DOCSLIB.ORG

KLOS March 30Th 2014 Denny Laine

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
KLOS March 30Th 2014 Denny Laine 1 1 2 2 3 9AM I’m sad to say that I’m dedicating this first couple of songs here to our dear friend Stan …you know him as Stan the Hot Sauce Man….whose Mom Marion passed away yesterday…Now we got to know Marion here on BWTB quite well…as she came hung out with us more than a few times She also made me that British Flag quilt blanket And BWTB pillow…that we often talked about…she came down to all the events at Capitol Records…Just Imagine shows…everyone loved her…and she will certainly be missed…and here is Marion’s favorite Beatles song. 3 4 The Beatles - If I Fell - A Hard Day’s Night (Lennon-McCartney) Lead vocal: John and Paul John Lennon’s stunning ballad “If I Fell” was by far the most complex song he had written to date. It could be considered a progression from “This Boy” with its similar chord structure and intricate harmonies by John and Paul, recorded – at their request – together on one microphone. Performed live on their world tour throughout the summer of 1964. Completed in 15 takes on February 27, 1964. Flip side of “And I Love Her” in the U.S. On U.S. album: A Hard Day’s Night - United Artists LP Something New - Capitol LP The Beatles - In My Life - Rubber Soul (Lennon-McCartney) Lead vocals: John with Paul Recorded October 18, 1965 and written primarily by John, who called it his “first real major piece of work.” Of all the Lennon-McCartney collaborations only two songs have really been disputed by John and Paul themselves -- “Eleanor Rigby” and “In My Life.” Both agree that the lyrics are 100% Lennon, but John says Paul helped on the musical bridge, while Paul recalls writing the entire melody on John’s Mellotron. The gorgeous piano solo is provided by George Martin. To give his solo a harpsichord sound the producer played the piano at half speed and an octave lower so that when played at regular speed it would be in the correct key for the song. On U.S. album: 4 5 Rubber Soul - Capitol LP The Beatles – Yesterday - Help! (Lennon-McCartney) Lead vocal: Paul Written solely by Paul McCartney. After he woke up one morning with the tune in his head he went to his piano to sketch it out. Sure the tune was something he had heard before he took the song to several people and asked if they’d heard it before. When everyone he asked said it was new to them he claimed the tune as his own. McCartney perfected the melody and added a middle eight section during breaks in the production of the Beatles’ second film. He wrote the lyrics while on vacation in Portugal in late May 1965. The band was reluctant to release the song because a lovely acoustic ballad with a string quartet did not fit their rock and roll image. It was buried on the “Help!” LP and the band had no intention of releasing it as a single in the UK. But in America, Capitol Records issued it as a single a few days after McCartney, in the solo spotlight, sang the song on “The Ed Sullivan Show.” Recorded in two takes on June 14, 1965 at the same session as “I’ve Just Seen A Face” and “I’m Down.” One of only five Beatles songs Paul chose to perform live on his Wings Over America tour in 1976. The working version lyrics included the line: “Scrambled Eggs / Oh how I love your legs.” “Yesterday” is one of the most covered songs in the history of recorded music. On U.S. album: Yesterday And Today - Capitol LP A set going out to our friend Stan for his Mom Marion may she rest in peace…from all of us Apple Scruffs 9.12 BREAK 5 6 The Beatles - The Inner Light - Non-LP Track (Harrison) Lead vocal: George The Beatles’ seventeenth single release for EMI’s Parlophone label. George’s “The Inner Light” was selected as the B-side for the “Lady Madonna” single and represented his first lead vocal on a British single. George was in India to quickly record music for the soundtrack to the movie “Wonderwall” and the backing track for “The Inner Light” was recorded at EMI’s recording studio in Bombay using local musicians on January 12, 1968. The backing track was finished in five takes. Harrison would add vocals and other embellishments at Abbey Road on February 6 and 8. It was the third song in consideration for the Spring 1968 Beatles single. “The Inner Light” was the last of the three Indian-flavored songs composed by George and the lyrics were taken directly from the poem of the same title from the “Tao Te Ching.” On U.S. album: Rarities - Capitol LP (1980) 6 7 The Beatles - Lady Madonna - 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, Apple Records. 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’ oft-postponed visit to India to study Transcendental Meditation under Maharishi Mahesh Yogi was fast approaching. They were scheduled to be in India from mid-February until late April. Written entirely by Paul, “Lady Madonna” was the first song to be recorded in the week-long rush to get a single finished before they left for India. It was completed in two straight-forward sessions on February 3, 1968 with some overdubs on February 6. The basic rhythm track consisted of only Paul on piano, and Ringo on drums (using brushes instead of sticks), recorded in three takes on the afternoon of February 3. John and George overdubbed fuzzed guitars played through the same amplifier during that evening’s session. The song was completed on February 6 with the addition of a second McCartney lead vocal, a second piano piece, “See how they run” backing vocals from Paul, John and George, and in the middle eight, the three Beatles cupping their hands around their mouths to imitate the sound of brass instruments. But Paul decided the song needed real brass instruments, so four saxophone players were brought in that evening to play on the song. LAST CAPITIOL/PARLOPHONE SINGLE 7 8 The Beatles - It’s Only Love- Help! (Lennon-McCartney) Lead vocal: John Recorded in six takes on June 15, 1965. The first Beatles song to include a reference to getting “high” (“I get high when I see you go by”). The working title prior to lyrics being written was “That’s a Nice Hat.” George Martin and his Orchestra recorded the instrumental version of “It’s Only Love” using the original title. In 1972 Lennon called “It’s Only Love” “the one song I really hate of mine.” On U.S. album: Rubber Soul - Capitol LP Peter Sellers – Can’t Buy Me Love `64/ Paul – Can’t Buy Me Love – Live 93` Soundcheck The Beatles - She Loves You - A Collection Of Oldies `66 (Lennon-McCartney) Lead vocal: John and Paul The Beatles’ fourth single release for EMI’s Parlophone label. With a July 1, 1963 recording date looming The Beatles knew their latest composition would be their next a-side: a song then entitled “Get You In the End,” shortened to “I’ll Get You” by the time it was released. But things changed on June 26, 1963. In a hotel room a few hours prior to a show in Newcastle-upon-Tyne, John and Paul sat facing each other on twin beds and proceeded to write from Paul’s suggestion. The song they created was “She Loves You.” The next day, with The Beatles having a rare day off from touring, John met up with Paul in the dining room of the McCartney’s Forthlin Road home to finish up the song. 8 9 U.S. Non-album single (Swan) On U.S. album: The Beatles’ Second Album - Capitol LP UK: Non-album single (a-side) 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 - Rock and Roll Music - Beatles For Sale (Berry) Lead vocal: John Incredibly, this stunning cover version of Chuck Berry’s classic hit from 1957 featuring John Lennon 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 9 10 a prime example of Lennon making a previously known hit his own. The overdubbed piano part features John, Paul and George Martin pounding the SAME piano! The song was featured on the Beatles 1965 European Tour and was the opening song during their 1966 concert tours.
Load more

Recommended publications
  • In Plain Sight: Aspects of Developmental Process in Sally Beamish’S Seafarer Trilogy
    In Plain Sight: Aspects of Developmental Process in Sally Beamish’s Seafarer Trilogy Richard E. McGregor University of Cumbria For a composer who has been described as being ‘at the top of her game and the pinnacle of her profession’, there is currently a complete lack of critical anal- ysis of Sally Beamish’s compositional style and technique.1 Interviews and re- views content themselves with a more or less descriptive approach, while prais- ing her ear for orchestral colour, particularly her affinity with string instruments or with voices. The former is usually explained by reference to her years as an ensemble player with, for example, Lontano and the Raphael Ensemble, while the latter is related back to the fact that her father was an amateur singer, and an aunt had a number of professional singing engagements. There are only so many times that a biography can be repeated, and Beamish is in good company with other well-respected composers such as James MacMillan who suffered for many years from the curse of the biography without analytical content. Interviewed by the author on two occasions, Beamish gave some tentative clues as to the origins of her compositional technique. In 2000 she responded to a question about pre-planning of composition with a hint of late-Stravinskian procedure: I do use [motifs] in a serial type of way with a series of transpositions so that I do make a note square with a 5 note motif and I transpose it and put them all on top of each other and then I have harmonies as well going down.2 Interviewed again during the 2012 Musica Scotica conference in Glasgow, she was somewhat more forthcoming as to the origin and nature of this working method: [Oliver Knussen] showed me a way of manipulating notes.
    [Show full text]
  • BWTB Nov. 13Th Dukes 2016
    1 Playlist Nov. 13th 2016 LIVE! From DUKES in Malibu 9AM / OPEN Three hours non stop uninterrupted Music from JPG&R…as we broadcast LIVE from DUKES in Malibu…. John Lennon – Steel and Glass - Walls And Bridges ‘74 Much like “How Do You Sleep” three years earlier, this is another blistering Lennon track that sets its sights on Allen Klein (who had contributed lyrics to “How Do You Sleep” those few years before). The Beatles - Revolution 1 - The Beatles 2 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, Yoko Ono. 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 “Revolution 9.” Yoko’s “naked” line appears in the released version of “Revolution 9” at 7:53.
    [Show full text]
  • John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle
    THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums.
    [Show full text]
  • Band on the Run
    Name: Class: Band On The Run Treble Clef Brass www.bymt.co.uk/bandontherun Username bymt Password bymt1234 1st 5 notes fingering 0 1 1 1 0 3 2 The Trumpet, Cornet, Baritone and Euphonium are transposing instruments, so here are the equivalent pitches on a piano. E.g. a C on a trumpet sounds like a Bb on a piano. Trumpet or Cornet Piano Baritone or Euphonium Piano Hot Cross Buns C D E 0 1 1 3 2 Hot cross buns! Hot cross buns! One a penny, two a penny. Hot cross buns! This is a repeat sign, which means you go back to the beginning and play the piece twice. 3 Tone Shuffle C D E Low to high, High to low, Notes can choose which way to go! Au Clair de la Lune “By the light of the moon” C D E Remember to go online and visit the BYMT “Band on the Run” website. Practice along with the backing tracks and you can perform your pieces to your friends and family! Au Clair de la Lune Minor New Note! D E F (First space) 1 What is the mood of this piece? Happy or Sad? Fun or Spooky? Hot and cold air exercise 1. Hold your hand a few inches from your mouth. 2. Now blow a steady stream of air. 3. Notice how the air feels on your hand. Q. Is it warm air or cool air? Q. Can you make your hand feel cooler? Q. Can you make your hand feel warmer? Now try these exercises: Hot air exercise 1.
    [Show full text]
  • Vocals Syllabus
    VOCALS SYLLABUS BEYONCÉ Qualification specifications for graded exams from 2018 AEROSMITH BLONDIE THE ROLLING STONES TAYLOR SWIFT RED HOT CHILI PEPPERS DUSTY SPRINGFIELD AMY WINEHOUSE QUEEN DAVID BOWIE THE XX OASIS SIA U2 WHAT’S CHANGED? This syllabus features the following changes from the 2015–2017 syllabus: New selection of songs at all levels, expertly arranged for the grade and in a wide range of styles Revised marking criteria, providing examiners, teachers and candidates with increased detail on how exams are marked (see pages 36–39) Revised parameters for own-choice songs (see pages 22–27) Revised requirements for using a microphone when performing songs Technical focus songs now feature two technical elements Band exams are no longer offered KEEP UP TO DATE WITH OUR SYLLABUSES Please check trinityrock.com to make sure you are using the current version of the syllabus and for the latest information about our Rock & Pop exams. You can also check out our syllabuses and graded songbooks for: Bass Drums Guitar Keyboards OVERLAP ARRANGEMENTS This syllabus is valid from 1 January 2018. The 2015–2017 syllabus will remain valid until 31 December 2018, giving a one year overlap. During this time, candidates may present songs from the 2015–2017 syllabus or the syllabus from 2018, but not both. Candidates should indicate which syllabus they are presenting on the appointment form handed to the examiner at the start of the exam. VOCALS SYLLABUS Qualification specifications for graded exams from 2018 Trinity College London trinitycollege.com
    [Show full text]
  • View of Time?
    I SEE, HE SAYS, PERHAPS, ON TIME: VISION, VOICE, HYPOTHETICAL NARRATION, AND TEMPORALITY IN WILLIAM FAULKNER’S FICTION DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in the Graduate School of The Ohio State University By David S. FitzSimmons, B.A., M.A. ***** The Ohio State University 2003 Dissertation Committee: Approved by Professor James Phelan, Adviser Professor Jared Gardner ______________________ Adviser Professor Jessica Prinz Department of English Copyright by David S. FitzSimmons 2003 ABSTRACT This study examines four narrative techniques in William Faulkner’s fiction in order to accomplish two things: 1) see what applying contemporary narrative theory to Faulkner can tell us about his narratives; and 2) see how examining Faulkner’s narratives can cause us to revise or extend concepts in narrative theory. In other words, the study establishes a recursive relationship between Faulkner’s fiction and narrative theory, one in which each subject matter can illuminate the other. The four narrative techniques examined include shifts in focalization, shifts in voice, hypothetical narration, and representations of time. Each chapter examines background theory, gives examples of the technique, offers explication of the technique, and analyzes the technique’s effects. The first chapter takes “Barn Burning” as its main example and looks at how to identify shifts in focalization (vision), develops a model of layers of focalization, and investigates their effects. Chapter two focuses on As I Lay Dying and “Old Man” and examines narrative voice, works at defining voice, distinguishes conventional markers of narrative voice from voice features, and explores the effect of narrative voice.
    [Show full text]
  • Song Lyrics ©Marshall Mitchell All Rights Reserved
    You Don’t Know - Song Lyrics ©Marshall Mitchell All Rights Reserved Freckled Face Girl - Marshall Mitchell © All Rights Reserved A freckled face girl in the front row of my class Headin’ Outta Wichita - Harvey Toalson/Marshall Mitchell On the playground she runs way too fast © All Rights Reserved And I can’t catch her so I can let her know I think she is pretty and I love her so Headin’ outta Wichita; we’re headed into Little Rock tonight And we could’ve had a bigger crowd but I think the band was sounding pretty tight She has pigtails and ribbons in her hair With three long weeks on this road there ain’t nothing left to do, you just listen to the radio When she smiles my heart jumps into the air And your mind keeps a’reachin’ back to find that old flat land you have the nerve to call your home And all through high school I wanted her to know That I thought she was pretty and I loved her so Now, you can’t take time setting up because before you know it’s time for you to play And you give until you’re giving blood then you realize they ain’t a’listenin’ anyway I could yell it in assembly And then you tell yourself that it can’t get worse and it does, and all you can think about is breaking down I could write it on the wall And then you find yourself back on the road following a dotted line to another town Because when I am around her I just cannot seem to speak at all I wanna see a starlit night and I wanna hold my baby tight again While in college I saw her now and then And I’m really tired of this grind and I’d sure like to see the face
    [Show full text]
  • Aspects of Developmental Process in Sally Beamish's Seafarer Trilogy
    McGregor, Richard (2020) In plain sight: aspects of developmental process in Sally Beamish's Seafarer trilogy. Scottish Music Review, 5 . pp. 87-111. Downloaded from: http://insight.cumbria.ac.uk/id/eprint/5167/ Usage of any items from the University of Cumbria’s institutional repository ‘Insight’ must conform to the following fair usage guidelines. Any item and its associated metadata held in the University of Cumbria’s institutional repository Insight (unless stated otherwise on the metadata record) may be copied, displayed or performed, and stored in line with the JISC fair dealing guidelines (available here) for educational and not-for-profit activities provided that • the authors, title and full bibliographic details of the item are cited clearly when any part of the work is referred to verbally or in the written form • a hyperlink/URL to the original Insight record of that item is included in any citations of the work • the content is not changed in any way • all files required for usage of the item are kept together with the main item file. You may not • sell any part of an item • refer to any part of an item without citation • amend any item or contextualise it in a way that will impugn the creator’s reputation • remove or alter the copyright statement on an item. The full policy can be found here. Alternatively contact the University of Cumbria Repository Editor by emailing [email protected]. In Plain Sight: Aspects of Developmental Process in Sally Beamish’s Seafarer Trilogy Richard E. McGregor University of Cumbria For a composer who has been described as being ‘at the top of her game and the pinnacle of her profession’, there is currently a complete lack of critical anal- ysis of Sally Beamish’s compositional style and technique.1 Interviews and re- views content themselves with a more or less descriptive approach, while prais- ing her ear for orchestral colour, particularly her affinity with string instruments or with voices.
    [Show full text]
  • Nick Grondin Songlist
    NICK GRONDIN SONGLIST CLASSICAL Air - Bach Ave Maria - Gounod Cannon in D - Pachabel Gymnopedie - Satie Jesu, Joy Of Man's Desiring - Bach La Rejouissance (From The Royal Fireworks) - Handel Minuet In G - Bach O Mio Babbino Caro - Puccini Ode To Joy - Beethoven Spring (From The Four Seasons) - Vivaldi Trumpet Voluntary - Clarke JAZZ All Blues - Miles Davis Blue In Green - Miles Davis Blue Trane - John Coltrane Do Nothing Til You Hear From Me - Ellington Don't Get Around Much Anymore - Ellington Equinox - John Coltrane Fly Me to the Moon - Sinatra Four - Miles Davis Freddie Freeloader - Miles Davis The Girl From Ipanema - Jobim I Got Rhythm - Gershwin If I Were A Bell - Sinatra In A Sentimental Mood - Ellington Moon River - Sinatra My Favorite Things - Rodgers and Hammerstein My Funny Valentine - Sinatra The Nearness Of You - Sinatra Naima - John Coltrane On The Sunny Side Of The Street - Sinatra Our Love Is Here To Stay - Gershwin Prelude to A Kiss - Ellington Quiet Nights of Quiet Stars - Jobim So What - Miles Davis Sonnymoon For Two - Sonny Rollins St. Thomas - Sonny Rollins Summertime - Gershwin Take The A Train - Ellington You Can't Take That Away From Me - Gershwin Wave - Jobim POPULAR All My Loving - Beatles All You Need Is Love - Beatles Beautiful Day - U2 Blackbird - Beatles Here Comes The Sun - Beatles Hey Jude - Beatles And I Love Her - Beatles I'm Yours - Jason Mraz In My Life - Beatles I Still Haven't Found What I'm Looking For - U2 I Will - Beatles Let It Be - Beatles Ob-la-di, Ob-la-da - Beatles Somewhere Over The Rainbow - Iz Stand By Me - Ben E.
    [Show full text]
  • MTO 11.4: Spicer, Review of the Beatles As Musicians
    Volume 11, Number 4, October 2005 Copyright © 2005 Society for Music Theory Mark Spicer Received October 2005 [1] As I thought about how best to begin this review, an article by David Fricke in the latest issue of Rolling Stone caught my attention.(1) Entitled “Beatles Maniacs,” the article tells the tale of the Fab Faux, a New York-based Beatles tribute group— founded in 1998 by Will Lee (longtime bassist for Paul Schaffer’s CBS Orchestra on the Late Show With David Letterman)—that has quickly risen to become “the most-accomplished band in the Beatles-cover business.” By painstakingly learning their respective parts note-by-note from the original studio recordings, the Fab Faux to date have mastered and performed live “160 of the 211 songs in the official canon.”(2) Lee likens his group’s approach to performing the Beatles to “the way classical musicians start a chamber orchestra to play Mozart . as perfectly as we can.” As the Faux’s drummer Rich Pagano puts it, “[t]his is the greatest music ever written, and we’re such freaks for it.” [2] It’s been over thirty-five years since the real Fab Four called it quits, and the group is now down to two surviving members, yet somehow the Beatles remain as popular as ever. Hardly a month goes by, it seems, without something new and Beatle-related appearing in the mass media to remind us of just how important this group has been, and continues to be, in shaping our postmodern world. For example, as I write this, the current issue of TV Guide (August 14–20, 2005) is a “special tribute” issue commemorating the fortieth anniversary of the Beatles’ sold-out performance at New York’s Shea Stadium on August 15, 1965—a concert which, as the magazine notes, marked the “dawning of a new era for rock music” where “[v]ast outdoor shows would become the superstar standard.”(3) The cover of my copy—one of four covers for this week’s issue, each featuring a different Beatle—boasts a photograph of Paul McCartney onstage at the Shea concert, his famous Höfner “violin” bass gripped in one hand as he waves to the crowd with the other.
    [Show full text]
  • Beatles Cover Albums During the Beatle Period
    Beatles Cover Albums during the Beatle Period As a companion to the Hollyridge Strings page, this page proposes to be a listing of (and commentary on) certain albums that were released in the United States between 1964 and April 1970. Every album in this listing has a title that indicates Beatles-related content and/or a cover that is a parody of a Beatles cover. In addition, the content of every album listed here is at least 50% Beatles-related (or, in the case of albums from 1964, "British"). Albums that are not included here include, for example, records named after a single Beatles song but which contain only a few Beatles songs: for example, Hey Jude, Hey Bing!, by Bing Crosby. 1964: Nineteen-sixty-four saw the first wave of Beatles cover albums. The earliest of these were released before the release of "Can't Buy Me Love." They tended to be quickly-recorded records designed to capitalize rapidly on the group's expanding success. Therefore, most of these albums are on small record labels, and the records themselves tended to be loaded with "filler." Possibly, the companies were not aware of the majority of Beatle product. Beattle Mash The Liverpool Kids Palace M-777 Side One Side Two 1. She Loves You 1. Thrill Me Baby 2. Why Don't You Set Me Free 2. I'm Lost Without You 3. Let Me Tell You 3. You Are the One 4. Take a Chance 4. Pea Jacket Hop 5. Swinging Papa 5. Japanese Beatles 6. Lookout for Charlie The label not only spells "Beatle" correctly but also lists the artist as "The Schoolboys." The liner notes show that this album was released before the Beatles' trip to America in February, 1964.
    [Show full text]
  • LSUG July 29Th 2012
    Next Sunday Special Guest Monkee Micky Dolenz! PLAYLIST JULY 29th, 2012 HOUR 1 George Harrison – Bangla Desh George wrote the song in “ten minutes,” for his friend, Ravi Shankar’s war-torn homeland. While in LA working on the soundtrack for the Raga film, Ravi informed George of the atrocities occurring in his native India. Leon Russell, who played keyboards on the session, contributed the idea for the “story” introduction to the song. The song included George, Eric Clapton, Ringo, Bobby Keys, Billy Preston and Leon Russell. Although the lineup is disputed by Jim Horn, who recalls that himself, George, Leon Russell, Klaus Voorman and Jim Keltner were present. voice break The Beatles - I Should Have Known Better - A Hard Day’s Night (Lennon-McCartney) Lead vocal: John Following their triumphant visit to America The Beatles were thrust back to work. On February 25, 1964 they dove into new songs slated for their film. On this day they recorded “You Can’t Do That” and began work on Paul’s “And I Love Her” and John’s “I Should Have Known Better.” In the film “I Should Have Known Better” was performed in the train compartment scene, which in reality was the interior of a van with crew members rocking the van to fake the train in motion. Used as the flip side of the U.S. “A Hard Day’s Night” single. Paul’s “Things We Said Today” was the UK b-side. Recorded Feb. 25-26, 1964. On U.S. album: A Hard Day’s Night - United Artists LP Hey Jude - Apple LP (1970) 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.
    [Show full text]