Crackin Up - The Beatles - Betty Lee Met Gary 5 (CD) download full album zip cd mp3 vinyl flac
Ebbett's Sound Systems, very nice sound and very nice artwork. Collection The Beatles U. Crackin Up - The Beatles - Betty Lee Met Gary 5 (CD) are mono. Tracks are stereo. A programme filled with atmospheric location recordings, music and archive, from Liverpool. Ebbett's Sound Systems, Dr.
This is part of the Millennium Remasters U. Reel-To-Reel Collection series of 8 discs. Audiophile archival recordings - stereo original source - 24 bit mastering.
High quality vinyl transfer of the German stereo Beatles '65 LP. Same basic tracks as the U. Beatles '65 stereo LP except without the echo enhanced tracks found on the U. Disc 1 White Album outtakes and alternates of studio versions - plus a few 'bonus-tracks' from Rishikesh, India. Paul and George tell the story of the album and the single titles in-between the music. This is disc 1 of 3. The selected songs must have been performed during the Let It Be sessions in Jan '69 and the chosen song must include at least one ex-Beatle.
Over a dozen groups! Includes two press conferences. Career-spanning set of "acoustic" demos and alternate mixes. BT 2. Back-Track Part 2. Back-Track Part 3. BT Back-Track Part 4. More alternate takes and mixes. Back-Track Part 5. Back-Track Part 6. Demos and alternate mixes. White Album sessions. Footstep Records. Backwards Beatles.
An examination of the Beatles backwards recordings, both forwards and backwards - with some songs in their entirety! Dinosaur Music. Backyard Spool Remastered. Alternate tracks. MDCD Baggy Sweegin' USA! JFC Records and Tapes. The Beatles Ballads gets the Dr.
PCS Banzai 2 cds. Live tracks from various concerts. Great Dane Records. Bare It All 5 cds. The complete recordings of John Barrett.
MJ, -2, -3, -4, A celebration and recollection of Sgt. The North American Tour remembered. The Christmas albums remembered. A celebration of the 40th anniversary of the rooftop concert. The history of Northern Songs and Beatles' music publishing. A recollection of that fatedful day in Remembering and analyzing the group's artistic, financial and social impact.
A recollection of Help!. The Beatles on "Juke Box Jury" in Beatle Blends. A collection of Beatles covers but with the Beatles vocals blended into them. Beatles Remixers Group. BRG Beatles Tour Capitol Mono Acetate. Unicorn Records. Black Cat. BC Canadian version of With The Beatles gets the Dr. Beatlemania - Twenty Never Published Songs. Assortment of unreleased songs from radio sessions and Get Back sessions. Beatles Bop - Hamburg Days 2 Crackin Up - The Beatles - Betty Lee Met Gary 5 (CD).
The Beatles with Tony Sheridan. Bear Family. BCD BH. Beatles U. Interviews and press coverage from the American tour. Beatles For Rent. Beatles For Sale. Beatles For Sale gets the Dr. EAS Parlophone PMC original mono mixes transferred from original vinyl. PMC Mirror Spock. The Millennium Remasters Collection - audiophile archival recordings - 24 bit mastering from original sources.
Millennium Remasters. Beatles For Sale Millennium U. Stereo version with bonus tracks. SMO 83 Excellent transfer from vinyl.
DESS Buster. Beatles For Sale 5. DTS 5. Two Of Us Productions. Beatles For Sale Deluxe Vol. Stereo and mono version of the album, singles of the era, alternate takes and studio outtakes. Purple Chick. HelterSkelter Records. Beatles Four Sail.
Stereo side-channels enhanced. Beatles Greatest. By the middle of Marchthe Beatles were the biggest band in the world, responsible for an astonishing Crackin Up - The Beatles - Betty Lee Met Gary 5 (CD) percent of the American singles market. With pre-orders of more than 3 million copies, "Can't Buy Me Love" catapulted the Beatles to a new level of fame.
The previous record holder had been Elvis Presley, with nine in The Beatles were in prime live form when they recorded "Can't Buy Me Love," charged up from playing up to three shows a day at a day residency at Paris' Olympia Theatre.
With Beatlemania, everything moved at supersonic speed. Lennon and McCartney had their own deep roots in the latter, but Harrison was the expert: His guitar style, especially in the Beatles' early recording years, was an aggressive updating of the simplicity of Carl Perkins and Scotty Moore's breaks on Elvis Presley's Sun singles. The lyrics in "Can't Buy Me Love" were essentially sweet stuff about valuing romance over material things, although some fans somehow missed the point, baffling McCartney.
Harrison wrote one of the Beatles' happiest songs while he was playing hooky. ByApple Records was disintegrating into an endless squabble over money, with business manager Allen Klein and attorney John Eastman struggling for control of the group. The relief of not having to go see all those dopey accountants was wonderful, and I walked around the garden with one of Eric's acoustic guitars and wrote 'Here Comes the Sun.
Harrison's estate, Kinfauns, was about a half-hour's drive away from Clapton's house. Along with "Something," it gave notice that the Beatles now had three formidable composers. Even the highly competitive Lennon and McCartney had to grant Harrison newfound respect. The last song the Beatles completed for the Help! But where the earlier hit offered empathy, now Lennon issues a more aggressive warning: "I'll make a point of taking her away from you.
The bright call-and-response parts that comment on the action "Watch what you do" illustrate the influence that the early-Sixties girl-group records still had on the Beatles.
The band recorded a number of girl-group songs "Chains" by the Cookies, "Baby It's You" and "Boys" by the Shirellesflipping the genders in the lyrics as necessary.
In the film, the song is done in a smoky studio; McCartney wanted to show the material in a more natural setting than provided by most movie musicals. Ringo does the whole performance with a lit cigarette dangling from his lips.
Lennon said the lyrics — in which he begs a new lover for tenderness after being wounded by the last girl — were "semiautobiographical, but not consciously. But musically, it was one of Lennon's cleverest songs to date: The harmonic tricks of its strummy, offbeat opening were miles beyond what other bands were doing at the time, and it was "dripping with chords," as McCartney said.
It also showcased some of the Beatles' finest singing. Lennon and McCartney shared a single microphone for their Everly Brothers-like close harmonies. It shows that I wrote sentimental love ballads, silly love songs, way back when.
One paradox of Revolver : It marks the period when the Beatles began exploring the myriad creative possibilities of the recording studio, yet at the same time, it contains some of the most streamlined, Crackin Up - The Beatles - Betty Lee Met Gary 5 (CD), straightforward pieces in the group's catalog — among them McCartney's radiantly soothing love song "Here, There and Everywhere. The tune's chord sequence bears Brian Wilson's influence, ambling through three related keys without ever fully settling into one, and the modulations — particularly the one on the line "changing my life with a wave of her hand" — deftly underscore the lyrics, inspired by McCartney's girlfriend, actress Jane Asher.
The couple, whose careers often led to prolonged separations, would split in July When George Martin heard the tune, he persuaded the musicians to hum together, barbershop-quartet style, behind the lead vocal. Very simple. McCartney has repeatedly identified it as one of his best compositions, a sentiment echoed by his songwriting partner: Lennon told Playboy in that it was "one of my favorite songs of the Beatles. The group spent three days in the studio working on the song, an unusually long time for a single track during this period.
After agreeing on a satisfactory rhythm track, the band did backing vocals, then McCartney recorded his lead vocal — which had a surprising inspiration. My Marianne Faithfull impression. Lennon called this rapid-fire, erotically charged minisuite one of his best songs. I like all the different things that are happening in it. It seemed to run through all the different kinds of rock music. Lennon later claimed that the song "wasn't about 'H' at all," but the drug subtext is everywhere.
The "Junkie" sequence from the middle of the song "I need a fix 'cause I'm going down" was the entirety of his original demo, recorded in May By the time the song was cut in September, Lennon had begun using heroin — ever since he and Yoko Ono had moved into a London apartment Starr had rented them in July. The "Mother Superior" in the lyrics is a reference to Ono herself, whom Lennon took to calling "Mother. A few of the surreal lines in the opening section, "Dirty Old Man," came from a stoned conversation with Apple press officer Derek Taylor: "Ate and donated to the National Trust," for instance, is a reference to people shitting on public land a common problem Lennon encountered while walking in and around Liverpooland the "velvet hand" alludes to a man who had told Taylor that wearing moleskin gloves gave him "a little bit of an unusual sensation when I'm out with my girlfriend.
It took the Beatles 70 takes over two nights to master the tricky tempo shifts of "Happiness. The original idea was McCartney's, but George Martin claimed that the final triumph of the Beatles' life as a recording band — the eight-song medley dominating Side Two of Abbey Road — was at least partly his.
Lennon was a lot less interested in the medley, although he contributed some of its most eccentric parts, like the sneering "Mean Mr. Mustard" and the quick, funky put-down "Polythene Pam. He was right in one sense. But the Abbey Road medley is the matured Beatles at their best: playful, gentle, acerbic, haunting and bonded by the music.
Their harmonies are ravishing and complex; the guitars are confident and cutting. The Beatles recorded the sections of the medley at various times, out of order, during the July and August sessions for Abbey Road. Mustard" dated back to early The lingering hysteria of Beatlemania cropped up in "She Came in Through the Bathroom Window," which was inspired by an overeager fan. But the emotional heart of the suite was the financial woes that were consuming the Beatles' energy and were on the verge of bankrupting them.
Lennon was instrumental in the hiring of Allen Klein, the business manager of the Rolling Stones, to straighten out the books and the chaos at Apple Corps; McCartney wanted the band to hire Lee and John Eastman, his future father- and brother-in-law. Later, in "Golden Slumbers" Crackin Up - The Beatles - Betty Lee Met Gary 5 (CD) "Carry That Weight" the former with lyrics copied from a lullaby published inMcCartney returned to the theme of exhaustion. The swapping of guitar solos in "The End" was a band brainstorm.
Harrison thought a guitar break would make a good climax. Lennon suggested he, Harrison and McCartney all trade licks. McCartney said he'd go first. Coming after Starr's first and only drum solo on a Beatles record, the scorching round-robin breaks — with Harrison in the middle and Lennon at the end — were cut live in one take, a last blast of natural brotherhood from a band only months from splitting.
Appears On: Abbey Road. There are conflicting stories of how McCartney came up with the name for the title character. But Lionel Bart, the writer-composer of Oliver! Most intriguing, in the s, the gravestone of an Eleanor Rigby was discovered in the churchyard of St. Peter's in the Liverpool suburb of Woolton — just yards from the spot where Lennon and McCartney first met in after a performance by Lennon's group the Quarry Men. After McCartney wrote the melody on the piano at his girlfriend Jane Asher's flat, he gathered Lennon, Harrison, Starr and Pete Shotton, Lennon's childhood friend, at Lennon's house in Weybridge to help finish the lyrics.
The group all agreed on certain details about this session: The priest was originally called "Father McCartney" until they found the name "McKenzie" in a phone book; Starr chipped in the line "darning his socks in the night"; and it was Shotton's idea that the song end with the funeral, bringing all of the principal characters together.
Beyond that, though, Lennon and McCartney offered dramatically different versions of the writing process. None of the Beatles actually play an instrument on "Eleanor Rigby" — McCartney sings the double-tracked lead vocal, and Lennon and Harrison contribute harmonies, but the music is performed entirely by a pair of string quartets, arranged by George Martin. When he agreed to the idea, McCartney said he wanted the strings to sound "biting. Instead of recording the octet on a single microphone, he miked each instrument individually.
McCartney saw the finished track — a meditation on solitude and aging that sounded like nothing else on the radio at the time — as a breakthrough moment for him as a songwriter. He later reflected that when he wrote "Eleanor Rigby," he had been musing about what kind of work he might do when he was done being a Beatle. I could become a serious writer, not so much a pop writer.
Yes, it wouldn't be bad, actually — at the terrible old age of Flush with creative energy after finishing Sgt. When they were invited to appear on the Our World TV program — a two-hour show of international performers that would be broadcast live in 24 countries on June 25th, — they decided to create an elaborately orchestrated new track, "All You Need Is Love. The Beatles crafted a rhythm track in the studio beforehand which included Harrison playing violin for the first time and Lennon on harpsichord but they sang their vocals live on the show, accompanied by an orchestra and a chorus that included Mick Jagger, Keith Richards, Marianne Faithfull, Donovan and Keith Moon.
Harrison's guitar solo was also live; he hand-painted his Stratocaster in psychedelic colors for the occasion. Martin's arrangement reflected the event's international spirit: The introduction was a snippet of "La Marseillaise," the French national anthem, while the coda included bits of Bach's "Brandenburg Concerto No.
The main part of the song was deceptively simple. I love the telly. Not that he was impressed with their original efforts in general, at this point. The Beatles knew they had broken new ground. The single sold so well that Brian Epstein pulled the Beatles off the road to make their debut album — which they did in three three-hour sessions on February 11th,returning to their tour the following day — titled Please Please Meafter their current smash hit.
Lennon always insisted that "Lucy in the Sky With Diamonds" was not a drug song. Lennon showed McCartney the painting one morning over tea, and they decided it was too great a title to pass up. The song is dominated by Lennon's love of childish whimsy like Through the Looking-Glass.
Lennon came up with the image of "kaleidoscope eyes," McCartney with "cellophane flowers" and "newspaper taxis," and before long, they had a psychedelic nursery rhyme with wordplay worthy of Lewis Carroll. She is buying an egg, and it turns into Humpty Dumpty.
The woman serving in the shop turns into a sheep, and the next minute they are rowing in a rowing boat somewhere, and I was visualizing that. In the Weybridge mansion where he wrote the song, Lennon spent most of his days alone, feeling numb in a collapsing marriage, watching TV and doing drugs.
As he explained in"There was also the image of the female who would someday come save me — a 'girl with kaleidoscope eyes' who would come out of the sky. It turned out to be Yoko, though I hadn't met Yoko yet. So maybe it should be 'Yoko in the Sky With Diamonds. Sadly, Lucy herself died in September of lupus, at the age of Julian Lennon paid tribute to his former classmate by releasing a benefit single, "Lucy," a few weeks later.
When she first heard "Lucy in the Sky With Diamonds" as a teenager, she told her friends she was the Lucy who had inspired it. But they didn't believe her, informing her the song was about LSD. Lucy didn't argue because, as she admitted, "I was too embarrassed to tell them I didn't know what LSD was.
The last and most aggressively experimental track on Revolver was the first to be recorded: Lennon's rapid, excited response to the great escape of LSD. In acid, Lennon found his first true relief from the real world and the band's celebrity — an alternate space of rapture and self-examination that he re-created, with the energized collaboration of the other Beatles, in "Tomorrow Never Knows.
Compared to the rolling drone, tape-loop effects and out-of-body vocals that dominate Lennon's trip here, even the rest of Revolver sounds like mutation in process: the Beatles pursuing their liberated impulses as players and writers, via acid, in pop-song form. There was no other place for this track on the album but the end. The art of sampling in popular music may, in fact, start here. The book itself was an extended paraphrase of Buddhist concepts, including reincarnation and ego death, in The Tibetan Book of the Dead.
Lennon ran a tape recorder and read passages from The Psychedelic Experience as he was flying. He was soon writing a song using some of the actual lines from Leary, including his description of the state of grace beyond reality. Lennon even used it as a working title: "The Void. The Beatles got him there with extraordinary speed. It took them only three tries to come up with a master take of the rhythm track, driven by Starr's relentless drumming.
McCartney suggested the tumbling pattern Starr uses. Most of the otherworldly overdubs were created and recorded on the night of April 6th and the afternoon of the 7th — a total of about 10 hours. There is nothing on "Tomorrow Never Knows" — the backwards guitar solo, the hovering buzz of Harrison on sitar, Lennon's vocal drifting on what feels like the other side of consciousness — that was not dosed beyond plain recognition. The spacey, tabla-like quality of Starr's drumming was just him playing on two slackly tuned tom-toms, compressed and doused in echo.
Loops were created using a Mellotron imitating flute and string tones; the cackling seagull sounds were either an altered recording of McCartney laughing or a treated slice of guitar.
Lennon hoped to sound nothing like his usual self. Engineer Geoff Emerick achieved that effect by running Lennon's voice through the rotating speaker of a Leslie cabinet, which had been hooked up to the Hammond organ at Abbey Road. The result was heaven and earth combined: a luxuriant and rippling prayer, delivered in Lennon's nasal Liverpool-hard-boy tone. McCartney's reaction was equally joyful: "It's the Dalai Lennon!
Ironically, all the way to the last overdub on April 22nd, the song was listed on Abbey Road recording sheets with another working title, "Mark 1. The line does not appear in Lennon's lyrics.
What Starr meant, of course, was "tomorrow never comes. Lennon once claimed that "Ticket to Ride" — the first track the Beatles recorded for the soundtrack to their second feature film, Help! It's all happening, it's a heavy record. And the drums are heavy, too. That's why I like it. The sound was probably inspired by bands such as the Rolling Stones, the Who and the Kinks, who were all exploding out of Great Britain at the time.
But the Beatles were still ahead of the competition. His singing and lyrics teeter between ambivalence and despair in the verses. Another surprise came in the fade, an entirely different melody and rhythm with the repeated line "My baby don't care," sung by Lennon at the upper, stressed top of his range. The Beatles now saw making records as a goal in itself — rather than just a document of a song — and were changing their approach to recording as they got more comfortable with the possibilities of the studio.
Instead of taping songs as they would play them live, picking the best take and then overdubbing harmonies or solos, the band now usually began with a rhythm track and slowly built an arrangement around it. Considering that, "Ticket to Ride" took almost no time to record: The entire track, including the overdubs, was finished in just over three hours. Lennon always maintained that McCartney's role in writing the song was minimal — "Paul's contribution was the way Ringo played the drums" — while McCartney contended that "we sat down and wrote it together" in a three-hour session at Lennon's Weybridge home.
That might account for the different stories on where the title came from: An obvious explanation is that it refers to a train ticket. When the Beatles belatedly filmed a promotional clip for the song in Novemberthey lip-synced the song against a backdrop of gigantic transportation passes.
But Don Short, a British newspaper journalist who traveled with the Beatles, claimed that it dated back to the band's days in the red-light district of Hamburg, Germany. One other possibility: On the day the Beatles recorded "Ticket to Ride," Lennon passed his driver's test. Though Lennon's exact contribution is unclear "I helped with a couple of the lyrics," he said"I Saw Her Standing There" is one of the songs that further cemented the Lennon-McCartney songwriting partnership.
A September photo by McCartney's brother Mike shows the pair in the front room of Paul's house, working face to face with acoustic guitars, Lennon wearing the glasses he hated, scratching out lyrics in a Liverpool Institute notebook.
McCartney wrote the song on his Zenith acoustic guitar, the first guitar he ever owned. The original inspiration for the song was a girlfriend of McCartney's at the time, dancer Iris Caldwell, who was in fact 17 when he first saw her doing the Twist — in fishnet stockings — at the Tower Ballroom in New Brighton in December We never pretended to be true to each other. I went out with lots of people.
I was working away in different theaters at the time, but if I was back home we would go out. There were never any promises made or love declared. Under the title "Seventeen," the song became part of the Beatles' live act in Onstage, the tune would sometimes run for 10 minutes, with multiple guitar solos.
McCartney borrowed the hard-charging bass line from Chuck Berry's single "I'm Talking About You," a staple of the band's concerts.
When it came time for the Beatles to record their first album, Please Please MeGeorge Martin considered taping them live, possibly in front of the group's home audience at the Cavern Club. Though he decided instead to set them up at EMI's studios on Abbey Road, they chose a song list representative of the band's live show. To set the mood, the album begins with McCartney's blazing "one-two-three- faw!
It would also be one of the five songs that the Beatles performed on February 9th,on The Ed Sullivan Show before a television audience of 73 million people. Lennon described "I Saw Her Standing There" as "Paul doing his usual good job of producing what George Martin would call a 'potboiler,'" but the song would assume a greater meaning in his later life. When the song became Lennon's first solo song to top the charts, he made good and appeared with John at his November 28th show at Madison Square Garden in New York.
Before the final song, Lennon said, "We thought we'd do a number of an old estranged fiance of mine called Paul," and they closed the night with a rollicking version of "I Saw Her Standing There. It would be the last song John Lennon ever performed in concert. But the note of desperation in the song was real.
ByLennon was exhausted from the Beatles' nonstop touring, recording and filming schedule. Off the road, Lennon felt trapped at his estate outside London with his wife, Cynthia, and young son, Julian. I was depressed, and I was crying out for help. McCartney, in contrast, was taking full advantage of Swinging London, dating Jane Asher — a beautiful young actress from a prominent family who introduced him to high society — and seeing other girls on the side.
John "was well jealous of [me] because he couldn't do that," said McCartney years later. Lennon wrote most of "Help! Lennon originally wrote "Help! Making movies wasn't as fun as it used to be either. But with Help! The Beatles all admitted that it probably wasn't the director's fault that the band had so little input. It was all glazed eyes and giggling all the time. In our own world. As Geoff Emerick — then an assistant at Abbey Road, later the Beatles' engineer — recalled, "The huge crowd of girls that had gathered outside broke through the front door.
Scores of hysterical, screaming girls [were] racing down the corridors, being chased by a handful of out-of-breath, beleaguered London bobbies. Lennon and McCartney began writing "She Loves You" in a tour van, then did the bulk of the work in the Turk's Hotel in Newcastle, sitting on twin beds with acoustic guitars. The breakthrough in the lyrics was the introduction of a third person, shaking up the typical I-love-you formula. There's a little distance we managed to put in it, which was quite interesting.
Still, something was missing. I don't exactly know where we got it — Lonnie Donegan always did it. Elvis did that in 'All Shook Up. When his father heard the song, he said, "Son, there's enough Americanisms around.
Couldn't you sing, 'Yes, yes, yes,' just for once? It wouldn't work. For all the raw immediacy of its sound, the song also signaled a new level of sophistication for the band as songwriters and arrangers. The final touch was the distinctive chord that ends the chorus — Harrison's idea — which sounded "corny" to Martin.
The Beatles would go on to triumph after triumph as the s went on, but in Great Britain, "She Loves You" remained the bestselling single of the decade. When the Beatles — who had long been outspoken critics of the Vietnam War — hit Abbey Road Studios to make the White Album at the end of May, the first thing they recorded was "Revolution," which was also the first explicitly political song the band ever released.
The same as we stopped not answering about the Vietnamese War [when we were] on tour with Brian [Epstein]. We had to tell him, 'We're going to talk about the war this time, and we're not going to just waffle. The first version of "Revolution" the Beatles recorded was a slow, bluesy shuffle that eventually became "Revolution 1. It completely overloaded the channel.
Fortunately the technical people didn't find out. They didn't approve of 'abuse of equipment. The crucial lyric difference between the two versions was a single word. Ramparts magazine called its ambivalence a "betrayal. I want to know what you're going to do after you've knocked it all down. I mean, can't we use some of it? What's the point of bombing Wall Street? If you want to change the system, change the system. It's no good shooting people.
As Lennon put it bluntly, "I was trying to write about an affair without letting me wife know I was writing about an affair. I was writing from my experiences, girls' flats, things like that.
She is very different from the love interests in early Beatles' songs. As McCartney later explained, it was popular for Swinging London girls to decorate their homes with Norwegian pine. But it's not as good a title, 'Cheap Pine,' baby.
Even if it's a tale of a fling with a mod groupie, it's a strikingly adult one, from the London milieu to the way Lennon spends the night at her place and wakes up in the bathtub. Lennon is the one who gets pursued and seduced, sitting nervously on her rug until she announces, "It's time for bed. When he wakes up alone the next morning, he lights a fire — does that mean he burns the girl's house down?
Lennon never revealed the solution to this mystery; McCartney has endorsed the arson theory. Although Lennon claimed in that "Norwegian Wood" was "my song completely," he told Rolling Stone a decade earlier that "Paul helped with the middle eight, to give credit where it's due. Harrison's sitar debut was the song's most distinctive feature — yet it came from a moment of spontaneous studio experimentation. He was not sure whether he could play it yet, because he hadn't done much on the sitar, but he was willing to have a go.
Harrison first spotted the sitar on the set of the band's second movie, Help! Intrigued, he bought a sitar and "messed around" with it, eventually studying with sitar master Ravi Shankar. Harrison also became interested in Eastern religion and philosophy, which would become a lifelong pursuit. Looking back in the s, Harrison described the sitar on "Norwegian Wood" as "very rudimentary. I didn't know how to tune it properly, and it was a very cheap sitar to begin with. We were listening to all sorts of things — Stockhausen, avant-garde — and most of it made its way onto our records.
He was already sensitive because the other Beatles were "taking the mickey out of him" for copying Dylan, and he was afraid Dylan was ridiculing him with "4th Time Around. The sunlight in that chord, the exhilaration of the Beatles' performance and the title's sigh of exhaustion make "A Hard Day's Night" a movie in itself, a compact documentary of the Beatles' meteoric rise. The title came from a throwaway crack from Starr. All they had to do was write a song to go with it.
With 'A Hard Day's Night,' you've almost captured them. Lennon wrote the song the night before the session — he scrawled the lyrics on the back of a birthday card for his son, Julian, who had just turned one — and the group cut it in a breakneck three hours. The biggest issue was Harrison's solo: A take that surfaced on a bootleg in the s features him fumbling over his strings, losing his timing and missing notes. But by the time the session wrapped at 10 that night, he had sculpted one of his most memorable solos — a sterling upward run played twice and capped with a circular flourish, with the church-bell chime of his guitar echoed on piano by Martin.
Harrison also played the striking fade-out, a ringing guitar arpeggio that was also a Martin inspiration. Harrison composed most of the music during the Beatles' February-April trip to Rishikesh, India, but wrote its words after the band returned to England.
Inspired by the relativism principle of the I ChingHarrison pulled a book off a shelf in his parents' house, opened it to an arbitrary page and wrote a lyric around the first words he saw, which turned out to be the phrase "gently weeps. Even though the band had recorded Harrison songs on six previous albums, the guitarist still had trouble getting John Lennon and Paul McCartney to take his contributions seriously. Lennon, for his part, later noted that "there was an embarrassing period where [George's] songs weren't that good and nobody wanted to say anything, but we all worked on them.
The initial studio recording of "While My Guitar Gently Weeps," from July 25th, later included on Anthology 3was a subdued, nearly solo acoustic piece with an extra verse at the end, very much along the lines of Harrison's original demo.
A second version, with the full band Lennon playing organwas recorded on August 16th and September 3rd and 5th; it eventually incorporated tape-speed trickery, maracas and a backward guitar solo that never quite yielded the "weeping" sound Harrison was looking for. Producer George Martin had left for a monthlong vacation before the band began working on a third, electric version on September 5th, with Lennon on lead guitar and Ringo Starr contributing a heavy, lurching rhythm. That arrangement didn't quite come together, either.
Clapton initially declined. But Harrison replied, "Look, it's my song. I want you to play on it. With the famous guest in the studio, the other Beatles got down to business — McCartney's harmonies sound particularly inspired. As Harrison put it, "It's interesting to see how nicely people behave when you bring a guest in, because they don't really want everybody to know that they're so bitchy.
I love that song. Clapton became one of Harrison's closest friends — as well as his potential replacement. Lennon asked Leary if there was anything he could do to help his candidacy. But Lennon decided that he wanted to do something else with the lyric he had started, rather than finish the Leary campaign song. When he brought his new song in for the Abbey Road sessions, it was much faster than the final version and more obviously modeled on Chuck Berry's "You Can't Catch Me" — the opening line, "Here come old flat-top," is a direct lift from Berry's recording.
Shortly after the release of Abbey RoadBerry's publisher charged the Beatles with copyright infringement; the case was settled inwith Lennon agreeing to record three songs owned by the company — two Berry songs on the Rock 'n' Roll album and Lee Dorsey's "Ya Ya" on Walls and Bridges. Paul McCartney had a few suggestions for how to improve the song, as he recalled in The Beatles Anthology: "I said, 'Let's slow it down with a swampy bass-and-drums vibe.
The lyrics are a rapid-fire pileup of puns, in-jokes and what he called "gobbledygook" that he made up in the studio. The message was clear when he cried out at the end of the second verse, "One thing I can tell you is you got to be free.
It's funky, it's bluesy, and I'm singing it pretty well. After the antagonism of Let It Beit was almost impossible to imagine the band returning to this sort of creative collaboration. Then Paul has this idea for this great little riff. And Ringo hears that and does a drum thing that fits in, and that establishes a pattern that John leapt upon and did the ["shoot me"] part. And then there's George's guitar at the end. The four of them became much, much better than the individual components.
At that point, the Beatles were in their own time of trouble. A month of on-camera rehearsal and live recording had been intended to energize the bandmates and return them to their beat-combo roots. After wrapping up the filmed sessions that day, the Beatles turned a mountain of tapes over to engineer Glyn Johns to assemble into an album, tentatively titled Get Back. That solo, with its distinctive warbling tone, ended up on the single. A month later, on April 10th, McCartney took the occasion of the release of his first solo album to announce that the Beatles had broken up.
McCartney was visiting Cynthia after she and Lennon had broken up, and he was thinking of Julian on the drive over there. I know you're not happy, but you'll be OK. The song was recorded in the middle of the White Album sessions, which were plagued by fighting within the band and increasing alienation as the individual songwriters started treating the other Beatles as sidemen on their songs — if they used them at all.
Engineer Geoff Emerick found the squabbling so unpleasant that he quit. George Martin, also exhausted from the bickering and from running between the individual Beatles recording simultaneously in separate studios, abandoned the sessions to take a vacation, leaving production of the album for several weeks to his assistant Chris Thomas.
Fed up himself, Starr left the band for two weeks the first band member to quit the Beatles. When Lennon first heard "Hey Jude," he loved it — he thought McCartney was singing to him, about his relationship with Ono and the strains on the Lennon-McCartney partnership.
Lennon's contribution to the song came when McCartney pointed out a place-holder line in the fifth verse: "The movement you need is on your shoulder. Yoko's just come into the picture. He's saying, 'Hey, Jude — hey, John.
The band hired a piece orchestra for the session; the classical musicians were encouraged to sing and clap along to the song, for double their usual rate.
One musician would not go along. Much to everyone's amazement. Harrison "wasn't into what I was saying," said McCartney. Fortunately, the drums come in so late in "Hey Jude" that Starr was able to sprint back behind his kit and come in right on time. The ending refrain goes on for a full four minutes, even longer than the verses, which clock in at just over three minutes.
The band hadn't planned it that way, but McCartney was having too much fun ad-libbing to quit. It spent nine weeks at Number One, holding the top spot longer than any other Beatles song. It was also the longest Beatles song up to that point, clocking in at seven minutes and 11 seconds. Martin objected to its length, claiming radio wouldn't play the tune. He also took a pass at a winsome ballad that he had written on piano during a break in the White Album sessions in "Something.
And then he plays this song that just completely blows me away. Harrison initially believed the song was so catchy he must have heard it before: "I just put it on ice for six months because I thought, 'That's too easy! Harrison had attended sessions for Taylor's record and sang backup vocals on another song.
He even gave the song to Joe Cocker, who recorded it first. When Harrison finally presented "Something" to the other Beatles, they loved it. John Lennon said "Something" was "the best track on the album. It was tough for him because he didn't have any springboard against which he could work, like the other two did. And so he was a loner. The other Beatles worked on "Something" for several months, editing, arranging and rerecording it to perfection.
In a reversal, Harrison became musical director, telling McCartney how to play the bass line. Frank Sinatra would describe it as "the greatest love song of the past 50 years" although he often introduced it as a Lennon-McCartney composition.
He always had to try harder. The song began with a question: During a March interview with Lennon, journalist Kenneth Allsop asked why he hadn't written more lyrics about his life and experiences. I'd have a separate songwriting John Lennon who wrote songs for the meat market.
Smoke Pigs - Various - Beyond Damnation ;A Buriedinhell Records Compilation; (CD), Where To - Silence (BG) - Dusty Dreams (Cassette, Album), Someday - Betoko - Destination EP Part 1 (Vinyl), Silent Night - Various - Avalanchers Xmas MMX (File), Penta, Feel It (Radio Version) - The Tamperer Feat. Maya - Feel It (CD), Little Sister, Unclouded Day - Unknown Artist - Smoky Mountain Hymns (Cassette), California Dreamin - The Mamas And The Papas* - The Best Of The Mamas And The Papas (CD), Deep Forest (RLP Trance Mix) - Deep Forest - Deep Forest (Vinyl)
Published in Alternative