DOCSLIB.ORG

THE BEATLES: ICONIC IMAGE the Beatles

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE BEATLES: ICONIC IMAGE the Beatles WHO WHAT WHERE WHY WHEN John Lennon • Rhythm guitar • Singer • Wrote many of the songs along with Paul McCartney • Married to Yoko Ono • Was assassinated in 1980 Paul McCartney • Bass guitar (left handed) • Singer • Wrote many of the songs along with John Lennon • Originally a trumpet player but sold it for a guitar because the trumpet made it hard to sing and play. George Harrison • Lead guitar • Known as ‘The Quiet Beatle’ • Spent time in India and drew on this influence in many songs • Died of lung cancer in 2001 Ringo Starr • Drums • Original name is Richard Starkey • Voices Thomas the Tank Engine Other People • George Martin: Producer • Brian Epstein: Manager • Stuart Sutcliffe: Former bass player (left group to become an artist, died a year later) • Pete Best: Former drummer (sacked) • Yoko Ono: Married John Lennon THE BEATLES: ICONIC IMAGE The Beatles They developed their own style including influences from many different genres including Indian music, Vaudeville, Music Hall, Ragtime and Avante Garde But they had many different styles… The Beatles: 1963 -1970 1. I Want To Hold Your Hand 2. Can't Buy Me Love 3. Hey Jude 4. Help! 5. All You Need is Love 6. Here Comes the Sun 7. Come Together 8. Strawberry Fields Forever 9. Don’t Let Me Down 10. I am the Walrus They recorded/released 237 songs The Beatles ‘I Want to Hold ‘She Loves You’ ‘I Feel Fine’ 1 Your Hand’ 2 ‘Beatlemania’ 3 1963 1965 1964 4 ‘Rock and Roll ‘Bigger than Sgt. Pepper’s Lonely Heart’s Club 5 6 Music’ 1966 Jesus’ 1966 band 1967 Why did The Beatles stop touring? • They were tired of travelling and live shows • The could hardly him themselves perform because of all the screaming and the low quality equipment • There had been security issues and death threats because of their fame and popularity • They were sick of the same instrument format and wanted to experiment with different styles and genres The Beatles: Study Pieces • With a Little Help From My Friends • Lucy in the Sky With Diamonds • Within You, Without You Sgt. Pepper’s Lonely Hearts Club Band 1. Sgt. Pepper's Lonely Hearts Club Band 2. With a Little Help from My Friends 3. Lucy in the Sky with Diamonds 4. Getting Better 5. Fixing a Hole 6. She's Leaving Home 7. Being for the Benefit of Mr. Kite! 8. Within You Without You 9. When I'm Sixty-Four 10. Lovely Rita 11. Good Morning Good Morning 12. Sgt. Pepper's Lonely Hearts Club Band (Reprise) 13. A Day In the Life Sgt. Pepper’s Lonely Hearts Club Band • Concept album created after they finished touring • Whole album was a live performance so should be played in one go (i.e. there are sounds of instruments tuning) • The songs on the album use a wide variety of instruments including a 40-piece orchestra, French horn quartet & classical Indian instruments • The genre of the album is Psychedelic Rock (intended to replicate feeling of taking mind-altering drugs such as LSD) WITH A LITTLE HELP FROM MY FRIENDS With A Little Help From My Friends Possible questions… • How does this piece demonstrate that Ringo Starr wasn’t a confident singer? • How does this piece demonstrate balance and development? • Explain the contrasting rhythms used in this piece. Other Beatles sing backing Written by Lennon & vocals and play electric Second track on the album McCartney for Ringo Starr guitar, bass, cowbell and and has been cross faded to sing lead vocals & play piano (George Martin plays from Sgt. PLHCB drums Hammond organ) Starr sings the lead vocals Pre-recorded applause ‘Billy Shears’ is introduced in his alter ego character which reinforces that the at the start following a Billy Shears from a album was live long intro fictional band With a Little Help From My Friends Structure Intro: backing vocals ‘Billy Shears’ Verse 1: Ringo solo Chorus: Ringo solo with backing vocals joining in on the third repeat Verse 2: Ringo alternating questions with the backing vocals Chorus 2: in vocal harmony throughout, 6 bars instead of 8 Bridge 1: backing vocals asking questions with Ringo answering Verse 3: backing vocals asking questions with Ringo answering Chorus 3: in vocal harmony throughout, six bars instead of 8 Bridge 2: backing vocals asking questions with Ringo answering Chorus 4: in vocal harmony throughout, this time 8 bars leading to… Outro: same 3 ascending chords as the intro Intro • Starts with crowd noises to give the impression of a live performance • Backing vocals introduce Ringo Starr’s alter ego – Billy Shears • Piano plays three ascending major chords (C, D, E) played in a triplet rhythm. These chords take us from the key of the previous song (G major) in to they key of With A Little Help from My Friends (E major) Verse 1 Harmony Verse only uses chords I (E), V (B), ii (F#m) played in crotchets. The harmonic rhythm creates a sense of balance Verse 1 Rhythm Tied notes in the melody creates syncopation which contrasts with the shuffle rhythm Verse 1 Stepwise melody with a limited note range makes it Melody easy to sing Highest note = B Lowest note = E Sequential melody creates balance Verse 1 • Ringo sings a solo. Notice the stepwise melody with a limited range • Piano and guitar have crotchet chords • Drums play a shuffle rhythm (uneven hi hat: long, short, long, short) • Melody is syncopated placing emphasise on the words: think, sang, tune, stand, walk and me • There is a sequence between the words ‘What would you think’ and ‘sang out of tune’ • Paul McCartney is playing a melodic bassline filling in the root notes with passing notes • The sequence is repeated for ‘Lend me your ears’ and ‘sing you a song’ creating a sense of balance Chorus 1 Leap in the melody of a 5th Flattened seventh chord (non diatonic harmony) • 2 bar phrase is repeated 3 times in total • Backing vocals add harmony on the third time • Followed by a syncopated drum fill Verse 2 Verse 2 is different to verse 1 as it uses antiphonal call and response between the solo singer and the backing vocals Ringo: What do I do when my love is away? B.V: Does it worry you to be alone? Ringo: How do I feel at the end of the day? B.V: Are you sad because you’re on your own? Chorus 2 Chorus 2 is different to chorus 1 in the following ways 1. The vocal harmonies are present throughout 2. The second part of the sixth bar is used as a transition to the bridge 3. The final two bar instrumental passage is omitted Bridge 1 The bridge provides a contrast to the restricted vocal writing of the verse and chorus as the backing vocals ask the opening questions in an expanded vocal range. Harmony sounds as if it Ringo answers in his normal baritone pitch going to modulate to B major but then goes back to E major Verse 3 The backing vocals are now leading the questions in harmony with Ringo replying: B.V: Would you believe in love at first sight? Ringo: Yes I’m certain that it happens all the time B.V: What do you see when you turn out the light? Ringo: I can’t tell you but I know it’s mine Chorus 3 Same as chorus 2 Bridge 2 Same as bridge 1 Chorus 4 This chorus is extended to eight bars (instead of six) Outro A two bar outro based on the same three ascending major chords used in the intro (C, D, E) completing the sense of balance. With A Little Help From My Friends 4/4 time signature, andante tempo, syncopated rhythms throughout, shuffle rhythm on drums, Rhythm & Metre triplets in piano chords, tied notes in verse melody Harmony & Tonality E major, harmonised vocals (in 3rds and 5ths) Melody and accompaniment, antiphonal (bridge), riff (bass guitar), conjunct vocal melodies limited Melody & Texture range Electric guitar, bass guitar, vocals, drum kit (drum fill before verse 2), cowbell, tambourine, mp/mf Timbre & Dynamics dynamics Structure & Form Pop song structure (i.e. Intro, verses, choruses) Sung by Ringo Starr Other Vocals in harmony – Lennon & McCartney Cross Fade With A Little Help From My Friends How does this piece demonstrate that Ringo Starr wasn’t a confident singer? • Simplistic melody with a limited range • Melody is syllabic • Melody contains sequences • Syncopated melody follows the natural pattern of speech • Extended melodic range is reserved for the backing singers With A Little Help From My Friends How does this piece demonstrate balance and development? Balance Development The piece starts and ends with the same ascending chord Paul McCartney develops the bassline using passing notes patter (C, D, E) and inverted chords Verse 2 uses antiphonal call and response with the backing Harmonic rhythm in the verse creates balance vocals Chorus 2 uses harmonies throughout and a shortened Sequential stepwise melody used in the verse phrases The bridge uses an extended vocal range for the backing singers With A Little Help From My Friends Explain the contrasting rhythms used in this piece. • Triplets in the piano during the introduction • Melody uses syncopation • Chords played in crotchets • Drums play a shuffle rhythm • Syncopated drum fill at the end of the chorus Further Listening… With a Little Help From my Friends • Joe Cocker • Wet Wet Wet • Mumford and Sons LUCY IN THE SKY WITH DIAMONDS Mainly written by Lennon (who Standard rock band instruments Third track on the album sang lead vocals) with input from alongside acoustic guitar, McCartney tambura and Lowrey organ Said to be inspired by a painting done by Lennon’s 4year old son There is speculation that the Through The Looking Glass by song has reference to LSD from Lewis Carroll – psychedelic the song title, but the Beatles imagery “marmalade skies” and have denied that “kaleidoscope eyes” Lucy in the Sky with Diamonds Lucy in the Sky With Diamonds Possible questions • How does this song create a dream like quality? • What technology effects does it use? Technology Effects Overdubbing Mixing multiple parts on to one track to free up the other tracks Reduction mixing Creating a double tracking effect automatically Double tracking A microphone is placed very close to the sound source Automatic double A ‘transformer’ so that electric instruments could be recorded directly tracking (ADT) without the need of a mic.
Load more

Recommended publications
  • A Queer Aes- Thetic Is Suggested in the Nostalgia of Orton’S List of 1930S Singers, Many of Whom Were Sex- Ual Nonconformists
    Orton in Deckchair in Tangier. Courtesy: Orton Collection at the University of Leicester, MS237/5/44 © Orton Estate Rebel playwright Joe Orton was part of a ‘cool customer’, Orton shopped for the landscape of the Swinging Sixties. clothes on Carnaby Street, wore ‘hipster Irreverent black comedies that satirised pants’ and looked – in his own words the Establishment, such as Entertaining – ‘way out’. Although he cast himself Mr Sloane (1964), Loot (1965) and as an iconoclast, Emma Parker suggests What the Butler Saw (first performed that Orton’s record collection reveals a in 1969), contributed to a new different side to the ruffian playwright counterculture. Orton’s representation who furiously pitched himself against of same-sex desire on stage, and polite society. The music that Orton candid account of queer life before listened to in private suggests the same decriminalisation in his posthumously queer ear, or homosexual sensibility, that published diaries, also made him a shaped his plays. Yet, stylistically, this gay icon. Part of the zeitgeist, he was music contradicts his cool public persona photographed with Twiggy, smoked and reputation for riotous dissent. marijuana with Paul McCartney and wrote a screenplay for The Beatles. Described by biographer John Lahr as A Q U E E R EAR Joe Orton and Music 44 Music was important to Joe Orton from an early age. His unpublished teenage diary, kept Issue 37 — Spring 2017 sporadically between 1949 and 1951, shows that he saved desperately for records in the face of poverty. He also lovingly designed and constructed a record cabinet out of wood from his gran’s old dresser.
    [Show full text]
  • AC/DC You Shook Me All Night Long Adele Rolling in the Deep Al Green
    AC/DC You Shook Me All Night Long Adele Rolling in the Deep Al Green Let's Stay Together Alabama Dixieland Delight Alan Jackson It's Five O'Clock Somewhere Alex Claire Too Close Alice in Chains No Excuses America Lonely People Sister Golden Hair American Authors The Best Day of My Life Avicii Hey Brother Bad Company Feel Like Making Love Can't Get Enough of Your Love Bastille Pompeii Ben Harper Steal My Kisses Bill Withers Ain't No Sunshine Lean on Me Billy Joel You May Be Right Don't Ask Me Why Just the Way You Are Only the Good Die Young Still Rock and Roll to Me Captain Jack Blake Shelton Boys 'Round Here God Gave Me You Bob Dylan Tangled Up in Blue The Man in Me To Make You Feel My Love You Belong to Me Knocking on Heaven's Door Don't Think Twice Bob Marley and the Wailers One Love Three Little Birds Bob Seger Old Time Rock & Roll Night Moves Turn the Page Bobby Darin Beyond the Sea Bon Jovi Dead or Alive Living on a Prayer You Give Love a Bad Name Brad Paisley She's Everything Bruce Springsteen Glory Days Bruno Mars Locked Out of Heaven Marry You Treasure Bryan Adams Summer of '69 Cat Stevens Wild World If You Want to Sing Out CCR Bad Moon Rising Down on the Corner Have You Ever Seen the Rain Looking Out My Backdoor Midnight Special Cee Lo Green Forget You Charlie Pride Kiss an Angel Good Morning Cheap Trick I Want You to Want Me Christina Perri A Thousand Years Counting Crows Mr.
    [Show full text]
  • Producing an a Cappella CD and Development of a Pitch Detection Program
    A Guide to Producing An A Cappella CD and Development of a Pitch Detection Program A Senior Project submitted in partial fulfillment of requirements for the Bachelor of Arts Degree in Liberal Arts and Engineering Studies By Jacob Ray Stringfellow Liberal Arts and Engineering Studies Department College of Engineering California Polytechnic State University San Luis Obispo Spring Quarter, 2012 Abstract An in-depth look at the steps required to produce a CD for an a cappella group. From what microphone and preamplifiers to use, to what steps to take during the editing, mixing, and mastering processes. Finished with a look at pitch detection algorithms and how they work, and a little bit of experimentation with my own algorithm and program. 1. Introduction We live in a world that is filled with music. This music comes in different varieties ranging from hip-hop and rap to country and classical. One genre of music that seems to be on the rise now a day is that of a cappella, or singing without instruments. With shows such as America’s Got Talent showcasing collegiate a cappella groups, and shows like the Sing Off that focus on a cappella singing, it seems that collegiate a cappella groups are reaching a peak in popularity. With a cappella groups being formed, and music being performed, there is also a rising demand to record their music. This presents an interesting challenge. Getting your a cappella group’s song recorded professionally can be costly, and on college student budgets it can be hard to afford. That being said, I suggest that there is a solution to this problem.
    [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]
  • The Sunrise Jones // Song List
    THE SUNRISE JONES // SONG LIST c/o Cleveland Music Group - Take on Me - A-ha - Dancing Queen - ABBA - It's A Long Way To The Top - AC/DC - Shook Me All Night Long - AC/DC - Sweet Emotion - Aerosmith - Melissa - Allman Brothers, The - Love Shack - B-52's, The - (You Gotta) Fight For Your Right (To Party) - Beastie Boys, The - A Day in the Life - Beatles, The - Abbey Road Medley - Beatles, The - Across The Universe - Beatles, The - Baby You're A Rich Man - Beatles, The - Back in the U.S.S.R. – Beatles, The - Ballad of John and Yoko - Beatles, The - Blackbird - Beatles, The - Birthday - Beatles, The - Can't Buy Me Love - Beatles, The - Come Together - Beatles, The - Day Tripper - Beatles, The - Don't Let Me Down - Beatles, The - Drive My Car - Beatles, The - Eight Days a Week - Beatles, The - Get Back - Beatles, The - Got To Get You Into My Life - Beatles, The - Happiness is a Warm Gun - Beatles, The - Hard Days Night - Beatles, The - Help - Beatles, The - Here Comes The Sun - Beatles, The - Hey Bulldog - Beatles, The - Hey Jude - Beatles, The - I Am The Walrus - Beatles, The - I Feel Fine - Beatles, The - I Saw Her Standing There - Beatles, The - I Want To Hold Your Hand - Beatles, The - I Will - Beatles, The - I’ll Follow The Sun - Beatles, The - I’m Looking Through You - Beatles, - I'm So Tired - Beatles, The - In My Life - Beatles, The - I’ve Got a Feeling - Beatles, The - I’ve Just Seen a Face - Beatles, The - Let It Be - Beatles, The - Love Me Do - Beatles, The - Lucy In The Sky with Diamonds - Beatles, The - Norwegian Wood - Beatles, The - Nowhere Man - Beatles, The - Penny Lane - Beatles, The - Ob-La-Di, Ob-La-Da - Beatles, The - Oh! Darling - Beatles, The - Revolution - Beatles, The - Rocky Raccoon - Beatles, The - Sgt.
    [Show full text]
  • Hallelujah Leonard Cohen
    Hallelujah Leonard Cohen I've heard that there’s a secret chord That David played, and it pleased the Lord But you don't really care for music, do you? It goes like this The fourth, the fifth The minor fall, the major lift The baffled king composing Hallelujah Hallelujah x 4 You say I took the name in vain But I don't even know the name And if I did, well really, what's it to you? There's a blaze of light In every word It doesn't matter what you’ve heard The holy or the broken Hallelujah Hallelujah x 4 I did my best, it wasn't much I couldn't feel, so I tried to touch I've told the truth, I didn't come to fool you And even though it all went wrong I stand before the Lord of Song With nothing on my tongue but Hallelujah Hallelujah x 4 "Hallelujah" is a song written by Canadian singer Leonard Cohen, originally released on his album Various Positions (1984). Achieving little initial success, the song found greater popular acclaim through a recording by John Cale, which inspired a recording by Jeff Buckley. It has been viewed as a "baseline" for secular hymns. Following its increased popularity after being featured in the film Shrek (2001), many other arrangements have been performed in recordings and in concert, with over 300 versions known. The song has been used in film and television soundtracks and televised talent contests. "Hallelujah" experienced renewed interest following Cohen's death in November 2016 and appeared on many international singles charts, including entering the American Billboard Hot 100 for the first time.
    [Show full text]
  • WTC SUMMER HOMEWORK Read Charting the History of British Music Video (MM66), by Emily Caston. (BELOW) Answer the Following Quest
    WTC SUMMER HOMEWORK Read Charting the History of British Music Video (MM66), by Emily Caston. (BELOW) Answer the following questions, drawing on the article for information and ideas. 1. According to the article’s writer, Emily Caston, how significant was MTV in the development of British music video production? 2. What criteria did Emily Caston and her team use for selecting music videos for their 6-DVD box set? What are your thoughts about the criteria? What music videos do you know that you would include in such a selection? 3. Bohemian Rhapsody is often quoted as being the first British music video. The article argues otherwise. Why is that? Why was ‘Bo-Rhap’ not included in the box set? 4. The box set is made up of six different categories: performance; concept; dance; stories; wit; portraits. If you were putting together a selection of videos, what categories would you choose to use? 5. The article ends by noting that videos are now consumed by millions globally, ‘uncurated on mobile platforms’. What might be the significance of a curated collection in light of these consumption patterns? Curating your own collection Imagine that you have been given the chance to curate a selection of music videos to represent your experience of secondary school, from the moment you joined until the end of Year 11. Select five videos that you want to include in your selection. Outline in writing what is significant about each video, both as an art form in its own right, and in relation to your time at secondary school.
    [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]
  • Bob Dylan: the 30 Th Anniversary Concert Celebration” Returning to PBS on THIRTEEN’S Great Performances in March
    Press Contact: Harry Forbes, WNET 212-560-8027 or [email protected] Press materials; http://pressroom.pbs.org/ or http://www.thirteen.org/13pressroom/ Website: http://www.pbs.org/wnet/gperf/ Facebook: http://www.facebook.com/GreatPerformances Twitter: @GPerfPBS “Bob Dylan: The 30 th Anniversary Concert Celebration” Returning to PBS on THIRTEEN’s Great Performances in March A veritable Who’s Who of the music scene includes Eric Clapton, Stevie Wonder, Neil Young, Kris Kristofferson, Tom Petty, Tracy Chapman, George Harrison and others Great Performances presents a special encore of highlights from 1992’s star-studded concert tribute to the American pop music icon at New York City’s Madison Square Garden in Bob Dylan: The 30 th Anniversary Concert Celebration in March on PBS (check local listings). (In New York, THIRTEEN will air the concert on Friday, March 7 at 9 p.m.) Selling out 18,200 seats in a frantic, record-breaking 70 minutes, the concert gathered an amazing Who’s Who of performers to celebrate the 30th anniversary of the enigmatic singer- songwriter’s groundbreaking debut album from 1962, Bob Dylan . Taking viewers from front row center to back stage, the special captures all the excitement of this historic, once-in-a-lifetime concert as many of the greatest names in popular music—including The Band , Mary Chapin Carpenter , Roseanne Cash , Eric Clapton , Shawn Colvin , George Harrison , Richie Havens , Roger McGuinn , John Mellencamp , Tom Petty , Stevie Wonder , Eddie Vedder , Ron Wood , Neil Young , and more—pay homage to Dylan and the songs that made him a legend.
    [Show full text]
  • Rolling Stone Magazine's Top 500 Songs
    Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35.
    [Show full text]
  • The Rutles: All You Need Is Cash
    SPOOFS The Rutles: All You Need Is Cash In the 1970s, Eric Idle, a former member of the legendary British com- edy team Monty Python, featured a Beatles parody song called “It Must Be Love” on Rutland Weekend Television, his own television show on BBC-2. The song had been written by Neil Innes, who had previously worked with Monty Python and the Bonzo Dog Doo-Dah Band. The song was performed by ‘The Rutles’, a Beatles look-alike band featuring Neil Innes as the John Lennon character, and Eric Idle as the Paul McCartney character (vgl. Harry 1985: 69). In October 1976, the parody was shown on America’s NBC TV’s show Saturday Night Live as a se- quel to the running gag of a Beatles reunion for $3,000. The parody went down so well that Eric Idle and Neil Innes decided to produce a feature program about The Rutles for television. Idle, who was a close friend of George Harrison, was allowed to watch Neil Aspinall’s unreleased do- cumentary about The Beatles, called The Long and Winding Road. Aspi- nall’s film featured a bulk of famous footage of The Beatles, from their first televised performance at the Cavern Club in Liverpool to their last group performance on the roof of their Apple business building. Idle u- sed The Long and Winding Road as a model for his fake-documentary about The Rutles and basically re-told the history of The Beatles pro- jected upon this imaginary rock band, adding essential elements of par- ody and the Pythonesque sense of surreal humor.
    [Show full text]
  • The Inner Light: the Beatles, India, Gurus, and the Legacy
    The Inner Light: The Beatles, India, Gurus, and the Legacy John Covach Institute for Popular Music, University of Rochester Arthur Satz Department of Music Eastman School of Music Main Points The Beatles’ “road to India” is mostly navigated by George Harrison John Lennon was also enthusiastic, Paul somewhat, Ringo not so much Harrison’s “road to India” can be divided into two kinds of influence: Musical influences—the actual sounds and structures of Indian music Philosophical and spiritual influences—elements that influence lyrics and lifestyle The musical influences begin in April 1965, become focused in fall 1966, and extend to mid 1968 The philosophical influences begin in late 1966 and continue through the rest of Harrison’s life Note: Harrison began using LSD in the spring of 1965 and discontinued in August 1967 Songs by other Beatles, Lennon especially, also reflect Indian influences The Three “Indian” songs of George Harrison “Love You To” recorded April 1966, released on Revolver, August 1966 “Within You Without You” recorded March, April 1967, released on Sgt Pepper, June 1967 “The Inner Light” recorded January, February 1968, released as b-side to “Lady Madonna,” March 1968 Three Aspects of “Indian” characteristics Use of some aspect of Indian philosophy or spirituality in the lyrics Use of Indian musical instruments Use of Indian musical features (rhythmic patterns, drone, texture, melodic elements) Musical Influences Ravi Shankar is principal influence on Harrison, though he does not enter the picture until mid 1966 April 1965: Beatles film restaurant scene for Help! Harrison falls in love with the sitar, buys one cheap Summer 1965: Beatles in LA hear about Shankar from McGuinn, Crosby (meet Elvis, discuss Yogananda) October 1965: “Norwegian Wood” recorded, released in December on Rubber Soul.
    [Show full text]