playlist oct. 28th 2012 - breakfast with the · pdf file3 3 the beatles - the continuing story...

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PLAYLIST OCT. 28th 2012

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9AM

The Beatles - Here Comes The Sun – LOVE/ Abbey Road (Harrison)

Lead vocal: George

The Beatles - Within You Without You - LOVE/Sgt. Pepper’s Lonely Hearts Club Band

(Harrison) Lead vocal: George

The Beatles - Tomorrow Never Knows - LOVE/Revolver (Lennon-McCartney)

Lead vocal: John

The Beatles - Lucy In The Sky With Diamonds - LOVE/Sgt. Pepper’s Lonely

Hearts Club Band

(Lennon-McCartney) Lead vocal: John

9.13 BREAK

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The Beatles - The Continuing Story Of Bungalow Bill - The

Beatles (Lennon-McCartney)

Lead vocal: John Started and completed with no additional overdubs to follow in a marathon 16-hour session, along with John’s “I’m So Tired,” on October 8, 1968. Like “Dear Prudence” before it, the song was about a Transcendental Meditation student who was with the Beatles in India earlier in the year. Lennon says he wrote the song about an American guy in Maharishi’s meditation camp who “took a short break to go shoot a few poor tigers and then came back to commune with God.” The basic track was completed in

three takes. Yoko Ono sings a line (solo: “Not when he looked so fierce” and with John: “If looks could kill it would have been us instead of him”) and becomes the first female

to sing a lead vocal line on a Beatles recording. The last words spoken, which segue into George’s brilliant “While My Guitar Gently Weeps,” are John (presumably) saying “Oh

yeah” and the tape piece was placed backwards on purpose (backwards masking) so it sounds like he says “Ale” or “Eh Oh.”

George - While My Guitar Gently Weeps – LOVE/ The Beatles sessions (Harrison)

Lead vocal: George In his book, “I Me Mine,” George explains that while visiting his parents he decided to

create a song from the first thing he saw upon opening a book. George randomly opened a book and saw the phrase “gently weeps.” He put the book down and started

writing lyrics.

The Beatles - A Day In The Life - LOVE/ Sgt. Pepper’s

Lonely Hearts Club Band

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(Lennon-McCartney) Lead vocals: John and Paul

Work began on January 19, 1967, for what is quite possibly the finest Lennon-McCartney collaboration of their songwriting career. On this evening, following some rehearsal, Lennon rolled tentatively through four takes, drawing a road map for the

other Beatles and George Martin to follow. Lennon on vocals and Jumbo acoustic guitar, McCartney on piano, Harrison on maracas and Starr on congas. Sections were

incomplete and to hold their space Mal Evans stood by a microphone and counted from one to 24, marking the time. To cue the end of the middle eight overdub section an

alarm clock was sounded. There was no Paul McCartney vocal yet, merely instruments at this point where his contribution would be placed. On January 20, Paul added his section, which he would re-recorded on February 3. Lennon told Beatles biographer Hunter Davies that the first verse was inspired by a story in the January 17, 1967,

edition of the Daily Mail about the car accident that killed Guinness heir Tara Browne. John: “I didn’t copy the accident. Tara didn’t blow his mind out, but it was in my mind when I was writing that verse.” The second verse was inspired by Lennon’s work on Richard Lester’s film “How I Won The War.” According to Paul, the third verse came from a Daily Mail article published on January 7, 1967, about 4,000 potholes in the

streets of Blackburn, Lancashire.

Paul’s tune (“Woke up, fell out of bed…”) was an entirely separate song fragment that he and John wanted to link to John’s verses. Coincidently, Paul’s bit was dropped in

after the temporary alarm clock sound, so the alarm clock sound stayed in the final mix. George Martin said it was Paul’s idea “to create a spiraling ascent of sound” for the two 24-bar segments that followed the lyric “I’d love to turn you on.” Paul had wanted a full symphony orchestra, but Martin balked at what it would cost to bring in 90 musicians. He compromised with Paul and brought in half a symphony orchestra. The final chord

was originally to be a chord of people singing. But after four takes and several overdubs the idea was scrapped in favor of playing a single piano note (E major, to be precise).

The task went to John, Paul & Ringo, and Mal Evans spread across three pianos.

Wings – Venus and Mars – Venus and Mars ‘75

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Spacey, melodic, hypnotic – Venus and Mars was crafted as a “suite” that would segue to the next song with very careful editing.

/Wings – Rock Show – Venus and Mars ‘75 This is the second track of the “suite,” written for the forthcoming world tour.

This became a staple beginning to many of the Wings live shows

9.42 BREAK

The Beatles - Twist And Shout – Please Please Me

(Medley-Russell) Lead vocal: John

The last song recorded during the marathon session on February 11, 1963. Two takes were completed before Lennon’s voice gave out. The released version is the first take.

Originally recorded by The Isley Brothers in May 1962, The Beatles performed it regularly in their live act between 1962 and 1965. Its inclusion in the 1986 film “Ferris Bueller’s Day Off” sent the song up the Billboard singles chart 22 years after its initial

U.S. release. On U.S. albums:

Introducing… The Beatles - Vee-Jay LP The Early Beatles - Capitol LP

Apple Jam - You Know What To Do – Off The Beatle Track

The Beatles - I’ll Get You - Single (Lennon-McCartney)

Lead vocal: John and Paul Written and recorded with the title “Get You in the End,” and originally slated to be the a-side of the next Beatles single until John and Paul came up with “She Loves You” just

five days before the recording date for their next single sides. The song was written start to finish in two to three hours by John and Paul in John’s bedroom at his Aunt

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Mimi’s Menlove Avenue house in June 1963. Recorded in an evening session on July 1, 1963, the same day as “She Loves You,” and issued as the b-side of the million-selling

“She Loves You” single on August 23, 1963. “I’ll Get You,” as the title was shortened to, remains one of Paul McCartney’s favorite Beatles songs.

On U.S. album: The Beatles’ Second Album - Capitol LP

UK: Non-album single (B-side)

On UK album:

Rarities -- Parlophone LP (1979)

The Beatles - I’ll Cry Instead - A Hard Day’s Night


A country-influenced Lennon-McCartney rocker recorded on June 1, 1964. John Lennon says that he wrote it for “A Hard Day’s Night,” but the film’s director, Richard Lester,

didn’t like it and replaced it at the last minute with “Can’t Buy Me Love.” The decision to cut “I’ll Cry Instead” from the film was so last minute that the American soundtrack LP, which had been rush-released by United Artists Records, included “I’ll Cry Instead” in its

song line-up. Released as a single in the U.S. on July 20, 1964.

On U.S. album: A Hard Day’s Night - United Artists LP

Something New - Capitol LP

The Beatles - I Want to Hold Your Hand - A Collection Of Beatles Oldies

(Lennon-McCartney) Lead vocal: John with Paul

The Beatles’ fifth single release for EMI’s Parlophone label.

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“I Want to Hold Your Hand” was the Beatles’ first single issued by Capitol Records. It is the song that launched Beatlemania in the United States. It was written equally by John

and Paul in the basement music room in Richard and Margaret Asher’s house at 57 Wimpole Street in the west end of London in September 1963. Paul had been dating the

couple’s daughter, actress Jane Asher, and was spending a lot of time at the Asher home whenever he was in London. Paul would eventually accept an invitation to move

in, taking up residence in their attic.

Recorded in 17 takes on October 17, 1963. The song is the first Beatles song recorded on a four-track tape recorder, proof that the Beatles had become a high priority for EMI

and Parlophone. Prior to this, the Beatles’ music had been recorded on a two-track recorder.

The Beatles - What You’re Doing - Beatles For Sale

(Lennon-McCartney) Lead vocal: Paul

Recorded in seven takes on October 26, 1964. The most problematic song in the sessions for ”Beatles For Sale.” The Beatles tried different arrangements over three days

and finally hit upon one they liked on the last day of recording for the album. Written primarily by Paul between August 31 and September 1, 1964 in Atlantic City during days

off on the Beatles’ North American Tour. Paul provides the double-tracked lead vocal.

On U.S. album: Beatles VI - Capitol LP

The Beatles - The Night Before - Help! (Lennon-McCartney)

Lead vocal: Paul Recorded in two takes on February 17, 1965. Paul double-tracked his vocal and overdubbed a lead guitar solo, which is heard at the very end and during the

instrumental break. Lennon: “George and Paul are playing the same break exactly, both playing but in different octaves.” John Lennon plays the Hammond organ.

On U.S. album: Help! - Capitol LP

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NEWS w/ Jackie

10.12 BREAK

The Beatles - I’m Looking Through You - Rubber Soul


Written by Paul after an argument with then-girlfriend, actress Jane Asher. Initially recorded on October 24, 1965, the song was re-recorded from scratch on November 6, but McCartney was still not satisfied. Four days later, on November 10, the group took

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another stab at it. Paul’s lead vocal was superimposed the next day. The version issued by Capitol Records has two false starts.

On U.S. album: Rubber Soul - Capitol LP

The Beatles - Devil In Her Heart – With The Beatles

(Drapkin) Lead vocal: George

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Brian Epstein had a policy at his NEMS record store of buying at least one copy of every record that was released. George Harrison: “Consequently he had records that weren’t hits in Britain, or even hits in America. Before we were going to a gig we’d meet in the record store, after it had shut, and we’d search the racks like ferrets to see what new ones were there … ‘Devil In Her Heart’ and Barrett Strong’s ‘Money’ were records that

we’d picked up and played in the shop and thought were interesting.” Recorded July 18, 1963. Originally recorded by Detroit-based girl group The Donays in 1962 as “Devil in

His Heart,” as the group was made up of females. On U.S. album:

The Beatles’ Second Album - Capitol LP

John Lennon – Scared - Walls And Bridges ‘74 From the second the wolf howls at the beginning of the track, this is a terrific

track, haunting, and offers incredible vocals from John.

QUICK BREAK HERE…

A little Halloween set…Read back quickly…and up next a song that actually contains the

word Halloween...!

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Ringo – Snookeroo (Elton/Bernie) – Goodnight Vienna `74

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The Beatles - Baby’s In Black - Beatles For Sale (Lennon-McCartney)

Lead vocals: John and Paul The first song recorded for the “Beatles For Sale” album. Recorded in 14 takes on

August 11, 1964, although only five takes were complete run-through. The song was a full collaboration between John and Paul. McCartney: “John and I wanted to do

something bluesy, a bit darker, more grown-up, rather than just straight pop. It was more 'baby's in black' as in mourning.” “Baby’s In Black” was a concert favorite on the 1965 and 1966 tours. The unique song has the distinction of being the first blues waltz

ever recorded. On U.S. album:

Beatles ‘65 - Capitol LP

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George Harrison – Devil’s Radio - Cloud Nine ‘87

This track was inspired “by a saying on a placard at a little church” near where George’s son Dhani went to school. The placard stated “Gossip – the Devil’s radio – don’t be a broadcaster.” Musically, the track was inspired by the Eurythmics, a rare example of George bowing to a current musical trend. Elton John makes an

appearance, as does Eric Clapton.

10.42 BREAK

The Beatles - She Said She Said - Revolver (Lennon-McCartney)

Lead vocal: John The rhythm track was finished in three takes on June 21, 1966, the final day of recording for “Revolver.” When the recording session started the song was untitled. The key line came from a real-life incident. On August 24, 1965, during a break in Los Angeles from their North American Tour, The Beatles rented a house on Mulholland Drive. They played host to notables such as Roger McGuinn and David Crosby of the Byrds, actors and actresses, and a bevy of beautiful women, “From Playboy, I believe,” Lennon remembered. John, high on acid, found himself in a strange conversation with

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actor Peter Fonda, who kept coming up to him and whispering, “I know what it’s like to be dead.” As a child, Fonda had a near-death experience after accidentally shooting himself on the stomach. The song was a last-minute addition to the “Revolver,” rehearsed and recorded on the final day of sessions when the band discovered they were one song short. McCartney recalls getting into an argument with John and leaving the studio. He believes this is one of the only Beatle records he didn’t play on. It is assumed George played the bass in McCartney’s absence. John sings the lead vocal and plays the organ, and John and George double-tracked the backing vocals.

On U.S. album: Revolver - Capitol LP

The Beatles - Eleanor Rigby - Revolver (Lennon-McCartney)

Lead vocal: Paul The Beatles’ thirteenth single release for EMI’s Parlophone label.

Essentially a Paul McCartney solo composition, he had some help with the song’s storyline from John, George, Ringo and John’s childhood friend Pete Shotton at Kenwood, John’s estate in Weybridge. This marks the first time a finished Beatles recording had no Beatle playing an instrument. The backing track, a haunting George Martin score, featured a double string quartet (four violins, two violas and two cellos) and was finished in 14 takes on April 28, 1966 with John and Paul sitting in the control

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room. The title character had initially been called Daisy Hawkins, but later evolved into Eleanor Rigby. Paul says the name was based on “Help!” actress Eleanor Bron and the name of a local business, Rigby & Evans Ltd., Wine & Spirit Shippers. In a strange coincidently, a tombstone at St. Peter’s Parish in Woolton, Liverpool, (the church where Lennon and McCartney met as teenagers) bears the name Eleanor Rigby. That particular Eleanor Rigby died on Oct. 10, 1939, at age 44. “Father McKenzie” had at one time been “Father McCartney,” but Paul changed it so people wouldn’t think the song referred to his father. Paul returned to the song on June 6, 1966, to add a counterpoint vocal at the end of the song. The song was issued as a double-A side single, paired with “Yellow Submarine.” This strayed purposely from The Beatles’ usual release pattern. Generally they would not issue songs from an LP as single sides. But John and Paul had tired of other artists recording their album tracks and having chart hits with them, so this time out The Beatles opted to have the hit single version of two of their album tracks. The “Yellow Submarine”/”Eleanor Rigby” single, issued simultaneously with the “Revolver” album, marked the first time the band issued LP songs on a single in Britain. In the U.S., the single sold a remarkable 1.2 million copies in the first month of release, and became the group’s 21st gold record.


The Beatles - Taxman - Revolver (Harrison)

Lead vocal: George Completed in 11 takes on April 21, 1966. Written by George when he started realizing the majority of his money was going to the British government in the form of taxes. George went to John Lennon for some help with the lyrics, and Lennon was especially pleased with his line “Now my advice for those who die: declare the pennies on your eyes.” Featuring a nice lead guitar solo by Paul on his Epiphone Casino. The ‘pennies’ lyrical reference derives from Greek mythology – it is the payment to Charon (the ferryman of the underworld) to ferry the deceased to their destination in the underworld. To pay the ferryman, the deceased person's relatives place a coin on each eye of the deceased. The Mr. Wilson and Mr. Heath mentioned in the song were real people. Harold Wilson was the Prime Minister and Edward Heath was head of the opposition party at the time the song was recorded. It is the first time a George Harrison composition opens a British Beatles album.


`66

Ron McNeal from the Fab Four joined us with his piano and voice.

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Ron – Jealous Guy – Live

John Lennon – Out The Blue - Mind Games ‘73

A truly beautiful love song – that would have been a perfect second single for the “Mind Games” album. Although when released, it was overlooked, “Out The

Blue” is one of John’s finest solo tunes.

11.12 BREAK

The Beatles - Revolution - Non-LP Track


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The Beatles’ eighteenth single release for EMI, their first on the Apple Records label.

John Lennon 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 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

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 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. album: A Hard Day’s Night - United Artists LP

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Paul & Linda McCartney – Too Many People – Ram ‘71

A song pointed directly at John Lennon and Yoko Ono, with the famous line of Paul’s, “You took your lucky break and broke it in two.” The song is what

prompted John to write, “How do you Sleep?” Hugh McCracken provides lead guitar.

The Beatles - And Your Bird Can Sing - Revolver


John Lennon called this fan favorite “another of my throwaways...fancy paper around an empty box.” On another occasion he simply referred to it as “another horror.” The song, written primarily by John, is notable mainly for the twin guitar riffs -- played live without overdubs by George Harrison and Paul McCartney -- that drive the song, and Paul’s distinctive bass notes at the end of the song. Lennon played the rhythm guitar in the D major position with the capo on the second fret to account for the song being in the key of E. John used the second fret capo several times ("Nowhere Man," "Julia," "Norwegian Wood," to name a few). Initial recording of the song commenced on April 20, 1966, with two takes being completed. Take 2 was deemed the best and various overdubs were added. While recording vocals John and Paul got a case of the giggles and laughed their way through much of the song. That hilarious version can be found on the “Anthology

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2” compilation. On April 26, the band decided to scrap the previous version and start over from scratch, recording 11 takes. The term “bird” was British slang at the time for girl. Although Lennon never elaborated on the inspiration behind the lyrics, it is believed to refer to the rivalry between The Beatles and The Rolling Stones. Although the two groups were friends, Lennon saw the Stones as Beatles copyists, and the 'bird' in the title may have been Mick Jagger’s on-again, off-again girlfriend/muse Marianne Faithfull. The working title of the song was “You Don’t Get Me.” “And Your Bird Can Sing” was one of three songs issued in America six weeks prior to their official release in the UK. American and Canadian Beatles fans heard “I’m Only Sleeping,” “And Your Bird Can Sing,” and “Doctor Robert” first on Capitol Records’ “Yesterday And Today” album, issued June 20, 1966. The rest of the world had to wait until the first week of August for them to appear on the “Revolver” LP. "And Your Bird Can Sing" was used as the theme song of The Beatles' cartoon series during its third season.

On U.S. album: Yesterday And Today - Capitol LP

Wings – Listen to What The Man Said Recorded in New Orleans, this was the hit of the album. A worldwide success, it went to number #1 and is considered one of Paul’s best singles. To cap off the track, Paul did an impression of Leo Nocentelli, the guitarist for the Meters (not

Wolfman Jack, as has been incorrectly stated) was placed at the beginning of the song.

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11.42 BREAK

The Beatles - Good Day Sunshine - Revolver


One of the fastest recorded tracks during the sessions for the “Revolver” album. The song, written primarily by Paul with assistance from John, was originally known as “A Good Day’s Sunshine,” and was recorded on June 8 and 9, 1966. McCartney said the song “was very much a nod” to the Lovin’ Spoonful’s 1966 hit “Daydream.”


Wings – Tomorrow – Wild Life ‘71 Contains the lyrics: Honey, pray for sunny skies so I can speak to rainbows in

your eyes. Let's just hope the weatherman is feeling fine and doesn't spoil our plan.

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The Beatles - I’ll Follow The Sun - Beatles For Sale (Lennon-McCartney)

Lead vocal: Paul One of the earliest Beatle originals, “I’ll Follow The Sun” was composed entirely in 1959 by Paul McCartney in the front room of his family home on Forthlin Road in Liverpool.

Recorded in eight takes on October 18, 1964.

On U.S. album: Beatles ‘65 - Capitol LP

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Jeff Lynne – Mr. Blue Sky – Best Of ELO

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playlist oct. 28th 2012 - breakfast with the · pdf file3 3 the beatles - the continuing story...

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