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HOUR I

PLAYLIST AUG. 12TH 2012

The Beatles - Nowhere Man - Rubber Soul

(Lennon-McCartney) Lead vocal: John

Under pressure to deliver new material while the “Rubber Soul” album was being recorded, John Lennon spent five hours one morning at home trying to come up with a

new song. John: “I'd actually stopped trying to think of something. Nothing would come. I was cheesed off and went for a lie down, having given up. Then I thought of myself as Nowhere Man - sitting in his nowhere land.” Paul: “We were always forcing [the Abbey Road staff] into things they didn't want to do. ‘Nowhere Man’ was one. I remember we wanted very treble-y guitars, which they are, they're among the most treble-y guitars I've ever heard on record.” “Nowhere Man” was performed throughout The Beatles’

1966 world tour. Issued as a single (b/w “What Goes On”) by Capitol Records in America. Recorded on October 22, 1965.

On U.S. album: Yesterday and Today - Capitol LP

The Beatles - Think For Yourself - Rubber Soul

(Harrison) Lead vocal: George

The fifth original composition by George Harrison to be recorded by The Beatles was completed on November 8, 1965 in one take with overdubs under the working title

“Won’t Be There With You.” The song features Paul playing his bass through a fuzz box to give it a distorted sound.

On U.S. album: Rubber Soul - Capitol LP

The Beatles - Eleanor Rigby - Revolver

(Lennon-McCartney) Lead vocal: Paul

The Beatles’ thirteenth single release for EMI’s Parlophone label.

Essentially a Paul McCartney solo composition, he had some help with the song’s storyline from John, George, Ringo and John’s childhood friend Pete Shotton at Kenwood, John’s estate in Weybridge. This marks the first time a finished Beatles recording had no Beatle playing an instrument. The backing track, a haunting George Martin score, featured a double string quartet (four violins, two violas and two cellos) and was finished in 14 takes on April 28, 1966 with John and Paul sitting in the control room. The title character had initially been called Daisy Hawkins, but later evolved into

Eleanor Rigby. Paul says the name was based on “Help!” actress Eleanor Bron and the name of a local business, Rigby & Evans Ltd., Wine & Spirit Shippers. In a strange coincidently, a tombstone at St. Peter’s Parish in Woolton, Liverpool, (the church where Lennon and McCartney met as teenagers) bears the name Eleanor Rigby. That particular Eleanor Rigby died on Oct. 10, 1939, at age 44. “Father McKenzie” had at one time been “Father McCartney,” but Paul changed it so people wouldn’t think the song referred to his father. Paul returned to the song on June 6, 1966, to add a counterpoint vocal at the end of the song. The song was issued as a double-A side single, paired with “Yellow Submarine.” This strayed purposely from The Beatles’ usual release pattern. Generally they would not issue songs from an LP as single sides. But John and Paul had tired of other artists recording their album tracks and having chart hits with them, so this time out The Beatles opted to have the hit single version of two of their album tracks. The “Yellow Submarine”/”Eleanor Rigby” single, issued simultaneously with the “Revolver” album, marked the first time the band issued LP songs on a single in Britain. In the U.S., the single sold a remarkable 1.2 million copies in the first month of release, and became the group’s 21st gold record.

On U.S. album: Revolver - Capitol LP

The Beatles - Sgt. Pepper’s Lonely Hearts Club Band - Sgt.

Pepper’s Lonely Hearts Club Band (Lennon-McCartney)

Lead vocal: Paul Recording began on February 1, 1967 for what would become the title track of the new

Beatles album. The song was written entirely by Paul McCartney. It was McCartney’s idea to give the Beatles alter egos -- they would become Sgt. Pepper’s Lonely Hearts Club Band -- for this album. Nine takes were attempted, two of which were complete run-throughs. For the first time ever an instrument (Paul’s bass guitar) was directly

injected into the recording console instead of through an amplifier. Vocals were added the following evening, and the track sat for a month while the band worked on other material. The group returned to the title track on March 3 with the addition of four

French horns played by outside musicians. Paul also came up with the idea of simulating a concert performance by the alter-ego band. The sound of the band warming up was

taken from the February 10 orchestra session for “A Day In The Life.” Other effects (the crowd settling down, applause, and laughter) were taken from the vast Abbey Road

tape archives. The screaming at the end of the song was taken from the Capitol-recorded Beatles concert at the Hollywood Bowl. On the “Sgt. Pepper” album the end of

the title track segues into Ringo’s “With A Little help From My Friends.”

The Beatles - With A Little Help From My Friends - Sgt. Pepper’s Lonely Hearts Club Band

(Lennon-McCartney) Lead vocal: Ringo

The first instance on a Beatles album where one song segues into another without the usual few seconds of silence between the tracks. This was to give the listener the feeling

of a continuous concert performance. Written on the afternoon of March 29, 1967 by

Paul with help from John at Paul’s house on Cavendish Avenue in St. John’s Wood specifically as a song for Ringo Starr to sing on the new album. It was recorded that evening. Although he liked the song, Ringo refused to sing the original lyrics to the

opening verse. Ringo: “The original first verse to that was ‘What would you do if I sang out of tune? Would you throw a tomato at me?’ And I said, ‘I’m not singing that.’” John and Paul quickly changed the line to “Would you stand up and walk out on me?” The

rhythm track was recorded in ten takes the same day Paul and John write the song, with Paul on piano, George on Hammond organ, John on guitar and Ringo on drums. Vocals

were added as Take 11. Originally titled “Bad Finger Boogie.” The screaming at the beginning of the song was taken from the Capitol-recorded Beatles concert at the

Hollywood Bowl. On the “Sgt. Pepper” album the end of the title track segues into “With

A Little help From My Friends.”

RiNGO - Slow Down – Ringo 2012

Paul & Linda McCartney – Too Many People – Ram ‘71 A song pointed directly at John Lennon and Yoko Ono, with the famous line of

Paul’s, “You took your lucky break and broke it in two.” The song is what

prompted John to write, “How do you Sleep?” Hugh McCracken provides lead guitar.

2.56 BREAK

George – Awaiting On You All – Early Takes Vol. 1

The Beatles - It’s All Too Much - Yellow Submarine (Harrison)

Lead vocal: George Recording began with the working title “Too Much” at De Lane Lea Music Recording

Studios, the basement studio of an office building directly opposite the Holborn Underground station in London. On May 25, 1967, one week before the release of the “Sgt. Pepper” album, the band ran through numerous rehearsals and recorded four

proper takes of the backing track. The instruments were George on Hammond organ, Paul on bass guitar, John on lead guitar (including the soaring feedback at the beginning of the song) and Ringo on drums. Overdubs were added the next day at De Lane Lea:

George’s lead vocal, John and Paul’s backing vocal, handclaps and percussion, including cowbell, woodblock and tambourine. Brass and woodwinds were overdubbed on June 2.

Originally running over eight minutes, it was edited down to 6:25 for the soundtrack album. The version used in the “Yellow Submarine” film runs just 2:30 and features a

verse cut out of the album version of the song: “Nice to have the time to take this opportunity/Time for me to look at you and you to look at me.” The lyrics (repeated twice starting at 4:13), “With your long blonde hair and your eyes of blue,” are taken

from The Mercys’ 1966 hit “Sorrow.”

The Beatles - Love You To - Revolver (Harrison)

Lead vocal: George George’s first composition written with Indian instruments in mind. The basic track was recorded in six takes on April 11, 1966. The song’s working title was “Granny Smith,” a reference to the name of the green apple popular in the UK. George’s lead vocal was recorded on April 12. A harmony vocal by Paul was omitted in the final mix. The tabla is played by Anil Bhagwat, who is credited on the album’s back cover. It is assumed that George Harrison plays the sitar on this track. The phrase “Love You To” does not appear in the song. The closest George comes to the title is “I’ll make love to you if you want me to.” Two years later, the Granny Smith apple would become the logo for The Beatles’ company, Apple Corps, and would be featured on their record labels. With the exception of the “Let It Be” album issued in 1970, which had a red apple featured on the label, the standard Apple Records album and single labels displayed a bright green Granny Smith apple on the A-side, while the flipside/Side 2 displayed the midsection of the apple cut in half.

On U.S. album: Revolver - Capitol LP

George – Let It Be Me – Early Takes Vol. 1

1.56 BREAK

The Beatles - Lucy In The Sky With Diamonds - Sgt. Pepper’s Lonely Hearts Club Band

(Lennon-McCartney) Lead vocal: John

Recorded March 1, 1967. John Lennon’s classic song of psychedelic imagery was inspired by a drawing brought home by son, Julian, who was four years old at the time.

In February 1967, Julian returned home from his nursery school with a painting depicting one of his classmates, Lucy O’Donnell. Young Lucy was pictured with a

background of stars in the sky. When asked by his father about his painting, Julian said it was “Lucy, in the sky, with diamonds.” John was so taken with the phrase he

combined it with passages similar to two books by Lewis Carroll that he’d loved as a child, “Through The Looking Glass” and “Alice’s Adventures in Wonderland.” Paul added the line about “newspaper taxis” and Lennon’s beloved “Goon Show” got a shout out.

Their famed “plasticine ties” merged with “Through the Looking Glass” to become “plasticine porters with looking glass ties.” Work began on “Lucy In The Sky With

Diamonds” with an evening full of rehearsals. The rhythm track was recorded on March 1 with Paul playing the opening riff on a Lowery organ (with a bell stop), George on

acoustic guitar, Ringo on drums and John on maracas and offering a guide vocal. John’s lead vocal and other instruments (George’s tamboura, Paul’s melodic bass) were added

the next evening.

The Beatles - Baby, You’re A Rich Man - Non-LP track (Lennon-McCartney)

Lead vocal: John The Beatles’ fifteenth single release for EMI’s Parlophone label.

The Beatles were contractually obligated to deliver four new songs for inclusion in the “Yellow Submarine” animated film project. “Baby, You’re A Rich Man” was the first song recorded especially for that project. Earlier in the year, George Harrison’s initial offering for the “Sgt. Pepper” album, “Only A Northern Song,” had been rejected for that album

and was now being earmarked for use in the “Yellow Submarine” animated film. But with the rush-release of “All You Need Is Love” as a single following the “Our World”

world television transmission on June 25, 1967, a B-side was needed. George Martin chose “Baby, You’re A Rich Man,” effectively removing it from consideration for the

“Yellow Submarine” feature film. “Baby, You’re A Rich Man” was, in fact, two separate songs (John’s “One Of The Beautiful People” and Paul’s “Baby, You’re A Rich Man”) that

the composers combined to make into one song. Recording took place at Olympic Studios on May 11, 1967, and the song was completed in 12 takes. It is the first Beatles song to be recorded and mixed for record outside of Abbey Road. Surprisingly, the “All

You Need is Love”/“Baby, You’re A Rich Man” single is the first instance of George Martin being given credit on the record label as producer on a Parlophone Beatles single. Mick Jagger attended the session and may have participated in the backing vocals at the

end of the song. Issued July 7, 1967 in the UK and July 17, 1967 in the U.S.

On U.S. album: Magical Mystery Tour - Capitol LP

Paul & Linda McCartney – Smile Away – Ram ‘71

A fun, little rocking tune – it’s considered one of the more inconsequential tracks on the album.

3.16 BREAK

HOUR II

TOMORROW NEVER KNOWS COLLECTION SONGS HAND PICKED BY PAUL & RINGO!

The Beatles - Revolution – flip of Hey Jude

Recorded: 9/10/11/12 July 1968 Beatles first single on their own Apple Records, and their most successful as

a group. John really wanted this to be the first Apple single but it was tough to beat

out “Hey Jude”…but it still made for one of the best singles in pop music history.

   

The Beatles - Paperback Writer - A Collection Of Beatles Oldies (Lennon-McCartney)

Lead vocal: Paul The Beatles’ twelfth single release for EMI’s Parlophone label.

Recorded on April 13 and 14, 1966. The track is notable for Paul McCartney’s furious bass line. The bass is so prominent in the mix that sound engineers at EMI worried it

could cause the stylus of a record player tone arm (the needle thing on record players) to jump when fans played the 45 RPM single at home. Thankfully, no such calamity

occurred. For this heavy bass sound Paul’s chose to replace his usual Hofner bass with a Rickenbacker 4001S bass. Aside from the dominant bass part, McCartney also provides the lead guitar, with George Harrison working the tambourine. The second and third

verse backing vocal is the French nursery rhyme “Frere Jacques.” Released in America on May 23 and in the UK on June 10. “Paperback Writer” made the second largest ever jump to No. 1 on Billboard's chart. It debuted at number 28 on June 11, 1966, moved to

15 and then to number 1 on June 25. The only single to make a bigger jump was another Beatles song, “Can't Buy Me Love.”

On U.S. album: Hey Jude - Capitol LP (1970)

The Beatles - And Your Bird Can Sing - Revolver (Lennon-McCartney)

Lead vocal: John John Lennon called this fan favorite “another of my throwaways...fancy paper around an empty box.” On another occasion he simply referred to it as “another horror.” The song, written primarily by John, is notable mainly for the twin guitar riffs -- played live without overdubs by George Harrison and Paul McCartney -- that drive the song, and Paul’s distinctive bass notes at the end of the song. Lennon played the rhythm guitar in the D major position with the capo on the second fret to account for the song being in the key of E. John used the second fret capo several times ("Nowhere Man," "Julia," "Norwegian Wood," to name a few). Initial recording of the song commenced on April 20, 1966, with two takes being completed. Take 2 was deemed the best and various overdubs were added. While recording vocals John and Paul got a case of the giggles and laughed their

way through much of the song. That hilarious version can be found on the “Anthology 2” compilation. On April 26, the band decided to scrap the previous version and start over from scratch, recording 11 takes. The term “bird” was British slang at the time for girl. Although Lennon never elaborated on the inspiration behind the lyrics, it is believed to refer to the rivalry between The Beatles and The Rolling Stones. Although the two groups were friends, Lennon saw the Stones as Beatles copyists, and the 'bird' in the title may have been Mick Jagger’s on-again, off-again girlfriend/muse Marianne Faithfull. The working title of the song was “You Don’t Get Me.” “And Your Bird Can Sing” was one of three songs issued in America six weeks prior to their official release in the UK. American and Canadian Beatles fans heard “I’m Only Sleeping,” “And Your Bird Can Sing,” and “Doctor Robert” first on Capitol Records’ “Yesterday And Today” album, issued June 20, 1966. The rest of the world had to wait until the first week of August for them to appear on the “Revolver” LP. "And Your Bird Can Sing" was used as the theme song of The Beatles' cartoon series during its third season.

On U.S. album: Yesterday And Today - Capitol LP

   

The Beatles - Helter Skelter - The Beatles (Lennon-McCartney)

Lead vocal: Paul Paul has said that he was inspired to write “Helter Skelter” after reading an interview

with the Who’s Pete Townshend in which the guitarist described his band’s new single, “I Can See For Miles,” as the loudest, rawest, dirtiest, and most uncompromising song

the band had ever recorded. Paul wanted to out-do the Who by making an even louder, rawer, and more raunchy song. On July 18 the band worked through extended versions of “Helter Skelter.” Take 1 ran 10:40, take 2 was 12:35, and take 3, an epic 27:11, the

longest-ever Beatles recording. The nearly half-hour take was deemed the best. On September 9 they returned to the song and re-made it at a more manageable length.

Eighteen blistering takes were recorded with Paul offering a lead vocal for the ages and playing his Epiphone Casino electric guitar, John Lennon playing Fender Jazz Bass guitar

and saxophone (!), George Harrison playing a distorted lead guitar part on his Gibson Les Paul, Ringo Starr on drums, and Mal Evans on trumpet. Producer Chris Thomas

recalls the session being chaotic and the individual Beatles, heavily into hallucinogens at the time, being out of control during the recording. “While Paul was doing his vocal

George Harrison had set fire to an ashtray and was running around the studio with it above his head, doing an Arthur Brown! All in all, a pretty undisciplined session, you

could say.” The mono and stereo mixes of “Helter Skelter” are noticeably different, with the stereo version running almost a minute longer. The stereo version fades out and then back in to continue the jam, where the mono version simply fades out and ends. After suffering through 18 grueling takes of the punishing song it is Ringo that shouts “I’ve got blisters on my fingers!” at the end. This was kept on the stereo version of the song. The 27-minute “take 3” of “Helter Skelter” has yet to be issued. On October 9,

1968, Paul withdrew the July 19 “Helter Skelter” session tape from the Abbey Road tape library and made a copy of this long version for his private collection. A helter skelter is

a spiral slide at a British fairground.

The Beatles - Savoy Truffle - The Beatles (Harrison)

Lead vocal: George George took his inspiration for his fourth song on the “White Album” from a box of

chocolates, specifically a Mackintosh’s Good News double centre chocolate assortment box, said by George to be Eric Clapton’s favorite brand. Most of the candies mentioned

by George in the song came from the specific candies found in the box. Confections such as Creme Tangerine, Montelimart, Ginger Sling, Coffee Dessert and Savoy Truffle

were part of the assortment. Cool Cherry Cream and Coconut Fudge were Harrison creations. When George sings “But you’ll have to have them all pulled out after the Savoy Truffle,” it is a warning to his friend Eric Clapton that he will have to have his

decaying teeth pulled out. After some rehearsal, the backing track was recorded in one take on October 3, 1968, at Trident Studios. With George playing electric piano, Paul on

Rickenbacker bass, John on Epiphone Casino electric guitar and Ringo on drums. Harrison’s lead vocal was recorded at Trident Studios on October 5. Chris Thomas’ score

for saxophones (distorted at Harrison’s request) was recorded at Abbey Road on October 11. The final overdubs for “Savoy Truffle” on October 14 were also the last

instruments recorded during the “White Album” sessions: organ, tambourine, bongos, and George playing a lead guitar part on his Fender Telecaster. This is the third of four

Harrison songs on the “White Album” that John Lennon does not appear on.

The Beatles - I’m Down - Single

(Lennon-McCartney) Lead vocal: Paul

Recorded in one take on June 14, 1965. Written entirely by Paul McCartney, who showed off his skills at the June 14 recording session by recording “I’ve Just Seen A Face” in six takes, then the scorcher “I’m Down” in one take, and following a dinner

break, nailing “Yesterday” in two takes. “I’m Down” was patterned after Little Richard’s “Long Tall Sally,” or as George Harrison described it at the time, “It’s pretty wild…

because it has Paul’s wild voice.” Paul: “I could do Little Richard's voice, which is a wild, hoarse, screaming thing. It's like an out-of-body experience. You have to leave your

current sensibilities and go about a foot above your head to sing it. A lot of people were fans of Little Richard so I used to sing his stuff but there came a point when I wanted one of my own, so I wrote ‘I'm Down.’ I ended up doing it at Shea Stadium. It worked

very well for those kind of places, it was a good stage song. And in as much as they are hard to write, I'm proud of it. Those kind of songs with hardly any melody, rock 'n' roll songs, are much harder to write than ballads, because there's nothing to them.” John Lennon plays the Hammond organ. The B-side of the “Help!” single, issued July 23,

1965 in the UK and July 19, 1965 in the U.S.

On U.S. album: Non-album single (B-side)

UK: Non-album single (B-side)

The Beatles – I’ve Got A Feeling - Let It Be

Paul's song "I've Got a Feeling" and John's "Everybody's Had a Hard Year" were put together for "I've Got a Feeling". Paul's contribution was a love

song to Linda, whereas John's was autobiographical and experimentive in new writing styles (each line begins with the word 'everybody'). John did have had a hard year, as he divorced his wife Cynthia, was arrested for

drug possession, was nearly broke, and had lost a baby with Yoko through miscarriage.

Lennon .5 /McCartney .5

2.36 BREAK

The Beatles - Back In The U.S.S.R. - The Beatles (Lennon-McCartney)

Lead vocal: Paul Written while in India, Paul’s “Back In The U.S.S.R.” is based on Chuck Berry’s 1959 hit

“Back In The U.S.A.,” but was written to mimic the classic sound of the Beach Boys. Beach Boys lead singer Mike Love was on the Transcendental Meditation sojourn in

India with the Beatles in the spring of 1968 and as McCartney was working on his new song, Love suggested the lyrics about Ukraine and Moscow girls, similar to his lyrics in “California Girls.” Recording began on August 22, 1968, and it was during this session that Ringo Starr officially quit the band. His departure was blamed on a disagreement with Paul over his drumming. Ringo flew to the Mediterranean to spend time on actor Peter Sellers’ yacht. It was there that he wrote “Octopus’s Garden.” On September 3, Ringo returned to the studio to find his drum kit smothered in flowers. Ringo: “I felt

tired and discouraged … took a week’s holiday, and when I came back to work everything was all right again.” But Ringo added, “Paul is the greatest bass guitar player in the world. But he is also very determined; he goes on and on to see if he can get his own way. While that may be a virtue, it did mean that musical disagreements inevitably

arose from time to time.”

To keep the sessions moving forward in Ringo’s absence, the other members, but primarily Paul, played drums on several songs. The rhythm track for “Back In the

U.S.S.R.” was completed in five takes. Through the use of composite pieces the three remaining Beatles can be heard playing multiple instruments at the same time on the song. For “Back In The U.S.S.R.” John, Paul and George each played bass guitar, and both Paul and George playing lead guitar on the track. According to Paul, he sang the song in his “Jerry Lee Lewis voice.” His lead vocal, the Beach Boys style backing vocals

by John and George, and handclaps were added on the bridge on August 23. The sound of the airplane taking off and landing that starts and finishes the song is taken from the vast collection of sound effects in the Abbey Road tape library. Specifically, “Volume 17:

Jet and Piston Engine Aeroplane.”

The Beatles - You Can’t Do That - A Hard Day’s Night (Lennon-McCartney)

Lead vocal: John The song was originally intended to be the A-side of the Beatles' sixth UK single, until McCartney came up with “Can't Buy Me Love.” By 1964 Lennon and McCartney were

writing together less frequently, and the quality of “Can't Buy Me Love” spurred Lennon on to write the majority of the “A Hard Day's Night” album. The guitar solo was

performed by Lennon - the first such occurrence on a Beatles release. The song was finished in nine takes, only four of which were complete. It featured George Harrison's first prominent use of his new Rickenbacker 12-string guitar, given to him while in New York for “The Ed Sullivan Show.” “You Can't Do That” was filmed as part of the concert sequence in the “A Hard Day's Night” film, but it didn't make the final cut. The b-side of

“Can’t Buy Me Love” in the UK and U.S. On U.S. album:

The Beatles’ Second Album – Capitol LP  

 The Beatles - She Said She Said - Revolver

(Lennon-McCartney) Lead vocal: John

The rhythm track was finished in three takes on June 21, 1966, the final day of recording for “Revolver.” When the recording session started the song was untitled. The key line came from a real-life incident. On August 24, 1965, during a break in Los Angeles from their North American Tour, The Beatles rented a house on Mulholland Drive. They played host to notables such as Roger McGuinn and David Crosby of the Byrds, actors and actresses, and a bevy of beautiful women, “From Playboy, I believe,” Lennon remembered. John, high on acid, found himself in a strange conversation with

actor Peter Fonda, who kept coming up to him and whispering, “I know what it’s like to be dead.” As a child, Fonda had a near-death experience after accidentally shooting himself on the stomach. The song was a last-minute addition to the “Revolver,” rehearsed and recorded on the final day of sessions when the band discovered they were one song short. McCartney recalls getting into an argument with John and leaving the studio. He believes this is one of the only Beatle records he didn’t play on. It is assumed George played the bass in McCartney’s absence. John sings the lead vocal and plays the organ, and John and George double-tracked the backing vocals.

On U.S. album: Revolver - Capitol LP

 

 The Beatles - Hey Bulldog - Yellow Submarine

(Lennon-McCartney) Lead vocal: John

In early February 1968, the Beatles were on a tight schedule. They had two weeks to audition and record possible songs for their next single, which would be released while

they were away on an extended trip to India where the group would meditate with Maharishi Mahesh Yogi. In addition to picking the single sides they would need to spend

a day with a film crew making a short promotional film for the song. The Paul McCartney-penned “Lady Madonna” was chosen as the A-side and would be the subject

of the promo film. On the last weekend of recording, the Beatles were informed they were one song short of the four new songs needed for “Yellow Submarine,” and a new

song had to be recorded before they left for India. The song shortage was due to “Baby, You’re A Rich Man,” which had been earmarked for the film soundtrack, being used as

the B-side of the “All You Need Is Love” single.

The Beatles had planned to spend their last day in the studio before leaving for India miming their way through “Lady Madonna” and mugging for a film crew. But instead of

pretending to work in front of the camera, now they would actually be working on a new

song, John’s “Hey Bulldog.” Lennon had written the song overnight and brought it in for the band to record. “Hey Bulldog” was recorded in ten takes on February 11, 1968. John

and George were scheduled to fly out February 15, and Paul and Ringo would depart four days later. The basic rhythm track consists of John on piano, Paul on bass, Ringo on drums, and a tambourine played either by George Harrison or Mal Evans. Overdubs that day included John on a distorted lead guitar solo, some distorted guitar work from George, Paul’s fuzz bass guitar, John’s double-tracked lead vocals and a single-tracked backing vocal by Paul. John and Paul ad-lib the various barks, howls and shouts at the end of the song. Normally, the track would have faded out but their funny outbursts

were kept in before the fade-out. John: “It’s a good sounding record that means nothing.”

 The Beatles - Tomorrow Never Knows - Revolver

(Lennon-McCartney) Lead vocal: John

The first song recorded for what would become the “Revolver” album. John’s composition was unlike anything The Beatles or anyone else had ever recorded. Lennon’s vocal is buried under a wall of sound -- an assemblage of repeating tape loops and sound effects – placed on top of a dense one chord song with basic melody driven by Ringo's thunderous drum pattern. The lyrics were largely taken from “The Psychedelic Experience,” a 1964 book written by Harvard psychologists Timothy Leary and Richard Alpert, which contained an adaptation of the ancient “Tibetan Book of the Dead.” Each Beatle worked at home on creating strange sounds to add to the mix. Then they were added at different speeds sometime backwards. Paul got “arranging” credit. He had discovered that by removing the erase head on his Grundig reel-to-reel tape machine, he could saturate a recording with sound. There were five loops used on “Tomorrow Never Knows.” In order of appearance they are: a laughing male (presumably McCartney) that sounds like seagulls; a B flat major chord played by an orchestra; a sitar phrase reversed; a phrase performed on mandolin or acoustic guitar; and a scalar sitar line reversed. All loops except the b flat major chord were played double-speed. The lyrics are about as far away from “She loves you, yeah, yeah, yeah” (written just three years earlier) as you can get. “Turn off your mind, relax and float down stream/It is not dying, it is not dying/Lay down all thought, surrender to the void/It is shining, it is shining.” John: “I gave it a throwaway title because I was a bit self-conscious about the lyrics. So I took one of Ringo’s malapropisms, which are like ‘Hard Day’s Night,’ to take the edge off the heavy philosophical lyrics. Production began on “Tomorrow Never Knows” under the working title “Mark I” on April 6, 1966. Take one of this complex recording can be found on the “Anthology 2” album.

On U.S. album: Revolver - Capitol LP

The Beatles – The End –Abbey Road Recorded July 23rd 1969

John, Paul and George take turns on the lead fills at the end….of The End. McCartney 1.00

1.35 BREAK

George – My Sweet Lord – Early Takes Vol. 1

Ringo  –  Rock  Island  Line  –  Ringo  2102  

 Paul & Linda McCartney – The Back Seat Of My Car –

Ram ‘71 Originally played during the “Let it Be” sessions, Lennon again thought this song

was about him with the lyrics, “We believe that we can’t be wrong.” This was intended to be more a Beach Boys style tune, which had nothing to do with

Lennon.  

HOUR  III  

 The Beatles - Everybody’s Got Something To Hide Except Me

And My Monkey - The Beatles (Lennon-McCartney)

Lead vocal: John The Beatles had taken to recording rehearsals of songs and numbering them as takes. And if nothing recorded for a particular song seemed usable they’d erase the tape and start again on another day. The first playing of this then-untitled John Lennon rocker

was a series of rehearsal run-throughs on June 26, 1968, all of which were erased and the band started fresh the next day. On June 27, six proper takes were recorded with

John on Epiphone Casino electric guitar, George on Gibson SG, Paul on percussion (alternating between cowbells and chocalho), and Ringo on drums. Overdubs added on

July 1 included Paul’s bass guitar and John’s lead vocal. Still unhappy with his lead vocal, John re-recorded it on July 23. Backing vocals and handclaps were also added to the

mix on July 23 and the song was declared finished. In his 1980 Playboy interview, John described the song as “a nice line that I made into a song. It was about me and Yoko.

Everybody seemed to be paranoid except us two, who were in the glow of love.” George Harrison has said that the opening line, “Come on is such a joy,” was a favorite saying

of Maharishi Mahesh Yogi. “Everybody’s Got Something To Hide Except Me And My Monkey” is the longest title of any Beatles song.

2.12 Break

 The  Pete  Best  Combo  –  Pete’s  Theme  –  Rebirth  

 The  Pete  Best  Combo  –  Roll  Over  Beethoven  –  The  Beatle  

Time  Forgot  

 The  Pete  Best  Combo  -­‐  Some  Other  Guy  –  Best  Of  The  Beatles  

 The  Beatles  –  Three  Cools  Cats  –  Decca  Tapes  

 The  Beatles  –  Money  –  Decca  Tapes  

 RED/BLUE  

 The Beatles - A Hard Day’s Night - A Hard Day’s Night

(Lennon-McCartney) Lead vocal: John with Paul

The Beatles’ seventh single release for EMI’s Parlophone label. The title is a Ringoism, coined by the drummer sometime in 1963 and used by John in

his book “In His Own Write.” With the film nearly completed the last bit of business was to give the film a name. The project was being filmed with the working title

“Beatlemania.” On April 13, 1964 The Beatles met with key personnel from the studio

and bounced title ideas. It was felt they’d find no better suggestion than Ringo’s off-hand remark “it’s been a hard day’s night” and John volunteered to write the title song

that evening. The next morning he brought the song in and taught it to Paul. Paul cleaned up the middle section and the two played it for producer Walter Shenson. Two days later The Beatles would formally record the song. It was a rarity for an outsider to be allowed in the studio or control booth while The Beatles rehearsed and recorded. An exception was made for the director of the “A Hard Day’s Night” film, Richard Lester.

Lester was in the control booth and offered many suggestions during the morning while this key song was worked out, much to the dismay of producer George Martin. It was

Lester’s suggestion that the song open dramatically (as it would open the film), and fade out at the end in a cinematic way. He got his wish. George’s striking a G suspended 4th

chord on his 12-string Rickenbacker make this record instantly recognizable in its opening two seconds. Released as a single in the UK on July 10, 1964, it went straight

to #1.

On U.S. album: A Hard Day’s Night - United Artists LP

 

The Beatles - I Feel Fine- A Collection Of Oldies (Lennon-McCartney)

Lead vocal: John The Beatles’ eighth single release for EMI’s Parlophone label.

Recorded in nine takes on October 18, 1964. Written entirely by John Lennon. He based the guitar riff on Bobby Parker’s obscure R&B record “Watch Your Step.” The recording marked the first occasion in which guitar feedback had been deliberately incorporated

into a pop song. The sound was achieved by Paul plucking a single bass string and John getting amplifier feedback from his guitar. Issued in the U.S. on November 23, 1964,

and in U.K. four days later. Not included on the “Beatles For Sale” LP, which was released on December 4, 1964 in the UK.

On U.S. albums: Beatles ‘65 - Capitol LP

UK:

Non-album single (A-side)

On UK album: A Collection of Beatles Oldies - Parlophone LP (1966)

 The Beatles - Day Tripper – Past Masters

Recorded: 16 October 1965 Rubber Soul sessions Oct. `65 – Yesterday & Today LP here in the US… The

eleventh official EMI release. The first official double "A" side release of “We Can Work It Out”

Inspired in part by John and George's first experience with acid, "Day Tripper" was written under pressure for use as a single for the Christmas

season. John wrote most of the song, with Paul contributing to each of the verses

 

 The Beatles - Magical Mystery Tour - Magical Mystery Tour (EP)

(Lennon-McCartney) Lead vocals: Paul and John

When Paul McCartney was in the U.S. in early April 1967 he came up with the idea for a Beatles television film about a mystery tour on a bus. During the April 11 flight back home he began writing lyrics for the title song and sketching out some ideas for the film. Upon his arrival in London, Paul pitched his idea to Brian Epstein who happily

approved. Paul then met with John to go over the details and the two began work on the film’s title track. The title track was written primarily by Paul but was not finished

when McCartney brought the song in to be recorded on April 25, 1967. John helped with the missing pieces during the session.

On U.S. album: Magical Mystery Tour - Capitol LP

   

The Beatles - Old Brown Shoe - Non-LP B-Side (Harrison)

Lead vocal: George On February 25, 1969, his 26th birthday, George Harrison went to Abbey Road Studios

and recorded elaborate eight-track demos of three of his latest compositions: “Old Brown Shoe,” “Something,” and “All Things Must Pass.” All three of the demos recorded this day can be found on the “Anthology 3” album. “Old Brown Shoe” had made a brief appearance near the end of the “Get Back” sessions with a few run-through/rehearsals

on January 28, 1969. The full band revisited the song for a proper recording on April 16, 1969. The rhythm track was finished in four takes, with George on lead guitar, Paul on

jangle piano, John on rhythm guitar (which would be erased in favor of a Hammond organ part played by George on April 18), and Ringo on drums. Overdubs included bass

guitar, lead guitar, and backing vocals by John and Paul. In his book, “I Me Mine,” George said, “I started the chord sequences on piano, which I don’t really play, and

then began writing ideas for the words from various opposites… Again, it’s the duality of things - yes no, up down, left right, right wrong, etc.” Released as the flip side of “The Ballad Of John And Yoko” in the UK on May 30, 1969, while the “Get Back” single was topping the charts. The single was issued by Capitol Records in the U.S. on June 4,

1969. On U.S. album:

Hey Jude - Capitol LP (1970)  

The Beatles - The Ballad Of John And Yoko – Past Masters

Recorded April 14, 1969 by John 7 Paul only. Released as a single in UK April 11, 1969

And in the USA May 5th 1969. Released less than a month after Get Back (John needed an A- Side)

First STEREO single in the UK. Banned by the BBC and some US stations as well.

It was actually recorded during the beginning of the Abbey Road sessions.  

 The Beatles – Come Together - Abbey Road

Recorded July 21st 1969 Borrowing more that a line from Chuck Berry’s “You Can’t Catch Me”.

Agreed to record 3 songs from the publishing Co. BIG SEVEN MUSIC on his R’n’R LP. SHOOT ME….One of John’s favorite Beatle tracks.

Lennon 1.00  

1.12.  BREAK  

 Beady  Eye  –  Across  The  Universe  –  Single  

 Generation  X  –  Gimme  Some  Truth  –  flip  King  Rocker  single  

`78    

2.23  BREAK    

The  Beatles  –  Outtake  Medley  (10.12)  –  Anthology  DVD