Podcasts about You Know My Name

Stay tuned to this frequency...Head to jamesbondmusic.co.uk to subscribe to the podcast - it's available wherever you get your podcasts. Welcome to a brand new podcast from the guys behind Two Geeks Two Beers.Kiss Kiss, Bang Bang is a podcast where we'll be discussing and dissecting some of our favourite theme songs from across six decades of James Bond movies.From the brassy brilliance of Thunderball to the rock reinvention of Casino Royale's You Know My Name, we'll be unpacking each song's origins and analyzing its chart performance, from the disappointing lows to the all time highs…Plus, we'll explore each song's place in the history of the franchise, how it reflects the themes and mood of the film it was made for, and the era it was made in.

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Diamonds from Sierra Leone by Kanye West (feat. Jay-Z) (2005)Song 1: Footsteps in the Dark, Pts. 1 & 2 by The Isley Brothers (1977)Song 2: Helicopter by Bloc Party (2004)Song 3: You Know My Name by Chris Cornell (2006)Song 4: Them Changes by Thundercat (2015)Song 5: Helicopter by XTC (1979)Song 6: Goldfinger by Shirley Bassey (1964)Song 7: Space Oddity by David Matthews (1977)Song 8: Helicopter by M. Ward (2003)Song 9: Goldeneye by Tina Turner (1995)Song 10: Rapp Snitch Knishes by MF Doom (feat. Mr. Fantastik) (2004)

In this week's episode, we reflect on how to prepare for Advent. During this busy season, it is easy to spend more time preparing our home than our hearts and we chat about the need for slowing down, quieting our hearts and surroundings, and becoming attentive to God's presence in our daily lives. We also share practical ways we prepare and wait for the coming of our Lord at Christmas. Heather's One Thing - The songs Holy Forever (YouTube) and The Story I'll Tell (YouTube) Sister Miriam's One Thing - The Carmellite Sisters (View their upcoming events here) Michelle's One Thing -  The song You Know My Name by Tasha Cobbs and This “Full of Hope” Advent Mug from Blessed is She   Announcement: Our Advent study begins next week! Be sure to subscribe to our weekly email to receive each episode, discussion questions, and videos to your inbox.   Journal Questions: Ask the Holy Spirit: What do you want me to be present to this season? Where do I need hope in my life? Where do I lack peace in my life? Where do I need joy in my life? Where do I need to birth joy in my life?   Discussion Questions: What practices do you incorporate in Advent to embrace the season of preparation? When will you take time for prayer this week and throughout Advent? How can you better embrace Advent rather than just tolerate it? How can you slow the interior pace of your heart in Advent?   Quotes to Ponder: “The liturgy of Advent…helps us to understand fully the value and meaning of the mystery of Christmas. It is not just about commemorating the historical event, which occurred some 2,000 years ago in a little village of Judea. Instead, it is necessary to understand that the whole of our life must be an ‘advent,' a vigilant awaiting of the final coming of Christ. To predispose our mind to welcome the Lord who, as we say in the Creed, one day will come to judge the living and the dead, we must learn to recognize him as present in the events of daily life. Therefore, Advent is, so to speak, an intense training that directs us decisively toward him who already came, who will come, and who comes continuously.” (St. John Paul II)   Scripture for Lectio:  “Therefore, prepare your minds for action, keep sober in spirit, fix your hope completely on the grace to be brought to you at the revelation of Jesus Christ.” (1 Peter 1:13)   Sponsor - The Little Rose Shop: Discover the beauty of integrating faith into your everyday life with The Little Rose Shop. Our Morning Offering Prayer mug , is the perfect companion for your morning routine, allowing you to start each day with a heartfelt prayer, focusing your thoughts on Christ. Plus, explore our Quiet Books collection, including the Mass Quiet Book, Rosary Quiet Book, the Where is Jesus Quiet Book, and Wrapped in Mary's Mantle Quiet Book. These engaging books are designed for babies and toddlers, making it easy to introduce them to the wonders of faith in a quiet and interactive way—perfect for adoration or Mass. As a special treat for Abiding Together listeners, use promo code ABIDING15 for an exclusive 15% discount at checkout. Enrich your spiritual journey and bring the joy of faith into your home with The Little Rose Shop.   Timestamps: 00:00 - The Little Rose Shop 01:31 - Intro 02:24 - Welcome 04:44 - Guiding Quote and Scripture Verse 05:54 - Stillness 07:20 - Preparing Our Hearts 11:29 - Distractions 14:16 - Intentional and Incarnational 17:25 - Slowing Down 18:57 - Finishing Well 20:16 - Practical Ideas 25:59 - Announcement 27:36 - One Things  30:08 - Closing Prayer

Welcome to PTBN Pop's Video Jukebox Song of The Day! Every weekday will be featuring a live watch of a great and memorable music video. The James Bond movie franchise has so many great theme songs, so all of the songs this week are from one of the many films. On today's episode, Andy Atherton is watching, “You Know My Name” by Chris Cornell from 2006. The YouTube link for the video is below so you can watch along! https://www.youtube.com/watch?v=YnzgdBAKyJo Vi

“It shook my foundations. I flipped from being someone that was 'Just get on with it' to a person who felt far more empathy, understanding not everyone has the tools to be able to 'Just get on with it'.” - Natasha Stone Arm yourself because no one else here will save you? It's a brilliant song lyric, but how far does being self-reliant really help us? When is the time to call for reinforcements? And how do we find the words when social norms tell us to keep things inside, especially if we're men? All of these questions and more get answers in this chat, which has its origins off the back of a heated Bond Book club debate. When they got together, now over a year ago, to discuss Natasha's first reading of Fleming's Casino Royale, David and Natasha had wildly diverging views of the character of Bond: Natasha felt Bond was too needy and ‘unmasculine' whereas David found his vulnerability role model-worthy. With unflinching honesty, Natasha traces her ideas about masculinity back to early childhood, when she formed a fantasy of the ideal man being of the ‘Alpha' variety. A defining moment of Natasha's childhood was her mother - an incredibly strong woman - having a nervous breakdown. This formed her earliest ideas about mental health. Her self-created ‘inner steel' helped steer her through very difficult times, including finding herself unexpectedly pregnant while at university. And then, two decades later, a shocking tragedy completely shook Natasha's foundations and upended her perspective on masculinity and mental health. “Boys will smile, even when they're in complete turmoil.” - Natasha Stone A mother of four boys and one girl, Natasha shares her insights into the importance of communication for ensuring mental wellbeing, particularly for young men. David opens up about the ways we can make a difference, using examples from his professional life as an educator. Ultimately, they agree that the key is finding a middle ground between being self-reliant and knowing when to call for support. They link everything back to Bond books and films, and specifically the song ‘You Know My Name'. Finally, they share some pearls of wisdom from Bond Girl/force of nature Martine Beswicke. Natasha mentions fundraising for mental health charity CALM, which you can find out more about here: https://www.thecalmzone.net/

Minute Dryden becomes Bond's second kill and his 00 Status is confirmed.  We see the gun barrel dovetail into the narative and the opening line of You Know My Name is sung.  This week to break down minute 4 of Casino Royale I'm joined by Kyle Barbeau of Easy Smiles and Expensive Watches.  We also have some quotes from Malcom Sinclair who played Dryden. We get to the bottom of that desk top family photo.  I have included a link to the interview plus some show notes here.

Minute Dryden becomes Bond's second kill and his 00 Status is confirmed.  We see the gun barrel dovetail into the narative and the opening line of You Know My Name is sung.  This week to break down minute 4 of Casino Royale I'm joined by Kyle Barbeau of Easy Smiles and Expensive Watches.  We also have some quotes from Malcom Sinclair who played Dryden. We get to the bottom of that desk top family photo.  I have included a link to the interview plus some show notes here. This show is supported by WILDE & HARTE:  Use discount code at Checkout: Tailor20 for 20% off.  And also KHV CONCEPT  Use MSTYLE10” for 10% off. 

link Трек-лист: 01. The Chemical Brothers — Block Rockin' Beats 02. The Drums — Let's Go Surfing 03. Curtis Mayfield — Move On Up 04. El Professor — Bella ciao (HUGEL Remix) 05. The Bas Lexter Ensample — Pretty Girls 06. Chris Cornell — You Know My Name 07. Day One — Bedroom Dancing 08. … Продолжить чтение Lofstrom loop 358 (05.01.2024)

Ponder this question. Is my life pointless or is it profitable?No rights owned to You Know My Name by Tasha Cobb. Subscribe to enjoy all episodes of God's Toolbox.

Singles Going Around- 2000 ManBack with this week's podcast episode, full of classics.The Rolling Stones- "Citadel"Tommy James & The Shondells- "Crimson & Clover"The Kinks- "Muswell Hillbilly"Led Zepplin- "You Shook Me"John Lee Hooker- "Dimples"Jimi Hendrix- "Come On"The Beach Boys- "I Was Made To Love Her"Love- "My Little Red Book"The Standells- "Sometimes Good Guys Don't Wear White"The Beatles- "Baby You're A Rich Man"Lightnin Hopkins- "Wine Spodee O Dee"The Rolling Stones- "Respectable"Elmore James- "Coming Home"The Beach Boys- "Gettin Hungry"The Kinks- "Act Nice & Gentle"The Beatles- "You Know My Name"The Byrds- "Wasn't Born To Follow"The Rolling Stones- "2000 Man"*All selections taken from vinyl records.

Arm yourself because this week's episode will not save you… but it sure as hell is going to explore the song "You Know My Name" by Chris Cornell from the 2006 film Casino Royale. It's our first bond song on The Song Will Go On! Guest: Gabe Feinber Twitter: @GLFeinberg Support us on Patreon so we can grow the pod! https://my.captivate.fm/www.patreon.com/thesongwillgoon (www.patreon.com/thesongwillgoon) Need more The Song Will Go On in your life? Follow us @thesongwillgoon on Twitter and Instagram, and check out http://www.thesongwillgoon.com/ (www.thesongwillgoon.com).

You Know My Name by Naomi Doell & Group - July 29, 2022

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

Synopsis: This week Brandon interviews a local recording artist about their new album “Living Proof.” Living Proof was released at the beginning of 2022, just several months after Hurricane Ida struck landfall. Hurricane Ida cause devastating damage to the area that left a lot of people in disarray. This album was released at the perfect time for people. The album brings encouragement and peace. Tune into this discussion with Brandon Queen and Janet Thompson. Meet the Guest: Janet grew up as a little barefoot country girl in Belah, La. She was the youngest of three children. She was raised in the church and had wonderful parents. The biggest spiritual influence was her Grandmother Gulde, who she states was a Proverbs 31 woman! Janet always loved music and participated in youth choirs in school and church as she was perusing her career in music. Janet graduated from Jena High in 1986 and married her high school sweetheart, Patrick “Packy” Thompson in June of that year. She worked alongside her husband in the Ministry in many different roles. She sang and played the piano as she did Intern with Packy's parents at Maranatha Assembly in Jena, La. The couple took a staff position in Eunice, La. where they stayed for 3 years. They were Youth Pastors and Janet was the Worship Leader. They began their family in 1991 when their first son, Trey was born, then Joshua in 1995, and Amanda in 2000. The Thompsons came to Bayou Blue Assembly in 1993 as Senior Pastors. Janet became the worship leader shortly after they came to Bayou Blue and has continued that calling to this day. She has been on Staff since 2010 as the Music Pastor. Janet has received her Ordination to Minister through the Assemblies of God. Her heart is to lead people into the presence of God every time they walk into the church and she desires each one to know the peace and joy that He brings! How to find the material: You can click on the link to Living Proof on iTunes, Spotify, and YouTube. You can visit Bayou Blue Assembly of God by clicking here! The E.A.R. Podcast can be found on any major podcast platform or you can get the episodes here. Janet sings a portion of “You Know My Name” - (25:00) Works Cited: Cover Art: Brandon Queen | Bible Translations – English Standard Version (unless stated/noted in the interview) | Quotes: authentic from the host and guest (unless stated/noted during the podcast). You find other podcasts like mine here! --- Send in a voice message: https://anchor.fm/elderqueen/message Support this podcast: https://anchor.fm/elderqueen/support

Synopsis: This week Brandon interviews a local recording artist about their new album “Living Proof.” Living Proof was released at the beginning of 2022, just several months after Hurricane Ida struck landfall. Hurricane Ida cause devastating damage to the area that left a lot of people in disarray. This album was released at the perfect time for people. The album brings encouragement and peace. Tune into this discussion with Brandon Queen and Janet Thompson. Meet the Guest: Janet grew up as a little barefoot country girl in Belah, La. She was the youngest of three children. She was raised in the church and had wonderful parents. The biggest spiritual influence was her Grandmother Gulde, who she states was a Proverbs 31 woman! Janet always loved music and participated in youth choirs in school and church as she was perusing her career in music. Janet graduated from Jena High in 1986 and married her high school sweetheart, Patrick “Packy” Thompson in June of that year. She worked alongside her husband in the Ministry in many different roles. She sang and played the piano as she did Intern with Packy's parents at Maranatha Assembly in Jena, La. The couple took a staff position in Eunice, La. where they stayed for 3 years. They were Youth Pastors and Janet was the Worship Leader. They began their family in 1991 when their first son, Trey was born, then Joshua in 1995, and Amanda in 2000. The Thompsons came to Bayou Blue Assembly in 1993 as Senior Pastors. Janet became the worship leader shortly after they came to Bayou Blue and has continued that calling to this day. She has been on Staff since 2010 as the Music Pastor. Janet has received her Ordination to Minister through the Assemblies of God. Her heart is to lead people into the presence of God every time they walk into the church and she desires each one to know the peace and joy that He brings! How to find the material: You can click on the link to Living Proof on iTunes, Spotify, and YouTube. You can visit Bayou Blue Assembly of God by clicking here! The E.A.R. Podcast can be found on any major podcast platform or you can get the episodes here. Janet sings a portion of “You Know My Name” - (25:00) Works Cited: Cover Art: Brandon Queen | Bible Translations – English Standard Version (unless stated/noted in the interview) | Quotes: authentic from the host and guest (unless stated/noted during the podcast). You find other podcasts like mine here! Send in a voice message: https://anchor.fm/elderqueen/message Support this podcast: https://anchor.fm/elderqueen/support

Welcome to another search for the worst album of all time here on Broken Records. Steve and Remfry really don't want to be here this week as they are covering an album by one of their heroes; the late, great Chris Cornell and his third studio album Scream released on the 10th of March 2009.  Cornell had become a legit mainstream star in the mid 00's after his cover of Billie Jean by Michael Jackson was being karaoke-massacred by X-Factor contestants and his song You Know My Name being an actual Bond theme! Not bad for the singer in an alternative rock band that had split a decade earlier. Being hot stuff he decided to rope in pop producer extraordinaire Timbaland, he of the sublime work of early Jay-Z, Missy Elliott and Justin Timberlake's banger filled Justified album, to work on some new material. An odd pairing? Maybe on paper, but then Cornell has a voice of such stunning quality that he would easily be able to pull off pretty much any genre right? Sure, but by this time Timbaland was working with the likes of New Kids on the Block, Black Eyed Peas and The Pussycat Dolls, and it was tempting to say that the pop revolution that he helped kick-start in the early part of the decade was starting to sound a little stale and oversaturated in 2009. What we got was an album that plays to neither man's strengths, despite the two enthusiastically telling the press how great it was to be working with each other and both the rock and mainstream worlds looked at Scream like a middling half-way house that neither rocked like Cornell's early material or made you want to get up and dance in the way that Timbaland at his best could. A shame, but then we got Soundgarden back for a few years in the aftermath, so was it really all that bad? Videos https://youtu.be/7GiyhVHIiWo (Chris Cornell - Scream (Official Music Video)) https://youtu.be/-OgwDVaCiSw (Chris Cornell - Part Of Me ft. Timbaland (Official Video))

Pat and Kyle discuss the 5 theme songs associated with the Daniel Craig era James Bond films.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

That last episode nearly killed us but we're back at it.  Join your favourite TransAtlantic podcasting crew – Ian, Liam, and Georgia - Ellie's still working on her 2nd kill - as we joined by Friend & Neighbour of the Podcast, Richard to discuss all things Bond in Casino Royale. We've got an itch we could use a little help scratching in our 89th episode as we discuss: Where Daniel Craig was when we learned he was going to be James Bond Which director offered to do the film and how manic it would have been Ian does a little poker-for-dummies explanations and rants about how unrealistic the Texas Hold' Em is in this film Where does Le Chiffre fit in with the great Bond villains? We all get nostalgic about something very odd We debate whether it's possible that sucking someone's fingers is NOT a sexual act Georgia sums up all Bond films in about 30 seconds Where do we all rank Chris Cornell's "You Know My Name" as a Bond theme Whether it's possible for a film to feel bloated and rushed simultaneously We all share the first album we ever bought Whether or not Heat is the Best Film Ever. Support the BFE with a donation at https://linktr.ee/bestfilmeverpod Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/ Massive thanks to Lex Van Den Berghe for the use of 'Mistake' by Luckydog.  Catch more from Lex's new band, The Maids of Honor at https://soundcloud.com/themaidsofhonor Also massive thanks to Moonlight Social for our age game theme song.  You can catch more from them at https://www.moonlightsocialmusic.com/ Timestamps for this episode: 0:00 - Opening Banter 10:25 - Shoutouts 24:15 - Deep Dive 2:10:00 - Endgame

Career Conversations with Sam Elliott. Moderated by Jenelle Riley, Variety. Sam Elliott stars alongside Bradley Cooper and Lady Gaga in Warner Bros. Pictures "A Star is Born." He has an iconic career that began with a bit part in the classic film “Butch Cassidy and the Sundance Kid.” He rose to stardom playing the lead in the cult classic “Lifeguard,” and has since built a career with many memorable and iconic film and television roles. Elliott's other film work includes “The Man Who Killed Hitler and Then The Bigfoot,” directed by Robert Krzykowski and executive produced by John Sayles. On television, Elliott stars opposite Ashton Kutcher in the hit Netflix comedy series “The Ranch”. Recently, Elliott received rave reviews for his starring turn in Brett Haley's “The Hero,” opposite Laura Prepon and Nick Offerman, making it his second feature with Haley, following “I'll See You in My Dreams.” His other notable film credits include “Mask,” “Fatal Beauty,” “Road House,” “Rush,” “Gettysburg,” “Tombstone,” “The Big Lebowski,” “The Hi-Lo Country,” “The Contender,” “We Were Soldiers,” “Off the Map,” “Hulk,” “Thank You for Smoking,” “Barnyard,” “Ghost Rider,” “The Golden Compass,” “Up in the Air,” “Did You Hear About the Morgans?,” “Marmaduke,” “The Company You Keep,” “Draft Day,” “Digging for Fire,” “Grandma,” “The Good Dinosaur” and “Rock Dog.” Elliott's television credits include a recurring role on the hit FX series “Justified,” for which he won a 2015 Critics' Choice Award, Netflix's “Grace and Frankie,” and the NBC comedy “Parks and Recreation.” He was nominated for an Emmy and a Golden Globe for his role in the 1995 CBS miniseries “Buffalo Girls.” His other television movie credits include “Avenger,” “You Know My Name,” “Conagher”—for which he was nominated for a Golden Globe—and “The Quick and the Dead.” In 2013, he was nominated for an Emmy Award for Outstanding Voiceover Performance for his work on the popular Cartoon Network series “Robot Chicken.”

Så er pladen vendt – side 1 er endevendt og nu skal det handle om side 2 på Let It Be – LP´en fra maj måned,1970. Det sidst udsendte album i diskografien, mens The Beatles stadigvæk eksisterede som kvartet. Pladesiden hvor The Long And Winding Road rejser sig som et stort fyrtårn mange elsker at hade. Men som også rummer noget af det mest gyngende, swingende nogensinde produceret af The Beatles. I´ve Got A Feeling, Get Back, For You Blue og One After 909. De to b-sider: Don´t Let Me Down og You Know My Name, ryger også med I Toppermost-pujlen. Claus Nielsen er med igen. Ham kan du læse mere om her: https://www.facebook.com/cln1974. Derudover kigger episoden også på det store perspektiv: Hvad skete der med Let It Be efter 1970 – og hvad skal der ske i efteråret, når albummet remixes og genudgives?   Hvad synes du om Let It Be side 2 i almindelighed og The Long And Winding Road i særdeleshed?  Du er meget velkommen til at blande dig i debatten: https://www.facebook.com/search/top?q=elsker%20the%20beatles

APPLY NOW to work with me! https://brookethomas321708.typeform.com/to/cHCppKqW thefaithfreebie.com Join Brooke's mental wellness team: myamareglobal.com/10039/en-US/ Follow Brooke on Social Media https://www.brookethomas.com/ https://www.facebook.com/groups/liveoutloudtribe/ https://www.instagram.com/liveoutloudbrooke/ https://www.linkedin.com/in/thomasbrooke/ Want faith to come ALIVE in your life? You absolutely can put your relationship with the Lord at the center of your life and work, allowing Him to guide you in everything you do. Listen in as Brooke explains how to put God first and put faith in ACTION in your life and business! In this episode, you will learn about…  The power of women coming together in Jesus' name to call each other higher What Brooke shares with her Mastermind group in their Monday Faith in Action calls How putting God first is the #1 thing that has helped Brooke's business What Jeremiah 33:3 teaches us about achieving clarity through our Creator The promise of peace and freedom God promises us in John 14:26-27 How Tasha Cobbs Leonard's ‘You Know My Name' inspires Brooke's courage Brooke's challenge to lean in to worship and leverage LOVE as fuel Show Notes Want faith to come ALIVE in your life? You absolutely CAN put your relationship with the Lord at the center of your life and work, allowing Him to guide you in everything you do. On this episode of the podcast, Brooke discusses the Scripture she shared with her Live Out Loud Elite Mastermind this week, explaining how to put God first and put faith in ACTION in your life and business. She introduces us to Jeremiah 33:3 and John 14:26-27, describing how we can build a relationship with our Creator to achieve clarity, find peace and inspire courage. Listen in for Brooke's challenge to lean into worship for inspiration and learn how to leverage LOVE as fuel to be the light in the world! Resources Jeremiah 33:3 Brooke's Instagram Post on Jeremiah 33:3 John 14:26-27 (Passion Translation) ‘You Know My Name' by Tasha Cobbs Leonard Oceans Church Live Out Loud Tribe on Facebook Email brooke@brookethomas.com

It's CAREER WEEK on THE SWIRL! And we've got a music-filled, jam-packed piece of entertainment for your podcast-listening joys. We start with some follow-up plans and strategies from our very popular AAPI Checki-In Emergency podcast with Erin Quill & Pearl Sun – just because it isn't in the news, doesn't mean it isn't happening. Then it's time for a quick “Vaccination Update” and a new stab at a new jingle. (Get vaccinated, everybody!) This week's THIS WEEK IN GAGGERY is next, with a shout-out to our sister Chantal Nchako's gag-worthy shoe line CHOOBIZ (www.chantalnhako.com), before launching into our discussion of our careers, the navigation of their twists and turns, and how Swirly racial dynamics played a role even in the best of recent times. Then, in a far-reaching, freewheeling interview, the great singer-songwriter Morgan James talks us through her journey to the center of Broadway, Motown The Musical, Sony Music, Singer/Songwriter Recording Artist for LA Reid, and Producer and Star of the all-female “Jesus Christ Superstar,” punctuated by some choice music excerpts you will not wanna miss. Pick up Morgan's latest album “Memphis Magnetic,” “Quarantunes,” on her YouTube channel, or on every platform from her website, www.morganjamesonline.com. You are so very welcome. Songs by Morgan excerpted on this podcast: “I Wish You Would,” “You Know My Name,” and “I Don't Mind Waking Up (To A Love This Good”) With Ryan Shaw; and excerpts from “Jesus Christ Superstar, She Is Risen”, music by Andrew Lloyd Webber, lyrics by Tim Rice: “Simon Zealots,” and “Gethsemane." Enjoy this very special musical episode, and… you know the rest. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/david-goldsmith/support

John 1:35-50

Happy 2021, listeners! To ring in the new year, Jason and Jax discuss their shared love of the season finale of The Mandalorian Season 2 and their shared skepticism of Wonder Woman 1984. Jax spent the holiday break watching all of Daniel Craig’s James Bond tenure, and Jason started bingeing The Expanse and the Snowpiercer TV series. Jax watched Gerry’s new movie, Greenland, because she always supports her man. And Bill and Ted Face the Music along with Jax, as she learns of Jason’s love for Chris Cornell’s “You Know My Name.”

Help, Thanks, Wow! The Lord’s Prayer, II: Father in Heaven, How'd You Know My Name 01/10/2021 by Kenilworth Union Church

This episode of Big Blend Radio features Joey Stuckey, an award-winning blind guitarist, songwriter, singer, composer, producer, radio and television personality, music columnist, educator and sound engineer. Joey is also the official music ambassador for Macon, Georgia, the “southern rock capital of the world.” Joey's latest single “You Know My Name” was produced at his Shadow Sound Studio recording facility, and features special guest Randall Bramblett (Traffic and Steve Winwood) on B3, and Charlie Hoskyns (UK band The Popes) on bass. Along with talking about his music career, composing and recording, production and sound engineering work, Joey plays a fun round of Spontuneous “The Song Game”. https://www.joeystuckey.com/

Fire and Water Records is back by popular demand... or the guest's demand, to be more precise. Ryan Daly submits to Andrew Leyland's indomitable will to be on Soundtrack Selections volume 9. Run through the streets of Scotland or drive through the hills of Italy. Swing from the tallest New York skyscrapers while a ferocious monster terrorizes London's porno district. Groove to that futuristic disco beat and save the galaxy with punk rock. All that and more, plus: Queen, James Bond, and the most superfluous scene in Rocky IV! Track list “Lust for Life” by Iggy Pop from Trainspotting “No Easy Way Out” by Robert Tepper from Rocky IV “Don't Stop Me Now” by Queen from Shaun of the Dead “What's Up Danger” by Blackway and Black Caviar from Spider-Man: Into the Spider-Verse “You Know My Name” by Chris Cornell from Casino Royale “Moondance” by Van Morrison from An American Werewolf in London “Something Kinda Funky” by Stu Phillips from Buck Rogers in the 25th Century “Cherry Bomb” by The Runaways from Guardians of the Galaxy “You Give a Little Love” by Paul Williams from Bugsy Malone “La Bamba” by Los Lobos from La Bamba “Getta Bloomin' Move On! (The Self-Preservation Society)” by Quincy Jones from The Italian Job Additional music by Ray Parker, Jr.; The Soggy Bottom Boys; Whitney Houston; Prince; Will Smith; Madonna; Seal; Irena Cara. Let us know what you think! Leave a comment or send an email to: RDalyPodcast@gmail.com. Like the FIRE AND WATER RECORDS Facebook page at: https://www.facebook.com/firewaterrecords/ This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK. Visit our WEBSITE: http://fireandwaterpodcast.com/ Follow us on TWITTER – https://twitter.com/FWPodcasts Like our FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Subscribe to FIRE AND WATER RECORDS on iTunes: https://podcasts.apple.com/us/podcast/fire-and-water-records/id1458818655 Or subscribe via iTunes as part of the FIRE AND WATER PODCAST: http://itunes.apple.com/podcast/the-fire-and-water-podcast/id463855630 Support FIRE AND WATER RECORDS and the FIRE AND WATER PODCAST NETWORK on Patreon: https://www.patreon.com/fwpodcasts Thanks for listening!

Join Big Blend Radio hosts Nancy J. Reid and Lisa D. Smith, the mother-daughter travel team and publishers of Big Blend Magazines, for this conversation with Joey Stuckey, an award-winning blind guitarist, songwriter, singer, composer, producer, radio and television personality, music columnist, educator and sound engineer. Joey is also the official music ambassador for Macon, Georgia, the “southern rock capital of the world.” His latest single “You Know My Name” was produced at his Shadow Sound Studio recording facility, and features special guest Randall Bramblett (Traffic and Steve Winwood) on B3, and Charlie Hoskyns (UK band The Popes) on bass. Along with talking about his music career, composing and recording, production and sound engineering work, Joey plays a fun round of Spontuneous “The Song Game”.  

Miss one of the shows this week? No problem! Quick News To Go combines all of the shows from the week in one convenient spot.HELP WANTED: if you have the time, would you head over to https://awards.discoverpods.com/nominate/ and nominate "Quick News Daily Podcast" for Best News Podcast, Best New Podcast of 2020, Most Innovative Podcast, and Best Overall Podcast? Thank you!!Just because I felt like switching it u,p and I think it's underappreciated, the ending song is "You Know My Name" by the late, great Chris Cornell. It was the theme for the James Bond movie "Casino Royale", and was produced by Cornell and David Arnold. I do not own the song in any way, I just enjoy it.----more----Find where to listen at https://kite.link/QuickNewsIf you'd like to support the show and help the podcast grow, consider visiting us at PATREON, STEADY, or PAYPAL. In exchange for a recurring monthly contribution, you'll earn rewards based on your level of support. Thanks for listening!Sources

Inspired by Tasha Cobbs Leonard's song "You Know My Name," which I can never listen to without worshipping, today we will spend some time diving into what God really says about us. Let's explore how it impacts how we navigate this next season as God awakens the "Peter" in all of us.

Programa nº 172 de El podcast de Cinoscar & Rarities. 8º podcast especial de verano dedicado a los premios Óscar del S. XXI. Repaso a los Óscar 2006 y a las películas que no fueron nominadas. Además, nuestro compañero Álex Martín reseña "GRACIAS POR FUMAR", de Jason Reitman. ¡Gracias por darle al play! Guía del programa: 0' Presentación - 1' Análisis de los Óscar 2006 - 6' Los olvidos de los Óscar 2006 - 11' Reseña de "GRACIAS POR FUMAR" - 16' Despedida y canción: You Know My Name, de "Casino Royale" Redes sociales: @CinoscaRarities Blog: https://cachecine.blogspot.com.es/ Correo: cinoscararities@gmail.com Escúchanos en Spotify, Ivoox y Itunes ¡Buscamos colaboradores! ¡Contacta con nosotros!

Let's face it. There were a few stinkers. From "Revolution #9" to "You Know My Name, Look Up The Number" and a few in between, He is our listener's Top 10 (or so) least favorite Beatle songs. Enjoy --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/full-circle-analog/support

Find us at: iTunes Spotify Patreon CONTENT WARNING: Sexism, misogyny, violence, murder, assassination, trauma, language. This week, Andrew of the incomparable Keanu-cast Cool Breeze Over the Mountain is here to praise the biggest game-changer in the entire Bond franchise. Like, no one was ready for what Barbara Broccoli was planning in 2006 when she finally got the rights to tell James Bond’s origin story. We’ve already talked about the travesty of the 1967 screwball comedy disaster, but this - this movie stands alone as a pretty damn good movie without any of the Bond baggage attached. There’s an origin story, breathtaking stunt work, a fully-realized set of characters including a cheeky, murderous Bond and truly real, vulnerable Bond Girl in Vesper. And oh, did we mention Daniel Freaking Craig?! Yeah, he’s here, making a big, BIG statement about what James Bond will be for the foreseeable future. We’re ushering in a new era as we discuss 2006’s Casino Royale this week on Macintosh & Maud Haven’t Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. If you like the podcast, make sure to subscribe and review on iTunes, Spotify, or your favorite podcatcher, and tell your friends. Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from "James Bond Theme," written and composed by John Barry, and performed by the John Barry Orchestra. ℗ 1962, 2012 Capitol Records LLC. Excerpts taken from the film Casino Royale, copyright 2006 Danjaq, LLC, United Artists Corporation, and Columbia Pictures Industries, Inc. Excerpt taken from "You Know My Name," written by Chris Cornell and David Arnold, performed by Chris Cornell. Copyright 2006 Suretone/Interscope Records. Excerpt taken from “Thunderball,” written and performed by Johnny Cash. Copyright 1965, 2013 Sony Music Entertainment. Excerpt taken from “Miserlou,” written by Chaim Tauber, Fred Wise, Milton Leeds, and Nicholas Roubanis. Performed by Dick Dale and his Del-Tones. Copyright 1962 Colonial Music Pub. and Monsour Publishing Co.

My guest for this episode is Pastor Gloria Brintnall. Gloria has served as an itinerant minister for several years, taking her passionate preaching and teaching of the Word of God throughout America. She's assisted in the planting and establishment of four satellite churches. She is the author of 3 books. Stuff Happens, HOPE Anyway is her most recent book and the one we'll be discussing in this interview. I want to set the back story of why this interview was important to me. Imagine there is a couple in your church. The couple leads worship at your church. You know there kids because you serve them in the youth dept. They move away because of a call to ministry. They travel the world ministering through song. Years later, they settle into lead a church. Their kids are either young adults at this point or approaching it. They are not a constant in your life, but they are a family that you once knew. Then, one day you learn that the husband has been arrested and sentenced to prison time. This family’s world is flipped upside down. Because you are not close friends, you witness how the mom and her children move forward in their lives from a distance through Facebook. After a decade has passed the wife writes a book sharing how God kept her and her children and restored her through the storm. Now that you have that insight, one more thing before I share the interview. I’m called to help women heal from the pain of a devastating defining moment and get on with living the good life God has planned for them. What struck me most about Pastor Gloria’s story is how her message of hope shines through in the midst of a devastating, defining moment in her life. It has not marked her with bitterness or even fear about the future. I find that remarkable and I believe you will too. *********************** Show Notes: Stuff Happens: HOPE Anyway GloriaBrintnall.com Instagram: @GloriaBrintnall Reach out to a local Christian therapist for help with porn addiction. Love Must Be Tough by James Dobson Boundaries by Dr. Henry Cloud Every Man's Battle by Stephen Arterburn & Fred Stoeker Tasha Cobby & Jimi Cravity  "You Know My Name with lyrics" Tauren Wells "Echo" *********************** 5 Day Challenge: Join the Focus.me Project The STRONG Womanhood Growth Journal: Activate the Courage to Live Out Your Calling is a self directed guide for women who want to be active participants in their personal transformation and are looking for a process to mentor them through it. And it's finally here! Get it at Amazon: BUY THE BOOK Amazon Book Review: "I highly recommend this journal. I discovered actionable steps to take on my next journey into becoming more consistent with reaching my goals. The messages shared by Kendra are full of wisdom and timeless. The thought provoking questions will assist you in transforming into a confident and courageous woman." *********************** Subscribe to the #WorkYourPlan Podcast and published episodes will come right to the podcast app on your phone and/or join our email list for a daily email reminder when a new episode is ready. If you enjoyed the show, please subscribe, rate it on iTunes with a short review. Connect with Kendra personally @kendratillman on Instagram. Ask a question on the podcast episode at strongher.me/blog or by emailing strongerevent@gmail.com.

Com um papo de lobby um pouco mais longo, o Vina e o Gabriel trocam opiniões sobre a franquia 007. Na conversa lembram que não existe mais bondgirls, de cenas bobas como uma perseguição em um oleoduto, e outras clássicas como o salto na represa e atrás de um avião em Goldeneye, e a perseguição de helicóptero atrás de uma moto em O Amanhã Nunca Morre. Também fazem questão de deixar claro que Spectre, o último filme da franquia é um desastre. Nesse sentido, o Vina relembra os absurdos da era do Sean Connery, como um racismo contra asiáticos e o estupro de uma personagem clássica. Mas, no papo que mais curtem, falam das músicas de abertura que mais gostam, como Live and Let Die, The World is Not Enough, Goldeneye, Die Another Day, Tomorrow Never Dies, You Know My Name, Skyfall, The Writting is on the Wall e Another Day to Die. Já na previsão do futuro da série, celebram a participação da Lashana Lynch como 007 no próximo filme. No papo de bar, Vina surpreende o Gabriel com uma animação japonesa chamada Mary e a Flor da Feiticeira, de um estúdio nascido do Ghibli. Enquanto isso, o Gabriel desanima com o filme de zumbi medieval Desenfreado. No check-out, as dicas são o canal de youtube, Girlfriend Review, em que o Gabriel se diverte com uma visão diferente sobre videogames. E o Vina sugere o jogo da possivelmente falida AnnaPurna, Florence. O Grand Hotel Podcast é um dos podcasts do site Aquela Velha Onda – velhaonda.com E-mail: velhaonda@velhaonda.com Facebook: www.facebook.com/AquelaVelhaOnda/ Instagram: @aquelavelhaonda Twitter: @OndaVelha Música final: Lifeline, do Jamiroquai

Carolyn McCormick was born in Midland, Texas and grew up in Houston where she went to The Kinkaid School. Upon graduating she went to Williams College where she majored in theatre and graduated with honors after directing and translating Jean Paul Sartre’s No Exit for her senior thesis. For the next four years she lived in San Francisco getting her masters degree in acting at the American Conservatory Theatre. After two years as a student she joined the main stage acting company. Her first break in film was playing Jimmy Stewart’s daughter in The Late Christoper Beane but sadly the film was shelved after Carol Burnett backed out of the film for medical reasons. Her next break was a film in Germany with Dennis Quaid and Lou Gosset JR. directed by Wolfgang Peterson, Enemy Mine. After that she joined the cast of Spenser for Hire in Boston with Robert Urich. When that show ended she hit the road with her soon to be husband Byron Jennings working all over the country doing plays across the country from the Denver Center to Baltimore’s Center Stage, Seattle Rep, The Old Globe in San Diego and Yale in New Haven, before settling down in New York city to start her family.       In the early 90’s she began working on Law and Order as the shrink Dr. Olivet and has played that role in every spinoff of that show over the past few decades. During that period she has relocated to LA a few times for various projects including the TV series Cracker and a TNT original film called You Know My Name with Sam Elliot, as well as Minuet Riker on Star Trek the Next Generation. Most of her time is spent in New York City and when she is not working in film and television she is performing in theatre on and off broadway and has an active voice over career doing myriad political spots, Ken Burns documentaries and audio books, including the Hunger Games series. 

Today we're going to look at the moment in Jesus' story of the prodigal son, where the Father restores his sonship. May the incredible love of the Father displayed in this moment of Jesus' story give us a glimpse into how our heavenly Father feels about us today. Our Scripture for today comes from 2 Corinthians 6:18, and today's worship is You Know My Name by Tasha Cobbs Leonard feat. Jimi Cravity. If you feel called to support First15 financially and double your impact today with a matching grant, you may give here or text GIVE15 to 50700. First15 is a daily devotional written and recorded by Craig Denison. If you would like to learn more about the First15 app, books, blogs, videos and our other resources, please visit first15.org. You can always reach out to us on our contact page on the website. 

  In Episode 13: Laying Aside Our Masks, I share the journey God has taken me on to lay aside masks that I have used to shield my true self and true feelings from Him. Listen in as I share the steps that have lead me to bravely reveal my raw, authentic self to God and others. Resources Mentioned The Simple Faith of Mister Rogers by Amy Hollingsworth Episode 3: Angela Pryor Feelings Wheel Scriptures mentioned: Matthew 11:28-30, Psalm 27:7-10, Psalm 55:1-8, Psalm 119:81-88, Psalm 89:46, Hebrews 4:14-16, Proverbs 29:25, Psalm 139:1-2, Psalm 23 This Week’s Belt of Truth: God is your Shepherd - John 10:1-16 You Know My Name by Tasha Cobbs Leonard ft. Jimi Cravity  How To Identify When You Are Masking: Ask yourself the following questions: Why am I minimizing my authentic self with this person? Why am I hiding or trying to cover up? Am I trying to please them or do I fear this person? What is it about this person that is causing me to shrink back or morph into something that I am not? Why do I want this person’s approval? Am I seeking this person’s approval instead of God? What lies am I believing about God that are preventing me from being real with Him? Ex. He doesn’t care, He will not comfort me, He doesn’t hear me. What lies am I believing that are preventing me from being authentic with others? Ex. ALL people are the same and I’m ALWAYS going to be rejected, It’s too risky and not worth it, It’s better to shield myself than to actually get hurt or experience pain. Use the Feelings Wheel to help identify your feelings and start talking to God about it. Even if your feelings and thoughts involve doubting Him. Remember, He already knows your thoughts even before you voice them (Psalm 139:1-2). Grab your Bible and look up scriptures about who God is and His faithfulness. Read over some of the scriptures mentioned in this episode. Spend time thanking God for who He is. Unmasking with God becomes easier when you know who He is and you know His character.   Want to contact me? Follow me on Instagram: @unashamed_and_free Email me at danielle@unashamedandfree.com  

This week I'm encouraging you to remind God of what He said about you. Sis, if you don't see it in your life and He said it, remind Him. He didn't forget but your reminding shows God that you believe that He can do it! The scripture of the week is 1 Samuel 1: 1-20 and the song of the week is "You Know My Name" by Tasha Cobbs **I do not own the rights to this music** If you have some things that you know God wants to do though you and you don't know where to start, schedule a 1-on-1 session with me to find out how I can help. Click here to schedule - bit.ly/2FDBPDv Join us for a LIVE podcast in Philly and Atlanta....Register and bring a friend. I want to SPEAK LIFE into you in person - proverbs31boss.brushfire.com/events/450685

Just a sample of the Little Rock / Hot Springs District Choir rehearsing You Know My Name

Welcome to What Does It Matter? Podcast! Episode #47: MCU and SPOILERS! Jamie Insalaco returns to chat the MCU!We go through the 19 movies and "rank" them to some extent.My language choices are also questioned.Tune in. Tell your friends. Enjoy the real!Download the episode HERE! William Zabka!The Glaive!MCU villains!80's movies.Quoting movies?Lethal Weapon.Spoiler city, right?Theater talking!!!!!!!!Alan Silvestri!The MCU movies. https://creativejamie.com/https://twitter.com/CreativeJamieDCThe Adventure SoundtrackMikey Mason - DrivenThe Runner's House"You Know My Name" by Chris CornellFrom the film "Casino Royale"Performed by "Q The Music Show"."The Gates Of Fallopiah" by Sean Faust. Drums by Edward Faust.Copyright 1997 Verkelehiekelum Music"I Don't Know" by Sean FaustCopyright 2009 Verkelehiekelum MusicFrom the album "Something Real".Don't forget to use these links to help out What Does It Matter? Podcast! Click here to donate to WDIM Podcast! Contact, follow, and subscribe to What Does It Matter? Podcast! with these links! wdimpodcast@gmail.comhttp://www.twitter.com/wdimpodcasthttps://www.facebook.com/wdimpodcasthttps://itunes.apple.com/us/podcast/wdim-podcast/id1158571002WDIM Podcast on YouTube!https://myspace.com/wdimpodcastSubscribe in a reader Our sponsors!Anchors Mediahttp://www.anchorstoduskpublishing.com/Dave's Salsahttps://www.facebook.com/italianstylesalsaNamaste Doing Yogahttp://www.namastedoingyoga.com/American-One Productions Rehearsal Studios & More!http://americanoneproductions.com/Very special thanks to Jason from Dumbprov Podcast for the cool artwork!Find him at http://dumbprov.libsyn.com/websiteThanks to Daniel Huppert for taking the photo in the first place!

DS2B117 BRINGS YOU THE " YOU KNOW MY NAME " EP FROM JEDI . AGAIN THIS GUY DELIVERS LIKE HE DOES EVERY TIME FOR US AT DS2B AND HE DESERVES ALOT MORE RECOGNITION THAN HE GETS . AGAIN ANOTHER MASSIVE 4 TRACK EP FROM THE WOLVES MACHINE. DROPPING EXCLUSIVE TO JUNO DOWNLOAD 30TH MARCH https://www.junodownload.com/products/jedi-you-know-my-name/3708917-02/ THEN ITUNES , BEAPTORT , TRACKITDOWN AND DIGITAL TUNES 13TH APRIL THANKS FOR YOUR CONTINUED SUPPORT AND THERE IS PLENTY TO COME FROM BOTH OUR LABELS @DS2B-1 AND @AUDIOOVERLOADRECORDS . GIVE BOTH OUR PAGES A FOLLOW

DS2B117 BRINGS YOU THE " YOU KNOW MY NAME " EP FROM JEDI . AGAIN THIS GUY DELIVERS LIKE HE DOES EVERY TIME FOR US AT DS2B AND HE DESERVES ALOT MORE RECOGNITION THAN HE GETS . AGAIN ANOTHER MASSIVE 4 TRACK EP FROM THE WOLVES MACHINE. DROPPING EXCLUSIVE TO JUNO DOWNLOAD 30TH MARCH https://www.junodownload.com/products/jedi-you-know-my-name/3708917-02/ THEN ITUNES , BEAPTORT , TRACKITDOWN AND DIGITAL TUNES 13TH APRIL THANKS FOR YOUR CONTINUED SUPPORT AND THERE IS PLENTY TO COME FROM BOTH OUR LABELS @DS2B-1 AND @AUDIOOVERLOADRECORDS . GIVE BOTH OUR PAGES A FOLLOW

DS2B117 BRINGS YOU THE " YOU KNOW MY NAME " EP FROM JEDI . AGAIN THIS GUY DELIVERS LIKE HE DOES EVERY TIME FOR US AT DS2B AND HE DESERVES ALOT MORE RECOGNITION THAN HE GETS . AGAIN ANOTHER MASSIVE 4 TRACK EP FROM THE WOLVES MACHINE. DROPPING EXCLUSIVE TO JUNO DOWNLOAD 30TH MARCH https://www.junodownload.com/products/jedi-you-know-my-name/3708917-02/ THEN ITUNES , BEAPTORT , TRACKITDOWN AND DIGITAL TUNES 13TH APRIL THANKS FOR YOUR CONTINUED SUPPORT AND THERE IS PLENTY TO COME FROM BOTH OUR LABELS @DS2B-1 AND @AUDIOOVERLOADRECORDS . GIVE BOTH OUR PAGES A FOLLOW

DS2B117 BRINGS YOU THE " YOU KNOW MY NAME " EP FROM JEDI . AGAIN THIS GUY DELIVERS LIKE HE DOES EVERY TIME FOR US AT DS2B AND HE DESERVES ALOT MORE RECOGNITION THAN HE GETS . AGAIN ANOTHER MASSIVE 4 TRACK EP FROM THE WOLVES MACHINE. DROPPING EXCLUSIVE TO JUNO DOWNLOAD 30TH MARCH https://www.junodownload.com/products/jedi-you-know-my-name/3708917-02/ THEN ITUNES , BEAPTORT , TRACKITDOWN AND DIGITAL TUNES 13TH APRIL THANKS FOR YOUR CONTINUED SUPPORT AND THERE IS PLENTY TO COME FROM BOTH OUR LABELS @DS2B-1 AND @AUDIOOVERLOADRECORDS . GIVE BOTH OUR PAGES A FOLLOW

Na alle shows die we over 1967 hebben gemaakt, zijn er nog steeds een paar nummers die we nog niet hebben uitgeplozen. In dit deel leggen we All Together Now, You Know My Name en It's All Too Much op de operatietafel.

For our third episode recorded in the vaunted facilities of actual Abbey Road recording studios, we perform our own cover versions of Beatles songs. They start weird, and get weirder. We go in roughly chronological order, but because of a combination of jet lag and how last-minute we got the studio -- our song selections are truly insane.  Thankfully Joel Spence had arrived so we have his great guitar playing. And we have my own and Connor Ratliff's and Joel's spirited singing. I do recommended listening to the whole thing for our interpretations of When I'm 64 and You Know My Name, Look Up The Number. Thanks to engineer Stefano Civetta for his patience and sense of humor throughout! Back to normal next week!

Actor Sam Elliott's iconic career all began with a bit part in the classic film BUTCH CASSIDY AND THE SUNDANCE KID. His resonant drawl is instantly recognizable, with a voice that fuels international campaigns such as Dodge Ram and Coors. Sam rose to stardom playing the lead of the Paramount Pictures' cult classic LIFEGUARD. Some of his most memorable roles include playing ‘Virgil Earp' in TOMBSTONE, ‘The Stranger' in THE BIG LEBOWSKI, ‘Lee Scorseby' in THE GOLDEN COMPASS, ‘General Ross' in Ang Lee's HULK, and ‘Kermit Newman' in Rod Laurie's THE CONTENDER. His countless film credits include THE COMPANY YOU KEEP, WE WERE SOLDIERS, GHOST RIDER, THE HI-LO COUNTRY, DID YOU HEAR ABOUT THE MORGANS?, BARNYARD, OFF THE MAP, GETTYSBURG, RUSH, PRANCER, FATAL BEAUTY, MASK, UP IN THE AIR, AND THANK YOU FOR SMOKING. On television, Sam currently stars opposite Ashton Kutcher, Danny Masterson, Elisha Cuthbert, and Debra Winger in the Netflix comedy series THE RANCH, which is now in its second season. Sam had a recurring role on the hit FX series JUSTIFIED, for which he won a 2015 Critics' Choice Award. He also recurred on PARKS AND RECREATION. Elliott was nominated for an Emmy and a Golden Globe for his role in BUFFALO GIRLS. Other television credits include FAIL SAFE, YOU KNOW MY NAME, which was a movie for TNT that won the first Golden Boot “Best of the West” Award, the miniseries MURDER IN TEXAS, GONE TO TEXAS, THE SAM HOUSTON STORY, THE YELLOW ROSE and FUGITIVE NIGHTS. Film director, writer and editor Brett Haley grew up in Key West and Pensacola, Florida. He graduated with a BFA in directing from the University of North Carolina School of the Arts. He co-wrote, edited, and directed I'LL SEE YOU IN MY DREAMS, starring Blythe Danner and Sam Elliott, which premiered at the 2015 Sundance Film Festival. The film won Best Actress and Best Director at the Louisiana Film Festival, and Blythe Danner was nominated for a Gotham Award for Best Actress for her role in the film. Brett's first feature film, THE NEW YEAR, premiered and won the Audience Award for Best Narrative Film at the Sarasota Film Festival. Sam and Brett's new film is THE HERO, featured at this year's Seattle International Film Festival. Info at siff.net and TheHero.film

La cara A del sencillo: You Know My Name (look up the number)... fue puesta a la venta en marzo...

La cara A del sencillo: You Know My Name (look up the number)... fue puesta a la venta en marzo...

Special music by the Faith Lutheran church Faith Bells ensemble - You Know My Name.   

Sam Mendes revient à la réalisation d'un film James Bond pour Spectre après l'immense succès de Skyfall, une nouvelle occasion pour 24FPS, le podcast ciné avec ou sans spoiler, d'évoquer le personnage créé par Ian Fleming.Dans la première partie de l'émission, Jérôme et Julien reviennent sur l'équipe technique et le casting de cette 24ème aventure du célèbre agent secret, tout en livrant leur avis sans spoiler ! Car c'est seulement au bout de 50 minutes d'émission que retentit le signal sonore qui marque le début de la seconde partie où ils reviennent sur les principales scènes du film.Bonne écoute, et n'hésitez pas à nous dire ce que vous avec pensé de Spectre !Crédits musicaux : Writings On The Wall (Instrumental) de Thomas Newman, issu de l'album Spectre - Original Motion Picture Soundtrack (2015), et You Know My Name de Chris Cornell, issu de l'album Carry On (2007)

Ospite della puntata, stasera, Claudio Serena di Feeder, che è un grandissimo patito di James Bond: e infatti, si parte da Skyfall e si arriva all’infinito.

As trilhas mais votadas da franquia 007 vão rolar hoje no DANYCAST! Músicas deste episódio: You Know My Name – Chris Cornell Theme from Goldfinger – John Barry Goldeneye – Tina Turner Die Another Day – Madonna From Russia With Love – John Barry The World Is Not Enough – Garbage The Living Daylights – […] Lista completa das músicas no blog do Danycast!