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KLOS Oct. 13Th 2013

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KLOS Oct. 13Th 2013 1 Playlist Oct. 13th 2013 Special Guest Larry Kane 1 2 9AM The Beatles - Day Tripper – Past Masters Recorded: 16 October 1965 Rubber Soul sessions Oct. `65 – Yesterday & Today LP here in the US… The eleventh official EMI release. The first official double "A" side release of “We Can Work It Out” Inspired in part by John and George's first experience with acid, "Day Tripper" was written under pressure for use as a single for the Christmas season. John wrote most of the song, with Paul contributing to each of the verses 2 3 The Beatles - We Can Work It Out – Past Masters Recorded: 20/29 October 1965 RELEASED AS A CHRISTMAS SINGLE ON DEC. 3RD 1965 AND IT KICKED OFF THE RUBBER SOUL SESSIONS IN OCT. 1965 Yesterday & Today in US / Collection of Oldies in UK 3 4 Written by Paul as a pleading song to Jane Asher, who had just moved away from London to join the theatre. It was the first such instance in their relationship, and one that contributed to their eventual breakup What the Beatles were doin` this time in the year 1965. NEW! Paul – Turned Out – NEW (Bonus track) 9.12 BREAK 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 The Beatles - For No One - Revolver 4 5 (Lennon-McCartney) Lead vocal: Paul Written entirely by Paul in March 1966 while on vacation with then-girlfriend Jane Asher at the Swiss ski resort of Klosters. The backing track was recorded in 10 takes on May 9, 1966 with only Paul (piano) and Ringo (drums) present. John and George do not perform on this song. Overdubs included Paul on clavichord, and Ringo on cymbals and maracas. Paul’s lead vocal was recorded on May 16. The baroque-style French horn solo was credited to Alan Civil and recorded on May 19. Ringo’s original drum part was removed from the track in the reduction mixdown. The song was originally called “Why Did It Die?” Paul: “I was in Switzerland on my first skiing holiday. I'd done a bit of skiing in ‘Help!’ and quite liked it, so I went back and ended up in a little bathroom in a Swiss chalet writing ‘For No One.’ I remember the descending bass line trick that it's based on, and I remember the character in the song - the girl putting on her make-up.” George Harrison – Run Of The Mill - All Things Must Pass ‘70 A lovely acoustic-driven song – George was to later use the horn line on the song for another tune nine years later on his George Harrison album. The Beatles - I Don’t Want To Spoil The Party - Beatles For Sale The Beatles - Good Morning Good Morning - Sgt. Pepper’s Lonely Hearts Club Band (Lennon-McCartney) Lead vocal: John Based on a Kellogg’s Cornflakes television commercial John heard while sitting at the piano and feeling a bit “stuck” trying to write something for “Sgt. Pepper.” Paul plays a stinging guitar solo and flourishes with his right-handed Fender Esquire. The basic rhythm track was recorded on February 8, 1967 in eight takes, four of them complete. Overdubs followed with John’s lead vocal and Paul’s bass added on February 16. A horn section consisting of members of the Brian Epstein-managed band Sounds Inc. (previously Sounds Incorporated) was brought in on March 13. Sounds Incorporated had been one of the opening acts on the Beatles’ 1964 and 1965 tours. 5 6 Paul – New –NEW Paul & Linda McCartney – Dear Boy – Ram ‘71 Although like, Too Many People and 3 Legs, Paul never intended this song to be about John Lennon. But nonetheless, John took it as another insult. According to Paul this was really an autobiographical tune about how thankful he was to have had Linda in his life. The Beatles - Here, There And Everywhere - Revolver (Lennon-McCartney) Lead vocal: Paul Written by Paul while sitting by the pool of John’s estate, this classic ballad was inspired by The Beach Boys’ “God Only Knows.” Completed in 14 takes spread over three sessions on June 14, 16 and 17, 1966. Paul’s lead vocal is double tracked. Paul, John, and George provide the lush harmony and Ringo drums using brushes. Both Paul and John called “Here, There And Everywhere” one of their favorite Beatles songs. Never performed by The Beatles in concert and only rarely performed by McCartney since. On U.S. album: Revolver - Capitol LP 9.42 BREAK 6 7 The Beatles Live @ The BBC Vol. 2 Do You Want To Know A Secret? I Saw Here Standing There Words Of Love Quick Break 7 8 The Beatles - One After 909 - 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 the Quarrymen 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 (“From Me To You” and “Thank You Girl”), John and Paul had two additional songs they wanted the group to record. In addition to “One After 909” they also brought in “What Goes On,” but there was only enough time in the session to record one additional song, so “One After 909” got the go-ahead. Six years later the group revisited the song, with 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. The Beatles - Get Back - album version - Let It Be (Lennon-McCartney) Lead vocal: Paul Paul’s “Get Back” had been rehearsed and reworked throughout the January 1969 sessions, including over 30 takes of the song on January 27, 1969. Among those over 30 takes was the master take of the song, but it did not include the familiar coda at the end 8 9 heard on the single. That coda would be recorded the following day and edited on to the January 27 master. For the album version, Phil Spector used the same January 27 “single” master performance, but added modifications to give the impression the song was recorded during the rooftop concert. Spector’s album version begins with the instrumental and vocal warm-ups from the January 27 performance as well as some sound recorded on the rooftop on January 30. At the end of the song, instead of the familiar January 28 coda, he cuts to the end of the rooftop performance, with what EMI engineers described in their notes as “cricket applause” and Paul saying, “Thanks, Mo” (to Ringo’s wife Maureen for clapping the loudest), and Lennon’s famous quote: “I’d like to say thank you on behalf of the group and ourselves. I hope we passed the audition.” NEWS HERE PAUL – Early Days – NEW 10.12 BREAK The Beatles - A Hard Day’s Night - A Hard Day’s Night (Lennon-McCartney) Lead vocal: John with Paul The Beatles’ seventh single release for EMI’s Parlophone label. The title is a Ringoism, coined by the drummer sometime in 1963 and used by John in his book “In His Own Write.” With the film nearly completed the last bit of business was to give the film a name. The project was being filmed with the working title “Beatlemania.” On April 13, 1964 The Beatles met with key personnel from the studio 9 10 and bounced title ideas. It was felt they’d find no better suggestion than Ringo’s off- hand remark “it’s been a hard day’s night” and John volunteered to write the title song that evening. The next morning he brought the song in and taught it to Paul. Paul cleaned up the middle section and the two played it for producer Walter Shenson. Two days later The Beatles would formally record the song. It was a rarity for an outsider to be allowed in the studio or control booth while The Beatles rehearsed and recorded. An exception was made for the director of the “A Hard Day’s Night” film, Richard Lester. Lester was in the control booth and offered many suggestions during the morning while this key song was worked out, much to the dismay of producer George Martin. It was Lester’s suggestion that the song open dramatically (as it would open the film), and fade out at the end in a cinematic way. He got his wish. George’s striking a G suspended 4th chord on his 12-string Rickenbacker make this record instantly recognizable in its opening two seconds. Released as a single in the UK on July 10, 1964, it went straight to #1. On U.S.
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