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The Beatles On Apple Pt.II

Playlist May 22nd 2016

9AM - - Non-LP Track (Lennon-McCartney) Lead vocal: Paul The Beatles’ eighteenth single release for EMI, the first on the label. 2

Paul McCartney’s masterpiece. The 7 minute, 11 second track was the longest released by the Beatles up until that time, and the song broke wide open the usual two to three minute mold that had long been the standard for pop singles. Paul got the idea for the song while driving to visit Cynthia and Julian Lennon. He wrote the lyrics as a message of encouragement to young Julian while his parents were in the throes of a very public separation. Paul wanted to stay friends, so he planned a visit. Cynthia was still living in John’s Kenwood estate, and since Paul usually wrote songs on the way there to collaborate with his writing partner, he fell into the same routine. Paul: “I started with the idea ‘Hey Jules,’ which was Julian, don’t make it bad, take a sad song and make it better. Hey, try and deal with this terrible thing. I knew it was not going to be easy for him. I always feel sorry for kids in divorce.

The Beatles - Revolution - Non-LP Track (Lennon-McCartney) Lead vocal: John The Beatles’ eighteenth single release for EMI, their first on the Apple Records label. lobbied hard to get his magnificent rocker on the A-side of the band’s summer 1968 single, but by any standard, Paul’s “Hey Jude” was an unbeatable choice for the A-side. There are three versions of John’s “Revolution.” The first one recorded was the slower version which opens the fourth side of “The Beatles” and was released under the title “Revolution 1.” That track was the first song to be recorded for what would be known as the “White Album.” Ultimately, the song ran over 10 minutes. Much of it was cut out and used to create the sound collage entitled “Revolution 9,” which would also appear on side four of the new album. Shortly before his death in 1980, John explained the reason for the song’s remake into a fast rocker: Paul and George refused 3 to allow the original slower recording to be released as the next Beatles single, fearing it was not upbeat enough. So Lennon decided they would record the song fast and loud. Recording began on the fast and loud single version of “Revolution” on July 10, 1968. Additional overdubs were added on July 11 and 12, and the final mix was completed on July 15. The single was issued on August 30, 1968, in the UK, and on August 26 in the U.S. The “Hey Jude”/“Revolution” single would go on to sell nearly five million copies in the U.S. and eight million copies worldwide. On U.S. album: Hey Jude - Capitol LP

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The Beatles - I’m So Tired - The Beatles (Lennon-McCartney) Lead vocal: John John Lennon’s “I’m So Tired” was started and finished in 14 takes on October 8, 1968. No overdubs were added. The session was a marathon 16-hour session which started at 4 p.m. on the 8th and finished at 8 a.m. on October 9 (John’s 28th birthday), and saw the completion of two Lennon compositions (“I’m So Tired” and “The Continuing Story Of Bungalow Bill”) and work on ’s “Long Long Long.” Written in India while the Beatles were studying Transcendental Meditation under Maharishi Mahesh Yogi, the all-day regime in Rishikesh, India, prevented John from sleeping at night, so he decided to write a song about it. At the end of the song John can be heard muttering a phrase that when played backwards offered “Paul is dead” conspiracy theorists another major clue: “Paul is a dead man, miss him, miss him.”

The Beatles - Blackbird - The Beatles (Lennon-McCartney) Lead vocal: Paul 4

Another Paul McCartney solo performance for the “White Album.” Paul wrote “Blackbird” at his Scottish farm house and the song was started and finished in 32 takes, 11 being complete run-throughs of the song, on June 10, 1968. Paul has said the music was inspired by Bach’s “Bourree in E Minor,” which he learned to play at a young age. The tapping sound on the recording is not a metronome. The percussion-like sound keeping the beat is actually Paul tapping his foot on the studio floor, which was separately miked onto one of the tracks. Paul has since revealed that the song was a message of solidarity to black people living in the U.S.

“Blackbird” is one of only five Beatles songs Paul chose to perform live during his “Wings Over America” concert tour in 1976.

The Beatles - It’s All Too Much - Yellow Submarine (Harrison) 5

Lead vocal: George Recording began with the working title “Too Much” at De Lane Lea Music Recording Studios, the basement studio of an office building directly opposite the Holborn Underground station in London. On May 25, 1967, one week before the release of the “Sgt. Pepper” album, the band ran through numerous rehearsals and recorded four proper takes of the backing track. The instruments were George on Hammond organ, Paul on bass guitar, John on lead guitar (including the soaring feedback at the beginning of the song) and Ringo on drums. Overdubs were added the next day at De Lane Lea: George’s lead vocal, John and Paul’s backing vocal, handclaps and percussion, including cowbell, woodblock and tambourine. Brass and woodwinds were overdubbed on June 2. Originally running over eight minutes, it was edited down to 6:25 for the soundtrack album. The version used in the “Yellow Submarine” film runs just 2:30 and features a verse cut out of the album version of the song: “Nice to have the time to take this opportunity/Time for me to look at you and you to look at me.” The lyrics (repeated twice starting at 4:13), “With your long blonde hair and your eyes of blue,” are taken from The Merseys’ 1966 hit “Sorrow.”

The Beatles - - Yellow Submarine (Lennon-McCartney) 6

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

2 From the Apple Record Yellow Submarine…Paul’s All Together Now & George’s It’s All Too Much and 2 from the White Album and here’s a quiz for BIG prizes.

*APPLE QUIZ #1 HERE The Beatles top 3 selling albums of all time are all double albums released on Apple Records …name those 3 albums. 800-955-KLOS Good Luck

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Back to our All Apple Edition Pt. II OK…Lets get into The Red & The Blue albums which next to the White album are the Beatles biggest selling albums and they’re all on Apple! I just realized…the Beatles RED WHITE & BLUE ALBUMS are America’s biggest selling Beatles albums!!!??? How about that. 7

The Beatles - – (McCartney-Lennon) Lead vocal: John and Paul The Beatles’ first single release for EMI’s label. Released October 5, 1962, it reached #17 on the British charts. Principally written by Paul McCartney in 1958 and 1959. Recorded with three different drummers: Pete Best (June 6, 1962, EMI), (September 4, 1962), and Andy White (September 11, 1962 with Ringo playing tambourine). The 45 rpm single lists the as Lennon-McCartney. One of several Beatles songs Paul McCartney owns with . Starting with the songs recorded for their debut album on February 11, 1963, Lennon and McCartney’s output was attached to their Northern Songs publishing company. Because their first single was released before John and Paul had contracted with a music publisher, EMI assigned it to their own, a company called Ardmore and Beechwood, which took the two songs “Love Me Do” and “P.S. I Love You.” Decades later McCartney and Ono were able to purchase the songs for their respective companies, MPL Communications and Lenono Music. Fun fact: John Lennon shoplifted the harmonica he played on the song from a shop in Holland. On U.S. albums: Introducing… The Beatles (Version 1) - Vee-Jay LP The Early Beatles - Capitol LP

The Beatles - - A Hard Day’s Night (Lennon-McCartney) Lead vocal: Paul Written mainly by Paul with the middle eight by John it was released as a single in the U.S. reaching #12. Recorded initially as a heavier, up-tempo number on February 25, 1964, The Beatles attempted two takes and moved on to something else. On February 26 they struggled with the simpler, now acoustic arrangement through 12 more takes and Ringo swapping his drums for congas, ultimately leaving it to be re-made the next day. Finally, on February 27, they had the arrangement to their liking and perfected the song in two completed takes (takes 20 and 21). On U.S. album: A Hard Day’s Night - United Artists LP 8

Something New - Capitol LP

The Beatles - Norwegian Wood (This Bird Has Flown) - (Lennon-McCartney) Lead vocal: John Originally recorded on October 12, 1965, The Beatles decided to scrap this version and re-record the song nine days later, on October 21. George Harrison provides the sitar, the first appearance of the instrument on a Beatles recording, though the sitar can be heard in the instrumental introduction on the American version of “Help!” Written mainly by John with some lyrical assistance from Paul. John: “I was trying to write about an affair without letting me wife know… so it was very gobbledegook. I was sort of writing from my experiences, girls’ flats.” Paul has said that the ending lyrics, “so I lit a fire,” refer to the house being burned down in an act of revenge by the spurned lover. Bob Dylan did a slight parody of the song on his 1966 album, Blonde on Blonde. Check out the song “4th Time Around.” On U.S. album: Rubber Soul - Capitol LP

The Beatles - Michelle - Rubber Soul (Lennon-McCartney) Lead vocal: Paul 9

The basic backing track of this classic song was completed in one take on November 3, 1965. Various overdubs and double-tracking were added to complete the song the same day. Lennon is credited with coming up with the “I love you” middle eight section. The tune had been written by Paul several years earlier but he didn’t have proper lyrics until 1965. On U.S. album: Rubber Soul - Capitol LP

We just one song from each side of the Beatles 1962-1966 or the double Red Album…up next one song from each side of the 1967-1970 double Blue Album…on Apple

The Beatles - Lucy In The Sky With Diamonds - Sgt. Pepper’s Lonely Hearts Club Band (Lennon-McCartney) Lead vocal: John Recorded March 1, 1967. John Lennon’s classic song of psychedelic imagery was inspired by a drawing brought home by son, Julian, who was four years old at the time. In February 1967, Julian returned home from his nursery school with a painting depicting one of his classmates, Lucy O’Donnell. Young Lucy was pictured with a background of stars in the sky. When asked by his father about his painting, Julian said it was “Lucy, in the sky, with diamonds.” John was so taken with the phrase he combined it with passages similar to two books by Lewis Carroll that he’d loved as a child, “Through The Looking Glass” and “Alice’s Adventures in Wonderland.” Paul added the line about “newspaper taxis” and Lennon’s beloved “Goon Show” got a shout out. Their famed “plasticine ties” merged with “Through the Looking Glass” to become “plasticine porters with looking glass ties.” Work began on “Lucy In The Sky With Diamonds” with an evening full of rehearsals. The rhythm track was recorded on March 1 with Paul playing the opening riff on a Lowery organ (with a bell stop), George on acoustic guitar, Ringo on drums and John on maracas and offering a guide vocal. John’s lead vocal and other instruments (George’s tamboura, Paul’s melodic bass) were added the next evening.

The Beatles - Magical Mystery Tour - Magical Mystery Tour (EP) 10

(Lennon-McCartney) Lead vocals: Paul and John When Paul McCartney was in the U.S. in early April 1967 he came up with the idea for a Beatles television film about a mystery tour on a bus. During the April 11 flight back home he began writing lyrics for the title song and sketching out some ideas for the film. Upon his arrival in London, Paul pitched his idea to Brian Epstein who happily approved. Paul then met with John to go over the details and the two began work on the film’s title track. The title track was written primarily by Paul but was not finished when McCartney brought the song in to be recorded on April 25, 1967. John helped with the missing pieces during the session. On U.S. album: Magical Mystery Tour - Capitol LP

The Beatles - Don’t Let Me Down - Non-LP B-Side (Lennon-McCartney) Lead vocal: John with Paul The Beatles’ nineteenth single release for EMI, and second on the Apple Records label. The “” sessions, as the recording sessions were now known, produced about 475 hours of film and 141 hours of audio tape that had to be sifted through. But proper multi-track recordings weren’t made until the band was recording in the basement of the Beatles’ Apple headquarters between January 21-31, 1969. Producer/Engineer attempted to construct an album entitled “Get Back” from the tapes but his versions were rejected. The tapes would be left dormant in the vault for a year, with the exception of a single (“Get Back”/“Don’t Let Me Down”). John Lennon’s “Don’t Let Me Down” was a love song for Yoko Ono and was the first song given a full run-through by the group when sessions for the new album began at Twickenham Studios on January 2, 1969. But proper multi-track recording takes were not done until the band changed location to the basement recording studio at their Apple headquarters. The master take was recorded on January 28, 1969. Like Paul McCartney’s “Get Back,” the song features on keyboards. Rush-released as a single with the hope of being in stores in the UK on April 11, 1969, the single showed up a week later. Although the single did not list a producer credit, it did, for the first time on a Beatles single, list an artist in addition to the Beatles: “THE BEATLES with Billy Preston” graced both sides of the single. “A great honor,” said Preston. On U.S. album: Hey Jude - Capitol LP (1970) 11

The Beatles - Something - (Harrison) Lead vocal: George The Beatles’ twenty-first single release for EMI, and fourth on the Apple Records label. Although initially crediting Lennon and McCartney as the songwriters, legendary crooner Frank Sinatra called George Harrison’s “Something” “"the greatest love song of the past 50 years".[7 .” Commonly referred to as George’s first Beatles A-side, some sales chart makers at the time considered the single a “double-A,” as both sides of the record received significant radio airplay, and charted both “Something” and its flip side (John’s “”) as one combined chart listing. The song is the first of two CLASSIC songs George delivered for the “Abbey Road” album, the other being “.” It was a phenomenal one-two punch that had to have Lennon and McCartney wondering what else Harrison had up his sleeve.

One song from each side of the Beatles 2nd BIGGEST selling album of all time…1967-1970 The double Blue album…One more QUIZ about the RED & BLUE albums on this all PT.2 of our all Apple edition of BWTB???

APPLE QUIZ #2 Which Beatles album is most represented on the greatest hits RED & BLUE albums…OK…they have a few songs from each Beatles album…which album get the most songs on the RED & BLUE albums? 12

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Winner! HERE Apple’s most successful band other than the Beatles were Badfinger who were first signed as the Ivey’s…then Paul wrote this song and told em to do it just like this.

Paul McCartney - Come And Get It - 24th July 1969 – EMI with john Lennon watching.

Badfinger – No Matter What – Single `70

No Matter What…Apple artists Badfinger following Paul’s demo of Come & Get It…recorded while John Lennon watched him do it July 1969…and speaking of John Lennon.

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John Lennon – Hold On - Plastic Ono Band ‘70 This is an ode to self-help for himself, Yoko and the world in general. It is one of the lighter tracks on the album.

The Beatles - - album version - Let It Be (Lennon-McCartney) Lead vocal: Paul “Let It Be” was the last song properly recorded on multi-track at Apple Studios during the “Get Back” sessions in January 1969. It was completed in eight takes (numbered Take 20 through 27 to match the film crew clapboard numbers) on January 31, 1969, the day after the rooftop concert. Take 27 had two complete performances of the song and the first of these Take 27 performances was deemed the best. Though the intent of the January 1969 “Get Back” sessions was to capture the Beatles “live” in the studio 14

without benefit of studio trickery like overdubbing, an exception was made on “Let It Be” so that George Harrison could re-record his lead guitar solo. George’s overdub was recorded on April 30, 1969. Author : “It is widely believed that there are two different takes of ‘Let It Be’ publicly available - the single released (in the UK) on March 6, 1970 and the “Let It Be” LP version released (in the UK) May 8, 1970. Certainly the lead guitar solos in the middle eight differ considerably, and the LP version has a longer duration. But, in truth, these are one and the same version. That is, they are derived from the same tape.”

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The Beatles - - Let It Be (Lennon-McCartney) Lead vocal: John and Paul One of the oldest songs in the Lennon-McCartney catalog, “One After 909” had been written by John when he was 17 or 18, and had been performed by in 1960, and by the Beatles in their pre-fame club days. The song was first recorded by the Beatles at the March 5, 1963, session for their third EMI single. After completing both sides of the new single (“” and “”), John and Paul had two additional songs they wanted the group to record. In addition to “One After 909” they also brought in “What Goes On,” but there was only enough time in the session to record one additional song, so “One After 909” got the go-ahead. Six years later the 15

group revisited the song, with Billy Preston on keyboards. In his 1980 “Playboy” interview, Lennon admitted the song was probably resurrected for “Let It Be” because of a lack of material. As the rooftop performance drew to a close John sang an impromptu line from “Danny Boy.” The previously unreleased 1963 version can be found on the “Anthology 1” album.

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The Beatles from the Apple album Let It Be…now we can’t talk about Apple th Records without mentioning 1969’s official 5 Beatle Billy Preston…Billy recorded a bunch of LP’s for Apple this is from his 4th now dig who’s playing on this George Harrison produced track….along with Billy….

George Harrison – electric and acoustic guitars, Moog synthesizer, sitar Eric Clapton – electric guitar Keith Richards – bass Ginger Baker – drums, tambourine Doris Troy – backing vocals Madeline Bell – backing vocals

Billy Preston - That's The Way God Planned - ~69 Title track

The LORD was BIG as the decade turned into the 70’s…here’s George Harrison’s biggest Apple single!

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George Harrison – - ‘70 This was the major smash hit of the album by Christmas 1970. It was originally intended for the Edwin Hawkins Singers (who had record, “Oh Happy Day,” which greatly influenced “My Sweet Lord.” George had also let Billy Preston release his own version before George’s – but it was George’s version that was the huge hit and remains the biggest single song success of his entire solo career.

The Beatles – Polythene Pam - Abbey Road Recorded July 25th w/ “She Came in Through The Bathroom Window “. The only Beatles song inspired by a woman in who dressed in polythene (but not jack boots or kilts). Written in India, demoed for the White LP. Lennon 1.00 / The Beatles – She Came In Through The Bathroom Window - Abbey Road 17

Recorded July 25th 1969. Written while in NYC to announce Apple. Based on a true story about some Scruffs breaking into Paul house at St. John’s Wood. Paul wrote w/ in mind…who later coved it as he did with most Beatle songs. McCartney 1.00

John Lennon - #9 Dream - Walls And Bridges ‘74 This track had started out with the title of “Walls and Bridges.” It was later renamed as it is much more fitting, and continues John’s fascination with the number nine. May Pang provide backing vocals (“John’s”) – while a message to George Harrison can be heard (as the two men had been arguing).

A set of Apple Records from JPG&R as we spin ONLY Apple disc’s this morning…..pt. celebrating the anniversary of John & Paul going to NYC announcing their new corporation!

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*Play James Taylor spot Apple spot & bumper HERE

That JT spot reminded me we should play one James song as he was an Apple Artist…brought in by A&R man Peter Asher…and I think this opening line of this song might sound familiar…. here’s James Taylor sounding very 70’s in 1968

James Taylor – Something In The Way She Moves

The Beatles - - The Beatles (Lennon-McCartney) Lead vocal: Paul One of Paul McCartney’s most cherished ballads, “I Will” was recorded in 67 takes on September 16, 1968, with Paul on acoustic guitar, Ringo playing maracas and cymbals, and John on temple blocks, tapping out a beat with wood on metal. George Harrison was not at this session. Not all 67 takes were complete run-throughs, and as Paul was still putting the finishing touches on the song, he would drift into other songs during the numerous takes. Of particular note was take 19, which included a 2:21 untitled song with lyrics along the lines of “Can you take me back where I came from, can you take me back?” Twenty-eight seconds of this song were used as a link between “Cry Baby Cry” and “Good Night” on Side 4 of the “White Album.” The song fragment is unlisted and uncredited. It was determined that take 65 was the best version of “I Will,” and overdubbing began. Paul added additional vocals, hummed his bass guitar part and played a 12-string guitar. Paul has said he had the tune before he traveled to India and there he recruited folk singer to help him with the lyrics, but was not satisfied with what they came up with.

The acoustic sounds of Apple Records circa 1968 from Paul McCartney & James Taylor as it was this week in 1968 that John & Paul introduced Apple to the world from the then Americana hotel in NYC …

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John Lennon – New York City – Some Time In New York City ‘72 This is the best “rocker” of the LP and a testament to the love John felt for the place he would now call home.

George Harrison – While My Guitar Gently Weeps - The Concert for Bangla Desh ‘71

Ringo – – 1972

QUIZ #3 For the RINGO tickets…The title Back Off Boogaloo was inspired by what British Rock star? 800-955-KLOS 20

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Winner HERE 21

Ringo – Have You Seen My Baby (Newman) – RINGO

The Beatles - Oh! Darling - Abbey Road (Lennon-McCartney) Lead vocal: Paul Paul’s “Oh! Darling” had been run-through a few times during the “Get Back” 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.

John Lennon – Angel Baby - Menlove Avenue ‘86 Another leftover from the Rock ‘n’ Roll sessions.

Fave of John…produced by Phil..didn’t make the cut 22

Mary Hopkin – Goodbye – Single released on 28 March 1969 No. 2 in the UK singles chart, prevented from reaching the top position by the Beatles' single "Get Back

In the US, the song reached No. 13 on the singles chart. In the Netherlands the single peaked at No. 1

The recording was Apple's first official double-A- side, and the first Apple record to feature a full- fledged picture sleeve.

I’m sending this last one out to my main man here at KLOS Beatle Bob Coburn…we’re here for ya man. 23

The Beatles - Getting Better - Sgt. Pepper’s Lonely Hearts Club Band (Lennon-McCartney) Lead vocal: Paul The title “Getting Better” was inspired by a phrase often used by substitute Beatles drummer Jimmy Nicol. Nicol stepped in for the ailing Ringo Starr during his bout with tonsillitis in June 1964. On the eve of the band embarking on their first world tour Ringo collapsed at a photo shoot and the final night of recording for the “A Hard Day’s Night” LP were scrapped, leaving the final version with 13 songs instead of the expected 14. Nicol was called in on no notice to rehearse the concert set list. The next day he was thrown into the crush of full scale as landed in the Netherlands for the first of the sold out concerts. Once on the mend, Ringo caught up with the tour in Australia. After each show, John and Paul would ask their new drummer how he was doing. His standard reply was “It’s getting better.” McCartney was reminded of this phrase while walking with Beatles biographer Hunter Davies during the making of the “Sgt. Pepper” album, and he decided to build a song around it. Recording began on the song on March 9, 1967 and the basic rhythm track was completed in seven takes. Paul described the tune as “an optimistic song,” but noted John’s biting wit gave the lyrics the perfect counterpoint. Paul: “I was sitting there doing ‘Getting better all the time’ and John just said in his laconic way, ‘It couldn’t get no worse,’ and I thought, Oh, brilliant! This is exactly why I love writing with John.” Recording continued on the track on March 21. The March 21 session is notable in Beatles history. John informed producer that he was feeling ill. It was a rarity for John Lennon to complain of illness or to miss a recording session due to illness. Martin thought he could do with some fresh air and took him to the rook of the Abbey Road studios and left him there to convalesce. Paul and George knew John had taken a tab of acid. Realizing that John was alone on a roof with no rails and in the middle of an LSD trip, the pair ran up the roof to bring him back inside. On March 23, Paul’s lead vocal, John and George’s backing vocals and handclaps were double-tracked and added to the mix.

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