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95.5 KLOS PLAYLIST AUGUST 18 2013

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The Beatles - - Non-LP B-Side (Harrison) Lead vocal: George On February 25, 1969, his 26th birthday, went to Studios and recorded elaborate eight-track demos of three of his latest compositions: “Old Brown Shoe,” “Something,” and “.” All three of the demos recorded this day can be found on the “” . “Old Brown Shoe” had made a brief appearance near the end of the “” sessions with a few run-through/rehearsals on January 28, 1969. The full band revisited the 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 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, “,” 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, 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 in the U.S. on June 4, 1969. On U.S. album: - Capitol LP (1970)

The Beatles - - (Harrison) Lead vocal: George The fourth original composition by George Harrison to be recorded by The Beatles was heavily inspired by the 12-string guitar sound of . The introduction of George Harrison’s “If I Needed Someone” is strikingly similar to the introduction of The Byrds’ “The Bells Of .” Harrison commented that the song was “like a million other written around the D chord.” The backing track was recorded in one take on October 16, 1965. George’s double-tracked lead vocal and John and Paul’s backing vocals were added two days later. The song was performed live by The Beatles in late 1965 and was a staple of their 1966 world tour. On U.S. album: Yesterday and Today - Capitol LP

George Harrison – - All Things Must Pass ‘70 (Remaster 2001) A pleasant track in the vein of “,” and bears a striking resemblance to Dylan’s “.”

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The Beatles - - (Lennon-McCartney) Lead vocal: John and Paul One of the oldest songs in the Lennon-McCartney catalog, “One After 909” had been written by John when he was 17 or 18, and had been performed by in

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1960, and by the Beatles in their pre-fame club days. The song was first recorded by the Beatles at the March 5, 1963, session for their third EMI single. After completing both sides of the new single (“” and “”), John and Paul had two additional songs they wanted the group to record. In addition to “One After 909” they also brought in “What Goes On,” but there was only enough time in the session to record one additional song, so “One After 909” got the go-ahead. Six years later the group revisited the song, with on keyboards. In his 1980 “Playboy” interview, Lennon admitted the song was probably resurrected for “Let It Be” because of a lack of material. As the rooftop performance drew to a close John sang an impromptu line from “Danny Boy.” The previously unreleased 1963 version can be found on the “Anthology 1” album.

The Beatles - – (Medley-Russell) Lead vocal: John The last song recorded during the marathon session on February 11, 1963. Two takes were completed before Lennon’s voice gave out. The released version is the first take. Originally recorded by The Isley Brothers in May 1962, The Beatles performed it regularly in their live act between 1962 and 1965. Its inclusion in the 1986 film “Ferris Bueller’s Day Off” sent the song up the Billboard singles chart 22 years after its initial U.S. release. On U.S. : Introducing… The Beatles - Vee-Jay LP The Early Beatles - Capitol LP

The Beatles – Blue Suede Shoes (Perkins) – Apple Studios Jan 1969

The Beatles - I’ve Got A Feeling - Let It Be sessions /Apple Studios Jan 1969 (Lennon-McCartney) Lead vocal: Paul and John In compiling the soundtrack to the “Let It Be” film, producer had no time to sift through the hours of music the Beatles had recorded at the end of . Instead, he relied on two versions mixed by . He also screened a print of the movie. Spector had four different Glyn Johns mixes of “I’ve Got A Feeling” to consider: an incomplete January 22 run-through, a more polished take recorded on January 27, and two performances of the song from the rooftop concert on January 30, 1969. On March 23, 1970, Spector remixed the January 27 take and the first of the rooftop performances, but when banding the final album, he chose the first rooftop performance for inclusion.

The Beatles - Get Back – Single version(Lennon-McCartney) Lead vocal: Paul

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Paul’s “Get Back” had been rehearsed and reworked throughout the January 1969 sessions, including over 30 takes of the song on January 27, 1969. Among those over 30 takes was the master take of the song, but it did not include the familiar coda at the end heard on the single. That coda would be recorded the following day and edited on to the January 27 master. For the album version, Phil Spector used the same January 27 “single” master performance, but added modifications to give the impression the song was recorded during the rooftop concert. Spector’s album version begins with the instrumental and vocal warm-ups from the January 27 performance as well as some sound recorded on the rooftop on January 30. At the end of the song, instead of the familiar January 28 coda, he cuts to the end of the rooftop performance, with what EMI engineers described in their notes as “cricket applause” and Paul saying, “Thanks, Mo” (to Ringo’s wife Maureen for clapping the loudest), and Lennon’s famous quote: “I’d like to say thank you on behalf of the group and ourselves. I hope we passed the audition.” The Beatles - - (Berry) Lead vocal: John Incredibly, this stunning of Chuck Berry’s classic hit from 1957 featuring on lead vocal was captured in just one take on October 18, 1964. Like “Twist and Shout” and “Money (That’s What I Want)” before it, “Rock and Roll Music” is a prime example of Lennon making a previously known hit his own. The overdubbed piano part features John, Paul and pounding the SAME piano! The song was featured on the Beatles 1965 European Tour and was the opening song during their 1966 concert tours. On U.S. album: Beatles ‘65 - Capitol LP

The Beatles - Please Mister Postman – (Dobbins-Garrett-Brianbert) Lead vocal: John was not only a boon for record shops and merchants selling any number of licensed Beatles products (Beatle wigs, Beatles boots, paperback books, magazines, board games, buttons and other novelties), it also gave a significant financial boost to and music publishers of the non-original songs the group covered on its early albums. No label benefited more from their talent roster’s hit records being covered by The Beatles than Detroit-based Motown Records. Three of Motown’s hits were included on The Beatles’ second album: “Please Mr. Postman,” “You’ve Really Got A Hold On Me,” and “Money (That’s What I Want).” “Please Mr. Postman” was the debut single by The Marvelettes, and the first single issued by a Motown label (in this case, Tamla) to hit number one on the Billboard pop charts. The songwriting credits for the song have changed throughout the years. The liner notes and for “With The Beatles” credits only “Holland” (Brian Holland) as the . The original Tamla and Fontana (UK) 45s list the writers as Dobbins-Garrett-Brianbert. Decades later the credit has expanded to include an additional writer brought in to finish the song (Freddie Gorman, another songwriting partner of Brian Holland), and separated the writing partnership of Brian Holland and Robert Bateman (previously combined as Brianbert). The credit should now read: Dobbins-Garrett-Holland-Bateman-Gorman. also

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spells out “Mister” where the title appears, but the Marvelettes version has it abbreviated as “Mr.” Recorded July 30, 1963. On U.S. album: The Beatles’ Second Album - Capitol LP

The Beatles – - Abbey Road Recorded July 25th w/ “She Came in Through The Bathroom Window “. The only Beatles song inspired by a woman in New Jersey who dressed in polythene (but not jack boots or kilts). Written in India, demoed for the White LP. Lennon 1.00 / The Beatles – She Came In Through The Bathroom Window - Abbey Road Recorded July 25th 1969. Written while in NYC to announce Apple. Based on a true story about some Scruffs breaking into Paul house at St. John’s Wood. Paul wrote w/ in mind…who later coved it as he did with most Beatle songs. McCartney 1.00

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The Beatles - The Continuing Story Of Bungalow Bill - The Beatles (Lennon-McCartney) Lead vocal: John Started and completed with no additional overdubs to follow in a marathon 16-hour session, along with John’s “I’m So Tired,” on October 8, 1968. Like “Dear Prudence” before it, the song was about a Transcendental Meditation student who was with the Beatles in India earlier in the year. Lennon says he wrote the song about an American guy in Maharishi’s meditation camp who “took a short break to go shoot a few poor tigers and then came back to commune with God.” The basic track was completed in three takes. sings a line (solo: “Not when he looked so fierce” and with John: “If looks could kill it would have been us instead of him”) and becomes the first female to sing a lead vocal line on a Beatles recording. The last words spoken, which segue into George’s brilliant “While My Guitar Gently Weeps,” are John (presumably) saying “Oh yeah” and the tape piece was placed backwards on purpose (backwards masking) so it sounds like he says “Ale” or “Eh Oh.”

The Beatles – Not Guilty – The Beatles (Harrison) Recorded: 7th, 8th, 9th, 12th August 1968 Location: Abbey Road 2 Producer: George Martin Engineer: Ken Scott Musicians: George Harrison – lead vocal, guitars, harpsichord (?); John Lennon – harpsichord (?); Paul McCartney – bass guitar, drums (?); – drums This was scheduled for a slot on the White Album, but for some reason they dumped it after 99 takes. For a long time after it was only available on Beatle bootlegs, until they released it on Anthology 3. It might have struck a bum note with John and Paul, because it suffered the same fate as his other bitter : Only A Northern Song was dumped from Sgt. Peppers, and I Me Mine was studiously ignored at Twickenham. George explained: I said that I wasn’t guilty of leading them astray in all our going to Rishikesh to see the Maharishi. He also made his frequent point that his songs had often got a pasting: Not guilty of getting in your way/While you’re trying to steal the day. It was during the recording of this song that George first used his famous cherry-red Gibson – a gift from . (A famous old story says that he gave it to him after playing the solo on While My Guitar Gently Weeps, but that’s just a Beatle myth!) Lead Vocal George Harrison 1.00

The Beatles - - Yellow Submarine (Lennon-McCartney) Lead vocal: Paul

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In May 1967, with the “Sgt. Pepper” album in the can and awaiting release, the Beatles went to work on two projects at the same time. They began recording the title track for “” and also starting to record the new songs they had promised for the “Yellow Submarine” film. The first song specifically recorded for the “Yellow Submarine” film was “Baby, You’re A Rich Man” (on May 11, 1967), but that song was pulled several months later to fill the B-side of the “” single. George Harrison’s “Sgt. Pepper” reject “Only A Northern Song” was added to the stack of film songs. Paul’s sing-along “All Together Now” was started and finished on May 12, 1967. Nine takes were recorded. Instruments included two acoustic guitars (probably Paul and George), bass guitar (Paul), bass drum (Ringo), harmonica and banjo (John).

Ringo – Oh My My - Ringo `73

The Beatles - Maxwell’s Silver Hammer - Abbey Road (Lennon-McCartney) Lead vocal: Paul Paul began work on “Maxwell’s Silver Hammer” in October 1968, which was too late for the song to be considered for the “White Album.” He introduced the still unfinished song to during the “Get Back” sessions, on January 3, 1969, and the band is seen running through it in the film “Let It Be.” The first proper recording took place at on July 9, 1969. The backing track features Paul on piano, George on Fender Bass VI (a six-string bass guitar) and Ringo on drums. Sixteen takes were recorded. Overdubs included John on his Gibson J-160E acoustic guitar and George on Telecaster. On July 10, Paul added his lead vocal, George Martin played Hammond organ and Paul, George and Ringo provided backing vocals. A proper blacksmith’s anvil, rented from a theatrical agency, was brought in for Ringo to hit with a hammer. More guitar and a new vocal were added on July 11, and the song was left until August 6, when Paul overdubbed a Moog synthesizer part.

NEWS HERE

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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.

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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. 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.

The Beatles - Money (That’s What I Want) – With The Beatles (Bradford-Gordy) Lead vocal: John Originally recorded by Barrett Strong and released as a single on Motown’s Tamla and labels in 1959 and 1960 respectively, peaking at #23 in 1960. It was a part of The Beatles’ live repertoire from 1960 to 1964. On July 18, 1963, the group, with George Martin on piano, performed the song live in the studio -- vocals and all -- for six full takes, the final take being deemed the best. Although The Beatles involvement with the recorded track lasted this one day, George Martin continued to add overdubs and tinker with his piano part until the song was completed to his satisfaction on September 30, 1963. On U.S. album: The Beatles’ Second Album - Capitol LP

QUIZ#1 HERE When 55,000 Beatlemaniacs mobbed Shea Stadium to cheer in 1965, precious few had ever heard of the local bar band whose name kept flashing on the scoreboard - "The Rascals Are Coming!" - even before the music began. Furious that another group was being hyped, Beatles manager threatened to cancel the show. The sign was turned off, but a victory had already been won. "The gimmick worked," says former Rascals manager Sid Bernstein, who had access to the scoreboard because he promoted the concert at Shea. Immediately afterward, Bernstein was flooded with calls from record companies and curious kids. "

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In 1965 The Beatles played Shea Stadium in NYC…Even before the Beatles hit the stage another groups name was flashing on the Scoreboard which really upset Manager Brian Epstein…upset him so much that he had it removed… For a pair of tix to see The Rascals --- What message was flashing on the Shea Stadium scoreboard in 1965 that upset Brain so much? While we wait…

The Beatles - Ticket To Ride - Help! (Lennon-McCartney) Lead vocals: John and Paul The Beatles’ ninth single release for EMI’s Parlophone label. Issued nearly four months prior to the “Help!” album’s release on July 19, 1965 in the U.S. and four days later in the UK. Recorded on February 15, 1965 and featuring a blistering lead guitar performance by Paul McCartney. John and Paul composed the song together based primarily on John’s idea. The song’s distinctive drum pattern was conceived by Paul. The complex song was highly innovative for the time, and certainly unlike anything being played on top 40 radio. John Lennon in 1970: “ ‘Ticket To Ride was slightly a new sound at the time. It was pretty heavy for then, if you go and look in the charts for what other music people were making. It's a heavy record and the drums are heavy too. That's why I like it.” McCartney said, “It was quite radical at the time.” Capitol Records printed “From the United Artists release ‘Eight Arms To Hold You’ ” on both sides of the single. On U.S. album: Help! - Capitol LP

WINNER HERE Little Steven the man behind this Rascals show…he loved them so much he convinced them to do it!

The Beatles - - A Hard Day’s Night (Lennon-McCartney) Lead vocal: Paul Written in May 1964 on board a yacht called Happy Days during Paul McCartney's holiday in the Virgin Islands with his girlfriend Jane Asher, plus Ringo Starr and his future wife Maureen. Recorded in three takes on June 2, 1964. In his 1980 interview with Playboy magazine John Lennon remembered this being one of Paul’s better songs. McCartney double tracked his vocals. John Lennon's piano part was meant to be omitted from the final mix, but lack of separation between instruments meant that its sound

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leaked into other microphones during recording. As a result it can be heard on the released version. The b-side of the UK “A Hard Day’s Night” single. On U.S. album: Something New - Capitol LP

Paul McCartney – Maybe I’m Amazed – McCartney ‘70 Written in London, on piano. A promotional movie of the song was created featuring Linda’s photography in a slide show.

The Beatles - - Sgt. Pepper’s Lonely Hearts Club Band (Lennon-McCartney) Lead vocals: John and Paul Work began on January 19, 1967, for what is quite possibly the finest Lennon- McCartney collaboration of their songwriting career. On this evening, following some rehearsal, Lennon rolled tentatively through four takes, drawing a road map for the other Beatles and George Martin to follow. Lennon on vocals and Jumbo acoustic guitar, McCartney on piano, Harrison on maracas and Starr on congas. Sections were incomplete and to hold their space stood by a microphone and counted from one to 24, marking the time. To cue the end of the middle eight overdub section an alarm clock was sounded. There was no Paul McCartney vocal yet, merely instruments at this point where his contribution would be placed. On January 20, Paul added his section, which he would re-recorded on February 3. Lennon told Beatles biographer Hunter Davies that the first verse was inspired by a story in the January 17, 1967, edition of the Daily Mail about the car accident that killed Guinness heir Tara Browne. John: “I didn’t copy the accident. Tara didn’t blow his mind out, but it was in my mind when I was writing that verse.” The second verse was inspired by Lennon’s work on Richard Lester’s film “How I Won The War.” According to Paul, the third verse came from a Daily Mail article published on January 7, 1967, about 4,000 potholes in the streets of Blackburn, Lancashire.

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Wings – I’ve Had Enough – London Town ‘78 This track was completed just before the end of the London Town sessions in January ’78, it was released as a single after “,” and reached the Top 25.

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 “.” 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

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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 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

Julian Lennon – – Valotte `84 Produced by the late

The Beatles - I’m Only Sleeping - Revolver (Lennon-McCartney) Lead vocal: John Written by John and Paul at Kenwood, John’s estate in Weybridge, in one writing session. Recording of the backing rhythm track began at 11:30 p.m. on April 27, 1966. John recorded his lead vocal on April 29. Both the vocal and backing track were recorded at variable speed. It was during the recording of “I’m Only Sleeping” that The Beatles discovered the “backwards guitar.” On May 5, 1966, as the band continued working on the song, George painstakingly transcribed the notes in his guitar solo and flourishes and then wrote them out backwards. He then played them in that reverse order. The tapes were then superimposed BACKWARDS in the mix, playing the solo notes and embellishments in the correct order, but maintaining the eerie backwards sound. “I’m Only Sleeping” 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 “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. On U.S. album: Yesterday And Today - Capitol LP

Sean – Wait For Me - Friendly Fire

The Beatles - - Let It Be (Lennon-McCartney) Lead vocal: John Prior to leaving for an extended trip to India to study Transcendental Meditation in early 1968, the Beatles recorded several new songs to fill the sides of their upcoming single, which would be released while they were away. John had originally wanted his new

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composition, “Across The Universe,” for the A-side of the single but was still not happy with the mix of the song. When the Beatles sat down to decide which two of their new recordings should be used, John preferred “Across the Universe” remain on the shelf for the time being, giving Paul’s more commercial “Lady ” the A-side. “Across The Universe” was written entirely by John and was recorded February 4, 1968, in eight takes. Overdubs were recorded on February 8. Comedian and author Spike Milligan had been at Abbey Road when the group was working on the song and some months later inquired about it. He was surprised to learn that “Across the Universe” was sitting unreleased in EMI’s vault, so Milligan asked Lennon to donate the song to a charity album he was organizing for the World Wildlife Fund. Milligan was a British comedy legend who, along with Peter Sellers, starred in “The Goon Show,” one of John’s all-time favorite programs. Lennon not only gladly contributed the song to be used on the charity album, but arranged to have the songwriting royalties from the recording given to the World Wildlife Fund. This charity album version, known by fans as the “Wildlife” version, was released in December 1969. Although it is popularly believed that the two versions of “Across The Universe” are different recordings, they are not. Both the “Wildlife” version and the Phil Spector re-produced version are derived from the same February 8, 1968, master tape. For the charity album, the sound of birds was added and the tape was sped up to give it a higher pitch. On April 1, 1970, Spector stripped some elements from the original February 8, 1968, master tape, slowed it down and added an orchestra and choir. The instrumental line-up is John on acoustic guitar, Paul on piano, George on tamboura and wah-wah guitar (second and third refrains only) and Ringo on drums.

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The Beatles - - Non-LP Track (Lennon-McCartney) Lead vocal: Paul The Beatles’ seventeenth single release for EMI’s Parlophone label. The last original issue Beatles 45 to appear on the Capitol swirl label in the U.S. or on the Parlophone label in the UK. Starting in the summer of 1968, Beatles recordings would be issued on their own record label, . The Beatles did not leave EMI or Capitol, they simply had their own custom label, to which they could sign artists. The manufacturing and distribution would remain the same as before. In fact, in America, their releases continued to use Capitol album and single catalog numbering.

The Beatles - - Sgt. Pepper’s Lonely Hearts Club Band (Lennon-McCartney) Lead vocal: Paul The title “Getting Better” was inspired by a phrase often used by substitute Beatles drummer Jimmy Nicol. Nicol stepped in for the ailing Ringo Starr during his bout with tonsillitis in June 1964. On the eve of the band embarking on their first world tour Ringo collapsed at a photo shoot and the final night of recording for the “A Hard Day’s Night” LP were scrapped, leaving the final version with 13 songs instead of the expected 14. Nicol was called in on no notice to rehearse the concert set list. The next day he was

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thrown into the crush of full scale Beatlemania as the Fab Four landed in the Netherlands for the first of the sold out concerts. Once on the mend, Ringo caught up with the tour in Australia. After each show, John and Paul would ask their new drummer how he was doing. His standard reply was “It’s getting better.” McCartney was reminded of this phrase while walking with Beatles biographer Hunter Davies during the making of the “Sgt. Pepper” album, and he decided to build a song around it. Recording began on the song on March 9, 1967 and the basic rhythm track was completed in seven takes. Paul described the tune as “an optimistic song,” but noted John’s biting wit gave the lyrics the perfect counterpoint. Paul: “I was sitting there doing ‘Getting better all the time’ and John just said in his laconic way, ‘It couldn’t get no worse,’ and I thought, Oh, brilliant! This is exactly why I love writing with John.” Recording continued on the track on March 21. The March 21 session is notable in Beatles history. John informed producer George Martin that he was feeling ill. It was a rarity for John Lennon to complain of illness or to miss a recording session due to illness. Martin thought he could do with some fresh air and took him to the rook of the Abbey Road studios and left him there to convalesce. Paul and George knew John had taken a tab of acid. Realizing that John was alone on a roof with no rails and in the middle of an LSD trip, the pair ran up the roof to bring him back inside. On March 23, Paul’s lead vocal, John and George’s backing vocals and handclaps were double-tracked and added to the mix.

The Beatles - Revolution - Non-LP Track (Lennon-McCartney) Lead vocal: John The Beatles’ eighteenth single release for EMI, their first on the Apple Records label. John Lennon lobbied hard to get his magnificent rocker on the A-side of the band’s summer 1968 single, but by any standard, Paul’s “Hey Jude” was an unbeatable choice for the A-side. There are three versions of John’s “Revolution.” The first one recorded was the slower version which opens the fourth side of “The Beatles” and was released under the title “Revolution 1.” That track was the first song to be recorded for what would be known as the “White Album.” Ultimately, the song ran over 10 minutes. Much of it was cut out and used to create the sound collage entitled “,” which would also appear on side four of the new album. Shortly before his death in 1980, John explained the reason for the song’s remake into a fast rocker: Paul and George refused to allow the original slower recording to be released as the next Beatles single, fearing it was not upbeat enough. So Lennon decided they would record the song fast and loud. Recording began on the fast and loud single version of “Revolution” on July 10, 1968. Additional overdubs were added on July 11 and 12, and the final mix was completed on July 15. The single was issued on August 30, 1968, in the UK, and on August 26 in the U.S. The “Hey Jude”/“Revolution” single would go on to sell nearly five million copies in the U.S. and eight million copies worldwide. On U.S. album: Hey Jude - Capitol LP

George Harrison – Wah-Wah - All Things Must Pass ‘70 Famously composed during the “Let It Be” sessions. On January 10th, 1969 – George left the Beatles and wrote the song during this period of estrangement. The title refers to the “wah-wah” (headache) he was receiving due to prolonged

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exposure to Macca-baiting and John and Yoko’s antics during the Twickenham rehearsals. The song obviously had some meaning to George, as he used it to open his section of the Concert for Bengladesh.

I Call Your Name - Long Tall Sally EP (Lennon-McCartney) Lead vocal: John Composed by John Lennon and originally given to Billy J. Kramer with the Dakotas to use as the b-side of another Lennon song (credited to Lennon-McCartney), “Bad to Me.” Both songs had been recorded at Abbey Road by Kramer and band on June 27, 1963, with Paul McCartney in attendance. The Beatles’ version was recorded in seven takes on March 1, 1964. On U.S. album: The Beatles’ Second Album - Capitol LP

Ringo – – Single `72

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Wings – Venus and Mars – Venus and Mars ‘75 Spacey, melodic, hypnotic – Venus and Mars was crafted as a “suite” that would segue to the next song with very careful editing.

Wings – Rock Show – Venus and Mars ‘75 This is the second track of the “suite,” written for the forthcoming world tour. This became a staple beginning to many of the Wings live shows

Wings – Love in Song – Venus and Mars ‘75

The Beatles - Two Of Us - Let It Be (Lennon-McCartney) Lead vocals: Paul and John A Paul McCartney solo composition originally entitled “On Our Way Home.” Thought by many to be a song about John and Paul, "Two of Us" is actually a song written by Paul about himself and his soon-to-be wife, Linda Eastman. The lyrics are derived from various experiences where the two would get in the car with Paul's dog, Martha, and just drive in the countryside until they were lost. One particular day, Linda parked the car and went for a walk with her camera and Paul sat in the car and wrote the basic tune for the song. Paul introduced the song to the other Beatles during the January 1969 sessions in which the group was working up seven or eight new songs to include in a one-hour concert television special. At this time, “On Our Way Home” was not -styled acoustic version heard on the released album. Both John and producer Glyn Johns suggested to Paul that an acoustic arrangement might suit the song better, but McCartney was thinking in terms of how it might play in the concert TV special, so he wanted a fast song. On January 24, after numerous run-throughs that seemed to go nowhere, John again suggested they try it with acoustic guitars, and Paul agreed. The line-up was Paul on his Martin D-28 acoustic guitar, John on acoustic guitar, George on his Fender Telecaster (playing a bass part on the top strings) and Ringo on drums. The first performance with acoustic guitar featured a solo John vocal on the first verse. For the mixes submitted to Apple, Glyn Johns selected a January 24 take of the song (one without Lennon’s whistling at the end of the song). One of these non- whistling takes can be heard on the “Anthology 3” album. The version found on the “Let It Be” was the second performance of three (numbered Takes 10, 11, 12) on January 31. This is the performance shown in the “Let It Be” film. John’s opening dialog (“‘I Dig A Pygmy’ by Charles Hawtrey and the Deaf-aids. Phase one in which Doris gets her oats”) followed Ringo hitting his snare drum was recorded before the group played “I ” on January 21. Charles Hawtrey was a British actor and deaf-aids is British slang for hearing aids. American Beatles fans got their first glimpse of a bearded Paul McCartney and the Beatles performing “Two Of Us” when a clip of the song as seen in the “Let It Be” film was shown on “” on March 1, 1970

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