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Home , Jane Asher, Mike Sammes, Piggies, Revolution 9, Ringo 2012, Sexy Sadie

PLAYLIST OCT.14th 2012

HR 1

The Beatles - - 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 and sketching out some ideas for the film. Upon his arrival in , 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. : Magical Mystery Tour - Capitol LP

The Beatles - - Magical Mystery Tour (EP) (Lennon-McCartney) Lead vocal: John The Beatles’ sixteenth single release for EMI’s label. pushed to have his “I Am The Walrus” as the A-side of the coupling with Paul’s “Hello, Goodbye,” but his song was deemed too unconventional and less commercial than Paul’s catchy tune. The title is inspired by the Walrus and the Carpenter from Lewis Carroll’s “Through The Looking Glass.” Lennon described his lyrics as purposely being Dylan-esque. In his 1980 Playboy interview he explained, “In those days I was writing obscurely, a la Dylan, never saying what you mean, but giving the impression of something.” The “I Am The Walrus” session is notable because it was the first Beatles recording session following the untimely death of their manager, Brian Epstein. Ironically, Epstein had stopped by the last time the Beatles were recording (for “Your Mother Should Know” at Chappell Recording Studios on August 23, 1967). He was found dead on August 27, aged just 32. All four Beatles met at Paul’s St. John’s Wood house on September 1 to discuss how they should proceed. Among other business matters, it was decided that they would press on with the “Magical Mystery Tour” project, temporarily postponing a planned visit to India to study Transcendental . The basic rhythm track was recorded in a six-hour session beginning at 7:00 p.m. on September 5, 1967. Sixteen takes were attempted, only five of them were complete run-throughs. Starting the next day overdubs were added to create John Lennon’s textured masterpiece. Specifically, additional bass from Paul, more drums from Ringo and John’s memorable lead vocal on Sept. 6, and a 16-piece orchestra under the direction of , and 16 members of the Mike Sammes Singers, a large group of vocalists who did much session and television work, that brought the “Ho-ho-ho, hee- hee-hee, ha-ha-ha” section to life, in separate sessions on Sept. 27. Issued November 24, 1967 in the UK and November 27, 1967 in the U.S. On U.S. album: Magical Mystery Tour - Capitol LP

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 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, ’s initial offering for the “Sgt. Pepper” album, “,” 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 ” 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 . Surprisingly, the “”/“Baby, You’re A Rich Man” single is the first instance of George Martin being given credit on the 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

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The Beatles - Don’t Bother Me – (Harrison) Lead vocal: George George Harrison’s first recorded original song. While some may see it as a misfortune that Harrison was surrounded by two of the most gifted in history, this proximity gave him great insight into the mechanics of writing a song from scratch. His first attempt was more than a throwaway composition. He called “Don’t Bother Me” an “exercise” to see if he could write a song, and it was written while George was sick in a bed at the Palace Court Hotel in Bournemouth where The Beatles were playing six nights at Gaumont Cinema in mid-August of 1963. It was during this engagement (on August 22) that photographer Robert Freeman took the iconic “artsy” cover of the band in half lighting that would grace the cover of both the British “With The Beatles” album and the American “Meet The Beatles!” album.

Using the basic Lennon-McCartney song structure George crafted a “Beatles song” that was on par with the material the band was currently working up for their second album. Getting the other Beatles and producer George Martin to take his work seriously was another matter, and it would take years for Harrison to finally be given his due. Normally he was relegated to one or two songs per album.

Aside from the financial windfall George received from having an original composition on selling in the multi-millions worldwide, George said, “It showed me that all I needed to do was keep on writing and maybe eventually I would write something good. It did, however, provide me with an occupation.” Recorded on September 11 and 12, 1963. On U.S. album: Meet The Beatles! - Capitol LP

The Beatles - Little Child – With The Beatles (Lennon-McCartney) Lead vocal: John Composed in about two hours just days before being recorded, “Little Child” was originally written for to sing on The Beatles’ second album. When he passed, John and Paul penned a similar and simpler song for him to sing entitled “I Wanna Be Your Man.” John Lennon provides the lead vocal. Overdubs include John’s harmonica part and Paul on . The song was never performed in concert by The Beatles. Recorded September 11 and 12, and October 3, 1963. On U.S. album: Meet The Beatles! - Capitol LP

The Beatles - It Won’t Be Long – With The Beatles (Lennon-McCartney) Lead vocal: John The first original song recorded for their second album, “With The Beatles.” Composed primarily by John in July 1963 with the intention of writing a follow-up single to the as yet unreleased “.” The lyrical similarity to the chorus of “She Loves You” (both songs contain the phrase “yeah, yeah, yeah”) was no accident. Beatles manager Brian Epstein had encouraged John and Paul to try to write songs that would appeal to the American market, specifically American teenagers. Soon American colloquial sayings and words started showing up in their songs. Ten takes were attempted on July 30, 1963 and the song was left unfinished. The group resumed work later that evening, in all logging 23 full or partial takes and edit pieces. It is the first original Beatles song with a call-and-response gimmick, with John and Paul alternating “yeah” throughout the song. The first song Neil Young performed live for an audience at his high school cafeteria in Canada. On U.S. album: Meet The Beatles! - Capitol LP

The Beatles - Hold Me Tight – With The Beatles (Lennon-McCartney) Lead vocal: Paul Initially recorded during the marathon “” session on February 11, 1963, the song was not chosen for inclusion on The Beatles’ debut album and the tape containing that day’s recording had been lost, recorded over or destroyed. On September 12, 1963, their fourth recording session for the “With The Beatles” LP, the song was started from scratch. “Hold Me Tight” had been written by Paul and John sometime in 1961 and the song was part of their set list from 1961 through 1963 during their Cavern Club and Hamburg club days. On U.S. album: Meet The Beatles! - Capitol LP

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 Anna 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

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The Beatles – 12 Bar Original –

The Beatles – Cry For A Shadow – Anthology 1

George – Thanks For The Pepperoni –

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The Beatles - - Sgt. Pepper’s Lonely Hearts Club Band (Lennon-McCartney) Lead vocal: Paul Paul heard that in America “traffic wardens” were called “meter maids,” which he thought was humorous and decided to see what he could rhyme with it. Written entirely by Paul McCartney and recorded on February 23, 1967. The basic rhythm track was completed in eight takes. Take 8 was deemed the best and it was mixed down to a single track and the Beatles added overdubs to create the finished recording. Specifically, Paul’s bass on Feb. 23, Paul’s lead vocal on Feb. 24, John, Paul and George’s backing vocals on March 7, and George Martin was elected to fill the song’s middle eight with a piano solo, recorded on March 21.

The Beatles - Got To Get You Into My Life - Revolver (Lennon-McCartney) Lead vocal: Paul Another Paul McCartney solo composition, Paul called this stand out track “an ode to pot, like someone else might write an ode to chocolate or a good claret (wine).” Work began on the song on April 7, 1966, and this early alternate version can be heard on the “Anthology 2” album. It was the second song recorded for the “Revolver” album. The Beatles returned to the song the next day with an improved that included John and George on fuzz guitars. On May 18 they revisited the song again, devoting a full 12-hour session to rework and complete the song. To give the song its Motown feel, five outside musicians were brought in to add brass and saxophones. An additional dual guitar overdub was added on June 17. “Got To Get You Into My Life” was the opening song performed on the final Wings tour in 1979. On U.S. album: Revolver - Capitol LP

The Beatles - - Revolver (Harrison) Lead vocal: George Completed in 11 takes on April 21, 1966. Written by George when he started realizing the majority of his money was going to the British government in the form of taxes. George went to John Lennon for some help with the lyrics, and Lennon was especially pleased with his line “Now my advice for those who die: declare the pennies on your eyes.” Featuring a nice lead guitar solo by Paul on his Epiphone Casino. The ‘pennies’ lyrical reference derives from Greek mythology – it is the payment to Charon (the ferryman of the underworld) to ferry the deceased to their destination in the underworld. To pay the ferryman, the deceased person's relatives place a coin on each eye of the deceased. The Mr. Wilson and Mr. Heath mentioned in the song were real people. Harold Wilson was the Prime Minister and Edward Heath was head of the opposition party at the time the song was recorded. It is the first time a George Harrison composition opens a British Beatles album. On U.S. album: Revolver - Capitol LP

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The Beatles - Revolution 1 - The Beatles (Lennon-McCartney) Lead vocal: John The first song recorded during the sessions for the “White Album.” At the time of its recording, this slower version was the only version of John Lennon’s “Revolution,” and it carried that titled without a “1” or a “9” in the title. Recording began on May 30, 1968, and 18 takes were recorded. On the final take, the first with a lead vocal, the song continued past the 4 1/2 minute mark and went onto an extended jam. It would end at 10:17 with John shouting to the others and to the control room “OK, I’ve had enough!” The final six minutes were pure chaos with discordant instrumental jamming, plenty of feedback, percussive clicks (which are heard in the song’s introduction as well), and John repeatedly screaming “alright” and moaning along with his girlfriend, . Ono also spoke random streams of consciousness on the track such as “if you become naked.” This bizarre six-minute section was clipped off the version of what would become “Revolution 1” to form the basis of “.” Yoko’s “naked” line appears in the released version of “Revolution 9” at 7:53.

John was desperate to have his voice sound different on record. Since 1966 the engineers usually put his lead vocals through a Fairchild limiter, but for the June 4 session of “Revolution,” John decided he’d feel more comfortable lying on the floor and singing, so engineer Brian Gibson rigged a microphone that would be suspended on a boom above his mouth, so that Lennon could re-record his lead vocal. Gibson: “They were always looking for a different sound; something new.” John was now actively compiling sound effect tapes for his (to be called “Revolution 9”) so to lessen the confusion in the control room, the slower version would now be known as “Revolution 1.” “Revolution 1” was completed on June 21.

HR.II

The Beatles - Run For Your Life - (Lennon-McCartney) Lead vocal: John The first song completed when sessions for “Rubber Soul” began on October 12, 1965. John Lennon lifted the opening line (“I’d rather see you dead little girl than to be with another man”) from “Baby Let’s Play House,” popularized by Elvis Presley. On U.S. album:

Elvis – Baby Let’s Play House – Single

The Beatles - Oh! Darling - Abbey Road (Lennon-McCartney) Lead vocal: Paul Paul’s “Oh! Darling” had been run-through a few times during the “” sessions, but the first proper recording was at Abbey Road Studios on April 20, 1969. The backing track was recorded in 26 takes with Paul on Rickenbacker bass, John on piano, George on Telecaster through a Leslie speaker and Ringo on drums. Paul’s lead vocal was recorded on April 26, but he was not happy with it. The band moved on to other songs. Paul would return to “Oh! Darling” in mid-July. He wanted to record his lead vocal in one single take when his voice was most gravelly. Engineer Alan Parsons: “Perhaps my main memory of the “Abbey Road” sessions is of Paul coming into Studio Three at two o’clock or 2:30 each afternoon, on his own, to do the vocal on ‘Oh! Darling.’ That was a feature of the “Abbey Road” sessions. You rarely saw all four Beatles together. It was either John or Paul or George working on their various things, perhaps only getting together to her something back. But Paul came in several days running to do the lead vocal on ‘Oh! Darling.’ He’d come in, sing it and say, ‘No, that’s not it, I’ll try it again tomorrow.’ He only tried it once per day, I suppose he wanted to capture a certain rawness which could only be done once before his voice changed. I remember him saying ‘five years ago I could have done this in a flash,’ referring, I suppose, to the days of ‘Long Tall Sally’ and ‘Kansas City.’” McCartney made lead vocal attempts on July 17, 18, 22, and 23, and his July 23 lead vocal appears on the finished master. On August 8, Paul overdubbed lead guitar and tambourine. Paul, John and George added backing vocals on August 11.

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The Beatles - I Don’t Want To Spoil The Party - Beatles For

Sale (Lennon-McCartney) Lead vocal: John and Paul Written primarily by John, who called it one of his favorites. Recorded in 19 takes (only five of which were complete run-throughs) on September 29, 1964. The B-side of the “” single in the U.S., issued February 15, 1965. On U.S. album: Beatles VI - Capitol LP

The Beatles - Any Time At All - A Hard Day’s Night (Lennon-McCartney) Lead vocal: John Recorded June 2, 1964, the last day of recording for the “A Hard Day’s Night” album. John Lennon: “An effort at writing ‘It Won't Be Long’ - same ilk. C to A minor, C to A minor with me shouting.” The song was in an unfinished state when Lennon brought it to the band to record on June 2. The group worked out the arrangement throughout the day and night. Up against the wall on a deadline to submit the album, the piano section in the middle eight was left without lyrics. They had run out of time. On April 8, 1988, Lennon's handwritten lyrics for “Any Time At All” were sold for £6,000 at an auction held at Sotheby's in London. On U.S. album: Something New - Capitol LP

The Beatles - The Night Before - Help! (Lennon-McCartney) Lead vocal: Paul Recorded in two takes on February 17, 1965. Paul double-tracked his vocal and overdubbed a lead guitar solo, which is heard at the very end and during the instrumental break. Lennon: “George and Paul are playing the same break exactly, both playing but in different octaves.” John Lennon plays the Hammond organ. On U.S. album: Help! - Capitol LP

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 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

The Beatles - Things We Said Today - 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 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

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 arrangement 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.” printed “From the United Artists release ‘Eight Arms To Hold You’ ” on both sides of the single. On U.S. album: Help! - Capitol LP

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The Beatles - Komm, Gib Mir Deine Hand – Past Masters Recorded: 29 January 1964; EMI Pathé Marconi Studios, Paris

The Beatles – Boys – Please Please Me (Dixon-Farrell) Lead vocal: Ringo Recorded in just one take on February 11, 1963. “Boys” was drummer Ringo Starr’s first recorded lead vocal. Luther Dixon and Wes Farrell’s song was originally recorded by The Shirelles and was the b-side to their smash hit “Will You Love Me Tomorrow?” This song was usually Ringo’s contribution at The Beatles’ live performances during their North American Tour in the summer of 1964. On U.S. albums: Introducing… The Beatles - Vee-Jay LP The Early Beatles - Capitol LP

The Beatles - Bad Boy - A Collection Of Oldies (Williams) Lead vocal: John Recorded specifically for the American market at the urgent request of Capitol Records executives, who needed two songs to fill out their upcoming “Beatles VI” album. Of course, Capitol had four songs in its possession it could have included (“,” “Misery,” “There’s A Place” and the German-language version of “She Loves You,” had all yet to appear on an LP in America), but they went to the Beatles and asked for something new ASAP. With no new material ready to go the band pulled two Larry Williams’ songs from their pre-fame club repertoire, “Bad Boy” and “Dizzy Miss Lizzy,” that could be recorded in one day and then the tapes would be air-freighted to Capitol Records in Los Angeles.

“Bad Boy” would go unreleased in the UK for another year and a half until it turned up on the hits compilation “A Collection of Beatles Oldies” in December 1966. Recorded on May 10, 1965. On U.S. album: Beatles VI - Capitol LP

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

The Beatles - - A Collection Of Beatles Oldies (Lennon-McCartney) Lead vocal: John with Paul The Beatles’ fifth single release for EMI’s Parlophone label. “I Want to Hold Your Hand” was the Beatles’ first single issued by Capitol Records. It is the song that launched Beatlemania in the United States. It was written equally by John and Paul in the basement music room in Richard and Margaret Asher’s house at 57 Wimpole Street in the west end of London in September 1963. Paul had been dating the couple’s daughter, actress Jane Asher, and was spending a lot of time at the Asher home whenever he was in London. Paul would eventually accept an invitation to move in, taking up residence in their attic.

Recorded in 17 takes on October 17, 1963. The song is the first Beatles song recorded on a four-track tape recorder, proof that the Beatles had become a high priority for EMI and Parlophone. Prior to this, the Beatles’ music had been recorded on a two-track recorder.

As part of its agreement with British music conglomerate EMI, Capitol Records had the right of first refusal to release all of EMI’s music in the U.S. Famously, Capitol rejected the initial Beatles records it was offered, and the songs were subsequently issued by other U.S. labels. By December 1963 Capitol was finally convinced that Beatles records would be successful in America and agreed to mount an extensive marketing campaign, initially budgeted at a then unheard of $40,000, to promote their next single, “I Want to Hold Your Hand.” Capitol switched out the UK b-side “” with the up-tempo “,” unleashed its sales team, and started taking orders. Demand was so high that Capitol moved up the release date two weeks. On December 26, 1963 the single hit stores throughout America. Within three days 250,000 copies had been sold. Two weeks later it reached one million sales and the Beatles booked a flight to America. On U.S. albums: Meet The Beatles! - Capitol LP

The Knickerbockers – LIES – Single `66

Ringo – Bad Boy – Bad Boy

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Ringo – Samba – Ringo 2012

The Beatles - I’m Happy Just To Dance With You - A Hard Day’s Night (Lennon-McCartney) Lead vocal: George Written by John and Paul specifically to give George a song in the movie “A Hard Day’s Night.” Completed in four takes on March 1, 1964, with filming slated to begin the next day. The b-side of “I’ll Cry Instead” in U.S. On U.S. album: A Hard Day’s Night - United Artists LP Something New - Capitol LP

The Beatles - – Please Please Me (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. albums: Introducing… The Beatles - Vee-Jay LP The Early Beatles - Capitol LP

Traveling Wilburys - Wilbury Twist – Vol. 3

HR. 3

The Beatles - Only A Northern Song - Yellow Submarine (Harrison) Lead vocal: George Originally recorded for the “Sgt. Pepper’s Lonely Hearts Club Band” album, producer George Martin felt the song was not good enough for inclusion and ask George Harrison to go back to the drawing board. Harrison came up with “Within You, Without You” and the rejected track was saved as the first of four “new songs” the band was obligated to deliver for the “Yellow Submarine” animated film project. Ltd is the song publishing company that licenses and collects royalties for the increasingly lucrative Lennon-McCartney song catalog. At the time, the company also handled Harrison and Starkey’s songwriting output. In 1967, the company was 50% owned by music executive Dick James, and 50% owned by John, Paul and Brian Epstein’s NEMS Enterprises Ltd. So, in a case of art imitating life, George’s “Only A Northern Song” actually is a Northern song. The lyrics are directed at the company’s majority owner Dick James. Nine takes were recorded of the backing track on February 13, 1967, four being complete run- throughs. The line-up was Harrison on organ, Lennon on piano, McCartney on bass and Starr on drums. Two lead vocals were recorded the following night. The Beatles returned to the song on April 20, 1967, adding vocals, bass guitar, a trumpet and glockenspiel.

The Beatles - Strawberry Fields Forever - Non-LP track (Lennon-McCartney) Lead vocal: John The Beatles’ fourteenth single release for EMI’s Parlophone label. Recording began on November 24, 1966. Written in Spain by John several months earlier while he was filming the Richard Lester-directed film “How I Won The War.” The beautiful “Take 1” of this Lennon classic can be heard on the “Anthology 2” album. It is entirely different than the finished version. Strawberry Fields was actually a Salvation Army home in the neighborhood where Lennon grew up. John used to go to parties there and it always brought back happy memories to him. One of the only two “honest” songs that John says he wrote for the Beatles. The other? “Help!”

In September 1966, Brian Epstein informed EMI and Capitol that there would be no new album and maybe not even a single ready in time for the 1966 Christmas season. EMI quickly assembled a 16-track greatest hits album (“A Collection Of Beatles Oldies”). In the U.S., Capitol did not release a hits compilation and instead waited impatiently for a new single.

The Beatles – What’s The New Mary Jane –

The Beatles - - The Beatles (Lennon-McCartney) Lead vocal: John On February 19, 1968, the Beatles left the comforts of the UK for an oft-postponed extended trip to , India. Arriving the next day, they had come to learn the powers of mediation under the direction of Indian Maharishi Mahesh at the Academy of Transcendental Meditation. The compound was located 150 feet above the Ganges surrounded on three sides by jungle-covered mountains. Students would live in stone cottages. Each cottage had twin beds and modern bathroom facilities. George Harrison had been enlightened by the Indian culture and the Maharishi’s teachings and invited his band mates to immerse themselves in it as well. But instead of rejuvenating the other Beatles, the trip became tedious. Ringo and wife Maureen left Rishikesh after 10 days, complaining of missing their children and not liking the food. John and Paul turned it into a songwriting vacation, much to Harrison’s irritation. Paul and girlfriend Jane Asher returned to England on March 26. In April, things came to a head when a rumor circulated that the Maharishi had made sexual advances toward at least one of the women at the compound. John: “We went to see him after we stayed up all night discussing was it true or not true. When George started thinking it might be true, I thought well, it must be true, because if George started thinking it might be true there must be something to it. So we went to see Maharishi, the whole gang of us, the next day, charged down to his hut, his bungalow, and as usual, when the dirty work came, I was the spokesman.” But instead of accusing the Maharishi outright of wrongdoing or inquiring about the specifics of the rumor, Lennon announced cryptically “We’re leaving.” When the Maharishi asked why, Lennon’s response was “Well, if you’re so cosmic you’ll know why.” True or not, Lennon and Harrison had had enough and left with their entourage immediately. “Sexy Sadie” was written by John while waiting at Delhi Airport, and was originally titled “Maharishi” with lyrics being “Maharishi, what have you done? You made a fool of everyone.” At Harrison’s request, Lennon backed off and substituted ‘Sexy Sadie’ for ‘Maharishi.

The Beatles - - 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 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.

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Wings – Let Me Roll It – Band On The Run

John – I Found Out -

George – Wah Wah – ATMP

Ringo –

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The Beatles - I’ve Just Seen A Face - Help! (Lennon-McCartney) Lead vocal: Paul Written by Paul at the Asher family home on Wimpole Street. Paul had the tune prior to coming up with the lyrics and originally named the song “Auntie Gin’s Theme” because his aunt liked it. George Martin’s instrumental “Help!” album includes an orchestrated version of “I’ve Just Seen A Face” using the title “Auntie Gin’s Theme.” Recorded in six takes at the same June 14, 1965 McCartney-dominated session that produced “Yesterday” and “I’m Down.” One of only five Beatles songs Paul chose to perform live on his Wings Over America tour in 1976. On U.S. album: Rubber Soul - Capitol LP

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: Rubber Soul - Capitol LP

The Beatles - - Abbey Road (Lennon-McCartney) Lead vocal: John The Beatles’ twenty-first single release for EMI, and fourth on the label. When John and Yoko were in Montreal staging their second and last Bed-In For Peace they were visited by Timothy Leary, an outspoken proponent of LSD. During their visit, Leary and his wife participated in John and Yoko’s hotel room recording of “Give Peace A Chance,” singing on the chorus. Timothy is even name-checked in the lyrics. He asked John to write a song titled “Come Together – Join The Party” for his bid to become governor of California. Lennon obliged and responded with lyrics such as: “Come together right now/Don’t come tomorrow, don’t come alone/Come together right now over me.” Lennon recorded a demo for Leary, who started using it as his campaign song. After being imprisoned for possession of marijuana in late 1969, Leary dropped out of the gubernatorial race, which was won by Ronald Reagan. Lennon reworked and expanded the song for the Beatles.

The Beatles - - The Beatles (Harrison) Lead vocal: George The basic rhythm track for “Piggies” was recorded on September 19, 1968, with Chris Thomas sitting in the producer’s chair, subbing for George Martin. It was completed in 11 takes and overdubs were finished the following day. Although “” was a derogatory term that young people in America in the sixties called police, George Harrison’s social commentary made light of the upper class, not authority figures. The first utterance of a curse word (“damn”) by a Beatle in a Beatles song came at the suggestion of Harrisons’ mother, who offered her son the line: “What they need’s a damn good whacking” to rhyme with “backing” and “lacking.” Although he did not attend any of the sessions for the song, John Lennon improved on one of George’s lines, suggesting the line “Clutching forks and knives to eat their bacon” instead of George’s line “Clutching forks and knives to eat their pork chops.” Chris Thomas supplies the harpsichord part on the song. In fact, the harpsichord had been set up overnight in Studio One for a classical recording the next day. Rather than to Studio Two, the Beatles went to the harpsichord in Studio One and recorded “Piggies” there. The rhythm track featured George played his Gibson J-200 acoustic guitar, Paul on his Rickenbacker bass and Ringo on drums. It is presumed he was elsewhere in the building compiling tapes for the still-evolving “Revolution 9.” For the next night’s session Lennon put together a of pig sounds taken from the EMI sounds effects library. Prior to the big finish of the song, George can be heard saying “one more time.” In his book, “I Me Mine,” George provides lyrics to a verse that was not recorded. Everywhere there’s lots of piggies Playing piggy pranks You can see them on their trotters At the piggy banks Paying piggy thanks To thee pig brother!

The Beatles - You Know My Name (Look Up The Number) flip of Let It Be Recorded: 17 May, 7/8 June 1967, 30 April 1969 Paul has named "You Know My Name" his favorite Beatles track due to its irregularity. The song was recorded over a two-year span, being worked on and shelved several times between 1967 and 1969. John came up with the lyric and title after seeing a postal advertisement reading, "You have their name? Look up their number." The karaoke segment was developed during the second sessions for the song, and a reference to 'A Hard Day's Night' associate producer Dennis O'Dell was added, prompting numerous calls to his home by crazed fans who chanted mindlessly "We have your name and now we've got your number", as well as drugged fans coming en masse to his doorstep wanting to live with him. Recording dates May 17, 1967 (instrumentals) June 7, 1967 (instrumentals) June 8, 1967 (instrumentals, inc. Brian sax solo) June 9, 1967 (mixed into one master take) April 30, 1969 (vocals and sound effects)

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