek: The Next Generation? STAR TREK - What rules do the Ferenghi abide by during transactions, negotiations and other business and trade endeavors? Round One AUSTRALIA - Nick-named for its plucky call, the Australian 'pobblebonk' is what kind of creature? MOVIE RELEASES - In what year was the movie Blade Runner released? U.S. POLITICS - Who was the GOP Vice-presidential candidate the last time a Democrat won the U.S. Presidency? CURRENT EVENTS - What is the name of the new Prime Minister of the United Kingdom? CURRENT EVENTS - What is the name of the Governor of Puerto Rico who resigned this week? GEOGRAPHY - In Brazil, time zones are determined by their relationship to BRT, which is the time in what Brazilian capital city? U.S. HISTORY - What was the better known name of outlaw Harry Longabaugh? Round Two U.S. PRESIDENTS - Which U.S. President is the only to have received the medal of honor? BOX OFFICE - The worldwide top-grossing movie of the 1970's is obviously Star Wars. But what was the second top grossing movie of the decade? CLASSIC TELEVISION - What TV show on ran on HBO from 1992-1998 and featured actors Jeffrey Tambor and Rip Torn? SOCIAL STATS - What is the most common language spoken in the world? NFL - Who holds the NFL record for most career touchdowns? HOLLYWOOD NICKNAMES - What was the nickname of actor Marion Mitchell Morrison, who appeared in classic westerns such as Rio Bravo and True Grit? BUSINESS - What U.S. city is known as the insurance capital of the world? Final Questions CHEMICAL SYMBOLS - What two-word phrase can be constructed from combining the chemical symbols for Potassium, Nitrogen, Oxygen, Tungsten, and Selenium? You may use each symbol more than once. U.S. PRESIDENTS - How many U.S. presidents died while in office of natural causes? THE BEATLES - The 1963 album With The Beatles closes with a cover of what song, originally by Berry Gordy? SPORTS OF YORE - Using conventional pistol in competitive dueling in France during the late 19th and Early 20th century, bullets were typically made of what material? Weekly Wrap Up July 15th, 2019 @ Palace - God Speed, You Moist Emperor, 108 pts.. July 16th, 2019 @ Gather - Tarpon Charlies, 94 pts. July 17th, 2019 @ Bury Me Brewing Co. - Fifth Wheel, 96 pts. July 18th, 2019 @ No. 3 Craft Brews & Beer Bar - Left of Sanity, 119 pts. Upcoming LIVE Know Nonsense Trivia Challenges July 29th, 2019 – Cape Coral FL – 7:00 PM @ Palace Pub & Wine Bar. Categories include MONSTER TRUCKS, MUSIC of THE 1970’s, CANDY, TIM BURTON SUPER SMASH BROS, & more. Final question category will be 1990’s Cartoons selected by Saucy Fingers. July 30th, 2019 – Cape Coral FL – 7:00 PM @ Gather. Categories include BLACK METAL, BOATING, THE U.S. CIVIL WAR, SCI-FI STUFF, POKER, GEOGRAPHY, THE LAST UNICORN & More. Final wager question category will be Ichthyology selected by Hotlanta. July 31st, 2019 – Fort Myers, FL – 7:00 PM @ Bury Me Brewing Co. Categories include 90’s HEART THROBS, CLASSIC PORN, FLORIDA MAN, CHAPELLE SHOW, GREEK MYTHOLOGY, FAILED MOVIES and more. The final Know Nonsense wager question will be ‘World of Warcraft’ selected by ‘I CAME. August 1st, 2019 – Cape Coral, FL – 7:30 PM @ No. 3 Craft Brews & Beer Bar. Categories include TERRY PRATCHET’S DISCWORLD, SKYRIM, TABLE TENNIS, AKC DOG GROUPS, THE MOVIES OF ADAM SANDLER & KEVIN SMITH and more. Final category will be ‘Florida Fish Facts’ by Peanut the Dog Says the Civil War Was Only About About States Rights. Thank you Thanks to our supporters on Patreon. Thank you, Quizdaddies – Tommy (The Electric Mud) and Tim (Pat's Garden Service) Thank you, Team Captains – Kristen & Fletcher Thank you, Proverbial Lightkeepers – Justin, Cooper, Elyse, Aaron, Sarah, Brina, Karly, Kristopher, Josh, Gil, Shaun, Lucas and Max Thank you, Rumplesnailtskins – Jeff, Eric, Steven, Efren, Mike J., Mike C. If you'd like to support the podcast and gain access to bonus content, please visit http://theknowno.com and click "Support."

Pat sits down with his long time friend Dara McGarry to spin some Beatles vinyl and have a chat!

November 1963, 1968 and 1973 anniversaries

Broadcaster, writer, ex-Smash Hits editor and the man who launched Q, Mojo and The Word, David Hepworth discusses the 1963 album With The Beatles with Chris Shaw

Programa emitido en Transporte News Radio el pasado lunes 5 de noviembre de 2018. Con motivo del 55 aniversario de la primera publicación de WITH THE BEATLES, segundo disco del cuarteto de Liverpool, hacemos un programa especial dedicado al álbum. Escucharemos las 14 canciones del mismo, así como los sencillos independientes que desencadenaron la Beatlemanía y el triunfo en los Estados Unidos, prestando atención a su primera aparición en el Ed Sullivan Show (que sigue siendo la emisión más vista de la historia del país americano), así como el primer concierto íntegro que ofrecieron en el Washinton Colliseum.

Part 2 of our Revisiting The Beatles series focuses on the second UK album, "With The Beatles." We talk how certain originals could be seen as toxic today, what covers are actually worth discussion, and more. Sponsors: Rockabilia: Use "PCJABBERJAW" for 15% off your order. Get advanced episodes and exclusive audio on Patreon. Learn more about your ad choices. Visit megaphone.fm/adchoices

Un día como hoy de 1963, se comenzó a grabar el mítico álbum "With The Beatles". Grabaron 4 canciones ese día y curiosamente ninguna fue compuesta Lennon/McCartney.

Un día como hoy de 1963, se comenzó a grabar el mítico álbum "With The Beatles". Grabaron 4 canciones ese día y curiosamente ninguna fue compuesta Lennon/McCartney.

Journey with us, dear Imaginary Audience, as we count down our #TopFive5 favorite MCU Villains, Drummers, and tracks off of With The Beatles. We also dive into a *mostly* spoiler-free review of Marvel's BLACK PANTHER! Cheers!

Un día como hoy se pone a la venta "The White Album" en 1968, al igual que en 1963 que se lanzó el álbum "With The Beatles".

Un día como hoy se pone a la venta "The White Album" en 1968, al igual que en 1963 que se lanzó el álbum "With The Beatles".

Un día como hoy pero de 1963, Los Beatles después de terminar su 2° álbum "With The Beatles".¡Fueron de gira a Suecia!

Un día como hoy pero de 1963, Los Beatles después de terminar su 2° álbum "With The Beatles".¡Fueron de gira a Suecia!

Una hoja de papel firmada por los 4 Beatles, estará en subasta...Está enmarcada con una copia del álbum "With The Beatles".

Una hoja de papel firmada por los 4 Beatles, estará en subasta...Está enmarcada con una copia del álbum "With The Beatles".

Un día como hoy pero de 1963, Los Beatles comienzan la grabación del álbum: "With The Beatles", con una grabación de canciones de otros artistas.

Un día como hoy pero de 1963, Los Beatles comienzan la grabación del álbum: "With The Beatles", con una grabación de canciones de otros artistas.

El segundo álbum de los Beatles, "With The Beatles, ayudándolo a colocarlos en el 1° lugar de Inglaterra, 1963. El mismo día que era asesinado el presidente John F. Kennedy.

El segundo álbum de los Beatles, "With The Beatles, ayudándolo a colocarlos en el 1° lugar de Inglaterra, 1963. El mismo día que era asesinado el presidente John F. Kennedy.

In the second month of our year with the Beatles, Graeme Burk and Rob Jones got together with Andrew Flint to talk about With The Beatles and how it managed to avoid being anything but the difficult second album. There's also a discussion of the Beatles' growth in the studio, how they transformed the covers they performed and even a thought or two of how they might have presaged punk music.  For extra-credit homework, the guys watched the full episode of the Ed Sullivan Show featuring the Beatles' American debut and pondered what it must be like to be the self-effacing magic act following the fab four and much more.

Album de la semaine: "Back to the egg" (Paul McCartney 1979) P.McCartney-Reception/Getting Closer-Back to the egg (79)Beatles-The word-Rubber soul (65)Beatles-Being for the benefit of Mr. Kite-Love (06)Beatles-Little child-With the Beatles (63)Beatles-A taste of honey-Please please me (63)P.McCartney-We're open tonight/Spin it on-Back to the egg (79)G.Harrison-All things must pass-All things must pass (70)R.Starr-Weight of the world-Time takes time (92)J.Lennon-Oh Yoko !-Imagine (71)R.Starr-Bamboula-Postcards from Paradise (15)P.McCartney-Baby's request-Back to the egg (79)P.McCartney-My brave face-Flowers in the dirt (89)G.Harrison & friends-My back pages-Bob Dylan's 30th anniversary concert (93)G.Harrison-If not for you-All things must pass (70)J.Lennon-Imagine (live)-Acoustic (04)P.McCartney-Arrow through me-Back to the egg (79)Beatles-Penny Lane-Magical Mystery Tour (67)Beatles-There's a place-Please please me (63)G.Harrison-Crackerbox Palace-Thirty three & 1/3 (76)Beatles-Let it be-Let it be (70)P.McCartney-Old Siam Sir-Back to the egg (79)P.McCartney-So glad to see you here-Back to the egg (79)P.McCartney-Golden slumbers…The end (live)-Tripping the live fantastic (90)P.McCartney-Winter rose/Love awake-Back to the egg (79)P.McCartney-New-New (13)J.Lennon-Watching the wheels-Double fantasy (80)Beatles-Old brown shoe-Single (69)P.McCartney-To you-Back to the egg (79)Beatles-Love me do-Please please me (63)Beatles-All my loving-With The Beatles (63)Beatles-Her Majesty-Abbey Road (69)E.Clapton & friends-Wah-wah-Concert for George (02)

Ryan and Matt celebrate the 50th anniversary of The Beatles arrival in the USA with a discussion of “With The Beatles” and “A Hard Day’s Night.” Episode 93: The Endogenous Dynamics of Beatlemania originally appeared on Overthinking It, the site subjecting the popular culture to a level of scrutiny it probably doesn't deserve. [Latest Posts | Podcast (iTunes Link)]

We're back with a review/analysis of the Beatles' 1963 album With The Beatles, released 50 years ago this month.  Learn the background behind this album's release and the assassination of John F. Kennedy, hear the story behind a song on the album written for the Rolling Stones, and enjoy clips of all the tunes on the album.  Coming next -- your 2013 Beatles Holiday Gift Guide!Follow us on Twitter: @ivegotabeatlesFacebook: ivegotabeatlespodcastCheck out the upcoming International Beatles Conference where Dave will be presenting a paper:http://www.altoona.psu.edu/beatles/

Can you believe that the CSSP has been doing what we do for a whole year already? 'Tis true!To celebrate this monumental event, we've put together a really special show for y'all. So be listening for several of your favorite segments, a special guest or two, and the bittersweet announcement that our much beloved co-host Marie Perry is moving on to 'greener pastures"... so let's all wish her the best in her future endeavors!Meanwhile, I'm thrilled to announce that my new co-host will be none other than pro-songwriter (and subject of EP 21) RANDY FINCHUM (!) who's also our in-studio guest on this episode!Listen as:We get the party started with some NEWS & SHTUFFIn a special installment of NOTES & BOLTS, I'll be discussing SURPRISE ENDINGS in songsMarie gives us a crash course on real-world publishing deals in her final ACADEMIC MOMENT segment"Godfather" of the show, JASON PYLES will be joining us via Skype to congratulate us on our first year, and to discuss what he's doing these daysI'll wax poetic in a rare public tribute to YOU, our faithful listeners and dear community membersMarie will lead Randy and I down "memory lane" with a recap of the CSSP's first year"Muso Matt" will discuss the historic 50th Anniversary (sensing a sub-theme?) of the release of The Beatles' WITH THE BEATLES album in the final installment of MATT'S MUSO MOMENTI'll discuss the career and recent escapades of Miley Cyrus in the WT!@#$%? segmentMarie will make her "official" statement of intent and explanation for her adoring publicAnd we'll close up shop with a brief discussion about some future plans for the show (onward and upwards!)Don't forget that we're still accepting submissions for the DESIGN US A NEW DAMN LOGO and ADD A SOLO TO THE PODCAST THEME contests!!! Steve RempisMarie PerryRandy FinchumCSSP "Snailmail" address: PO BOX 727 Gallatin, TN 37066 Links for Jason Pyles (The "Godfather"):Movie Podcast Weekly: a weekly show that reviews new theater releasesHorror Movie Podcast: a bi-weekly show that discusses the horror genre and review old and new horror films The Songwriting Podcast: a now defunct show about the technical and creative aspects of the craft of songwriting (and the inspiration and blueprint for the CSSP)The Donut Show: a weekly podcast about pop culture and lifeAll About Autism Podcast: a weekly show about all things autism, hosted by Dave and Heather EatonThe Dave Eaton Element: the Bandcamp page for the band in which Jason plays pianoVimeo trailer for BEAUTIFUL JIM: The Jimbeau Hinson Documentary"For The Love Of Music" movie pageA glimpse of the future of THE COMMERCIAL SUICIDE SONGWRITING PODCAST (so stay tuned, y'all!!!)...

"Not a Second Time" is a song by John Lennon performed by The Beatles on their second United Kingdom album, With The Beatles. Lennon said he was "trying to write a Smokey Robinson or something at the time.The song was recorded in nine takes on 11 September 1963. Robert Palmer covered the song, and I heard him (Robert...) play it Live in Amsterdam in 1980-something. Sweet memories ! Here's Robert's arrangement, with John's vocals.

The Beatles recorded "Money (That's What I Want)" in five takes on July 18, 1963. I suppose they intended it to be a smashing final track to With The Beatles, just as Twist & Shout had closed Please Please Me. Money had been featured in their shows since the Hamburg days, and they had converted it into a raunchy rocker song. The regular visitor to BDJ's Cellar immediately notices something odd about Money: it has centered vocals in the stereo (Album) mix ! In fact. It is the only track on Please Please Me and With The Beatles with the vocals recorded in the centre. Remembering that it was Martin's strategy (using a 2-track tape machine....) to record the isntruments on one track, and the vocals on the other, it is clearly impossible to centre the vocals and maintain a stereo image ! How did this enigma arise ? The soundscape of the original Money (by Barrett Strong) is dominated by the piano part. Lewisohn reports that George Martin played piano during the Beatles session, and spent a huge amount of time on recording and mixing his piano part for Money (probably without Beatles being present....). I suppose Martin was also lured to the piano by the track that they recorded just prior to Money: You Really Got A Hold On Me. Here, the piano adds some colour, but on Money Martin verges on overdoing it (in my view...). It is still OK im the mono mix, but the stereo mix features the piano part even more prominently. Listening closely to the stereo mix of Money, we can figure out what Martin did: the left channel is a mono mix of 'Beatles' instruments (no piano) with vocals, and the right channel is a mono mix of Martin's piano with the same vocals. Since the same vocals are recorded left and right, they appear centred. Still, the 'piano' track sounds a bit empty; even more importantly, it is doubtful if the Beatles actually wanted a piano part in this track. They cetainly gave it a blistering live preformance without piano ! Therefore, we remixed Money in such a way that the piano drops out; it gains in pure sound and rough rock power, while maintaining a stereo image.

By the time I Want To Hold Your Hand was recorded (October 1963), EMI had installed 4-track recorders at Abbey Road. The results are immediately audible: guitars are double tracked amd distributed over different tracks. The Single was - of course - released in glorious mono. Since I Want To Hold Your hand was not included on With The Beatles, no stereo version was released in the UK. it features on a Capitol album in the US in stereo, but this sounds like 'fake stereo' to me (highs on the right, lows on the left). A Stereo mix had been by George Martin on 21 October 1963: this version was released in Australia in 1963, and true to the then current tradition: vocals on the right, all the instruments on the left. Thanks to the fact that I Want To Hold Your Hand was recorded on 4-track, it was possible to produce different stereo versions; on 8 June 1965 Norman Smith made a new remix, with the vocals placed in the centre. It was never used. For the UK release 'Collection Of Beatles Oldies' another stereo remix ws made on November 7th 1966. The same version is found on the Past Masters and Remasters releases. In this latest version, the vocals are centered, drums + bass on the left, solo guitar on the right. A clear improvement over te 1963 mix, but.... still sounding awkward: the vocals come in rather abruptly, and drums + bass are only mixed in the left channel. Is it possible to centre the vocals, drums and bass, and leave the guitars separated ? Only in BDJ studios, where the state of the art technology (3-D Spectral Extractor) churned away for quite a while to achieve this feat. But it's worth it, since the stereo picture is now more natural, and drums and bass more powerful than ever heard before.

A brand new - true stereo - remix of this classic Beatles song. During the remixing of I Saw Her Standing There, I made a major discovery, which I will describe below. I Saw Her Standing There was recorded at EMI Studios on 11 February 1963, as part of the marathon recording session (10 hours) that produced 10 of the 14 songs on Please Please Me. In December 1963, Capitol Records released the song in the United States as the B-side on the label's first single by The Beatles, "I Want to Hold Your Hand". Not only Paul's first 'great rocker' song, but also the first 'Lennonism' in the lyrics: "Seventeen, You know what I mean...". Not to forget the first recorded "Wooah....!", just picture Paul shaking his head...... The recording sessions reveal that the Beatles and George Martin still had to get used to each other. During these early Beatles recording sessions they played their songs as if in concert, and it was "get it right or do it again". George Martin was already a seasoned record producer and was used to working on recordings (e.g using multiple takes, drop-ins etc.). I Saw Her Standing There was the second song they recorded that day. The LP version - in stereo - is in the usual Beatles stereo mode: vocals on one side, instruments on the other. However, the first two Beatles albums, Please Please Me and With The Beatles, were recorded on two track machines (EMI-made "British Tape Recorders"); because only 2 tracks were available, some instruments were on the same track as the vocals. The songs needed to be recorded by playing all instruments and getting the vocals right at the same time. Some repair was possible using 'punch ins', segments of the song that were played again, and then spliced into the original recording. A rather crude process, that is audible if you listen closely (e.g. listen to She Loves You). Also the punch-in needed to be contain all instruments and vocals..... This is also the reason that the Rock Band isolations of this song (and others of that period) are disappointing: there just aren't any 4 track recordings of the song, so isolations can only be made with clever software (which can't deliver good results on these heavily crowded tracks). In the first run (Take 1) the Beatles gave it their all (being a 'Live' band) and laid down an excellent perfomance. No wonder, they had performed this composition repeatedly in their stage act for many months (including a mouth organ intro by John). Martin added an extra dose of reverb to George’s guitar solo. It is my theory that George Martin and his engineer expected to tape several takes, getting better takes as they went along. I discovered (I don't think this has been noted before) that the way the instruments are assigned to the 2 available tracks in Take 1 is odd: Paul's vocals are on the same track as John's guitar, while the other track sounds rather empty, except when George plays his solo. This distribution is changed in all subsequent takes, where Paul's vocals share a track with George's guitar, and John's guitar is on the other track. Take 2 sounded Ok overall, but John and Paul screwed up the words in a few places; furthemore, George bungled his solo. For reasons I don't understand (...) Martin must have thought that Take 2 was best, and started to fix it with punch-ins: takes 3-6 are attempts to correct the words and 2 new attempts at George's solo, which he all bungled. Then Martin must have decided that enough is enough (they had one day to record 10 songs...) and abandoned to use take 2. Instead, they made a last attempt at a complete runthrough. Take 6-8 break down, but they completed Take 9. This was another good version, now released on the 'Free as a Bird' album, but then it remained unused (except for the count-in). So, after 9 takes, Martin accepted that Take 1 was best after all. All that was needed now, was to edit in the count-in of take 9, and enthusiastic hand-claps during all of the song. I'm not entirely sure how they added the handclaps: their 2 tracks were already full.... Perhaps they recorded them on a separate tape machine ? Anyway, they reverted to Take 1, with the oddity of having the rythm guitar and vocals on the same track. This enabled me to produce this new stereo mix: using the instrumental tracks of Take 1 (George's guitar) and Take 9 (John's guitar), combined with the vocals of Take 1 at the centre. I added the handclaps form the Rockband isoation. Here we go, "One Two Three Fah "!