PLAYLIST DEC. 16TH - Breakfast with the Beatles · (John Lennon and Yoko Ono) July 4th, 1969 John...

PLAYLIST DEC. 16TH 2012

HR I

John & Yoko/The Plastic Ono Band – Happy Xmas (War Is Over) – Single

This is one of the most popular Christmas Holiday tunes of all time. John used the basic melody from Peter, Paul & Mary’s “Stewball,” with a terrific backing

vocal from the Harlem Chi Give Peace A Chance/Remember Love (single)

(John Lennon and Yoko Ono)

July 4th, 1969

John Lennon – Give Peace A Chance

This is arguably John’s most quoted statement in either song or spoken form. The track was recorded on 4-track in the Lennon’s hotel room by “Les Studios Andre Perry” with a variety of friends and admirers including Tommy Smothers

and Timothy Leary, among others. It reached Number 2 in the charts.

Give Me Love (Give Me Peace On Earth)/Miss O’Dell (single)

(George Harrison)

May 7th, 1973 – US May 25th, 1973 – US

George Harrison – Give Me Love (Give Me Peace On

Earth) - LITMW This track and lead single would be a massive hit all over the world. This single

version runs a little bit faster than the LP version.

Ringo – Winter Wonderland – I Wanna Be Santa Claus

1.02 BREAK

The Beatles - Lovely Rita - Sgt. Pepper’s Lonely Hearts Club Band (Lennon-McCartney)

Lead vocal: Paul Paul heard that in America “traffic wardens” were called “meter maids,” which he

thought was humorous and decided to see what he could rhyme with it. Written entirely by Paul McCartney and recorded on February 23, 1967. The basic rhythm track was completed in eight takes. Take 8 was deemed the best and it was mixed down to a

single track and the Beatles added overdubs to create the finished recording. Specifically, Paul’s bass on Feb. 23, Paul’s lead vocal on Feb. 24, John, Paul and

George’s backing vocals on March 7, and George Martin was elected to fill the song’s middle eight with a piano solo, recorded on March 21.

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. 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 - Tomorrow Never Knows - Revolver

(Lennon-McCartney) Lead vocal: John

The first song recorded for what would become the “Revolver” album. John’s composition was unlike anything The Beatles or anyone else had ever recorded.

Lennon’s vocal is buried under a wall of sound -- an assemblage of repeating tape loops and sound effects – placed on top of a dense one chord song with basic melody driven

by Ringo's thunderous drum pattern. The lyrics were largely taken from “The Psychedelic Experience,” a 1964 book written by Harvard psychologists Timothy Leary and Richard Alpert, which contained an adaptation of the ancient “Tibetan Book of the

Dead.” Each Beatle worked at home on creating strange sounds to add to the mix. Then they were added at different speeds sometime backwards. Paul got “arranging” credit. He had discovered that by removing the erase head on his Grundig reel-to-reel tape

machine, he could saturate a recording with sound.

On U.S. album: Revolver - Capitol LP

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).

OUT TODAY US in 1974

(Apple 1878).

The Beatles - I’ve Got A Feeling - Let It Be (Lennon-McCartney)

Lead vocal: Paul and John In compiling the soundtrack to the “Let It Be” film, producer Phil Spector had no time to

sift through the hours of music the Beatles had recorded at the end of January 1969. Instead, he relied on two versions mixed by Glyn Johns. He also screened a print of the movie. Spector had four different Glyn Johns mixes of “I’ve Got A Feeling” to consider: an incomplete January 22 run-through, a more polished take recorded on January 27, and two performances of the song from the rooftop concert on January 30, 1969. On

March 23, 1970, Spector remixed the January 27 take and the first of the rooftop performances, but when banding the final album, he chose the first rooftop performance

for inclusion.

John Lennon – It’s So Hard – Imagine ‘71

This was the first song recorded in the “new studio” at Tittenhurst. The song has a very basic blues backing track.

2.12 BREAK 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 - Eight Days A Week - Beatles For Sale


Recorded primarily on October 6, 1964. It is the first instance of the Beatles taking an unfinished idea into the studio and experimenting with different approaches to a song. “Eight Days A Week” is the first pop song with a fade-in introduction. Written mostly by Paul, the title was taken from a line spoken by a limo driver. McCartney: “I was being driven over to visit John. The chauffeur was talking away to me, saying how hard his boss worked the staff, so hard that they seem to do eight days a week. We’ve altered the plot a bit for the song, of course. The bloke loves the girl eight days a week.” In later years John Lennon incorrectly referred to this title in interviews as the original

working title for the film “Help!” The actual working title of “Help!” was “Eight Arms To Hold You.” On September 20, 1964 as the band and their entourage flew to their final North American Tour concert destination, the press corps on board the Beatles private

plane witnessed from a distance, careful not to interrupt, the four Beatles huddled together working on a new song. John, Paul, and George on guitars and Ringo tapping

his knees, and all humming the tune of what would become “Eight Days A Week.” Released as a single b/w “I Don’t Want To Spoil The Party” in the U.S. on February 15,

1965. On U.S. album:

Beatles VI - Capitol LP

The Beatles - For No One - Revolver (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 Martin wrote down the understated melody that Paul sang to him, and created a

French horn solo arrangement. Always pushing boundaries, Martin and McCartney decided to insert a top note into the score outside the instrument's normal range, in this

case a high F. The song was admired by John Lennon, who, in 1980, described it as "one of my favorites of his - a nice piece of work." The distinctive chords were played by

McCartney on George Martin's clavichord, brought in to Abbey Road from his house. Paul recorded this song again in 1984 for his “Give My Regards To Broad Street” film

and soundtrack album. On U.S. album:

Revolver

The Beatles - Not A Second Time – With The Beatles


Written in early September 1963 entirely by John Lennon in the style of Smokey Robinson and the Miracles. Recorded on September 11, 1963. Featuring George Martin

on piano. The Capitol Records A&R staff thought so highly of this song that they chose it to close their “Meet The Beatles!” LP.

On U.S. album: Meet The Beatles! - Capitol LP

RiNGO - You’re Sixteen – RINGO `73

The Beatles - When I’m Sixty-Four - Sgt. Pepper’s Lonely Hearts Club Band

(Lennon-McCartney) Lead vocal: Paul

One of the oldest songs in the Beatles catalog, it was written by Paul McCartney when he was 15 or 16 and the Beatles had performed a variation of it in their pre-fame Cavern Club days whenever the amplifiers broke down. It was the second song recorded for the

“Sgt. Pepper” LP (following “Strawberry Fields Forever”), but when “Strawberry Fields Forever” was pulled for release as a single, Paul’s “When I’m Sixty-Four” became the

first song recorded for the album that ended up on the album. The initial rhythm track was finished in two takes on December 6, 1966, and consisted of Paul on guide vocal,

bass and piano, John on guitar, and Ringo on drums with brushes. On December 8, Paul recorded his lead vocal, on December 20, John, Paul and George recorded backing vocals and Ringo played bells. Although John helped with a few lyrics for the official

recording of Paul’s childhood song, he was later quoted as saying, “I would never even dream of writing a song like that.”

George Harrison – P2 Vatican Blues (Last Saturday

Night) - Brainwashed ‘02 This track is a standard 12-bar blues (second nature to George after all these

years) whose target is the Catholic Church, where money expiates sin, exposing organized religion as show.

Paul McCartney – 20 Flight Rock – Live `93

2.02 BREAK

Ringo – Early 1970 – flip It Don’t Come Easy

The Beatles - You Know My Name (Look Up The Number) flip of Let It Be

Recorded: 17 May, 7/8 June 1967, 30 April 1969 Paul has named "You Know My Name" his favorite Beatles track due to its irregularity. The song was recorded over a two-year span, being worked on and shelved several times between 1967 and 1969. John came up with the lyric and title after

seeing a postal advertisement reading, "You have their name? Look up their number." The karaoke segment was developed during the second sessions for the song, and a reference to 'A

Hard Day's Night' associate producer Dennis O'Dell was added, prompting numerous calls to his home by crazed fans who

chanted mindlessly "We have your name and now we've got your number", as well as drugged fans coming en masse to his

doorstep wanting to live with him. Recording dates

May 17, 1967 (instrumentals) June 7, 1967 (instrumentals)

June 8, 1967 (instrumentals, inc. Brian Jones sax solo) June 9, 1967 (mixed into one master take) April 30, 1969 (vocals and sound effects)

HOUR II

Paul McCartney & Wings – Nineteen Hundred And Eighty-Five – Band on the Run ‘73

A fantastic ending to a flawless album, the hook had been floating around Paul’s head for months prior to the composition. There was a mastering error on the

song (and CD versions) that remained for many, many years where the beginning was affected by a “quick fade up.”

THE BEATTLE-ETTES -"ONLY SEVENTEEN" - Single (1964)

The Beatles - I Saw Her Standing There – Please Please Me (McCartney-Lennon)

Lead vocal: Paul Recorded February 11, 1963. A Paul McCartney original, the song was written in one day

in September 1962 in the front parlor of 20 Forthlin Road, Allerton (the McCartney family from 1955 to 1964), with John Lennon helping with some of the lyrics. It was recorded under its working title, “Seventeen,” at the marathon recording session that

produced the majority of songs for the Beatles’ debut album. A fan favorite, the Beatles recorded “I Saw Her Standing There” eleven times for BBC Radio between March 1963

and May 1964. McCartney has said that his bass line was lifted almost note for note from the obscure Chuck Berry song “I’m Talking About You,” released by Berry in

February 1961. The Beatles performed “I’m Talking About You” at some of their club shows in 1962 and 1963. It is included on the “Live! At The Star Club” CD.

Specially selected by Capitol Records staff members to be the b-side of the American “I

Want to Hold Your Hand” single on Capitol in the U.S., replacing “This Boy” for the honor. The first song on the first Beatles LP.

On U.S. albums: Introducing… The Beatles (with “1, 2, 3” inexplicably missing from Paul’s count-in) -

Vee-Jay LP Meet the Beatles! - Capitol LP

The Beatles - Two Of Us - Let It Be

(Lennon-McCartney) Lead vocals: Paul and John

A Paul McCartney solo composition originally entitled “On Our Way Home.” Thought by many to be a song about John and Paul, "Two of Us" is actually a song written by Paul

about himself and his soon-to-be wife, Linda Eastman. The lyrics are derived from

various experiences where the two would get in the car with Paul's dog, Martha, and just drive in the countryside until they were lost.

The Beatles - Revolution 1 - The Beatles


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.

George Harrison – Cloud Nine – Cloud Nine ‘87

An unexpectedly blues kickoff for the LP, this was the first track written for the album, in the winter of 1983-84. Eric Clapton provides lead guitar.

The Beatles – Three Cool Cats – Anthology I (George)

The Beatles at their Decca Audition of 1st January 1962. This session was held at the Broadhurst Gardens, West Hampstead studio's of Decca records in London,

less than two miles from Abbey Road

3.23 BREAK

The Beatles - Oh! Darling - Abbey Road


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.

The Beatles - Sexy Sadie - The Beatles


On February 19, 1968, the Beatles left the comforts of the UK for an oft-postponed extended trip to Rishikesh, India. Arriving the next day, they had come to learn the

powers of mediation under the direction of Indian guru Maharishi Mahesh Yogi at the Academy of Transcendental Meditation. The compound was located 150 feet above the Ganges surrounded on three sides by jungle-covered mountains. Students would live in

stone cottages. Each cottage had twin beds and modern bathroom facilities. George Harrison had been enlightened by the Indian culture and the Maharishi’s teachings and invited his band mates to immerse themselves in it as well. But instead of rejuvenating the other Beatles, the trip became tedious. Ringo and wife Maureen left Rishikesh after 10 days, complaining of missing their children and not liking the food. John and Paul turned it into a songwriting vacation, much to Harrison’s irritation. Paul and girlfriend

Jane Asher returned to England on March 26. In April, things came to a head when a rumor circulated that the Maharishi had made sexual advances toward at least one of the women at the compound. John: “We went to see him after we stayed up all night discussing was it true or not true. When George started thinking it might be true, I

thought well, it must be true, because if George started thinking it might be true there must be something to it. So we went to see Maharishi, the whole gang of us, the next

day, charged down to his hut, his bungalow, and as usual, when the dirty work came, I was the spokesman.” But instead of accusing the Maharishi outright of wrongdoing or

inquiring about the specifics of the rumor, Lennon announced cryptically “We’re leaving.” When the Maharishi asked why, Lennon’s response was “Well, if you’re so cosmic you’ll know why.” True or not, Lennon and Harrison had had enough and left with their entourage immediately. “Sexy Sadie” was written by John while waiting at Delhi Airport, and was originally titled “Maharishi” with lyrics being “Maharishi, what

have you done? You made a fool of everyone.” At Harrison’s request, Lennon backed off and substituted ‘Sexy Sadie’ for ‘Maharishi.’

The Beatles - The Fool On The Hill - Magical Mystery Tour (EP)


Sitting alone at the piano, Paul McCartney recorded a mono two-track demo of “The Fool On the Hill” on September 6, 1967. A more proper recording would take place September 25. On the 25th three takes of the basic rhythm track were recorded,

including harmonicas played by John and George. Paul first brought the song to John’s attention in mid-March while the two were working on the lyrics for “With A Little Help From My Friends.” John said to write down the lyrics so he wouldn’t forget them. In the “Magical Mystery Tour” film you can see Paul (by himself) standing atop a hill near Nice,

France, during sunrise. The scene also includes ad-libs of Paul spinning, running and dancing, and close-ups of Paul’s moving eyes. It was an interesting trip for Paul as he forgot his wallet, passport and his money! They also didn’t have the correct camera

lenses. It ended up costing over 4,000 pounds to film the scene. Paul’s September 6 live piano/vocal solo demo can be found on the “Anthology 2” album.

On U.S. album: Magical Mystery Tour - Capitol LP

John Lennon – Remember - Plastic Ono Band ‘70

“Remember, Remember the Fifth of November.” This is a reference to Guy Fawkes Day (Guy Fawkes famously tried to blow up parliament in 1605). This

was recorded on John’s 30th birthday, October 9th, 1970.

The Beatles - Ob-La-Di, Ob-La-Da - The Beatles (Lennon-McCartney)

Lead vocal: Paul Written by Paul while in Rishikesh, India. In Barry Miles’ “Many Years From Now” Paul

recalls walking through the Indian jungle near the Maharishi’s compound with his guitar singing “Ob-La,Di, Ob-La, Da, life goes on, bra,” taking the phrase from Jimmy Scott, a Nigerian conga player who had been a part of the London music scene since the 50s. In Scott’s native language, “Ob la di ob la da” is an expression meaning “life goes on.” Paul

created characters for his story - Desmond and Molly and their barrow in a Caribbean marketplace. A barrow is a cart or small vehicle used to carry a load and pulled or

pushed by hand.

1.12 BREAK

The Beatles - Hey Bulldog - Yellow Submarine

(Lennon-McCartney)

Lead vocal: John In early February 1968, the Beatles were on a tight schedule. They had two weeks to audition and record possible songs for their next single, which would be released while

they were away on an extended trip to India where the group would meditate with Maharishi Mahesh Yogi. In addition to picking the single sides they would need to spend

a day with a film crew making a short promotional film for the song. The Paul McCartney-penned “Lady Madonna” was chosen as the A-side and would be the subject

of the promo film. On the last weekend of recording, the Beatles were informed they were one song short of the four new songs needed for “Yellow Submarine,” and a new

song had to be recorded before they left for India. The song shortage was due to “Baby, You’re A Rich Man,” which had been earmarked for the film soundtrack, being used as

the B-side of the “All You Need Is Love” single.

The Beatles - Money (That’s What I Want) – With The Beatles (Bradford-Gordy) Lead vocal: John

Originally recorded by Barrett Strong and released as a single on Motown’s Tamla and Anna labels in 1959 and 1960 respectively, peaking at #23 in 1960. It was a part of The

Beatles’ live repertoire from 1960 to 1964. On July 18, 1963, the group, with George Martin on piano, performed the song live in the studio -- vocals and all -- for six full

takes, the final take being deemed the best. Although The Beatles involvement with the recorded track lasted this one day, George Martin continued to add overdubs and tinker with his piano part until the song was completed to his satisfaction on September 30,

1963. On U.S. album:

The Beatles’ Second Album - Capitol LP

NEWS w/ Jackie

Paul w/Nirvana -‐ CUT ME SOME SLACK (studio

version)

EXCLUSIVE!!!

HR.III

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

The Apple Jam – You Know What To Do (Harrison) – 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

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. “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.

As part of its agreement with British music conglomerate EMI, Capitol Records had the right of first refusal to release all of EMI’s music in the U.S. Famously, Capitol rejected the initial Beatles records it was offered, and the songs were subsequently issued by

other U.S. labels. By December 1963 Capitol was finally convinced that Beatles records would be successful in America and agreed to mount an extensive marketing campaign, initially budgeted at a then unheard of $40,000, to promote their next single, “I Want to

Hold Your Hand.” Capitol switched out the UK b-side “This Boy” with the up-tempo “I Saw Her Standing There,” unleashed its sales team, and started taking orders. Demand was so high that Capitol moved up the release date two weeks. On December 26, 1963 the single hit stores throughout America. Within three days 250,000 copies had been sold. Two weeks later it reached one million sales and the Beatles booked a flight to

America. On U.S. albums:

Meet The Beatles! - Capitol LP

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

1.23 BREAK

The Beatles - Fixing A Hole - Sgt. Pepper’s Lonely Hearts Club Band


On February 9, 1967, the Beatles recorded “Fixing A Hole” at Regent Sound Studio on Tottenham Court Road in London. The session was booked at Regent by George Martin

because Abbey Road was unavailable. It marks the first time the Beatles recorded a British EMI session at a studio other than Abbey Road. No longer on the EMI staff,

Martin was free to travel with the Beatles wherever they were recording. But engineer Geoff Emerick and the usual crew of tape operators at Abbey Road were all EMI

employees so they couldn’t go along.

The Beatles - Magical Mystery Tour - Magical Mystery Tour (EP) (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 - Lucy In The Sky With Diamonds - Sgt. Pepper’s Lonely Hearts Club Band


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 - Sgt. Pepper’s Lonely Hearts Club Band (Reprise)

- Sgt. Pepper’s Lonely Hearts Club Band (Lennon-McCartney)

Lead vocals: John, Paul, George, Ringo

The Beatles had promised EMI that they have the master tape of the “Sgt. Pepper”

album delivered no later than April 12, 1967. Paul McCartney had made arrangements to travel to America between April 3 and April 12, so this session on April 1 would be his

last chance to add vocals or instruments to the project. Only George Harrison’s contribution to the album (“Within You, Without You”) remained to be recorded, and

that was being performed without John, Paul or Ringo. George Martin credits Neil Aspinall with the idea of reprising the title track on the second side of the record. For

the reprise of the title song the Beatles convened in Abbey Road’s studio one, a cavernous space usually reserved for orchestral recordings. George Martin felt this room

enhanced the live feeling of the song, giving it an “electrifying, football stadium atmosphere.” According to author Mark Lewisohn, all four Beatles chanted out the quick-

paced vocals. Mono mix includes the audience sounds beginning more sharply, the drum intro is four beats longer, and there are some words spoken by John as well as some

audience laughter, all of which are missing from the stereo mix. Paul ad-libs some lyrics at the end, but it can barely be heard on the stereo version.

Jimi - Sgt. Pepper’s Lonely Hearts Club Band – LIVE BBC

RINGO - With A Little Help From My Friends – LIVE VH1

Fab Four – Silent Night – HARK!

The Shins – Wonderful Christmas Time – HOLIDAYS RULE

John & Yoko – Happy Xmas War Is Over – ANTHOLOGY

BWTB XMAS Mash-up

3.14 BREAK

PLAYLIST DEC. 16TH - Breakfast with the Beatles · (John Lennon and Yoko Ono) July 4th, 1969 John...

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Transcript of PLAYLIST DEC. 16TH - Breakfast with the Beatles · (John Lennon and Yoko Ono) July 4th, 1969 John...