History of the Beatles Twist and Shout
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Canadian Beatles Albums Identification Guide Updated: 22 De 16
Canadian Beatles Albums Identification Guide Updated: 22 De 16 Type 1 Rainbow Label Capitol Capitol Records of Canada contracted Beatlemania long before their larger and better-known counterpart to the south. Canadian Capitol's superior decision-making brought Beatles records to Canada in early 1963. After experimenting with the release of a few singles, Capitol was eager to release the Beatles' second British album in Canada. Sources differ as to the release date of the LP, but surely by December 2, 1963, Canada's version of With the Beatles became the first North American Beatles album. Capitol-USA and Capitol-Canada were negotiating the consolidation of their releases, but the US release of The Beatles' Second Album had a title and contained songs that were inappropriate for Canadian release. After a third unique Canadian album, album and single releases were unified. From Something New on, releases in the two countries were nearly identical, although Capitol-Canada continued to issue albums in mono only. At the time when Beatlemania With the Beatles came out, most Canadian pop albums were released in the "6000 Series." The label style in 1963 was a rainbow label, similar to the label used in the United States but with print around the rim of the label that read, "Mfd. in Canada by Capitol Records of Canada, Ltd. Registered User. Copyrighted." Those albums which were originally issued on this label style are: Title Catalog Number Beatlemania With the Beatles T-6051 (mono) Twist and Shout T-6054 (mono) Long Tall Sally T-6063 (mono) Something New T-2108 (mono) Beatles' Story TBO-2222 (mono) Beatles '65 T-2228 (mono) Beatles '65 ST-2228 (stereo) Beatles VI (mono) T-2358 Beatles VI (stereo) ST-2358 NOTE: In 1965, shortly before the release of Beatles VI, Capitol-Canada began to release albums in both mono and stereo. -
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. -
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. -
Download Press Release As PDF File
For Immediate Release MUSIC ICONS: THE BEATLES IN LIVERPOOL THURSDAY, MAY 9, 2019 THE RAREST BEATLES RECORD IN THE WORLD-JOHN LENNON’S PERSONAL “YESTERDAY AND TODAY” BUTCHER ALBUM PROTOTYPE, A BEATLES SIGNED BASEBALL FROM THEIR FINAL U.S. CONCERT, JOHN LENNON’S AND RINGO STARR’S TITTENHURST PARK DOOR, JOHN LENNON’S SIGNED GUITAR STRAP AND MORE WILL ROCK THE BEATLES MEMORABILIA AUCTION EVENT OF THE SEASON Julien’s Auctions and The Beatles Story Bring Back “Memorabilia Day” Friday, May 10 in Spectacular Two-Day Beatlemania Event Los Angeles, California – (March 21, 2019) – Julien’s Auctions, the world-record breaking auction house, has announced that MUSIC ICONS: THE BEATLES IN LIVERPOOL, their annual auction extravaganza of the Fab Four’s most iconic and historic memorabilia to take place on Thursday, May 9 live for the first time at The Beatles Story Museum in Liverpool, UK, the birthplace of The Beatles and online at juliensauctions.com. (photo left to right: John Lennon’s guitar strap, John Lennon’s Yesterday and Today butcher album prototype and a baseball signed by The Beatles). In addition Julien’s Auctions will partner once again with The Beatles Story to bring their Beatles and Merseybeat “Memorabilia Day” back home to Liverpool on Friday, May 10th 2019 (12-8pm GMT) for a spectacular two-day Beatlemania event. Fans and collectors are invited to bring in their Beatles memorabilia to have appraised by the experts for free at The Beatles Story’s Fab4 Cafe on the Royal Albert Dock. The Beatles are the foremost and most influential music band of all time that were a phenomenon upon their arrival on the music scene in Liverpool in 1960 and changed pop culture forever with their music, style and innovations which continue to reverberate within millions of artists and fans worldwide today. -
“My Girl”—The Temptations (1964) Added to the National Registry: 2017 Essay by Mark Ribowsky (Guest Post)*
“My Girl”—The Temptations (1964) Added to the National Registry: 2017 Essay by Mark Ribowsky (guest post)* The Temptations, c. 1964 The Temptations’ 1964 recording of “My Girl” came at a critical confluence for the group, the Motown label, and a culture roiling with the first waves of the British invasion of popular music. The five-man cell of disparate souls, later to be codified by black disc jockeys as the “tall, tan, talented, titillating, tempting Temptations,” had been knocking around Motown’s corridors and studio for three years, cutting six failed singles before finally scoring on the charts that year with Smokey Robinson’s cleverly spunky “The Way You Do the Things You Do” that winter. It rose to number 11 on the pop chart and to the top of the R&B chart, an important marker on the music landscape altered by the Beatles’ conquest of America that year. Having Smokey to guide them was incalculably advantageous. Berry Gordy, the former street hustler who had founded Motown as a conduit for Detroit’s inner-city voices in 1959, invested a lot of trust in the baby-faced Robinson, who as front man of the Miracles delivered the company’s seminal number one R&B hit and million-selling single, “Shop Around.” Four years later, in 1964, he wrote and produced Mary Wells’ “My Guy,” Motown’s second number one pop hit. Gordy conquered the black urban market but craved the broader white pop audience. The Temptations were riders on that train. Formed in 1959 by Otis Williams, a leather-jacketed street singer, their original lineup consisted of Williams, Elbridge “Al” Bryant, bass singer Melvin Franklin and tenors Eddie Kendricks and Paul Williams. -
Twist and Shout (PDF)
Twist and Shout Phil Medley and Bert Berns 1961 (as recorded by The Beatles) and INTRO: / 1 2 3 4 / 1 2 3 [A7] / [D][G] / [A][A7] / [D][G] / [A] Well [A7] shake it up [D] baby now ([G] shake it up [A] baby) [A7] Twist and [D] shout ([G] twist and [A] shout) C’mon [A7] c’mon, c’mon, c’mon [D] baby now ([G] c’mon [A] baby) C’mon and [A7] work it on [D] out ([G] work it on [A] out) Well [A7] work it on [D] out ([G] work it on [A] out) You know you [A7] look so [D] good ([G] look so [A] good) You know you [A7] got me [D] goin’ now ([G] got me [A] goin’) Just like you [A7] knew you [D] would (like I [G] knew you [A] would) Well [A7] shake it up [D] baby now ([G] shake it up [A] baby) [A7] Twist and [D] shout ([G] twist and [A] shout) C’mon [A7] c’mon, c’mon, c’mon [D] baby now ([G] c’mon [A] baby) C’mon and [A7] work it on [D] out ([G] work it on [A] out) You know you [A7] twist it little [D] girl ([G] twist little [A] girl) You know you [A7] twist so [D] fine ([G] twist so [A] fine) C’mon and [A7] twist a little [D] closer now ([G] twist a little [A] closer) And let me [A7] know that you’re [D] mine (let me [G] know you’re [A] mine–oooo) < PLAY THE CHORDS OR PLAY THE RIFF > |[D] [G] |[A] [A7] | A|-------------2--5-------|-4-----------2-----0----| E|-2--------2-------------|----------3-------------| C|------------------------|------------------------| G|------------------------|------------------------| <timing>| 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | |[D] [G] |[A] [A7] | A|-------------2--5-------|-4-----------2-----0----| E|-2--------2-------------|----------3-------------| -
Authenticity Letter for Stereo Introducing The
STAN “THE BEATLEMAN” PANENKA LETTER OF AUTHENTICITY MEGA RARE AUTHENTIC AND ORIGINAL VEE JAY RECORDS STEREO INTRODUCING THE BEATLES “AD BACK” ALBUM! FINEST CONDITION COPY THAT IS KNOWN TO EXISTS ON THE PLANET!! The purpose of this letter is to certify the authenticity, historical importance and value of this example of a VEE JAY RECORDS STEREO INTRODUCING THE BEATLES “AD BACK” ALBUM. HISTORY OF THE INTRODUCING THE BEATLES LP On January 10, 1964, Vee Jay Records issued their Introducing The Beatles album. This is known as a version 1 album. THIS IS THE VERY FIRST US BEATLES LP! The first Introducing The Beatles album in the US contains the songs, "Love Me Do" and "P.S. I Love You." There are three variations of this album. The first variation is the “Ad Back”. The “Ad Back” variation has 25 assorted Vee-Jay albums by other artists pictured on the back of the cover. The next cover variation is the “Column Back”. Here the back of the album has two columns that list all of the songs on the album. The final cover variation is the “Blank Back”. Here the back of the cover is blank – all white with no printing. The “Ad Back” is the first variation and is considered to be the first US album. The “Column Back” variation is the rarest of the three. It is my opinion that the purpose of the “Blank Back” album which is the third variation was to get rid of as many version one discs as possible. Vee Jay Records lost a lawsuit and thus they did not own the rights to release the songs “Love Me Do” and “P.S. -
The Beatles' Here Comes The
SPEAKER MUSIC by FERGAL KAVANAGH DANIEL FRANCIS alright: this one-word Here comes the sun doo, doo, doo, doo doo, doo, doo, doo: songs often TUNE INTO ENGLISH spelling of ‘all right’, often seen Here comes the sun use vocalizations, or vocables, in in informal writing and in place of lyrics. These are a form And I say it’s alright song, is mostly considered of nonsense16 used in a wide incorrect. Little darling, it’s been a long cold lonely winter variety of music, usually mixed Little darling, it seems like years since it’s been with meaningful text. The Beatles’ darling: this is one of the here most used terms of Here comes the sun doo, doo, doo endearment. It derives, in fact, Here comes the sun Long cold lonely winter: from ‘dear’, which can also adjectives follow a determined Here Comes the Sun mean ‘expensive’. And I say it’s alright order in English. As a general Little darling, the smiles returning to the rule, opinions or attitudes Uno degli ultimi grandi successi del quartetto di Liverpool è una semplice ode all’arrivo it seems like years: it is faces come first, before more neutral, del bel tempo dopo un lungo e freddo inverno. Ha una melodia facile da ricordare e un possible (but not necessary) to factual ones. This is not the Little darling, it feels like years since it’s case here, but it can be testo quasi infantile, eppure ora il suo messaggio acquisisce un nuovo significato. use the present perfect in this phrase: ‘It feels like it’s been been here considered a poetic licence. -
The Beatles on Sullivan by Tim Riley
On February 9, 1964, alongside the Broadway cast of Oliver!, comedian Frank Gorshin, and Olympian Terry THE McDermott, the Beatles played five numbers, start- ing with “All My Loving,” “Till There Was You,” and their first U.S. number one, “I Want to Hold Your Hand.” For BEATLES viewers, time froze: it had been seven years since Elvis Presley had graced this same stage, but it must have felt like forever for fans of rock and roll. With “She Loves You” ON and “I Saw Her Standing There” especially, rock and roll cracked open again— the music sounded bigger, more provocative, and more pressing than ever. In their Sullivan debut, the Beatles reframed all of rock and roll history up to SULLIVAN that point, and hinted at a thousand enticing new directions. The overpowering immediacy of the Beatles’ impact by Tim Riley was a key part of their appeal, and largely ironic. What seemed fresh and spontaneous to Americans was actually a polished act of songs and quips refined throughout 1963. By early 1964, Beatlemania had seduced Britain and Stories of Britain’s peculiar Beatlemania phenomenon had Europe, but American success was still elusive. Capitol trickled in via Jack Paar and Walter C ronkite— the Beatles Records had rejected “Please Please Me,” “From Me were news fluff (“ mop- tops” with “screaming girls”) even to You,” and “She Loves You,” and was about to snub “I before their songs began playing on Top 40 radio over Want to Hold Your Hand,” when manager Brian Epstein Christmas and the New Year. intervened. -
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. -
HEART of the WEST by O. Henry
HEART OF THE WEST 1 HEART OF THE WEST by O. Henry CONTENTS I. Hearts and Crosses II. The Ransom of Mack III. Telemachus, Friend IV. The Handbook of Hymen V. The Pimienta Pancakes VI. Seats of the Haughty VII. Hygeia at the Solito VIII. An Afternoon Miracle IX. The Higher Abdication by O. Henry 2 X. Cupid a la Carte XI. The Caballero's Way XII. The Sphinx Apple XIII. The Missing Chord XIV. A Call Loan XV. The Princess and the Puma XVI. The Indian Summer of Dry Valley Johnson XVII. Christmas by Injunction XVIII. A Chaparral Prince XIX. The Reformation of Calliope HEART OF THE WEST I HEARTS AND CROSSES Baldy Woods reached for the bottle, and got it. Whenever Baldy went for anything he usually--but this is not Baldy's story. He poured out a third drink that was larger by a finger than the first and second. Baldy was in consultation; and the consultee is worthy of his hire. "I'd be king if I was you," said Baldy, so positively that his holster creaked and his spurs rattled. Webb Yeager pushed back his flat-brimmed Stetson, and made further disorder in his straw-coloured hair. The tonsorial recourse being without by O. Henry 3 avail, he followed the liquid example of the more resourceful Baldy. "If a man marries a queen, it oughtn't to make him a two-spot," declared Webb, epitomising his grievances. "Sure not," said Baldy, sympathetic, still thirsty, and genuinely solicitous concerning the relative value of the cards. "By rights you're a king. -
My Song Analysis: I Want to Hold Your Hand
My Song Analysis: I Want to Hold Your Hand Artist: By: M. Mejia Music Appreciation Tempo of the Song • The TEMPO is FAST In music Fast tempo is called ALLEGRO Meter of the Song • The METER is 4 beats In music, a 4-beat pattern means that the song has a 4/4 time signature MOOD of the Song The MOOD of this song is rather HAPPY. The artist is communicating this by choosing a bright melody and fast tempo. The lyrics also support this feeling. • A happy mood usually means that the song is in a MAJOR KEY or scale (in fact the song is written in E major) Instrumentation of the Song and Texture • The instrumentation I heard is: 2 guitars, 1 drumset (percussion), 1 bass line, and the voices. The song also had clapping. • The texture is HOMOPHONIC because there is only one main melody or tune that is being accompanied by all other instruments and voices. The FORM of the song • The parts I discovered were: Introduction, A-B-A’-B-C-A’’-B- A’’ ending where: A is the main verse (A’= vs2, A’’ = vs3) B is the Refrain or chorus C is the bridge Form analysis I WANT TO HOLD YOUR HAND - Verse 3 = Part A’’ The BEATLES Yeah you, got that something I think you'll understand Verse 1 = Part A When I say that something Oh yeah, I'll tell you something I wanna hold your hand I think you'll understand When I say that something Refrain= Part B I wanna hold your hand I wanna hold your hand I wanna hold your hand Refrain = Part B I wanna hold your hand (2x) Bridge = Part C And when I touch you I feel happy, inside Verse 2 = Part A’ It's such a feeling Oh, please, say